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Electromagnetic Sound Art, 1996 to 2016 **

Disinformation on Resonance 104.4 FM – Wavelength – 4 November 2016 –
https://www.mixcloud.com/Resonance/wavelength-4th-november-2016/

Disinformation on BBC Radio 4 – Broadcasting House – 15 June 2008 –
https://www.youtube.com/watch?v=xoMKR_OH3GM

Disinformation on BBC Radio 4 – Broadcasting House – 2 November 2008 –
https://www.youtube.com/watch?v=OrV3e3WQZ1Y

… all discussing work published 1996 onwards

“Language [as] Meta-Technology” ****

“A library is a machine for organising knowledge”

“If you want to hear the dead talk, visit a library”

The Disinformation project’s “Language [as] Meta-Technology” exhibition was staged in November 2018, as the first event in the Passen-gers Offsite series, at the Sluice HQ exhibition space in Hackney, East London (see links). The second exhibition, “Uncertain Ruins” by Julie F. Hill, was staged at Swiss Cottage Central Library (the iconic modernist library designed by architect Basil Spence) from October 2019 to January 2020. The events series for “Uncertain Ruins” featured a “Language [as] Meta-Technology” lecture – a short talk, followed by extracts read from “The Name of the Rose” by Umberto Eco and “The Book of Sand” by Jorge Luis Borges – on 5 November 2019. The core ideas from the original installation were discussed in that talk and in the “Uncertain Ruins” publication, launched on 9 January 2020. As documented in that publication, the “Language [as] Meta-Technology” sound installation uses cutting-edge commercial voice synthesis technology to articulate a number of propositions and aphorisms…

1. “The earliest form of sound recording technology was not a machine, but was written language”
2. “Language is meta-technology. Language is the technology that contains all others”
3. “The ultimate form of communications technology is language itself”
4. “Art is not necessarily science, but science is always art”
5. “All literature and poetry are forms of sonic art”
6. “All artworks are psychology experiments”
7. “Words themselves are weapons of sound”
8. “The medium is not the message”
9. “Speech itself is an art form”

Extrapolating the architect and town-planner Le Corbusier’s assertion that “a house is a machine for living”, the article also argues that since “the intersection between architecture and language… manifests in the form of a library”, therefore “a library is a machine for organising knowledge”. Since (as stated) the “earliest form of sound recording technology… was written language”, extrapolating the critique of so-called Electronic Voice Phenomena (ghost voice) recording put forward in the “Rorschach Audio” project, the article also states that “if you want to hear the voices of the deceased, talking to you, personally, then read books” – so “if you want to hear the dead talk, visit a library”. The publication features contributions from artists Joe Banks, Crystal Bennes, Thom Bridge, Libby Heaney, Julie F. Hill, Paula Smolarska, Mark Siebert and Mary Yacoob, from programmer Doug Neal, and from cosmologist and statistician Dr Roberto Trotta. Thanks to everyone who came to the events!

Buy the book – https://www.passen-gers.co.uk/uncertainruinspublication

36pp soft-back with inserts and jacket – ISBN 978-0-9572687-5-3

https://rorschachaudio.com/2018/11/12/language-as-meta-technology/

Disinformation performed at the Bibliotèque Solvay, Brussels, 29 Oct 2000 and a “Rorschach Audio” talk took place at the British Library, London, 28 June 2013.

Artworks + Texts Copyright © Joe Banks

“Light | Sensitive | Material” – featuring “Ammonite” and “Spellbound”

Light Sensitive Material

The Disinformation video installations “Spellbound” [aka “An Allegorical Portrait of J. Robert Oppenheimer”] (2001) and “Ammonite” (2009) featured in the “Light | Sensitive | Material” conference at the University of West London, 1st to 2nd November 2019. Both works were exhibited on rotation throughout the conference – “Spellbound” as part of an artists’ showreel, featuring work by Verity Adriana, Disinformation, Sylvia Grace Borda, Tim Daly, Karel Doing, Rebecca Goddard, David Kendall, Vrinda Seksaria, Carolin Lange, Joseph Moore, Andrea Muendelein, Sam Nightingale, Paul Proctor, Sonya Robinson and Ana Teresa Vicente; while the “Ammonite” exhibit played-out “solo” – as a self-contained, split-screen installation, displayed across two broadcast monitors. Special thanks to Michelle Henning and Theresa Mikuriya for programming the artworks.

The conference also included papers by Abelardo Gil-Fournier, Daniel Rubinstein, Elizabeth Howie, Howard Caygill, Joel McKim, Kim Knowles, Lara Thompson, Laura Marks, Liz Watkins, Lucy Mensah, Michelle Henning, Niharika Dinkar, Ohad Zehavi, Paul Frosh, Peter Bennett, Peter Buse, Pierre Pernuit, Stephen Turner, Susanna Collinson, Theresa Mikuriya, Tomas Dvorak, Tonje Sorenson and Victor dos Reis.

Click on “Artist Programme” – https://www.uwl.ac.uk/light-sensitive-material

“Spellbound” also screened at the Moving Image Salon, Film & Video Umbrella, London, 13 Sept 2019.

“Rorschach Audio” on BBC Radio 4, again!

The “Ghosts in the Machine” documentary, presented by Laurie Taylor, will be broadcast again on Radio 4, this coming Wednesday – 28 Aug 2019 – 9pm

Click to listen now – https://www.bbc.co.uk/programmes/m0000xy9

Michael Green, 1926 to 2019, R.I.P.

Michael Green, star exhibitor in “The Rumble” exhibition (see “Author Info”) at the Royal Society of British Sculptors, now known as the Royal Society of Sculptors, passed away last Monday, 12 August 2019, aged 93.

Michael’s classic paper is “Convenient Asymmetric Unit for Construction of Multi-Subunit Models”, published in Nature, vol. 219 (1968); and his (extraordinary) exhibits in “The Rumble” included “Icosahedral Shell from 20 Subunits with 3-Fold Cyclic Symmetry” (1975), “Icosahedral Shell from 20 Subunits with 3-Fold Dihedral Symmetry” (1972), “Monkeys Ape Molecules” (2001) and “Double Helix” (1968).

https://www.nature.com/articles/219413a0

With sincere condolences, and much love to Michael’s family.

International Lawns + Disinformation + the Rural College of Art

International Lawns + Disinformation + the Rural College of Art

Friday 5 July to Sun 28 July 2019
11am to 6pm Fridays to Sundays
Closed Mondays to Thursdays

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

Opening reception Friday 5 July 6pm to 8pm

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”.

https://www.domobaal.com/artists/international-lawns-bio.html
https://www.domobaal.com/artists/david-gates-bio.html

Exhibition Guide – https://tinyurl.com/y4f3z3xe

https://www.instagram.com/internationallawns/
https://www.instagram.com/xxruralxx/
https://www.flickr.com/photos/disinfo

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