Tags

120 Seconds 50 Hrz, 1739 Club, 20Hz, 840 Series, A History of the Universe in Sound, A Machine to Listen to the Sky, Acidges, Adam Lowe, Adrian Cussins, Adriana Knouf, Afroditi Psarra, Akio Suzuki, Alice Hackney, Alison Duke, Alva Noto, Alvin Lucier, Anglia Ruskin University, Anita Zabludowicz, Anna Friz, Anne Zeitz, AnOther Magazine, AnOtherMag, Antiopic, Antiques Roadshow, Antirom, Architecture as an Instrument, Ariane Koek, Art & Language, Art Contemporary, Art Language Location, Art Monthly, Art of Failure, Art of Failure Collective, Artangel, Arts at CERN, Arts Council Tokyo, Arts Science, Arts@CERN, Assembly, Atau Tanaka, Athanasius Kircher, Audio Rorschach, Audio Spatial Composition, Audrey Briot, Aura Satz, Axiom, Échos Magnétiques, Ö1 Kunstradio, Bastard Assignments, BBC Four, BBC World Service, Ben Barwise, Ben Neill, Bessie Nakamarra Sims, Bill Jones, Black Sands, Brandon LaBelle, Brian Cantwell Smith, Brian Eno, Brian Rotman, British Electric Foundation, Bruce Sterling, Bruno Latour, Burhan Tufail, C4i, Calouste Gulbenkian Foundation, Cambridge, Cambridge Triangle, Camden Arts Centre, Cameron Perry Fraser, Caro Howell, Carsten Nicolai, Catherine Wagner, Cave Leeds, Cavendish Arts, Cavendish Arts Science, Cavendish Arts Science Fellowship, Cavendish Laboratory, Cavendish Laboratory Cambridge, CCA, Centre for Audio Visual Experimentation, Centre for Contemporary Arts, CERN Geneva, Changing Signals, Channels, Charles Babbage, Charles Harrison, Chisenhale, Chisenhale Dance Space, Chisenhale Gallery, Chloe Wong, Christian Marclay, Christina Kubisch, City of Drones, Clélia Barbut, Close Lightning, Close Lightning Spherics, Code Poetry, Composition for Tuning an Architectural Space, Conrad Shawcross, Contemporary Art, Contemporary Art Museum St. Louis, Contemporary Art Society, Copyright, Coram Foundation, Creating Scientific Art, Crick & Watson, Cryptic, CTM, CTM Festival, CTM Festival Radio Lab, CTM Radio Lab, CTR Wilson, Cultural History, Cultural History of the Ghost, Damien Hirst, Damien Simon, Damion Searls, Dan Tapper, Daniel John Jones, Dave Tompkins, David Roberts, David Roberts Art Foundation, David Toop, Dazed and Confused, DazedDigital, DDMMYY, Dead Lines, Deutschlandfunk Kultur, Digital Ethereal, Digital Nature, Disinformation, Disinformation Art, Disinformation Art Project, Disinformation Artist, Disinformation Artist Project, Disinformation Artist's Project, Disinformation John Squire, DJ Spooky, DNA, Domestic EMI, Dr Jacqueline Riding, Dr Simon Foster, DRAF, Earwitness Theatre, Edge City, Eigen+Art, Eigen-Art, Electric Sublime, Electrical Walks, Electricity The Spark of Life, Electro Putere, Electromagnetic Audio, Electromagnetic Force Fields, Electromagnetic Interference, Electromagnetic Noise, Electromagnetic Recordings, Electromagnetic Sound, Electromagnetic Sound Art, Elizabeth Einberg, Emerging Paradigm, Emma Middleton, Energy Flow, Erasure, Eric Demetriou, Everything at Once, Evgen Bavcar, Ex Voto, Fabrica Gallery, FACT Liverpool, Factum Arte, Factum Foundation, Field, Filthy Lucre, Flatpack Festival, Foundling Museum, Francis Crick, Frank Swain, Freud Museum, Gabriel Prokofiev, Galerie für Zeitgenössische Kunst, Galerie Thaddaeus Ropac, Garden of Russolo, Gazelli Art House, GFZK Leipzig, Giles Revell, Gina Buenfeld, Girton College, Girton College Cambridge, Goethe Institut, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths Press, Goldsmiths Press - Sonics Series, Goldsmiths Press Sonics, Goldsmiths University, Gracie Ngale Morton, Graham Dunning, Great Britain Sasakawa Foundation, Grenadiers & Lowlifes, Grid Music, Guy Haywood, Hari Kunzru, Haroon Mirza, Haus der Elektronischen Künste, Hearing Hogarth, Heaven 17, HEK Basel, Heliosphere, Henry Moore Foundation, Hermann Rorschach, High Static, High Static Dead Lines, Hogarth, Hogarth & The Art of Noise, Hogarth - One Man and his Pug, Hogarth and Copyright, Hogarth and Noise, Hogarth and Sound, Hogarth and The Art of Noise, Honor Harger, How To Wreck A Nice Beach, HRM199, Human League, i-D magazine, Illustrious, Illustrious Company, Immersive Soundscape, In Focus, In the Studio, Inflamed Invisible, Ingram Collection, Installation No. 3 for High and Low Frequencies, Institute of Modern Art Brisbane, Institute of Signals and Noise, Inverness to Edinburgh, Invisible Dust, Invisible Forces, Iwan Morus, Jack Jelfs, Jacqueline Riding, Jake Arnott, James Watson, Jane Pitt, Jeff Gburek, Jeff Hughes, Jeff Kolar, Jeremy Gravayat, Jerry Brotton, Jo Melvin, Joe Banks, Joe Gerhardt, John Cale, John Dee, John Squire, John Squire: Disinformation, John Styles, John Tchalenko, John Wilkins, John Wynne, Jonathan Ree, Joseph Grigley, Joseph Nechvatal, Josue Tanaka, Joy Garnett, Joyce Hinterding, Judith Clark, Julia Peyton-Jones, Julian Simmonds, Karl Hyde, Kathleen Palmer, Kathleen Rogers, Körper im Elektromagnetischen Feld, Kevin Brown, Kinetic Depth Effect, Klangkunst, Koppel Project, Kristen Floos, Kristen Gallerneaux, Kunstradio, Lars Tharp, Laura Moffat, Laure Genillard, Laure Genillard Gallery, Lawrence Abu Hamdan, Le Bon Accueil, Let There be Language, Lightbox, Lillian Schwartz, Line of Beauty & Grace, Liquid Architecture, Lisa Jardine, Lisson Gallery, Listening Challenge, Listenpony, Live Mains Electricity, London Review Bookshop, Lovely Music, Luc Steels, Ludwig van Siegen, Lynn Hershmann, MAD Museum, Magnetic Signals, Magneticsignals, Malcolm Longair, Manchester Art Gallery, Manuel Franquelo, Marc Langlois, Marc Quinn, March of the Guards to Finchley, Margaret Watts Hughes, Marina Warner, Mark Titchner, Martin Clark, Martin Messier, Martyn Ware, Mechanical Techno, Mercurius van Helmont, Merrill Garnett, Michael Harrison, Michael Joo, Michael Rees, Mike Fell, Mike Lynch, Mila Askarova, MIT Press, Monash University Museum of Art, Monica Bello, Montréal, MUMA Melbourne, Musée des Beaux Arts, Musée des Beaux Arts de Rennes, Museum of Archaeology & Anthropology, Museum of Arts & Design, Music Hackspace, Musica Dispersa, Musical Cities, Mute Magazine, NADFAS, NASA, NASA Sound Archive, National Endowment for Science, National Grid, National Theatre, Near Future Laboratory, Nesta, New Museum NY, Newport Street, Newport Street Gallery, Nicola Schwartz, Nicolas Maigret, Nicolas Montgermont, Nicolas Nova, No Idea Festival, Non-Classical, Nonclassical, NOVA, Nur Wolken, OCM, Oliver Beer, One Man and his Pug, Only Clouds, Oonagh Cousins, ORF Musikprotokoll, ORR Scintilla, ORR_Scintilla, Otomo Yoshihide, Overwhelming Waves, Oxford Contemporary Music, Paddy Japaljarri Sims, PAMM, Parkett, Parting the Waves, Patrick Blackett, Patrick Sykes, Paul Miller, Pauline van Mourik Broekman, Pedagogies of the Ear, Perez Art Museum, Peter Galison, Peter Weibel, Phantom Terrains, Physical Media Matter, Piers Wardle, Political Effects of Listening, Politics of Listening, Polly Gaer, Radio Art, Radio Lab 2022, Radio Phonography, Radio Phrenia, Radio Revolten, Radiophonography, Radiophrenia, Radius, Rana Begum, Raster Noton, Ray Dolby, Ray Dolby Centre, Ray Lee, Recording The Spirit Level, Red Crayola, Red Krayola, Rennes, Resonant Architecture, resonantarchitecture.com, Resonanzen, Richard Barbrook, Rob Bowman, Rob Mullender, Rob Young, Robert Shannon, Roger Guillemin, Romandson, Rorschach Audio, Roy Porter, Rubin Museum of Art, Ruskin Gallery, Ruth Garde, Ruth Jarman, Ryoji Ikeda, Ryuichi Sakamoto, Sabine Himmelsbach, Sam Belinfante, Samizdat, Sara Adhitya, Sasha Engelmann, Schirn Kunsthalle, Science Limited, Science Ltd, Sebastian Guillié, Secret Knowledge, Semiconductor, Sense Data & Perception, Serpentine Gallery, Serpentine Line, Sferics, Shaping Space with Sound, Siân Ede, Sighs Trapped by Liars, Simon & Schuster, Simon Foster, Simon Schaffer, Simon Thorogood, Simulation/Skin, Some Call it Noise, Some Call it Noise - Turbulent Forms, Somerset House, Somerset House Studios, Sonic Agency, Sonic Arcade, Sonic Field, Sonic Geography, Sonic Ray, Sonica, Sonics, Sonics Series, Soraya de Chadarevian, Sothebys, Sound Artist, Sound Sanctuary, Soundscape, Soundscape of Hogarth, Soundworks, Spectral, Speech Acts, Stan Vanderbeek, Stephen Baker, Stephen McGreevy, Store Studios, Store X, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Studio International, Suchitra Sebastian, Sunsong, Susan Hiller, Susan Owens, Sven Nebel, Sydney Biennale, Sydney Opera House, Sylvia Ross, Tabatha Andrews, Talbot Rice, Tate Publishing, Technology and the Arts, TED Talks, Tempting Failure, Terumo Foundation, Thaddaeus Ropac, The 1739 Club, The Act of Creation, The Analysis of Beauty, The Art of Noise, The Artist & Edge City, The Arts Society, The Foundling Museum, The Ghost, The Ghost - A Cultural History, The Inkblots, The Live Room, The March of the Guards to Finchley, The MIT Press, The Power of Electricity, The Quietus, The Red Krayola, The Soundscape of Hogarth, The Wail that was Warning, The Wire, The Wire Magazine, The World Is Sound, Thyssen Bornemisza, Thyssen-Bornemisza Art Contemporary, Titans in the Landscape, Tom McCarthy, Tom van Sant, Transducing Resonant Architecture, Transmission Ecologies, Turbulent Forms, UCL, Umberto Eco, Una Ryan, Unit for Sound Practice Research, University of Cambridge, Urban Sound, Very Low Frequency, Very Low Frequency Radio, Very Low Frequency Radio Art, Victor Mazon Gardoqui, Vince Clark, Vincent Honoré, Vinyl Factory, VLF, VLF Explorer, VLF Interference, VLF Noise, VLF Radio, VLF Radio Art, VLF Sound, VLF Works, Voluta, Waveform, Wayne McGregor, We Break Strings, Wellcome Trust, Whipple Museum, William, William Bateson, William Hogarth, William Hogarth and Noise, William Hogarth and Sound, William Hogarth and The Art of Noise, Wireless, Witte de With, Witte de With Center for Contemporary Art, Yang Li, Yuko Mohri, Yuko Mohri Exhibition Circle, Yuri Suzuki, Zabludowicz, Zabludowicz Collection, Zentrum für Kunst und Medientechnologie, Zentrum für Kunst und Medientechnologie Karlsruhe, ZKM

Umberto Eco, Art & Language, Disinformation, DJ Spooky, Marc Quinn, etc…

January 19, 2017

Full page advertisement for the “Noise” exhibition at Kettle’s Yard gallery, Cambridge, 22 January to 26 March 2000. “Noise” was curated by (the artist and conservator) Adam Lowe and by (the historian of science) Professor Simon Schaffer, and featured the “National Grid” electrical sound installation by Disinformation, in the 13th century chapel adjacent to Kettle’s Yard, plus “The Analysis of Beauty” by Disinformation, in Kettle’s Yard itself. “The Analysis of Beauty” was exhibited adjacent to a video by the artist Marc Quinn, and directly opposite one of Francis Crick and James Watson’s original working models of DNA. “The Analysis of Beauty” exhibit was described as “visually sophisticated” and “distinctive and intelligent” by Laura Moffat, writing in Art Monthly magazine, and as “particularly sensuous” by Rob Young, writing in The Wire. A short video about (a later version of) “The Analysis of Beauty”, as exhibited at Talbot Rice, Edinburgh, in November 2014, can be viewed here…

https://vimeo.com/113034933

“Noise” featured exhibits by Tabatha Andrews, Art & Language, Charles Babbage, Stephen Baker, Joe Banks (Disinformation), Richard Barbrook and HRC, William Bateson, Evgen Bavcar, Patrick Blackett, Jerry Brotton, Soraya de Chadarevian, Adrian Cussins, John Dee, Umberto Eco, Manuel Franquelo, Peter Galison, Joy Garnett, Merrill Garnett, Joseph Grigley, Roger Guillemin, Sebastian Guillié, Mercurius van Helmont, Lynn Hershmann, Jeff Hughes, Margaret Watts Hughes, Lisa Jardine, Bill Jones, Athanasius Kircher, Bruno Latour, Malcolm Longair, Mike Lynch, Paul Miller (DJ Spooky), Gracie Ngale Morton, Iwan Morus, Sven Nebel, Joseph Nechvatal, Ben Neill, Roy Porter, Marc Quinn, Jonathan Ree, Michael Rees, Giles Revell, Kathleen Rogers, Romandson (Antirom), Brian Rotman, Tom van Sant, Lillian Schwartz, Nicola Schwartz, Robert Shannon, Ludwig van Siegen, Julian Simmonds, Paddy Japaljarri Sims, Bessie Nakamarra Sims, Brian Cantwell Smith, Luc Steels, Bruce Sterling, Josue Tanaka, John Tchalenko, Dave Tovee, John Tresch, Burhan Tufail, Stan Vanderbeek, Catherine Wagner, Piers Wardle, Peter Weibel (ZKM), CTR Wilson and John Wilkins.

“Noise” exhibitions ran simultaneously at 4 different venues – at Kettle’s Yard, at the Whipple Museum of the History of Science, and at the Museum of Archaeology & Anthropology, all in Cambridge, and at the Wellcome Trust gallery in London. The “Noise” exhibition was supported by the Wellcome Trust, by the Calouste Gulbenkian Foundation, by the Henry Moore Foundation and by the University of Cambridge. The advertisement was designed by Joe Banks, featuring a montage that also appears on the cover artwork for the Disinformation “Sense Data & Perception” CD and on the “Rorschach Audio” book jacket. The advertisement appears on page 7 of Mute magazine, issue 15, January 2000 (alongside features by Hari Kunzru and Tom McCarthy). Thanks to Colin Banks, Georgina Brett and Simon Worthington. Umberto Eco, Paddy and Bessie Sims, Piers Wardle and Michael Harrison RIP.

For a high resolution scan of the image, follow this link and click on the image –

https://www.flickr.com/disinfo/32159928382/

Check back soon for more information on the “Noise” exhibition.

From → Uncategorized

Leave a Reply Cancel reply

Recent Posts

Archives

Meta

Rorschach Audio welcomes...