Acoustic Ecology, Acoustic Rorschach, Agnes Gryczkowska, Agnes Guppy-Volckman, Agnieszka Polska, Alva Noto, Andy Fry, Anna Kvičalová, Art and the Limits of Language, Artefact, Atau Tanaka, Audio Inkblot, Audio Rorschach, Auditory Inkblot, Auditory Projective Test, Auditory Rorschach, Aura Satz, Aurality, Barnaby Wright, Body, Book Works, Bookworks, Camden Arts Centre, Carsten Nicolai, Cave Leeds, CCA, CCA Glasgow, Central School of Speech & Drama, Centre for Audio Visual Experimentation, Centre for Contemporary Art, Centre for Contemporary Arts, Charlatanism, Christopher Fox, Chronicles of the Photographs of Spiritual Beings and Phenomena Invisible to the Material Eye, City University, Claudia Firth, Claudia Molitor, Clement Cheroux, College of Psychic Studies, Common Objectives, Communication, Confusion of Tongues, Conscious Listening, Continent, Courtauld Gallery, Courtauld Institute, Courtauld Research Forum, CSSD, Day of the Dead, Deafness and Communication Engineering, Diana Deutsch, Digital Ethereal, Disinformation, Drone Rorschach, Duke University Press, Errancy, Errant Bodies Press, European Research Council, Even the Dead Rise Up, Evocative Object, Exaudi Vocal Ensemble, FACT, False Alarm, Force of Listening, Francis McKee, Frederick Hudson, Georgiana Houghton, Gertrude Contemporary, Ghost Hosting, Ghost in the Machine, Ghosts, Glasgow, Glasgow School of Art, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Guest Ghost Host Machine, Haunted Machines, Haunted Technology, Hearing Voices in the Noise, Heather Wiebe, Hilma af Klint, Human Conversation, Impakt Festival, Irene Noy, James Weeks, Jamie Hamilton, Jennifer Walshe, Joe Banks, John Drever, Julian Henriques, Julian Treasure, KCL, King’s College, Language, Larry Sider, Lars Bang Larsen, LCC, Liquid Architecture, Lisa Blackman, Listening, Liverpool, London College of Communication, Lucia Farinati, Lynne Kendrick, Mara Mills, Marco Pasi, Margery Crandon, Mark Underwood, Martha Feldman, Martyna Poznanska, Matthew Head, Max Planck Institute for the History of Science, Media@McGill, Mercy, MetaGesture Music Project, Mina Crandon, Minna Moore Ede, Mishearing, Monash University Museum of Art, MUMA, Natalie D Kane, Natalie Kane, Nathan Jones, National Gallery, Near Future Laboratory, New York University, Nina Power, No Such Thing As Gravity, Nonsense Syllables, Now You're Talking, On the Phone, Patricia Alessandrini, Peter Cusack, Phantom Terrains, Psychology of Magic, Raster Noton, Raudive Surrogate, RCA, Roger Parker, Rorschach Audio, Royal College of Art, Sam Belinfante, Sarah Sparkes, Scepticism, School of Sound, Serpentine Gallery, Serpentine Radio, Seth Ayyaz, Simon Grant, Sir Arthur Conan Doyle, Smoke & Mirrors, Smoke and Mirrors, Somerset House, Sonic Art, Sonic Inkblot, Sonic Rorschach, Sonic Studies, Sophie Scott, Sound Art Curating, Sound Salon, Sound Studies, Soundscapes, Speech, Spirit Drawings, Spirit Photography, Spiritualism, Stanley Picker Gallery, Strand Campus, Strange Telemetry, STUK, TED Talks, The Act of Magic, The Psychology of Magic, This is a Voice, Thomas Y. Levin, Tobias Revell, Toby Revell, Trevor Cox, UCL, Unit for Sound Practice Research, University College London, University of Chicago, University of London, University of Westminster, Veit Erlmann, Victorian Spiritualists Union, Voice, Walter Stinson, Wellcome Trust, Zeynep Bulut
“False Alarm” Symposium at King’s College
The next “Rorschach Audio” demonstration takes place as part of “False Alarm” – a symposium convened by Dr Zeynep Bulut at King’s College, London, 25 + 26 June 2016. “False Alarm” focusses on “the aurality and errancy of voice” and “forms of mishearing… creative, accidental or hallucinatory”. Speakers include Lynne Kendrick (CSSD), Martha Feldman (University of Chicago), Zeynep Bulut, Andy Fry, Matthew Head, Roger Parker & Heather Wiebe (KCL), Lisa Blackman & Julian Henriques (Goldsmiths), Peter Cusack (LCC), Anna Kvičalová (Max Planck Institute for the History of Science), Nina Power & Aura Satz (RCA), Joe Banks (artist and author of the book “Rorschach Audio”) and Sophie Scott (UCL). The “False Alarm” concert features Atau Tanaka, Seth Ayyaz, Patricia Alessandrini and the Exaudi Vocal Ensemble (performing music by Christopher Fox, James Weeks, Claudia Molitor and Zeynep Bulut). To purchase tickets please follow this link…
http://www.kcl.ac.uk/artshums/depts/music/eventrecords/2016/False-Alarm.aspx
Coincidentally the “Rorschach Audio” presentations at Monash University Museum of Art and Gertrude Contemporary [art gallery] (both Melbourne) were programmed to accompany the exhibition “Believe not every spirit, but try the spirits” by the Victorian Spiritualist painter Georgiana Houghton, at MUMA in June 2015, and the Georgiana Houghton exhibition re-opens at the Courtauld Institute (next door to KCL) next week. Particularly in relation to the forensic aspects of the “Rorschach Audio” project, it is interesting that one subject which seems to have been overlooked by most discussions of Georgiana Houghton’s painting, is how she also seems to have been involved in the commercial exploitation of fraudulent spirit photography. In 1882 Georgiana Houghton published a book called “Chronicles of the Photographs of Spiritual Beings & Phenomena Invisible to the Material Eye”, which promoted photos by the fraudulent spirit photographer Frederick Hudson, featuring fake mediums such as Agnes Guppy-Volckman. In fact Fred Hudson’s forgeries were so bad they were exposed by other Spiritualists…
http://courtauld.ac.uk/gallery/what-on/exhibitions-displays/georgiana-houghton-spirit-drawings
https://en.wikipedia.org/wiki/Frederick_Hudson_(photographer)
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