20Hz, 35MW, 50Hz, 840 Series, 85A Collective, A History of the Universe in Sound, ACCA, ACCA Melbourne, Action Research, Adriana Knouf, Afroditi Psarra, Agency Gallery, Al-Jabr, Alfred Hitchcock, Allegorical Portrait of J. Robert Oppenheimer, Alternating Current, Alva Noto, Alvin Lucier, Amanda Stuart, Ambisonic, Ambisonics, Amplified, An Allegorical Portrait of J. 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Robert Oppenheimer, James Ginzburg, Jeremy Keenan, Joe Banks, John Squire, John Squire: Disinformation, Joyce Hinterding, Julius Meytuss, Karst, Kate Carr, Katharina Worf, Körper im Elektromagnetischen Feld, Keith Sargent, Kettle's Yard, Kinetic Art, King's Place, Klangkunst, Kode 9, Kohn Gallery, Koppel Project, Kristen Floos, Kunstradio, Kunststrom, Laura McLean-Ferris, Leafcutter John, Lee Berwick, Leeds 2023, Leeds2023, Leila Hasham, Leonardo Music Journal, Lindsay Seers, Line of Beauty & Grace, Line of Grace, Liquid Architecture, Lisa McKendrick, Lisson Gallery, Listenpony, Live Mains Electricity, Lovely Music, Luckenwalde, Luigi Russolo, Magnetic Signals, Magneticsignals, Marc Langlois, Maria Chehonadskih, Marina Benetti, Mark Peter Wright, Marko Peljhan, Marta Zapparoli, Martin Howse, Martin Messier, Matt Lewis, Matt’s Gallery, Matts Gallery London, Media Futures, MediaFutures, Metaverse, Metaverse Spatial Audio, MFZ Records, Michael Joo, Mike Fell, Minimal Disinformation, Misinformation, Montréal, MTV Awards, Museum of Installation, Musica Dispersa, Mute Frequencies, Mute Magazine, Mute Records, NASA, NASA Sound Archive, Natalie Kancheli, National Grid, Nebula Rosa, Nebularosa, Nebularosa 02, Nebularosa 02: Electromagnetic Interactions, Newport Street, Newport Street Gallery, No Idea Festival, Noise, Non-Classical, Nonclassical, NTT ICC, Nuclear Culture, Olga Panades, Oppenheimer, ORF Musikprotokoll, Oxford Contemporary Music, Palais de Tokyo, Palais de Tokyo Paris, Patrick Sykes, Paul Purgas, Performance Electrics, Phantasmata, Phantasmata & Illusions, Phantasmata and Illusions, Poetics of Time, Polisonic, Polisonics, Politics and Sound, Politics of Sound, Power Nights, Quad Derby, R&D, Radio Art, Radio Lab 2022, Radio Revolten, Radioqualia, Raster Noton, Ray Lee, Recording The Spirit Level, Resonance FM, Resonanzen, Richard Humphreys, Robbie Thomson, Robert Oppenheimer, Robin Rimbaud, Royal College of Art, Royal Institution, Ruth Garde, Ryoji Ikeda, Sabine Himmelsbach, Saint Jerome, Samizdat, Sasha Engelmann, Scanner, Science Limited, Science Ltd, Selfridges, Semiconductor, Semiconductor Films, Serpentine Gallery, Serpentine Gallery London, Serpentine Line, Sferics, Shannen SP, Shintaro Miyazaki, Silent Sound, Simon Foster, Simulation/Skin, Singuhr Sound Gallery, Sofia Lemos, Some Call it Noise, Some Call it Noise - Turbulent Forms, Somerset House, Somerset House Assembly 2020, Sonic Anomaly, Sonic Anomaly Sideshow, Sonic Art, Sonic Boom, Sonic Continuum, Sonic Continuum: On Sound and Poetics of Time, Sonic Ray, Sonic Studies, Sonica, Sonica 2016, Sound & Music, Sound and Poetics, Sound and Poetics of Time, Sound and Politics, Sound Mirrors, Sound Politics, Sound Practice, Sound Studies, Sound Theory, Sound Waves, Sounding the Body Electric, South Hill Park, South London Gallery, Space Station MIR, Spatial Audio, Spatial Sound, Spectral, Spellbound, Stargate, Stephen McGreevy, Steven Connor, Strange Attractor Press, Sunsong, Sylvia Ross, Tacita Dean, Tate Modern, TBA21, TED Talks, TFL, The Agency, The Agency Gallery, The Analysis of Beauty, The Foundry, The Hayward Gallery, The ICA, The Motherland of Electricity, The Noise, The Origin of Painting, The Power of Electricity, The Quietus, The Rumble, The Situationist, The Symphony of Physics, The Wire, The Wire Magazine, Theophany, Thomas Coram, Thyssen Bornemisza, Thyssen-Bornemisza Art Contemporary, Tim Drage, Titans in the Landscape, Tom McCarthy, Tom Morton-Smith, Torsten Lauschmann, Touch Records, Transmission Ecologies, Tricor, Troika, Turbulent Forms, Turner Contemporary, Turner Contemporary Margate, Unsoundu, Unsoundu Festiwal, Very Low Frequency, Very Low Frequency Radio, Very Low Frequency Radio Art, Victor Mazon Gardoqui, Video Installation, VLF, VLF Interference, VLF Noise, VLF Radio, VLF Radio Art, VLF Sound, Volksbühne Berlin, Volta, Waveform, We Break Strings, Wellcome Trust, William Hogarth, Wireless, Wyndham Lewis, X-Name, XFRMR, Xname, Yang Li, ZKM, ZKM Karlsruhe
Disinformation exhibition catalogue on sale through Strange Attractor Press…
Featuring a critical essay by the art historian, curator and Wyndham Lewis biographer Richard Humphreys, “The Analysis of Beauty” is a profusely-illustrated, high-quality 204mm-square 48-page perfect-bound paperback, which documents the activities of the installation art and electronic music project Disinformation. Described by The Metro newspaper as “the black-ops unit of the avant-garde”, and by the author Hari Kunzru as (the) “poet of noise”, from 1995 onwards Disinformation began work on a program of research which led to a series of highly-influential and innovative LPs and CDs, which initially focussed on exploring the creative potential of recordings of electromagnetic (often VLF radio) noise phenomena – electrical interference from live mains electricity, electric storms, underground railway systems, industrial and IT hardware, and even the sun.
“The Analysis of Beauty” catalogue documents the evolution of Disinformation’s artistic strategies, including numerous concerts, gallery installations and solo exhibitions, also focussing on the title-exhibit (“The Analysis of Beauty” – which is named after the book by the artist William Hogarth), the “Spellbound” video installation (“An Allegorical Portrait of J. Robert Oppenheimer”), “Theophany” (“The Voice of God”), “National Grid” (sound from live mains electricity), “Stargate” (solar radio noise recordings), the “Rorschach Audio” research project, and Disinformation’s equally influential work at the abandoned village of Imber on Salisbury Plain, and documentation of the UK’s extraordinary coastal air-defence Sound Mirrors. The Guardian wrote that “Disinformation combine scientific nous with poetic lyricism to create some of the most beautiful installations around”.
http://strangeattractor.co.uk/shoppe/the-analysis-of-beauty/
“The ear, the organ of fear, could have evolved as greatly as it has only in the night and twilight of obscure caves and woods, in accordance with the mode of life of the age of timidity, that is to say the longest human age there has ever been… That is how music acquired the character of an art of night and twilight.” – Friedrich Nietzsche “Daybreak” 1881 (“The Analysis of Beauty” catalogue, page 38)
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