HUM HISS FLUTTER is an audiovisual performance that foregrounds the sonic residues of archival media documenting the so-called "ghetto riots" of 1964-1968. Rather than approaching these materials as evidence in service of a purely historical narrative, the performance instead takes seriously the incidental artifacts of hum hiss, flutter, dropout and distortion as the primary material of engagement. These patterns of interference, often dismissed as extraneous noise, emerge here as signals in their own right, carrying traces of the medium's conditions, its political entanglements, and its historical occlusions.