0rphan Drift, 15 Questions, 24 Hour Psycho, Accidental Records, Adaadat, Adaadat Records, Aesthetica, Aesthetica Magazine, Alchemy Festival, ALM Busy Circuits, Amoenus, An Allegorical Portrait of Roger Bacon, Andrew Dickson, Anna Barham, Annka Kultys, Argos Centre Brussels, Art and Perception, Art Blocks, Art Journal, Artist, Arts Catalyst, Ascension, Ash International, Audint, Audio Installation, Audio Rorschach, Audiokinetic Art, Auditory Rorschach, Barbara London, Barbican Art Gallery, Belshazzar's Feast, Biennale, Big Black, Bill Viola, Blue Tapes, Book of Ascension, Books of Ascension, Bornemisza, Brachliegen Tapes, Brighton, Brighton CCA, Brighton Centre for Contemporary Art, Brion Gysin, Bruce Nauman, Cable Depot, Café Oto, Cafe OTO / Otoroku, Camden Arts Centre, Carl Michael von Hausswolff, Catherine Elwes, CCA Brighton, CCA Glasgow, Cement, Cement Fields, Centre for Contemporary Art, Centre for Contemporary Art Brighton, Chinabot, Chisenhale, Chisenhale Gallery, Christina Kubisch, Christina Kubisch - Electrical Walks, Clot Magazine, CM von Hausswolff, Cognitive Sensations, Collective Act, Colliding Lines, Consumimur Igni, Contemporary Art Society, Convolution, Courtisane Festival, Culture Coventry, Cyanotapes, Cyril Roy, Dan Tapper, Daniel Langlois, Daniel Langlois Foundation, Daniel Tapper, Dark Morph, David Rickard, David Roberts Art Foundation, Dazed and Confused, Dazed Digital, Demo Moving Image, Discord, Discrepant, Disinformation, Douglas Gordon, Dream Machine, Dreamachine, Eastbourne, Electrical, Electrical Noise, Electrical Walks, Electromagnetic Noise, Electronic Sound, Elpida Hadzi-Vasileva, Enter The Void, Equitable Vitrines, Erika Blumenfeld, Experimental Film, Experimental Video, Fabrica, Fabrica Brighton, Fabrica Gallery, Félicie d’Estienne d’Orves, Fermynwoods, Fields, Fifteen Questions, Film & Video Umbrella, Finissage, Fire, Fire and Light, Flat Time House, Fondation Daniel Langlois, Frieze, Frieze Magazine, Future Pace, Future\Pace, FVU, Gaika, Gary Hill, Gaspar Noé, Gazell.io, Gazell.io Project Space, Gazellio, Gazello Art House, Generative Art, Generative Video, Generative Video Art, Georgia Gardner Gray, Gilles Ivain, Glenn Branca, Gold SF, Goldsmiths, Goldsmiths APRU, Goldsmiths CCA, Goldsmiths College, Goldsmiths MFA, Goldsmiths MFA Fine Art, Goldsmiths Press, Goldsmiths Press - Sonics Series, Goldsmiths Press Sonics, Goldsmiths Shorts, Greenwich University, Guy Debord, Haroon Mirza, Harun Farocki, Hasan Bolkhari Ghehi, Hidden Sounds, Homage with Minimal Disinformation, Homonym, Homophone, HRM199, HRM199 Ltd, Iklectik, Iklectik Art, Iklectik Art Lab, Iklectik Offsite, Iklectika, Image Music Text, Images of the World, Images of the World and the Inscription of War, IMCC, Immanent Rapture, IMT Gallery, Imus Nocte, In Girum, In Girum Imus Nocte et Consumimur Igni, Institute for Modern and Contemporary Culture, Institute of Contemporary Arts, Institute of Contemporary Arts: ICA, Institute of Contemporary Arts: ICA London, Interference, International Media Futures, International MediaFutures, Isn’tses, Isra, Isra and Mi'raj, Ivan Chtcheglov, Ivan Vladimirovitch Chtcheglov, Jan Dibbets, Jónsi Birgisson, Jennifer Crook, Joe Banks, John Hansard, John Hansard Gallery, John Hansard Gallery Southampton, John Latham, John Squire, Jonathan Crabb, Kaseki, Kerosene, Kettle's Yard, Kettle’s Yard Gallery, Kim Knowles, Kinetic Art, Kinetic Video, Kinetic Video Art, Kinetic Video Montage, Kubisch, La Fondation Daniel Langlois, La Plaque Tournante, Language [as] Meta-Technology, Language [as] Metatechnology, Lara Cory, Laura Marks, Lawrence Abu Hamdan, Leeds 2023, Leonard Cohen, Let There be Language, Let there be Light, Levels of (Dis)information, Light, Lighthouse Brighton, Limits of Language, Limits of Verbal Language, Lisson, Lisson Gallery, LTR Records, Lux, Lux Scotland, MA Photography, MA Photography RCA, MA Photography Royal College of Art, Maggie Roberts, Magnetic Field, Magnetic Field Interference, Magnetics, Manifestation of Fire and Light, Marcus Du Sautoy, Mariele Neudecker, Markus Buehler, Martin Green, Media Futures, MediaFutures, Meʿrāj-nāmas, Metro, Metro Magnetics, MIA Journal, Mike Kelley, Minimal Disinformation, Mir-Heidar, MIRAJ, Mirâj Nâmeh, Misinformation, Moving Image, Moving Image Artists, Moving Image Review, Moving Image Review & Art Journal, Music and Sound Residency, Mystical Philosophy, Nam June Paik, Nathaniel Brown, NDE, Near Death, Near Death Experience, Neural Magazine, Newport Street, Newport Street Gallery, Nigel Stanford, Night Journey, Nkisi, NMC Recordings, Noise, Nonclassical, Nur, Nār, Onassis Stegi, Open Editions, Optokinetic Art, Origin of Painting, Orphan Dift, Oscillations, Pace, Pace Discord, Pace Gallery, Pace Gallery Discord, Pace London, Pace Verso, Palais de Tokyo, Paradigm Discs, Paul Abbott, Paul Carey-Kent, Paul Purgas, Paz de la Huerta, Peter Matthews, Peter Weibel, Photography, Plink Plunk, Project Space, Psyché Tropes, Psychoacoustics, Radio Noise, Rapture, RCA Photography, RCA RCA MA Photography, Repeater Books, Research Group, Resonance FM, Richard Serra, Rob Mullender, Roberts Art Foundation, Royal College of Art, RTM, RTM Radio, RTM.FM, Ryochi Kurokawa, Sadie Coles, Sadie Coles HQ, Salmon Universe, Sculpture, Seasferic, Seisma, Seisma Magazine, Semiconductor, Semiconductor Films, Serpentine Gallery, Sluice HQ, Sluice Magazine, Somayeh Ramezanmahi, Somerset House, Somerset House Studios, Somerset House Studios Music and Sound, Sonic, Sonic Acts, Sonic Acts 2022, Sonic Acts Biennial, Sonics, Sonics Series, Sound Art Brighton, Sound Artist, Sound Image Research Group, Sound Installation, Sound of Waves, Sound of Wind, Sound-Image, Sound-Image Research Group - University of Greenwich, South London Gallery, Southampton, Speech Encryption, Speech Sounds, Stanley Picker Gallery, Steina and Woody Vasulka, Steina Vasulka, Steve Goodman, Steve Siporin, Stone Roses, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Submarine Cable Depot, Superblue, Susan Hiller, Suum Project, Taco, Taco Gallery, Talbot Rice, Talbot Rice Gallery, TBA 21, TBA 21 Academy, TBA21, TBA21–Academy, Test Department, Test Dept, Thames-Side Studios, Thameside Studios, Thamesmead, Thamesmead Arts & Culture Office, Thamesside Studios, The Guardian, The Inscription of War, The Moving Image Review & Art Journal, The Oram Awards, The Quietus, The Rapture, The Stone Roses, The Tibetan Book of the Dead, The Void, The Wire, The Wire Magazine, Theatrum Mundi, Thyssen, Thyssen Bornemisza, Thyssen-Bornemisza Art Contemporary, Tibetan Book of the Dead, Tony Oursler, Touch, Towner Eastbourne, Towner Gallery, Towner Gallery Eastbourne, Tramshed, Trebuchet, Trebuchet Magazine, Troika, TV as a Fireplace, TV Buddha, Unboxed, Unboxed 2022, Unboxed 2022 Ltd, Unboxed Festival, University, University of Greenwich, University of Westminster, Utter, Vasulkas, Verbal Language, Video Art, Video Artist, Video Fireplace, Video Installation, Video Montage, Video Naturals, Video Portrait, Video Portraiture, Virtual Ground, VLF, VLF Interference, VLF Radio, VLF Radio Noise, Void, Warspite Road, Westminster, Whitstable, Whitstable Biennale, Who By Fire, Woody and Steina Vasulka, Woody Vasulka, Woolwich, Woolwich Arsenal, Woolwich Dockyard, Woolwich Tramshed, Woolwich Works, Zbigniew Karkowski
“The Rapture” – review in Seisma Magazine ****
“The Rapture” installation reviewed by Paul Carey-Kent (includes video) –
https://seismamag.com/music-sound-arts/disinformation
Related
From → Uncategorized