A Counter-Map, A Crisis, A-side B-side Gallery, ABQ London, Acousmatic Paranoia, Acoustic Atmospheres, Adaadat, Adaadat Records, Adrian Edwards, Aernoudt Jacobs, AGF, AHRC, Akitoshi Honda, Alan Licht, Alessandra Eramo, Alex Mor, Alexander Hawkins, Alfred Hitchcock, Alice Hackney, All of Them Loved, Allegorical Portrait of J. Robert Oppenheimer, Alva Noto, Amanda Beech, An Allegorical Portrait of J. Robert Oppenheimer, Andrew Chung, Andy Wicks, Anna Barham, Anna Longo, Annika Kahrs, Anthony Pateras, Anton Lukoszevieze, APRA AMCOS Art Music Fund, Aquascutum, Architecture of Atmospheres, Archive, Argos, Argos Brussels, Argos Centre, Argos Centre for Art and Media, Argos Centre for Audiovisual Arts, Arrival, Ars Electronica, Art & Illusion, Art & Illusion for Sound, Art & Language, Artist, Artist in Residence, Arts & Humanities Research Council, Arts Catalyst, Ash International, Assembly, Audio Art, Audio Rorschach, Audio Sphere, Audiosfera, Audiosphere, Audiosphere: Social Experimental Audio, Audiosphere: Social Experimental Audio Pre- and Post-Internet, Auditory Perception, Balzer Projects, BBC World Service, Beautiful Meme, Being Human, Ben Barwise, Between the Lines, Between the Lines – Maddox Gallery, Between the Lines – Maddox Street, Blackest Ever Black, Blood Stretched Out, Bloomberg, Bloomberg New Contemporaries, Bohemia Place, Bonds, Brew for Two, Brisbane's Institute of Modern Art, British Library, Broadcasts, Bruce Nauman, Bruce Russell, Building Outside the Building, Burberry Outlet, C.W. Morris, Café Oto, Caleb Kelly, California Institute of the Arts, Camberwell, Camberwell College of Arts, Carsten Holler, Carsten Nicolai, Case Foundation, Castor, Castor Projects, CAVE, Cave Leeds, CCA, CCA Glasgow, Cedric Fauq, Center for Art and Media Karlsruhe, Center for Discursive Inquiry, Centre for Art and Media, Centre for Audio Visual Experimentation, Centre for Audiovisual Arts, Centre for Contemporary Arts, Centre for Modern and Contemporary Writing, Ceri Hand, Chalton Gallery, Chalton Gallery London, Chisenhale, Chisenhale Dance Space, Chisenhale Gallery, Chris Cutler, Christian Boltanski, Christina Kubisch, Christoph Cox, Christoph De Boeck, Claire Biddles, Claire Sawers, CM von Hausswolff, Colin Cherry, Communications, Communications Theory, Conceptual Art, Contemporary Art Museum St. Louis, Contra Listening, Copenhagen, Courtisane, Courtisane Festival, Courtisane Gent, Courtisane Ghent, CRISAP, Critical Media Lab Basel (IXDM), Daniel Sacilotto, Danielle Arnaud, Danielle Arnaud Gallery, David Roberts Art Foundation, David Toop, DCA Dundee, De La Warr Pavilion, Deviant and Dandy, Deviant and Dandy Taproom, Disinformation, Domo Baal, Dr Louise Banks, Dr Sarah Hayden, Dr. Saskia Steinmann, DRAF, DRAF Broadcasts, Drone Music, Dundee Contemporary Arts, DWLP Bexhill, EAM, Eartheater, Earwitness Theatre, El Reina, El Reina Sofía, Ele Carpenter, Electric, Electronic Music, Elektronische Art & Music, Elektronische Art and Music, Emily Bick, Emma Harrison, Emma Wolukau-Wanambwa, Entropics, Eric La Casa, Ewan Clayton, Expanded Listening, Experimental Music, Fabrica, Fabrica Brighton, Fabrica Gallery, Fabrica Gallery Brighton, FACT Liverpool, Felix Kubin, FHNW Basel, Flat Time House, Flora Yin-Wong, Florian Hecker, Fossil, Fossils, Fracture Patterns, Francisco Lopez, Future City, Future Pace, Futurecity, Future\Pace, Gallery 31, Gauld Architecture, Georgia Stephenson, Gieves & Hawkes, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths MFA, Goodiepal, Goodiepal Equation, Graham Foundation, Great Learning, Gulf of Understanding, Gustav Metzger, Hackney Walk, Hackspace, Haroon Mirza, Haus der Elektronischen Kunst, Haus der Elektronischen Kunst Basel, Hayward Gallery, HeK, HEK Basel, Helen Frosi, Histories of Listening, HRM199, Hush: Media and Sonic Self Control, Iklectik Art Lab, Ikon Birmingham, Ikon Gallery, Ikon Gallery Birmingham, In Cold Print, In the Studio, Inigo Wilkins, Installation Art, Institute of Modern Art Brisbane, Irene Revell, Irving Finkel, IXDM Basel, J. Robert Oppenheimer, Jack Jelfs, Jack Smurthwaite, James Webb, James Wiltgen, Jana Winderen, Jeremy Deller, Jerwood Arts, Jez Riley French, Jo Barratt, Jo Melvin, Joe Banks, John Hansard Gallery, John Latham, John Macedo, John Reardon, Jorgen Teller, Joseph, Juergen Teller, Julian Cowley, Julian Mader, Julie Hill, Julien Breton, Juun J, Kader Attia, Karst, Karst Plymouth, Kate Carr, Keira Greene, Kirk Degiorgio, Kirsty Ogg, Lampo, Lampo Chicago, Language, Language and its Possible Worlds, Language and Possible Worlds, Language Art, Language as a Medium, Language as Medium, Language as Technology, Language is Meta-Technology, Language is MetaTechnology, Language is the technology that contains all others, Language Tech, Language Technology, Language [as] Meta-Technology, Language [as] Metatechnology, Late Night Chameleon Cafe, Laura Netz, Laure Genillard, Laure Genillard Gallery, Laure Prouvost, Laurie Spiegel, Lawrence Abu Hamdan, LCC, Lea Bertucci, Let There be Language, Leverhulme Trust, LG Notations, Library X, Linguistic Relativity, Linguistics, Liquid Architecture, Liquid Architecture Melbourne, Lisson Gallery, Listening, Listening as Critique, Listening: A Crisis, Liza Sylvestre, LN-CC, LNCC, London College of Communication, Louis d’Heudieres, Louis Moholo-Moholo, Louise Banks, Mack Hagood, Maddox Gallery, Madeleine Byrne, Making Your Mark, Manick Govinda, Manifesto for an Architecture of Atmospheres, Manuel Borja-Villel, Many Voices, Many Voices All of Them Loved, Margot Heller, Marijn Ottenhof, Marius Schwarz, Mark Andrejevic, Mark Leckey, Mark Pilkington, Martin Creed, Mary Jane Leach, Matana Roberts, Material Symbolic, Material Symbolic and Signal Inscriptions, Maureen Paley, Max Prediger, Mazen Kerbaj, Media and Sonic Self Control, Meme, Memetics, Meta-Tech, Meta-Technology, Metatech, Metatechnology, Michael Erdman, Michael Frayn, Michael Petry, Mike Barnes, Mike Kelley, Mira Calix, MIT Press, Mobile Homestead, MOCA London, MONA Hobart, Mona Tasmania, Mondriaan Fund, MondriaanFund, Mor Charpentier, Moth Club, Museo Nacional Centro de Arte Reina Sofía, Museo Reina Sofía Madrid, Museo Reina Sofia, Museum of Old and New Art, Music & Sound, Music & Sound: Sound Thought, Music Concrète, Music Concrete - Building Outside the Building, Music Hackspace, Nate Wooley. The Wire, Nature Morte, New Contemporaries, Nick Barratt, Nick Ryan, Nicole Yip, Niharika Dinkar, Nike Factory, Nike Factory Outlet, Nike Store, Noam Chomsky, Noel Meek, Noise, Noise: A Counter-Map, Nottingham Contemporary, Nuclear Culture, Oonagh Cousins, Operational Listening, Oppenheimer, Outlands, Outlands Network, Overtoon, Overtoon Brussels, Overtoon Platform for Sound Art, Pace Gallery, Pace London, Passen–gers Offsite, Passengers Offsite, Pedro Novo, Peter Toth, Peter Weibel, Philippe Charpentier, Platform for Sound Art, Political Effects of Listening, Politics of Listening, Polly Gould, Porta 33, Porta33, Possible Worlds, Printed Heritage, Printed Heritage Collections, Psycho Acoustic, Psycho Acoustical, Psycho Acoustics, Psychoacoustic, Psychoacoustical, Psychoacoustics, Queen Sofía Museum, Raf Simons, Rarely Unable, Raster Noton, RCA, RCA London, Re: Cognition, Recognition, Reina Sofía, Reina Sofía Madrid, Reina Sofía Museum, Resonance FM, Richard Chartier, Richard Espley, RKSS, Robert Fripp, Robin Mackay, Robin Rimbaud, Rorschach Audio, Rothschild Foundation, Royal College of Art, Ryan Kearney, Ryoji Ikeda, Sabine Himmelsbach, Sadie Coles, Sadie Coles HQ, Saint Jerome, Salagrama, Saligram, Saligram Shila, Saligram Shilas, Salvador Dali, Sarah Derat, Sarah Hayden, Sarah Peace, Scanner, School of Critical Studies, SCHQ, SCHQ Electric, Science Gallery, Science of Signs, Semiconductor, Semiology, Semiotics, Senate House, Sensorium of Animals, Shaligram, Shaligram Shila, Shaligram Shilas, She Who Loves Silence, Shintaro Miyazaki, Shirley Collins, Shiva Feshareki, Signal, Signal Inscriptions, Simon Parris, Sine-Wave Speech, SLG, Sluice HQ, Social Experimental Audio, Social Experimental Audio Pre- and Post-Internet, Sofia Lemos, Somerset House, Somerset House Studios, Sonic Art, Sonic Continuum, Sonic Electronics, Sonic Electronics Festival, Sonic Self Control, Sonic Writing, Sonic Writing Technologies, Sonic Writing Technologies of Material Symbolic and Signal Inscriptions, Sophie Cooper, Sound & Music, Sound Artist, Sound as a Technological Medium, Sound as a Technology, Sound Practice Research, Sound Thought, Sound Thought 2018, Sounding Out, Sounding Out Practice, South London Gallery, Speech Science, Spellbound, St John at Hackney, Steven Pinker, Stoffel Debuysere, Story of Your Life, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Sung Tieu, Susan Hiller, Susanna Hertrich, Synthetic Statistics, Takashi Murakami, Ted Chiang, Text Art, Thames & Hudson, The Act of Creation, The Beautiful Meme, The Great Learning, The Gulf of Understanding, The Gulf of Understanding (Re:cognition), The MIT Press, The Origin of Language, The Origin of Painting, The Unit for Sound Practice Research, The Voice and Acoustic Atmospheres, The Wire, The Wire Magazine, The Word is Art, Theophany, This Ain’t My First Rodeo, Thor Magnusson, Tim Spooner, Tom Morton-Smith, Touch Music, Touch Records, Tracey Emin, Transfer of Knowledge, Ubi Sunt, Umberto Eco, Undone in the Face, Unit for Sound Practice Research, University of Westminster, Urbanomic, Urbanomic Press, Video Feedback, Video Organism, Violence of Abstraction, Vishnu, Vision Signs, Vitrine, Vitrine Gallery, Viviana Troya, VLF Radio, Voice & How To Hear It, Voice of God, Voice Recognition, Voiceover, Voiceover as an Art-Form, Voiceover as an ArtForm, Voices in the Gallery, Voicing the Political, Wade Wallerstein, Werner Moebius, Whitstable Biennale, Willem de Rooij, William Burroughs, Wire Magazine, Witte de With, Witte de With Center for Contemporary Art, Word is Art, Word Power, WordPower - Language as Medium, Writing, Writing Making Your Mark, Yan Jun, Zabludowicz, Zabludowicz Collection, Zentrum für Kunst und Medientechnologie, ZKM, ZKM Karlsruhe
“Language [as] Meta-Technology” ****
Exhibition dates, Weds 21 Nov to Sun 2 Dec 2018
Fri to Sun 12 to 5pm (or by appointment)
Launch event, Sat 24 Nov, 6pm to 9pm
Closing event, Sun 2 Dec, 3pm to 5pm
Sluice HQ (formerly Vision Signs)
171 Morning Lane
Hackney Central
London E9 6JY
The philosopher C.W. Morris defined semiotics as “the science of signs”, the writer Umberto Eco stated that “semiotics is in principle the discipline studying everything which can be used in order to lie”, and the telecommunications theorist Colin Cherry stated that “information can be received only where there is doubt”. For the first instalment of the Passen-gers project off-site series, electronic music and installation art project Disinformation visits the Sluice HQ exhibition space – the former workshop of Vision Signs, a former commercial sign-maker in Hackney, East London – to present a series of audio-visual exhibits, archival presentations and installation artworks. The book “Rorschach Audio – Art & Illusion for Sound” states that “the earliest form of sound recording technology was not a machine but was written language”, and the “Language as Meta-Technology” installation uses a variety of speech recording, speech synthesis, psychoacoustics research and speech coding technologies to articulate (among other propositions) the hypothesis that “language is the technology that contains all others”.
Best Instagram – https://www.instagram.com/p/BqvC4DllqL2/
Passen-gers Offsite – http://www.passen-gers.co.uk
Exhibition Guide – https://tinyurl.com/y7bv6ayp
Related
From → Uncategorized
Trackbacks & Pingbacks