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, 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, Adastral Park, Agency Gallery, AHRC, AI, Aimee Selby, Alessandra Eramo, 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 Introduction to Jorge Luis Borges, Andrew Lister, Andrew Walsh Lister, Andy Farnell, Anechoic Chamber, Anna Barham, Anne Duffau, Annotations, Annotations 2, Annotations II, Annotations II: Amelia Barratt - Librarian, Architecture of Atmospheres, Art as Research, Art as Research as Art, Art Blocks, Art is not necessarily science, Art is not necessarily science but science is always art, Art Research, Artificial Intelligence, Artificial Language, Artist in Residence, Artistic Inventiveness, Artistic Research, Arts & Humanities Research Council, Arts Catalyst, Arts Catalyst Radio, Assembly 2020, Atau Tanaka, Audint, Audio Sphere, Audiosfera, Audiosphere, Audiosphere: Social Experimental Audio, Audiosphere: Social Experimental Audio Pre- and Post-Internet, Audiovisual Culture, 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, Between The Ear and the Mouth, BFTK, Black Obsidian Sound System, Blake Lemoine, Bloomberg, Bloomberg New Contemporaries, Bloomsbury, Bloomsbury Festival, Bonds, BOSS, Brandon LaBelle, Breakthrough, Breath, Breathe, Bricks from the Kiln, 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, but was Written Language, C.M. von Hausswolff, Caleb Kelly, Call & Response, Call and Response, Call and Response Studios, Camberwell, Camberwell College of Arts, Carolin Schnurrer, Case Foundation, Catalyst Radio, 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, Ceri Hand, Charlie Blake, Christoph Cox, Christy MacLear, Clot, Clot Magazine, CM von Hausswolff, Communications Technology, Conceptual Art, CRISAP, Crisap LCC, Crystal Bennes, Cultural History, Cultural History of the Ghost, Daniel van der Velden, Danielle Arnaud, Danielle Arnaud Gallery, Danni Zuvela, David Sington, David Toop, Dead Talk, Deciphering, Deciphering a Broken Syntax, 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, Doug Neal, Dr Roberto Trotta, Dr Sarah Hayden, DRAF Broadcasts, Drawing Room, Dynamics of Language, Ear and Mouth, Ear and the Mouth, Earliest Form, Echo, Ecology of Fear, El Reina, El Reina Sofía, Electric, Electronic Bauhaus, Electronic Voice Phenomena, Eleni Ikon, Eleni Ikoniadou, Emily Bick, Emma Bolland, Emma Goltz, Emma Wolukau-Wanambwa, Entropics, Eric La Casa, Esther Venrooij, EVP, EVP Poetics, Expanded Listening, Fabrica, Fabrica Brighton, Fabrica Gallery, Fabrica Gallery Brighton, Festival, Festival of New, Fieldnotes, Fieldnotes Journal, Fieldnotes/Sessions, Fieldwave, Finkel, Flora Yin-Wong, Francisco Lopez, Freedom of Speech, Friedrich Jürgenson, Future Pace, Futurecity, Future\Pace, Gallery 31, Gazell.io, Gazell.io Project Space, Gazelli, Gazelli Art House, Gazellio, Gazello Art House, Generative Art, Ghost Tape Number 10, Glasgow, Gold SF, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths MFA, Goldsmiths Press, Goldsmiths Press - 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Hill, Julie Hill, Kader Attia, Kate Carr, Kathleen Forde, Katrin Klingan, Keira Greene, Ken Hollings, Kim Schoen, Kirsty Ogg, Kode 9, Kode9, Konstantin Raudive, LAMDA, Language, Language and Perception, Language Art, Language as a Material, Language as Material, 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 Technology, Language Virus, Language [as] Meta-Technology, Language [as] Metatechnology, Laure Genillard, Laure Genillard Gallery, Laure Prouvost, Lawrence Abu Hamdan, Le Corbusier, Leaky Transmissions, Lee Berwick, Lendl Barcelos, Let's Talk, Let's Talk About Text, Leverhulme Trust, LG Notations, Libby Heaney, Librarian, Limits of Language, Limits of Verbal Language, Lisa McKendrick, Listening, Listening as Critique, Listening: A Crisis, Literature and Poetry, Liza Sylvestre, LLUFC, LN-CC, LNCC, London College of Communication, Low Level Urban Funk Campaign, Lydia Wilson, Lynton Talbot, Maeve Redmond, Magic Lantern, Makiko Yamamoto, Malgorzata Plysa, Manifesto for an Architecture of Atmospheres, Manuel Borja-Villel, Many Voices, Many Voices All of Them Loved, Marc Glimcher, Margot Heller, Margot Mottaz, Marijn Ottenhof, Mark Coeckelbergh, Mark Siebert, Martin de la Fouchardière, Martlesham Heath, Mary Doyle, Mary Yacoob, Mat Schulz, Matt Lewis, Matthew Stuart, Meme, Meta Culture, Meta Culture 2020, Meta-Tech, Meta-Technology, Metaculture, Metaculture 2020, Metahaven, Metatech, Metatechnology, Metaverse, Metaverse Spatial Audio, Mike Kelley, Mira Calix, MIT Press, Modern Language, Modern Language Experiment, Mollie Dent-Brocklehurst, Mondriaan Fund, MondriaanFund, Mounir Fatmi, Mountain of Art Research, Museo Nacional Centro de Arte Reina Sofía, Museo Reina Sofía Madrid, Museo Reina Sofia, Music and New Art Forms, Music Concrète, Music Concrete - 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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 is Not the Message, The Modern Language Experiment, The Name of the Rose, The Origin of Writing, The Secret History of Writing, The Situationist, The Ultimate Form of Communications Technology is Language Itself, The Voice, The Voice and Acoustic Atmospheres, THES, Thom Bridge, Tim Drage, Tim Spooner, Times Higher, Times Higher Education, Toby Heys, Tom Hodgkinson, Tone Foundation, Tone Foundation - Music and New Art Forms, Transmission, Transmissions, Ubi Sunt, Ultimate form of Communications Technology, Umberto Eco, Uncertain Ruins, Undead, Underbelly, Undone in the Face, Unit, Unit Gallery London, Unit London, Unit London Gallery, Unsound, Unsound 2020, Unsound 2020: Intermission, Unsound Festival, Unsound Intermission, Unsound Lab, Unsound Lab 2020, Unsound: Undead, Urbanomic, Verbal Language, Verso, Vinca Kruk, Violence of Abstraction, Virus, Visit a Library, Visual Language of Sound, Vitrine, Vitrine Gallery, Voice & How To Hear It, Voice Recognition, Voiceover, Voiceover as an Art-Form, Voiceover as an ArtForm, Voices in the Gallery, Voicing the Political, Wandering Soul, Werner Moebius, Whitstable Biennale, Willem de Rooij, William Burroughs, William S. Burroughs, Words Themselves are Weapons of Sound, Writing, Written Language, 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
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