In 1982 Sherry Levine famously wrote: “The world is filled to suffocating. Man has placed his token on every stone. Every word, every image, is leased and mortgaged”. Since then, the world has only gotten fuller, so much that in 2008 Gillo Dorfles wrote “Horror Pleni. La (in)civiltà del rumore” dedicated to the deafening noise that permeates contemporary mediascapes. When Dorfles was writing, social media had existed only for a few years, and the first iPhone was just launched. Since, the multiplication of texts we are bombarded with daily has increased steeply. Textual production is at an all time high, encompassing the continuous snapping of images and shooting of video reels that feed social media and, nowadays, the endless stream of written texts and images created by Generative AI applications. Academia itself, under the pressure of “publish or perish” models, is sadly not immune from this tendency.While according to Lotman (1990) textual production has a positive effect on culture, multiplying its ability to create new information, it would seem that the current proliferation of texts entails a multiplication of noise rather than of meaning. An increase in noise, as underlined by Eco (2012), can also be a form of censorship, as it becomes harder to find the information we are looking for. To contrast horror pleni, then, we might have to embrace a semiophobic approach and explore new virtues such as cyberneticism (etymologically, the ability of being a good steersman) and agraphicism (the refusal to produce new texts).