The Flickr Internationallawns Image Generatr

Disinformation + International Lawns + The Rural College of Art

5 July to 28 July 2019

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”...

Exhibition Guide (PDF) – tinyurl.com/y4f3z3xe

rorschachaudio.com/2019/04/22/international-lawns-rca-dis...

Special thanks to Domo Baal, Frances Prokofiev and Graham High

Social history of technology podcasters Carl Attrill + Leila Johnston in conversation with Joe Banks, producer of the art and music project Disinformation (interview date 12 Sept 2023)...

www.youtube.com/watch?v=9QLYFKMJU9o/

... discussing the Radio 4 “Today” programme, Hari Kunzru on Sky TV, “National Grid” (sound artwork), Very Low Frequency (VLF) radio art, Channel 4 “Electric Skies”, Shortwave Magazine, Mike Harding and Ash International, Disobey (club night), the Royal College of Art, Lewisham Arthouse, David Land Arts Centre, the prehistory of “National Grid” (circa 1982), London Underground, “Sense Data & Perception” CD, The Wire magazine, Electronic Voice Phenomena (EVP), “Rorschach Audio”, sine-wave speech, (alleged) Satanic back-masking, perceptual hypotheses, sub-bass, acid house, dub reggae, “Foetal and infant hypnagogic sense memories...”, Fabrica Gallery, The Foundry, anechoic chambers, Pawel Jastreboff and Tinnitus Retraining Therapy, the Post Office (now British Telecom) Research Station (at Martlesham Heath), “System X” (sound artwork, Nov 2017), the Post Office Tower (aka Telecom Tower, aka BT Tower), Post Office Telecommunications, GCHQ, Berlin Wall, “Spycatcher”, Alan Turing, Pilot ACE, “Language [as] Meta-Technology” (sound artwork), Marshall McLuhan, “The ultimate form of communications technology…”, “Electro War”, BBC Daventry, Mark Pilkington, Frankenstein, analogue TV, Barry Hale, Sound Mirrors (aka “Blackout” video artwork), “The Noise” (sound installation), “A Dictionary of the Underworld”, Outernet Arts, and… Ferris Bueller.

Image: Anechoic chamber at the Post Office Research Station, Martlesham Heath - POTJ, 29, 2, 1977

5 July to 28 July 2019

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”...

Exhibition Guide (PDF) – tinyurl.com/y4f3z3xe

rorschachaudio.com/2019/04/22/international-lawns-rca-dis...

Special thanks to Domo Baal.

5 July to 28 July 2019

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”...

Exhibition Guide (PDF) – tinyurl.com/y4f3z3xe

rorschachaudio.com/2019/04/22/international-lawns-rca-dis...

Special thanks to Domo Baal.

5 July to 28 July 2019

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”.

rorschachaudio.com/2019/04/22/international-lawns-rca-dis...

Special thanks to Domo Baal.

International Lawns, Disinformation and the Rural College of Art
Field Trip No.15 - Sat 4 Nov 2017
Domo Baal gallery, London

Disinformation is an art project whose work focusses on electricity, communications and language - exploring the creative potential of electronic messaging and laboratory technologies, investigating the psychology of perception of recorded and transmitted speech, and examining relationships between auditory signs and their visual representations. These interests converge in the fields of commercial telecommunications and corporate branding. The philosopher Marshall McLuhan characterised “advertising (as) the folk art of the 20th century”, while the design critic Stephen Bayley argues that “branding should be regarded as the contemporary equivalent of folk art”. The Disinformation project's own (somewhat tongue-in-cheek) branding is inspired by the philosopher’s notion of the “liar paradox”, while specific Disinformation artworks engage with brand entities such as the National Grid and London Underground. For Field Trip 15, Disinformation presents a carefully curated selection of branded telecommunications artefacts from the collection of the typographic designer Colin Banks. 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”. Similarly, despite the emphasis that this exhibition places on branded telecommunications hardware, the display, alongside that hardware, of meticulously-crafted typographical and ideographic 'tools', helps emphasise the view that the ultimate form of communications technology is not so much these various forms of communications electronics, so much as language itself.

www.domobaal.com/exhibitions.html

Text by Joe Banks

“The ultimate form of communications technology is language itself”

International Lawns, Field Trip No.15
Saturday 4 November 2017
Domo Baal, London

International Lawns present an exhibition installed in Domo Baal gallery, London, for one day only, 4 Nov 2017, with special guests Disinformation, presenting selections from the Colin Banks archive, and the Rural College of Art.

Disinformation is an art project whose work focusses on electricity, communications and language - exploring the creative potential of electronic messaging and laboratory technologies, investigating the psychology of perception of recorded and transmitted speech, and examining relationships between auditory signs and their visual representations. These interests converge in the fields of commercial telecommunications and corporate branding. The philosopher Marshall McLuhan characterised “advertising (as) the folk art of the 20th century”, while the design critic Stephen Bayley argues that “branding should be regarded as the contemporary equivalent of folk art”. The Disinformation project's own (somewhat tongue-in-cheek) branding is inspired by the philosopher’s notion of the “liar paradox”, while specific Disinformation artworks engage with brand entities such as the National Grid and London Underground. For Field Trip 15, Disinformation presents a carefully curated selection of branded telecommunications artefacts from the collection of the typographic designer Colin Banks. 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”. Similarly, despite the emphasis that this exhibition places on branded telecommunications hardware, the display, alongside that hardware, of meticulously-crafted typographical and ideographic 'tools', helps emphasise the view that the ultimate form of communications technology is not so much these various forms of communications electronics, so much as language itself.

www.domobaal.com/exhibitions/99-17-international-lawns-fi...

“The ultimate form of communications technology is language itself”

International Lawns, Field Trip No.15
Saturday 4 November 2017
Domo Baal, London

International Lawns present an exhibition installed in Domo Baal gallery, London, for one day only, 4 Nov 2017, with special guests Disinformation, presenting selections from the Colin Banks archive, and the Rural College of Art.

Disinformation is an art project whose work focusses on electricity, communications and language - exploring the creative potential of electronic messaging and laboratory technologies, investigating the psychology of perception of recorded and transmitted speech, and examining relationships between auditory signs and their visual representations. These interests converge in the fields of commercial telecommunications and corporate branding. The philosopher Marshall McLuhan characterised “advertising (as) the folk art of the 20th century”, while the design critic Stephen Bayley argues that “branding should be regarded as the contemporary equivalent of folk art”. The Disinformation project's own (somewhat tongue-in-cheek) branding is inspired by the philosopher’s notion of the “liar paradox”, while specific Disinformation artworks engage with brand entities such as the National Grid and London Underground. For Field Trip 15, Disinformation presents a carefully curated selection of branded telecommunications artefacts from the collection of the typographic designer Colin Banks. 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”. Similarly, despite the emphasis that this exhibition places on branded telecommunications hardware, the display, alongside that hardware, of meticulously-crafted typographical and ideographic 'tools', helps emphasise the view that the ultimate form of communications technology is not so much these various forms of communications electronics, so much as language itself.

www.domobaal.com/exhibitions/99-17-international-lawns-fi...

The Journal for Research on the Visual Media of Language Expression, Vol. VIII, No. 2, Spring 1974, ISSN 0022-2224

www.domobaal.com/exhibitions/99-17-international-lawns-fi...