180 The Strand, 35MW, A Counter-Map, A Crisis, A House is a Machine for Living, A Library is a Machine, A Library is a Machine for Organising Knowledge, Aathma Dious, About Text, Acousmatic Paranoia, Acoustic Atmospheres, Acoustic Lab, Acoustic Lab Residency, Acoustic Laboratory, Acoustic Laboratory Residency, Acoustic Technology, Acoustics, Acoustics Lab, Acoustics Lab Residency, Acoustics Laboratory, Acoustics Laboratory Residency, Action Research, Acts of Creation, Acute Art, Adam Curtis, Adam Kaasa, Adastral Park, Agency Gallery, AHRC, AHRC Open World Research Initiative, AI, Aimee Selby, Akerman Daly, Alessandra Eramo, Alexa Google 23andMe, Alexandra Lacroix, Alga Marghen, All artworks are psychology experiments, All Literature and Poetry are Forms of Sonic Art, All of Them Loved, Alpha, Ambisonic, Ambisonics, Amelia Barratt, Ami Clarke, Amoenus, Amoenus Sound, AmoenusSound, An Endless Supply, An Introduction to Jorge Luis Borges, Ancestral Technology, Andrew Durbin, Andrew Lister, Andrew Walsh Lister, Andy Farnell, Anechoic Chamber, Anna Barham, Anne Duffau, Annette Jael Lehmann, Annotations, Annotations 2, Annotations II, Annotations II: Amelia Barratt - Librarian, AnOther Magazine, Anti-Cool, Applied Pansemiotics, Architectonic Semiotics, Architecture of Atmospheres, Arebyte Gallery, Art and Telecommunications, Art as Research, Art as Research as Art, Art Blocks, Art Blocks x Pace Verso, Art is not necessarily science, Art is not necessarily science but science is always art, Art Research, Artforum, Artificial Intelligence, Artificial Language, Artist in Residence, Artistic Inventiveness, Artistic Practice, Artistic Research, Arts & Humanities Research Council, Arts Catalyst, Arts Catalyst Radio, Aseel AlYaqoub, Assembly 2020, Atau Tanaka, Audint, Audio Sphere, Audiosfera, Audiosphere, Audiosphere: Social Experimental Audio, Audiosphere: Social Experimental Audio Pre- and Post-Internet, Audiovisual Culture, Auditory Representations of Information, Avebury, Axis, Ayesha Hameed, B-Side Festival, Banner Repeater, Basil Spence, BBC Four, BBC Radio, BBC Radio 3, BBC Radio 4, BBC4, Bea De Souza, Beate Gartner, Beatrice Dillon, Beautiful Language, Being Human, Ben Bacon, Benjamin Bacon, Between The Ear and the Mouth, BFTK, Bianca Lech, Black Obsidian Sound System, Blake Lemoine, Bloomberg, Bloomberg New Contemporaries, Bloomsbury, Bloomsbury Festival, Bomb Factory, Bomb Factory Art Foundation, Bomb Magazine, Bonds, Booklyn, Borbála Soós, BOSS, Brandon LaBelle, Breakthrough, Breath, Breathe, Bricks from the Kiln, Brion Gyson, British Museum, British Telecom, British Telecom Acoustics Laboratory, British Telecom Acoustics Laboratory Residency, British Telecom Martlesham, British Telecom Martlesham Heath, British Telecom Research, British Telecom Research Station, Broadcasts, Brody Neuenschwander, Broken Syntax, BT, BT Acoustic Laboratory, BT Acoustic Laboratory Residency, BT Acoustics Laboratory, BT Acoustics Laboratory Residency, BT Martlesham, BT Research, BT Research Station, Building Outside the Building, Bulldog Trust, but was Written Language, C.M. von Hausswolff, Caleb Kelly, Call & Response, Call and Response, Call and Response Studios, Call It Sleep, Camberwell, Camberwell College of Arts, Cambridge Archaeological Journal, Cambridge Literary Review, Carolin Schnurrer, Case Foundation, Catalyst Radio, Cathy Lane, Cave 12, Cave Painting, CCA, CCA Annex, CCA Glasgow, CCA Goldsmiths, Cedric Fauq, Centre for Art and Media, Centre for Contemporary Art, Centre for Contemporary Art Glasgow, Centre for Contemporary Art Goldsmiths, Centre for Contemporary Arts, Centre for Modern and Contemporary Writing, Centre Point, Centripedal Vortex, Century of the Self, Ceri Hand, Channel, Channel Somerset House, Charing Cross Road, Charlie Blake, Chateau Denmark, Chicago Review, Chiemi Shimada, Christoph Cox, Christy MacLear, Circa, Circa Art, Circa Arts, Civic Sound, Civic Sound Archive, Classical, Clot, Clot Magazine, CM von Hausswolff, Code, Codework, Coding, Collective Air, Communications Technology, Company Gallery, Conceptual Art, Constellations of Listening, Crafting Intelligence, CRISAP, Crisap LCC, Crystal Bennes, Crystallised Language, Cultural History, Cultural History of the Ghost, Cultural Institute, Cultural Institute of Radical Contemporary Arts, D Contemporary, Daaphne, Daniel Birnbaum, Daniel van der Velden, Danielle Arnaud, Danielle Arnaud Gallery, Danni Zuvela, David Sington, David Toop, Dazed Media, Dead Talk, Deciphering, Deciphering a Broken Syntax, Delaine Le Bas, Denmark Street, Derrida, Dialogue Applications, Dimensions of Language, Dis Magazine, Discord, Discord Server, Disinformation, Disinformation Art, Disinformation Art Project, Disinformation Artist, Disinformation Artist Project, Disinformation Artist's Project, Disinformation My Misinformation, Disinformation War, Disorganising, Dissonant Wave, Doug Neal, Dr Roberto Trotta, Dr Sarah Hayden, DRAF Broadcasts, Drawing Room, Duncan MacLeod, Durham University, Dynamics of Language, Ear and Mouth, Ear and the Mouth, Earliest Form, Early Writing, Echo, Ecology of Fear, Editions Cave 12, Eileen Daly, El Reina, El Reina Sofía, Electric, Electronic Bauhaus, Electronic Voice Phenomena, Eleni Ikon, Eleni Ikoniadou, Ella Finer, Elle/They, Embodied Interaction, Emily Bick, Emma Bolland, Emma Goltz, Emma Května, Emma Wolukau-Wanambwa, Empire of Signs, Endless Supply, Entropics, Eric de Visscher, Eric La Casa, Es Devlin, Esther Venrooij, EVP, EVP Poetics, Expanded Listening, Eye Magazine, Fabien Cante, Fabrica, Fabrica Brighton, Fabrica Gallery, Fabrica Gallery Brighton, Family Purge, Fayd, Fayd Digital, FAYD Notes, Festival, Festival of New, Fiction Group, Fieldnotes, Fieldnotes Journal, Fieldnotes/Sessions, Fieldwave, Finkel, First Ghosts, Flora Yin-Wong, Folklore of Industrial Man, Forage-AR, Francisco Lopez, Free Thinking, Freedom of Speech, Freie Universität Berlin, Friedrich Jürgenson, Frieze, Frieze Magazine, Frith Street, Frith Street Gallery, From Cliché to Archetype, Furtherfield, Furtherfield Gallery, Future of Media, Future Pace, Futurecity, Futurecrime, Future\Pace, Gallery 31, Gallery Oredgin, Gascia Ouzounian, Gavin Bryars, Gazell.io, Gazell.io Project Space, Gazelle Twin, Gazelli, Gazelli Art House, Gazellio, Gazello Art House, Generative Art, George Hallett, Gesture Music, Ghost Tape Number 10, Glasgow, Global Village, Goethe Institute, Goethe-Institut London, Gold SF, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths Media, Goldsmiths MFA, Goldsmiths Press, Goldsmiths Press - Sonics Series, Goldsmiths Press Sonics, Goldsmiths Shorts, Google, GR-Uniforma, Grammatology, Grégoire Chelkoff, Groenewegen, Guest, Guest Holes, Gulf of Understanding, Gutenberg Galaxy, Hana Noorali, Hanging by a Wire, Haroon Mirza, Harvard University, Haus der Kulturen der Welt, Haus der Kulturen der Welt Berlin, Hear the Dead Talk, Henry Eliot, Henry Moore Institute, Henry Wang, Here at Outernet, Histories of Listening, History of Writing, HKW, HKW Berlin, Holly Graham, Horizon, Hugh Sington, Human Knowledge, Hyper Normalisation, Hyper-Audio, Hyper-Object, Hyper-Text, Hyperaudio, Hyperdub, HyperNormalisation, Hyperobject, Hypersonica, Hypertext, I Have A Voice, Idler, Idler Academy, If You Want to Hear the Dead Talk, If You Want to Hear the Dead Talk Visit a Library, Iklectik, Iklectik Art, Iklectik Art Lab, Ilan Manouache, Image Music Text, Immersive Audio, Immersive Sound, Immersive Sound Installation, Immersive Spatial Sound, Imperfect Librarian, In Cold Print, Independent Researcher, Inflamed Invisible, Information, Information Disinformation, Infrasonica, Inigo Wilkins, Interactive Voice Recognition, Intermission, International Media Futures, International MediaFutures, Intertitles, Introduction to Jorge Luis Borges, Irene Revell, Irreversible Noise, Irving, Irving Finkel, Isaac Cronin, Isn’tses, Jacques Derrida, James Joyce, James Mansell, James Parker, James Webb, Jana Charl, Jana Winderen, Jeffrey Schnapp, Jennifer Wicks, Jeremy Akerman, Jeremy Keenan, Jerwood Arts, Jess Chandler, Jessica Wiesner, Jez Riley French, Jo Barratt, Joanna Zylinska, Joe Banks, Joel Stern, Johanna Schindler, John Bingham-Hall, John Hansard Gallery, John Macedo, Jonathan Packham, Jonny Trunk, Jorge Luis Borges, Jorgen Teller, Journal of Artistic Research, Joy of Text, Juergen Teller, Julie F. Hill, Julie Hill, Kader Attia, Kareem Al Kabbani, Karst, Karst Gallery, Karst Plymouth, Kate Carr, Kathleen Forde, Katie Ione Craney, Katrin Klingan, Keira Greene, Ken Hollings, Kim Albrecht, Kim Schoen, Kirsty Ogg, Kode 9, Kode9, Konstantin Raudive, Koppel Project, Koppel Project Hive, Kornhausforum Bern, Krapp's Last Tape, LAMDA, Language, Language Acts, Language Acts and Worldmaking, Language Acts and Worldmaking Project, Language and Creativity, Language and Perception, Language Art, Language Artwork, Language as a Material, Language as a Weapon, Language as Material, Language as Medium, Language as Technology, Language Based Art, Language Experiment, Language for Sale, Language Game[s], Language is a Virus, Language is a Virus from Outer Space, Language is Meta-Technology, Language is MetaTechnology, Language is Technology, Language is the Technology, Language is the technology that contains all others, Language Model, Language Model for Dialogue Applications, Language of Sound, Language Processing, Language Technology, Language Transitions, Language Virus, Language Weapon, Language [as] Meta-Technology, Language [as] Metatechnology, LARB, Lascaux and Altamira, Laura Purseglove, Laure Genillard, Laure Genillard Gallery, Laure Prouvost, Lawrence Abu Hamdan, Le Corbusier, Leaky Transmissions, Lee Berwick, Leila Dear, Lendl Barcelos, Let's Talk, Let's Talk About Text, Leverhulme Trust, Lexis, Lexis/Axis, Lexis:Axis, LG Notations, Libby Heaney, Librarian, Library X, Limits of Language, Limits of Verbal Language, Linguistic Engineering, Lins Derry, Liquid Architecture, Lisa McKendrick, Listening, Listening Academy, Listening as Critique, Listening Biennial, Listening: A Crisis, Literature and Poetry, Living Dead, Living With Ghosts, Liza Sylvestre, LLUFC, LN-CC, LNCC, Logocentric, Logocentrism, London College of Communication, London Review of Books, Los Angeles Review of Books, Low Level Urban Funk Campaign, Lower Third, LRB, Luca Cerizza, Lucas Wozniak, Luigi Pecci, Luigi Pecci Centre, Luigi Pecci Centre for Contemporary Art, Luma Arles, Lydia Wilson, Lynton Talbot, Machine Listening, Maeve Redmond, Magda Romanska, Magic Lantern, Makiko Yamamoto, Malgorzata Plysa, Manick Govinda, Manifesto for an Architecture of Atmospheres, Manuel Borja-Villel, Many Voices, Many Voices All of Them Loved, Marc Glimcher, Marco Brambilla, Margot Heller, Margot Mottaz, Marijn Ottenhof, Mark Coeckelbergh, Mark Leckey, Mark Pilkington, Mark Siebert, Marshall McLuhan, Martin de la Fouchardière, Martlesham Heath, Mary Doyle, Mary Yacoob, Massimo Bartolini, Massive Music, MassiveMusic, Mat Schulz, Matt Lewis, Matthew Stuart, Mature Themes, Maurice Girodias, Mechanical Bride, Mechanical Keyboard Sounds, Media Futures, MediaFutures, Medium, Medium and the Message, Medium is the Message, Meme, Meme Plex, Memeplex™, Message, Meta Culture, Meta Culture 2020, Meta Fiction, Meta Gesture, Meta Gesture Music, Meta Horizon, Meta Lab Berlin, Meta Lab FU Berlin, Meta Lab Harvard, Meta Portal, Meta Verified, Meta-Code, Meta-Context, Meta-Language, Meta-Linguistics, Meta-Quest, Meta-Tech, Meta-Technology, Metacode, Metaconcept, Metaculture, Metaculture 2020, Metafiction, Metahaven, Metalab, Metalab Berlin, Metalab FU Berlin, Metalab Harvard, Metalanguage, Metalinguistic Pluralism, Metalinguistics, Metamodelling, Metaquest, Metasystem Transitions, Metatech, Metatechnology, Metatheory, Metaverse, Metaverse Spatial Audio, Mike Kelley, Mira Calix, Misinformation, MIT Press, Modern Art Oxford, Modern Language, Modern Language Experiment, Mollie Dent-Brocklehurst, Mondriaan Fund, MondriaanFund, Mother Tongue, Mounir Fatmi, Mountain of Art Research, MSCTY, Museo Nacional Centro de Arte Reina Sofía, Museo Reina Sofía Madrid, Museo Reina Sofia, Music and New Art Forms, Music City, Music Concrète, Music Concrete - Building Outside the Building, Nahmad Contemporary, Name of the Rose, Narration, Nathan Gray, Natural Language, Natural Language Processing, New Approaches, New Art Forms, New Contemporaries, New Generation Thinkers, New Instruments, New York Review of Books, Nick Barratt, Nick Houde, Nick Ryan, Nick Thurston, Nicky Coutts, Nicole Yip, Nightboat Books, Nkisi, Noise, Noise: A Counter-Map, Non-Classical, Nonclassical, Nottingham Contemporary, Now Arcade, Now Building, Now Pop-Up, Now Pop-Up 2, Now Trending, Occasional Papers, October Gallery, Of Grammatology, Olympia Press, Open World Research Initiative, Origin of Writing, Otherness, Otherness Festival, Outer Space, Outernet, Outernet Arts, Outernet Global, Outernet Live, Outernet London, Outset Study, Over the Clouds, Oxford Brookes University, Oxford Street, Pace, Pace Gallery, Pace Gallery Discord, Pace London, Pace Verso, Pallas Citroen, Pandora's Box, Pansemiotics, Paradise, Paris Review, Parrhesiades, Passen-gers, Passen–gers Offsite, Passengers, Passengers Offsite, Past Prese, Past Present and Future, Past Present and Future of Artistic Inventiveness, Paul Pettitt, Paul Purgas, Paula Smolarska, Pedro Novo, Peter Weibel, Phenomenology of Perception, Phonocentric, Phonocentrism, Playing with Words, Plena Rondo, Poetry Foundation, Poetry Project, Polisonic, Polisonics, Political Voice, Politics and Sound, Politics of Communication, Politics of Sound, Polly Gould, Portal, Post Office, Post Office Telecommunications, Power of Nightmares, Prelude, Preludes, Primary Information, Primer, Project Space, Proto-Language, Prototype Publishing, Psycho Acoustic, Psycho Acoustical, Psycho Acoustics, Psychoacoustic, Psychoacoustical, Psychoacoustics, Psycholinguistics, Purge, Purge Projects, Queen Sofía Museum, Quest, Quinn Latimer, Radical Contemporary Arts, Radio 3, Radio 4, Radio Art Zone, Radio Arts, Radio Arts Catalyst, Radio Silence, Radio Three, Raina Mehler, Re/Search Publications, Re: Cognition, Recognition, Recording Device, Recording Technology, Reference Studios, Reference Studios x Selfridges, Reina Sofía, Reina Sofía Madrid, Reina Sofía Museum, Research Artwork, Research as Art, Research as Art Practice, Research Publications, Reverb Chamber, Rhythm is Ancestral Technology, Richard Chartier, Richard Espley, RKSS, Roberta Tenconi, Roberto Trotta, Robin Rimbaud, Rogue Syntax, Rogue Syntax: Primer, Roland Barthes, Rosemary Richards, Rosina Lui, Rothschild Foundation, Ruslan Karablin, Ryan Kearney, Ryoji Ikeda, S. J. Groenewegen, Sadie Coles, Sadie Coles HQ, Samuel Beckett, Sarah Hayden, Sarah Newman, Sarah Peace, SARU Goldsmiths, Saskia Sassen, Savior Universe Rule, Scanner, Scarlett Schauerte, SCHQ, SCHQ Electric, Science is always art, Scope, Scripting Silence, Sean Dockray, Secret History, Secret History of Writing, Self Expression, Self Portrait as Amma’s Teardrop, Selfridges, Semionaut, Semionautic, Semionautics, Semiotext/e, Semiotexte, Senate House, Server, Shakespeare & Co., Shakespeare & Company, Shannen SP, Sheena Calvert, Shehnaz Suterwalla, Shiva Feshareki, Sign, Sign Chorus, Sign Symbol, Sign Symbol Sound, Sign Systems, Silent Sound, Simon Parris, SLG, Slow Compression, Sluice, Sluice Art Fair, Sluice HQ, Sluice Magazine, Smalltalk for Lonely Ghosts, Snape, Snape Maltings, Snape Maltings Concert Hall, Social Experimental Audio, Social Experimental Audio Pre- and Post-Internet, Sociotype, Sociotype Journal, SODA Gallery, Sofia Lemos, Somerset House, Somerset House Assembly 2020, Somerset House Channel, Somerset House Studios, Sonar Festival, Sonic, Sonic Agency, Sonic Anomaly, Sonic Anomaly Sideshow, Sonic Art, Sonic Art Research Unit, Sonic Continuum, Sonic Expression, Sonic Futures, Sonic Immersion, Sonic Scope, Sonic Scope: New Approaches to Audiovisual Culture, Sonic Signalling, Sonic Urbanism, Sonic Urbanism: the Political Voice, Sonic Witness, Sonic Witnessing, Sonics, Sonics Series, Sound, Sound Affect, Sound and Politics, Sound and the Written Word, Sound Archive, Sound Installation, Sound of All Human Knowledge, Sound of Human Knowledge, Sound Politics, Sound Practice, Sound Recording, Sound Recording Technology, Sound Text, Sound Text Image, Sound Theory, Sound-Image, Sounding Out, Sounding Out Practice, Sounding Things Out, South London Gallery, Spambot EVP Poetics, Spatial Audio, Spatial Sound, Speech, Speech and Language, Speech as an Art Form, Speech Coding, Speech is an Art Form, Speech Itself is an Art Form, Speech Recognition, Spoken Word, SSUR, Stanley Schtinter, Stella Sideli, Steve Goodman, Storytelling, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Stuart London, Sukhdev Sandhu, Sum of All Human Knowledge, Sung Tieu, Super Blue, Superblue, Susan Hiller, Susan Owens, Swiss Cottage Central Library, Swiss Cottage Library, Symbol Sound, Synaptic Island, System X, Systems, Talk About Text, Tate Publishing, Technologies of Lived Abstraction, Technology, Technology as Language, Telecom, Telecommunication, Telecommunications, Telecommunications Art, Telecoms, Telephone, Telephony, Tenderbooks, Tenderpixel, Terrel Seltzer, Test Centre, Text, Text as a Technology, Text as Technology, Text Technology, Texte Zur Kunst, The Agency, The Agency Gallery, The Aldwych, The Beautiful Language, The Bomb Factory, The Book of Sand, The Bulldog Trust, THE Campus, The Disinformation War, The Ear and the Mouth, The Earliest Form of Sound Recording Technology was not a Machine, The Earliest Form of Sound Recording Technology was not a Machine but was Written Language, The Empire of Signs, The Family Purge, THE Feature, The Future of Media, The Ghost, The Ghost - A Cultural History, The Gulf of Understanding, The Gulf of Understanding (Re:cognition), The Idler, The Idler Academy, The Library, The Library - the Imperfect Librarian, The Medium and the Message, The Medium is Not the Message, The Medium is the Message, The Modern Language Experiment, The Name of the Rose, The Now Building, The Origin of Writing, The Paris Review, The Process, The Prosthetics, The Secret History of Writing, The Situationist, The Sound of All Human Knowledge, The Sound of Human Knowledge, The Strand, The Sum of All Human Knowledge, The Ultimate Form of Communications Technology is Language Itself, The Vinyl Factory, The Voice, The Voice and Acoustic Atmospheres, The Voice Line, The VoiceLine, The Weight of Words, Theatrum Mundi, Theatrum Mundi Collective, THES, Thom Bridge, Tim Drage, Tim Etchells, Tim Spooner, Times Higher, Times Higher Education, Times Literary Supplement, TLS, Toby Heys, Today Art Museum, Tom Gooch, Tom Hodgkinson, Tom Western, Tomato, Tone Foundation, Tone Foundation - Music and New Art Forms, Tony Tremlett, Top Stories, Translation Acts, Transmission, Transmissions, Trevor Paglen, Triple Canopy, Trunk Records, Ubi Sunt, Ultimate form of Communications Technology, Ulysses, Umberto Eco, Uncertain Ruins, Uncoded, Uncoded - Crafting Intelligence, Undead, Underbelly, Understanding Media, Underworld, Undone in the Face, Unit, Unit Gallery London, Unit London, Unit London Gallery, University of Southampton, Unnatural Language Processing, Unsound, Unsound 2020, Unsound 2020: Intermission, Unsound 2023, Unsound Dada, Unsound Festival, Unsound Festival 2023, Unsound Intermission, Unsound Kraków, Unsound Lab, Unsound Lab 2020, Unsound London, Unsound: Undead, Urbanism, Urbanomic, Valentina Ferrandes, Verbal Language, Verbuchstabieren Trilogy, Verso, Victoria Miro, Victoria Miro Gallery, Vinca Kruk, Vinyl Factory, Violence of Abstraction, Virus, Visible Language, Visit a Library, Visual Language of Sound, Vitrine, Vitrine Basel, Vitrine Bermondsey, Vitrine Digital, Vitrine Fitzrovia, Vitrine Gallery, Voice & How To Hear It, Voice Line, Voice Over, Voice Recognition, VoiceLine, Voiceover, Voiceover as an Art-Form, Voiceover as an ArtForm, Voices in the Gallery, Voicing the Political, VRHAM Hamburg, Wandering Soul, War, Weapon, Weapons, Weight of Words, Werner Moebius, Whitstable Biennale, Wikimedia, Wikimedia Sound Logo, Wikipedia, Wikipedia Sound Logo, Willem de Rooij, William Burroughs, William S. Burroughs, WordPower - Language as Medium, Words and Sound, Words are Weapons of Sound, Words as Sound Weapons, Words as Weapons, Words Themselves are Weapons of Sound, Writing, Written Language, Zhou Yinglin, ZKM, ZKM Centre for Art and Media
“Language [as] Meta-Technology” ****
“A library is a machine for organising knowledge”
“If you want to hear the dead talk, visit a library”
The Disinformation project’s “Language [as] Meta-Technology” exhibition was staged in November 2018, as the first event in the Passen-gers Offsite series, at the Sluice HQ exhibition space in Hackney, East London (see links). The second exhibition, “Uncertain Ruins” by Julie F. Hill, was staged at Swiss Cottage Central Library (the iconic modernist library designed by architect Basil Spence) from October 2019 to January 2020. The events series for “Uncertain Ruins” featured a “Language [as] Meta-Technology” lecture – a short talk, followed by extracts read from “The Name of the Rose” by Umberto Eco and “The Book of Sand” by Jorge Luis Borges – on 5 November 2019. The core ideas from the original installation were discussed in that talk and in the “Uncertain Ruins” publication, launched on 9 January 2020. As documented in that publication, the “Language [as] Meta-Technology” sound installation uses cutting-edge commercial voice synthesis technology to articulate a number of propositions and aphorisms…
1. “The earliest form of sound recording technology was not a machine, but was written language”
2. “Language is meta-technology. Language is the technology that contains all others”
3. “The ultimate form of communications technology is language itself”
4. “Art is not necessarily science, but science is always art”
5. “All literature and poetry are forms of sonic art”
6. “All artworks are psychology experiments”
7. “Words themselves are weapons of sound”
8. “The medium is not the message”
9. “Speech itself is an art form”
Extrapolating the architect and town-planner Le Corbusier’s assertion that “a house is a machine for living”, the article also argues that since “the intersection between architecture and language… manifests in the form of a library”, therefore “a library is a machine for organising knowledge”. Since (as stated) the “earliest form of sound recording technology… was written language”, extrapolating the critique of so-called Electronic Voice Phenomena (ghost voice) recording put forward in the “Rorschach Audio” project, the article also states that “if you want to hear the voices of the deceased, talking to you, personally, then read books” – so “if you want to hear the dead talk, visit a library”. The publication features contributions from artists Joe Banks, Crystal Bennes, Thom Bridge, Libby Heaney, Julie F. Hill, Paula Smolarska, Mark Siebert and Mary Yacoob, from programmer Doug Neal, and from cosmologist and statistician Dr Roberto Trotta. Thanks to everyone who came to the events!
Buy the book – https://www.passen-gers.co.uk/uncertainruinspublication
36pp soft-back with inserts and jacket – ISBN 978-0-9572687-5-3
https://rorschachaudio.com/2018/11/12/language-as-meta-technology/
Disinformation performed at the Bibliotèque Solvay, Brussels, 29 Oct 2000 and a “Rorschach Audio” talk took place at the British Library, London, 28 June 2013.
Artworks + Texts Copyright © Joe Banks
From → Uncategorized