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, 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, Adastral Park, Agency Gallery, AHRC, Aimee Selby, Alessandra Eramo, All artworks are psychology experiments, All Literature and Poetry are Forms of Sonic Art, All of Them Loved, Alpha, Ami Clarke, An Introduction to Jorge Luis Borges, Andrew Lister, Andrew Walsh Lister, Anechoic Chamber, Anna Barham, Anne Duffau, Architecture of Atmospheres, Art as Research, Art as Research as Art, Art is not necessarily science, Art is not necessarily science but science is always art, Art Research, Artist in Residence, Artistic Research, Arts & Humanities Research Council, Arts Catalyst, Arts Catalyst Radio, Assembly 2020, 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, Bloomberg, Bloomberg New Contemporaries, Bonds, Breakthrough, Bricks from the Kiln, 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, 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, Camberwell, Camberwell College of Arts, Carolin Schnurrer, Case Foundation, Catalyst Radio, CCA, Cedric Fauq, Centre for Contemporary Arts, Centre for Modern and Contemporary Writing, Ceri Hand, Charlie Blake, Christoph Cox, Christy MacLear, CM von Hausswolff, Communications Technology, Crystal Bennes, Danielle Arnaud, Danielle Arnaud Gallery, Danni Zuvela, David Sington, David Toop, Dead Talk, Dimensions of Language, Dis Magazine, 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, Dynamics of Language, Ear and Mouth, Ear and the Mouth, Earliest Form, Ecology of Fear, El Reina, El Reina Sofía, Electric, Electronic Voice Phenomena, Eleni Ikon, Eleni Ikoniadou, Emily Bick, Emma Wolukau-Wanambwa, Entropics, Eric La Casa, EVP, Expanded Listening, Fabrica, Fabrica Brighton, Fabrica Gallery, Fabrica Gallery Brighton, Festival of New, Fieldwave, Flora Yin-Wong, Francisco Lopez, Friedrich Jürgenson, Future Pace, Futurecity, Future\Pace, Gallery 31, Ghost Tape Number 10, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths MFA, Goldsmiths Press, GR-Uniforma, Gulf of Understanding, Hana Noorali, Haroon Mirza, Hear the Dead Talk, Henry Eliot, Histories of Listening, History of Writing, Hugh Sington, Hyperdub, Idler, Idler Academy, If You Want to Hear the Dead Talk, If You Want to Hear the Dead Talk Visit a Library, Imperfect Librarian, In Cold Print, Information, Information Disinformation, Intermission, Intertitles, Introduction to Jorge Luis Borges, Irene Revell, Irving Finkel, Isn’tses, James Mansell, James Webb, Jana Winderen, Jeremy Keenan, Jerwood Arts, Jess Chandler, Jez Riley French, Jo Barratt, Joe Banks, John Hansard Gallery, John Macedo, Jorge Luis Borges, Jorgen Teller, Journal of Artistic Research, Juergen Teller, Julie F. Hill, Julie Hill, Kader Attia, Kate Carr, Kathleen Forde, Keira Greene, Kirsty Ogg, Kode 9, Kode9, Konstantin Raudive, Language and Perception, Language as a Material, Language as Material, Language as Technology, Language is Meta-Technology, Language is MetaTechnology, Language is Technology, Language is the Technology, Language is the technology that contains all others, Language [as] Meta-Technology, Language [as] Metatechnology, Laure Genillard, Laure Genillard Gallery, Laure Prouvost, Lawrence Abu Hamdan, Le Corbusier, Lee Berwick, Lendl Barcelos, Leverhulme Trust, LG Notations, Libby Heaney, Lisa McKendrick, Listening, Listening as Critique, Listening: A Crisis, Literature and Poetry, Liza Sylvestre, LLUFC, LN-CC, LNCC, Low Level Urban Funk Campaign, Lydia Wilson, Lynton Talbot, 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 Siebert, Martin de la Fouchardière, Martlesham Heath, Mary Yacoob, Mat Schulz, Matt Lewis, Matthew Stuart, Meta Culture, Meta Culture 2020, Meta-Tech, Meta-Technology, Metaculture, Metaculture 2020, Metatech, Metatechnology, Mike Kelley, Mira Calix, MIT Press, 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 - Building Outside the Building, Name of the Rose, Nathan Gray, New Approaches, New Art Forms, New Contemporaries, Nick Barratt, Nick Ryan, Nicole Yip, Noise, Noise: A Counter-Map, Nonclassical, Nottingham Contemporary, Origin of Writing, Pace Gallery, Pace London, Parrhesiades, Passen-gers, Passen–gers Offsite, Passengers, Passengers Offsite, Paula Smolarska, Pedro Novo, Phenomenology of Perception, Polly Gould, Post Office, Post Office Telecommunications, Primer, Prototype Publishing, Psycho Acoustic, Psycho Acoustical, Psycho Acoustics, Psychoacoustic, Psychoacoustical, Psychoacoustics, Psycholinguistics, Queen Sofía Museum, Quinn Latimer, Radio 3, Radio 4, Radio Arts, Radio Arts Catalyst, Raina Mehler, Re: Cognition, Recognition, Recording Technology, Reina Sofía, Reina Sofía Madrid, Reina Sofía Museum, Research Artwork, Research as Art, Research as Art Practice, Reverb Chamber, Richard Chartier, Richard Espley, RKSS, Roberta Tenconi, Roberto Trotta, Robin Rimbaud, Rogue Syntax, Rogue Syntax: Primer, Rothschild Foundation, Ruslan Karablin, Ryan Kearney, Ryoji Ikeda, Sadie Coles, Sadie Coles HQ, Sarah Hayden, Savior Universe Rule, Scanner, Scarlett Schauerte, SCHQ, SCHQ Electric, Science is always art, Scope, Secret History, Secret History of Writing, Semionaut, Semionautic, Semionautics, Senate House, Shannen SP, Shiva Feshareki, Silent Sound, Simon Parris, SLG, Sluice, Sluice Art Fair, Sluice HQ, Sluice Magazine, Snape, Snape Maltings, Snape Maltings Concert Hall, Social Experimental Audio, Social Experimental Audio Pre- and Post-Internet, Sofia Lemos, Somerset House, Somerset House Assembly 2020, Somerset House Studios, Sonic, Sonic Anomaly, Sonic Anomaly Sideshow, Sonic Art, Sonic Continuum, Sonic Futures, Sonic Scope, Sonic Scope: New Approaches to Audiovisual Culture, Sound Affect, Sound Recording, Sound Recording Technology, Sounding Out, Sounding Out Practice, South London Gallery, Speech, Speech as an Art Form, Speech is an Art Form, Speech Itself is an Art Form, Speech Recognition, SSUR, Steve Goodman, Sung Tieu, Super Blue, Superblue, Susan Hiller, Swiss Cottage Central Library, Swiss Cottage Library, System X, Technologies of Lived Abstraction, Telecommunication, Telecommunications, Telephone, Telephony, Test Centre, The Agency, The Agency Gallery, The Beautiful Language, The Book of Sand, 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 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 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 and Acoustic Atmospheres, Thom Bridge, Tim Drage, Tim Spooner, Toby Heys, Tom Hodgkinson, Tone Foundation, Tone Foundation - Music and New Art Forms, Ubi Sunt, Ultimate form of Communications Technology, Umberto Eco, Uncertain Ruins, Undead, Undone in the Face, Unsound, Unsound 2020, Unsound 2020: Intermission, Unsound Festival, Unsound Intermission, Unsound Lab, Unsound Lab 2020, Unsound: Undead, Urbanomic, Violence of Abstraction, Visit a Library, 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, Words Themselves are Weapons of Sound, Writing, Written Language
“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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