This paper proposes an interdisciplinary and generative understanding of noise that can be useful for thinking critically about art across different media ecologies. This notion of noise would be the counterpart of an intensive concept of information, such as the one presented by Gilbert Simondon. Unfolding a remark made by that author, the paper proposes three distinct notions of noise, as correlated to “pure chance”, “form”, and “information”. The noise of “pure chance” describes events of chaotic disruption and interference. The noise of “form” describes an index of the materiality and historical contingency of any transmission. The noise of “information” describes the irreducible margin of indeterminacy that is present at every layer of informational transmission and reception. An artwork created by Nam-June Paik is taken as a concrete demonstration of these three different kinds of noise. More generally, following sound theorist Aden Evens, an argument will be made for a speculative understanding of the signal in artistic practices as an emergent configuration from a ground of noise. To expand this idea for all media, we will explore the figure–ground relationship in the philosophy of Simondon as a scheme for the generation of forms from latent structural potential in a field. The work of Cécile Malaspina is used throughout the paper to clarify some confusions around the concept of noise and lay down the groundwork for fertile and rigorous interdisciplinary research across different media. The ambiguity of the concept of noise should not let us turn it into a night where all cows turn to greyscale. Instead, we should regard noise, in its distinct modes, as a marker of the granularity, speed, and resolution of any actual transmission and reception of information.

本文提出了对噪音的跨学科和生成性理解，这对于批判性地思考跨不同媒体生态的艺术很有用。这种噪声概念将与信息的密集概念相对应，例如吉尔伯特西蒙登提出的概念。展开该作者的评论，该论文提出了三种不同的噪声概念，与“纯机会”、“形式”和“信息”相关。“纯偶然”的噪音描述了混乱的破坏和干扰事件。“形式”的噪音描述了任何传输的重要性和历史偶然性的指标。“信息”的噪声描述了在信息传输和接收的每一层都存在的不可减少的不确定性边际。由 Nam-June Paik 创作的一件艺术品作为这三种不同噪音的具体展示。更一般地说，按照声音理论家亚丁·埃文斯（Aden Evens），将提出一个论点，将艺术实践中的信号推测性理解为从噪音背景中涌现的配置。为了将这一想法扩展到所有媒体，我们将探索西蒙东哲学中的图形-背景关系，作为从一个领域的潜在结构潜力生成形式的方案。Cécile Malaspina 的工作贯穿整篇论文，以澄清围绕噪音概念的一些混淆，并为跨不同媒体进行丰富而严谨的跨学科研究奠定基础。噪音概念的模糊性不应该让我们把它变成一个所有奶牛都变成灰度的夜晚。反而，