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Sonics Series, Goldsmiths Press Sonics, Goldsmiths Shorts, Goldsmiths University, Gracie Ngale Morton, Graham Dunning, Great Britain Sasakawa Foundation, Great Psychic Outdoors, Greg Hainge, Greg Hilty, Grenadiers & Lowlifes, Grid Music, Groenewegen, Guy Haywood, Haarlem, Hackoustic, Hari Kunzru, Haroon Mirza, Haus der Elektronischen Künste, Haus der Kulturen der Welt, Haus der Kulturen der Welt Berlin, Hearing Hogarth, Heaven 17, Heinrich Dove, Heinrich Wilhelm Dove, HEK Basel, Heliosphere, Helsinki, Henry Moore Foundation, Hermann Rorschach, Hertzian Art, Hertzian Field, Hertzian Field #1, Hertzian Field #2, Hertzian Field #3, Hertzian Field #3.1, Hestercombe Gallery, High Static, High Static Dead Lines, HKW, HKW - Haus der Kulturen der Welt Berlin, 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, Homage with Minimal Disinformation, Honor Harger, How To Wreck A Nice Beach, HRM199, HRM199 Ltd, HRM199 Outputs, HRM199 Outputs AV, HRM199 Outputs_AV, Human League, i-D magazine, Iklectik, Ilaria Puri Purini, Illustrious, Illustrious Company, Ilpo Väisänen, Imaginary Landscapes, Imaginary Landscapes of Electrical Nature, Immersive Soundscape, In Focus, In the Studio, Indrė Roberts, Industrial Records, Infinite Archives, Inflamed Invisible, Ingram Collection, Inigo Wilkins, Installation No. 3 for High and Low Frequencies, Institute of Modern Art Brisbane, Institute of Signals and Noise, International Media Futures, International MediaFutures, Inverness to Edinburgh, Invisible Dust, Invisible Forces, Irreversible Noise, Iwan Morus, Jack Jelfs, Jacqueline Riding, Jake Arnott, James Watson, Jamie Allen, Jamie Sutcliffe, Jane Pitt, Jean Khalfa, Jeff Gburek, Jeff Hughes, Jeff Kolar, Jeni Walwin, Jennifer Higgie, Jeremy Baumberg, Jeremy Gravayat, Jerry Brotton, Jo Melvin, Joe Banks, Joe Gerhardt, John Cale, John Dee, John Hansard, John Hansard Gallery, John Hansard Gallery Southampton, 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, Justin Barton, K-Punk, Karl Hyde, Karst, Karst Gallery, Karst Plymouth, Katharina Worf, Kathleen Palmer, Kathleen Rogers, Körper im Elektromagnetischen Feld, Keith Sargent, Kerber Verlag, Kersten Glandien, Kettle's Yard, Kevin Brown, Kiasma, Kiasma Helsinki, Kinetic Depth Effect, King's Place, Klangkunst, Kode 9, Kodwo Eshun, Koppel Project, Kristen Floos, Kristen Gallerneaux, Kunstradio, Kunststrom, Lafayette Anticipations, Lance Sieveking, Language, Lars Tharp, Late Junction, Laura Moffat, Laure Genillard, Laure Genillard Gallery, Laurie Anderson, Lawrence Abu Hamdan, Lawrence Lek, LCC London, Le Bon Accueil, Leeds 2023, Leeds2023, Leila Dear, Let There be Language, Lift 109, Lightbox, Lighthouse, Lighthouse Brighton, Lillian Schwartz, Lindsay Seers, Line of Beauty & Grace, Liquid Architecture, Lisa Jardine, Lisson Gallery, Listening, Listening Challenge, Listening Room, Listening To Non-Human Life, Listenpony, Live Mains Electricity, Living With Ghosts, Lo-Fi Music, Logan Dandridge, Logan Dandridge - Antiphony, Logan Ryland Dandridge, London College of Communication, London Iklectik, London Review Bookshop, London Southbank University, Lords of Lightning, Lovely Music, Luc Steels, Luca Cerizza, Lucia Pietroiusti, Luckenwalde, Ludwig van Siegen, Luigi Pecci, Luigi Pecci Centre, Luigi Pecci Centre for Contemporary Art, Lynn Hershmann, MAD Museum, Magnetic Attack, Magnetic Attacks, Magnetic Signals, Magneticsignals, Malcolm Longair, Manchester, Manchester Art Gallery, Manuel Franquelo, Marc Langlois, Marc Quinn, March of the Guards to Finchley, Margaret Watts Hughes, Marina Warner, Mark Fisher, Mark Leckey, Mark Pilkington, Mark Titchner, Martin Clark, Martin Messier, Martin Rees, Martyn Ware, Massimo Bartolini, Matt’s Gallery, Matts Gallery London, Mature Themes, Mayday Rooms, Mechanical Techno, Media Futures, MediaFutures, Meditation Machine, Melissa Franklin, Mercurius van Helmont, Merrill Garnett, Meta Gesture, Meta Gesture Music, Meta-Language, Meta-Linguistics, Meta-Net, Metalanguage, Metalinguistics, Mete Atatüre, Michael Harrison, Michael Joo, Michael Rees, Mika Vainio, Mike Fell, Mike Lynch, Mila Askarova, Minimal Disinformation, Misinformation, MIT Press, Modern Body Festival, Modulus Foundation, 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 and Sound Residency, Music Hackspace, Music Of The Future, Musica Dispersa, Musica Dispersa Radio, Musica Dispersa Records, Musical Cities, Mute Magazine, Mute Records, NADFAS, Narration, NASA, NASA Sound Archive, National Endowment for Science, National Grid, National Grid Music, National Theatre, Near Future Laboratory, Nebularosa, Nebularosa Records, Ned McConnell, Nesta, New Atlantis, New Instruments, New Landscape, New Landscape of Electronic Writing, New Museum NY, New Music, Newport Street, Newport Street Gallery, Nick Luscombe, Nicola Schwartz, Nicola Triscott, Nicolas Maigret, Nicolas Montgermont, Nicolas Nova, Nightboat Books, Nik Nak, Nik Void, Nikki Sheth, NikNak, Nkisi, No Idea Festival, Noises, Non-Classical, Non-Human Life, Nonclassical, NOVA, Nur Wolken, OCM, Oliver Beer, On Listening, One Man and his Pug, Only Clouds, Oonagh Cousins, ORF Musikprotokoll, ORR Scintilla, ORR_Scintilla, Otolith, Otolith Group, Otomo Yoshihide, Outputs, Outputs AV, Outputs_AV, Overwhelming Waves, Oxford Contemporary Music, Pablo Wendel, Pace, Pace Discord, Pace Gallery, Pace Live, Pace London, Pace Verso, Paddy Japaljarri Sims, Palais de Tokyo, Palais de Tokyo Paris, Pamela Davis Kivelson, PAMM, Pan, Pan Sonic, Pan-Act, Panasonic, Parkett, Parting the Waves, Patrick Blackett, Patrick Sykes, Paul Hegarty, Paul Mellon Centre for Studies in British Art, Paul Mellon Foundation, Paul Miller, Paul Purgas, Pauline van Mourik Broekman, Pedagogies of the Ear, People Doing Physics, Perez Art Museum, Performance, Performance Electrics, Peter Galison, Peter Weibel, Phantom Terrains, Physical Media Matter, Piers Wardle, Poetry Foundation, Poetry Project, Political Effects of Listening, Politics of Listening, Polly Gaer, Poly Kicks, Polykicks, Post Archive Faction, Power, Power Nights, Power Station, Prelude, Preludes, Primary Information, PRS Foundation, PRSF, Quantum Materials, Quantum Materials Group, Radio Art, Radio Lab 2022, Radio Phonography, Radio Phrenia, Radio Revolten, Radiophonography, Radiophrenia, Radioqualia, Radius, Rana Begum, Raster Noton, Raven Row, Ray Dolby, Ray Dolby Centre, Ray Lee, Re Place London, Recording The Spirit Level, Red Crayola, Red Krayola, Reference Festival, Reference Studios, Rennes, Repeater Books, Repeater Radio, Replace London, Resonant Architecture, resonantarchitecture.com, Resonanzen, Richard Barbrook, Riverside Radio, Rob Bowman, Rob Mullender, Rob Young, Robert Barry, Robert Shannon, Roberts Collection, Roberts Institute, Roberts Institute of Art, Robin Klassnik, Roger Guillemin, Romandson, Rorschach Audio, Rough Trade, Rough Trade Books, Rough Trade Records, Roy Porter, Rubin Museum of Art, Ruskin Gallery, Ruth Garde, Ruth Jarman, Ryoji Ikeda, Ryuichi Sakamoto, S. J. 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Umberto Eco, Art & Language, Disinformation, DJ Spooky, Marc Quinn, etc…
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://www.flickr.com/disinfo/47923588897/
“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.
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