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This paper deals with the analysis of noise music by the Japanese artist Merz-bow, especially emphasizing the posthumanistic ethical and aesthetical paradigm as his artistic and political project. This project, or assemblage, has several aspects, three being particularly important: "musical" system (acoustic material, creator, listener), visual and textual material (album covers, articles and interviews), and the attitude towards the non-human (machines, animals, nature in general). These three aspects are a particular assemblage that enables the critique of the "everyday body" and the contemporary society, by creating special aesthetics of existence and lines of flight, an aesthetics which, ultimately, removes the human subject and replaces it with an (in)organic multiplicity.

Musica inhumana: Towards the posthumanistic ethical and aesthetical paradigm in music