Tony, Alex, and Dan discuss video games in depth.

What happens when you combine three musicians, six college degrees, and video games? Well, we’re not sure either, but you’re in the right place to find out! Welcome to Pixel Noise! Born in New York City, Pixel Noise is the fulfillment of three young men’s dreams to talk about video games, and then also listen to themselves talk about video games. Join Tony, Alex, and Dan while they tackle gaming’s most hard-hitting questions like... Is Minecraft a good game? Is Minecraft a game? Is life a game? If you make toast in an oven instead of a toaster, is it still toast? With over 50+ years of video game experience between them, you’re sure to enjoy listening to grown men struggle to explain why the first generation of Pokémon games are the best and why hasn’t Tony played any of them yet Tony??

Pixel Noise is dedicated to art and treating video games as such. With personal experience to inspire us and a world of information accessible in the palm of our hands we have set out on a quest to experience the works of art around us and to inspire other artists to open their minds to the possibilities that video games have to offer. With the combination of stunning visuals, evocative music, and hands-on gameplay, video games can provide more immersive and more memorable experiences than any other form of art. But has the industry yet discovered it’s fullest potential? Tune in to find out!

"Recently, however, there has been renewed interest in re-defining the role of aesthetic theory in both art and education—with aesthetics being understood not as an elitist pursuit of the nature of beauty or the laws of taste, but rather, “as the analysis of experiential or perceptual qualities”(1) of art and its production; not committed in a search for eternal truths but in a multi-dimensional examination of the socio-historical situatedness of its subject matter. Jacques Rancière’s redefinition of art as a social process of (re)“distribution of the sensible”(2) and of aesthetic as “the very linguistic and theoretical domain in which thought about art takes place”(3) might be just one possible way forward."

  • Panagiotis A. Kanellopoulos, "Freedom and Responsibility: The Aesthetics of Free Musical Improvisation and Its Educational Implications—A View from Bakhtin," in Philosophy of Music Education Review, Vol. 19, No. 2 (Fall 2011), p. 115

  1. Francis Halsall, Julia Jansen, and Tony O’Connor, “(Re)Discovering Aesthetics: An Introduction,” in Francis Halsall, Julia Jansen, Tony O’Connor, eds., Rediscovering Aes- thetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice (Stanford, CA: Stanford University Press, 2009), 3.

  2. Jacques Rancière, The Politics of Aesthetics, trans. Gabriel Rockhill (New York: Con- tinuum, 2004).

  3. Claire Bishop, “The Social Turn: Collaboration and Its Discontents,” in Halsall, Jan- sen, and O’Connor, eds., Rediscovering Aesthetics: Transdisciplinary Voices from Art His- tory, Philosophy, and Art Practice (Stanford, CA: Stanford University Press, 2009), 249.