Rather than propose a unified concept of noise, this chapter examines the complexity of noise and the fluctuating indeterminacy of its conceptualization through different registers of analysis—music, semiotics, literary, philosophical, cultural, historical—for the purpose of mapping conceptual transformations without arriving at a definitive concept called “noise.” The range of aspects and authors covered in this chapter—including musical examples such as Joy Division, Roland Barthes and Michel Serres, the epics of Homer and Gilgamesh, and literary references in Kafka and Rilke—is deliberately fashioned to represent so many tunings on a valve-radio-set, turning the frequency knob left and right, moving up and down across a spectrum of live transmissions, not to capture the Noise and so still the noise, but always still to hear noise, and still some more.