Popularly understood, “noise” indicates both unpleasant incursion and resistant cultural practice (noisy protest, noise music). Laura Marks suggests that noise indexes the infinite, constituting not merely that which renders images, sounds, and other signals less recognizable, but rather, embodying the “stuff whose patterns we can’t recognize” (2013). Along a similar and different line of thinking, Saidiya Hartman argues for the presence and continued emergence of what she terms “black noise”: a post-slavery sound rife with “wildly utopian,” anti-capitalist longings in the face of a silencing political rationality (2008). Noise remains resistant to a singular definition, and thus pregnant with possibility.