The foreground of this thesis is a response to the hyperstimulating present, flooded with images and information. In the first part, I examine noise, defining it as a disturbance that functions as a key background agent. I relate the relationship between noise and signal to the experience of stimulus proliferation in the subject's environment, which interferes with the processes of subjectivation. In this context, I refer to the alteration of the environment as a fundamental consequence of the oversaturated contemporary infosphere, under the pressure of which artistic hyperproduction also emerges. In the following section, through the analysis of artworks by John Cage, Ryoji Ikeda, and Edith Dekyndt, I question the painting medium and its ability to contend with the affective potential of other contemporary mediums. In the final part, I focus on the conceptual background of my painting series An Attempt on Noise, interpreting its self- referential nature and the concept of noise as a disturbance that, through resistance, becomes reified in the material via the process of image construction. In doing so, I primarily draw on the philosophical elaborations of Fredric Jameson, Franco "Bifo" Berardi, Bojana Kunst, and Walter Benn Michaels.
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