‘Extreme’ music and graphic representation online

Previously obscure musical genres, traditionally mediated by tape trading, mail order and the like, become relatively public as they migrate into online environments. The niche is now easily available in `pirated´ format: mp3 blogs post links to material which was previously only available on limited-run cassette or vinyl. Such material also circulates widely on peer-to-peer networks, and listeners can conveniently find each other and new bands through platforms such as Last.fm. One such genre is considered here: power electronics or `noise´. The textual and visual material around power electronics is presented as a limit case for considering the grounds upon which censorship operates in Australia. Power electronics has a longstanding thematic preoccupation with transgressive content, and it addresses such issues from a complex and sometimes indeterminate position, ultimately leaving judgement with the listener. However, such material appears increasingly problematic where there is no grasp of the context of use, and no grasp of the often surprisingly nuanced approach taken by the artists and fans involved. Ambivalence is characteristic of the subtle orientations evident in power electronics, and this has in the past led to interpretive problems inside and outside of the subculture. Regardless of whether an argument can be made about the aesthetic merits of this genre, its increasing online visibility is inflected in the Australian context by a legal framework likely to criminalise it `on sight´. This is an imposition which obfuscates the meaning of the material, its social use, and most seriously, the broader societal context which gives rise to such material in the first place.