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“Electric Spirits: Sonic Shadows” is an online feature by the writer Farhad Mirza, composed in response to the “Antithesis” exhibition by the artist project Disinformation...

Read the article here - newart.city/blog/electric-spirits

“Antithesis” is a permanent virtual exhibition of electromagnetic sound and (related) video artworks, commissioned by Schemata Arts, and hosted on-line by the virtual art platform New Art City. The feature is based on extensive interviews with Schemata Arts curator Alice Hoffmann-Fuller and Disinformation producer Joe Banks, and discusses “Antithesis” in relation to (the Japanologist) Lafcadio Hearn, (the writers) Junichiro Tanizaki and Ivan Chtcheglov, (the scientist) Michael Faraday, (the architect) Rodney Gordon, (the architectural theorist) Or Ettlinger, and (the anti-superstition campaigner) Narendra Dabholkar. The article posits the sound zones within “Antithesis” as a user-operated “spatial remix engine”.

From the “Antithesis” press release - rorschachaudio.com/wp-content/uploads/2022/03/disinformat...

Curated and designed by Alice Hoffmann-Fuller, the latest exhibition in Schemata, Corsica Studios’ new experimental arts platform, takes place in a 3D digital rendering of Corsica Studios, hosted by on-line gallery platform New Art City. The “Antithesis” exhibition features brand new and archival work by the innovative and influential audio-kinetic art project Disinformation.

The Disinformation project’s exhibition for Schemata is in part inspired by the close proximity of Corsica Studios to the Brutalist architect Rodney Gordon’s iconic memorial to the electrical scientist Michael Faraday, installed, close to Corsica Studios, at the Elephant & Castle in 1961. The Disinformation sound artwork “National Grid” was first released on LP and performed live in 1996, and first exhibited as an art gallery sound installation in 1997. “National Grid” uses electromagnetic noise from live mains electricity to create a monolithic and immersive sound installation, which is conceived as a musical tribute to “the (creative) genius of electrification”. The Michael Faraday memorial itself contains an electrical substation, which feeds high-voltage power to the London Underground; and it is consistent with the assertion that “art is not necessarily science, but science is always art” that the original design for the Michael Faraday memorial envisaged this important work of public art as being a glass container (not, as it stands at present, a highly reflective steel box). On this basis, and in terms that are equally antithetical to the conventional wisdom of mainstream contemporary art, it can be argued that the true purpose of the architect’s original design was to enable members of the public to view what can be seen as the “real” work of art - meaning (of course) to view the electrical infrastructure.

Exhibition portal – newart.city/show/schemata-disinformation-antithesis

Images: [top left] “Antithesis” Instagram graphic, image from the “National Grid” video + sound artwork by Disinformation (1996-2001); [top right] Michael Faraday Memorial, Rodney Gordon (1961) [London SE1 6SB] [51°29'42"N 0°6'2"W]; [bottom left] “Antithesis” sound spheres, programmed by Alice Hoffman-Fuller (2022); [bottom right] virtual 3D model of the Michael Faraday Memorial, programmed by Alice Hoffman-Fuller (2022).

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

Disinformation – “Antithesis”
Virtual exhibition for Schemata Art
Hosted by New Art City + Corsica Studios
March 2022 onwards (indefinite exhibition)

Full description + user guide – rorschachaudio.files.wordpress.com/2022/03/disinformation...

3D view – newart.city/show/schemata-disinformation-antithesis

Catalogue view - newart.city/catalog/schemata-disinformation-antithesis

Curated and designed by Alice Hoffmann-Fuller, the latest exhibition in Schemata, Corsica Studios’ new experimental arts platform, takes place in a 3D digital rendering of Corsica Studios, hosted by on-line gallery platform New Art City. The “Antithesis” exhibition features brand new and archival work by the highly innovative and influential audio-kinetic art project Disinformation.

The Disinformation project’s exhibition for Schemata is in part inspired by the close proximity of Corsica Studios to the Brutalist architect Rodney Gordon’s iconic memorial to the electrical scientist Michael Faraday, installed, close to Corsica Studios, at the Elephant & Castle in 1961. The Disinformation sound artwork “National Grid” was first released on LP and performed live in 1996, and first exhibited as an art gallery sound installation in 1997. “National Grid” uses electromagnetic noise from live mains electricity to create a monolithic and immersive sound installation, which is conceived as a musical tribute to “the (creative) genius of electrification” [1]. The Michael Faraday memorial itself contains an electrical substation, which feeds high-voltage power to the London Underground; and it is consistent with the assertion that “art is not necessarily science, but science is always art” [2] that the original design for the Michael Faraday memorial envisaged this important work of public art as being a glass container (not, as it stands at present, a highly reflective steel box). On this basis, and in terms that are equally antithetical to the conventional wisdom of mainstream contemporary art, it can be argued that the true purpose of the architect’s original design was to enable members of the public to view what can be seen as the “real” work of art - meaning to view the electrical infrastructure.

[1] Hull Time Based Arts TOOT Festival Programme, Mute Magazine (special supplement) Oct 1999
[2] Joe Banks “The Rumble” (catalogue) Royal Society of Sculptors, March 2001

“Virtually all the physical phenomena we experience, such as light, chemical reactions, the properties of materials, and the transmission of signals along nerve fibres, are electrical in nature. In fact, the only non-electrical force we experience every day is the force of gravity.” – Harris Benson “University Physics” Wiley 1991

See also - www.flickr.com/disinfo/31910925141/

Disinformation – “Antithesis”
Virtual exhibition for Schemata Art
Hosted by New Art City + Corsica Studios
March 2022 onwards (indefinite exhibition)

Full description + user guide - rorschachaudio.files.wordpress.com/2022/03/disinformation...

3D view – newart.city/show/schemata-disinformation-antithesis

Catalogue view - newart.city/catalog/schemata-disinformation-antithesis

Curated and designed by Alice Hoffmann-Fuller, the latest exhibition in Schemata, Corsica Studios’ new experimental arts platform, takes place in a 3D digital rendering of Corsica Studios, hosted by on-line gallery platform New Art City. The “Antithesis” exhibition features brand new and archival work by the highly innovative and influential audio-kinetic art project Disinformation.

The Disinformation project’s exhibition for Schemata is in part inspired by the close proximity of Corsica Studios to the Brutalist architect Rodney Gordon’s iconic memorial to the electrical scientist Michael Faraday, installed, close to Corsica Studios, at the Elephant & Castle in 1961. The Disinformation sound artwork “National Grid” was first released on LP and performed live in 1996, and first exhibited as an art gallery sound installation in 1997. “National Grid” uses electromagnetic noise from live mains electricity to create a monolithic and immersive sound installation, which is conceived as a musical tribute to “the (creative) genius of electrification” [1]. The Michael Faraday memorial itself contains an electrical substation, which feeds high-voltage power to the London Underground; and it is consistent with the assertion that “art is not necessarily science, but science is always art” [2] that the original design for the Michael Faraday memorial envisaged this important work of public art as being a glass container (not, as it stands at present, a highly reflective steel box). On this basis, and in terms that are equally antithetical to the conventional wisdom of mainstream contemporary art, it can be argued that the true purpose of the architect’s original design was to enable members of the public to view what can be seen as the “real” work of art - meaning to view the electrical infrastructure.

[1] Hull Time Based Arts TOOT Festival Programme, Mute Magazine (special supplement) Oct 1999
[2] Joe Banks “The Rumble” (catalogue) Royal Society of Sculptors, March 2001

“Virtually all the physical phenomena we experience, such as light, chemical reactions, the properties of materials, and the transmission of signals along nerve fibres, are electrical in nature. In fact, the only non-electrical force we experience every day is the force of gravity.” – Harris Benson “University Physics” Wiley 1991

See also - www.flickr.com/disinfo/31910925141/

Electromagnetic sound art in virtual exhibition space...

Disinformation – “Antithesis”
Virtual exhibition for Schemata Art
Hosted by New Art City + Corsica Studios
March 2022 onwards (indefinite exhibition)

Full description + user guide – rorschachaudio.files.wordpress.com/2022/03/disinformation...

3D view – newart.city/show/schemata-disinformation-antithesis

Catalogue view - newart.city/catalog/schemata-disinformation-antithesis

Curated and designed by Alice Hoffmann-Fuller, the latest exhibition in Schemata, Corsica Studios’ new experimental arts platform, takes place in a 3D digital rendering of Corsica Studios, hosted by on-line gallery platform New Art City. The “Antithesis” exhibition features brand new and archival work by the highly innovative and influential audio-kinetic art project Disinformation.

The Disinformation project’s exhibition for Schemata is in part inspired by the close proximity of Corsica Studios to the Brutalist architect Rodney Gordon’s iconic memorial to the electrical scientist Michael Faraday, installed, close to Corsica Studios, at the Elephant & Castle in 1961. The Disinformation sound artwork “National Grid” was first released on LP and performed live in 1996, and first exhibited as an art gallery sound installation in 1997. “National Grid” uses electromagnetic noise from live mains electricity to create a monolithic and immersive sound installation, which is conceived as a musical tribute to “the (creative) genius of electrification” [1]. The Michael Faraday memorial itself contains an electrical substation, which feeds high-voltage power to the London Underground; and it is consistent with the assertion that “art is not necessarily science, but science is always art” [2] that the original design for the Michael Faraday memorial envisaged this important work of public art as being a glass container (not, as it stands at present, a highly reflective steel box). On this basis, and in terms that are equally antithetical to the conventional wisdom of mainstream contemporary art, it can be argued that the true purpose of the architect’s original design was to enable members of the public to view what can be seen as the “real” work of art - meaning to view the electrical infrastructure.

[1] Hull Time Based Arts TOOT Festival Programme, Mute Magazine (special supplement) Oct 1999
[2] Joe Banks “The Rumble” (catalogue) Royal Society of Sculptors, March 2001

“Virtually all the physical phenomena we experience, such as light, chemical reactions, the properties of materials, and the transmission of signals along nerve fibres, are electrical in nature. In fact, the only non-electrical force we experience every day is the force of gravity.” – Harris Benson “University Physics” Wiley 1991

See also - www.flickr.com/disinfo/31910925141/

En amont de l’ouverture officielle de BNLMTL 2016, "Le Grand Balcon", La Biennale de Montréal présente, en collaboration avec POP Montréal, une performance spéciale de l’artiste et DJ libanais Joseph Namy. Venez faire l'expérience de "Automobile", une pièce composée d’un orchestre de neuf voitures munies d'un système stéréo super puissant et modifié, à La Station, centre intergénérationnel à l’Île-des-Sœurs, ancienne station-service Esso conçue par le célèbre architecte Mies van der Rohe.

La performance se transformera en une célébration de la culture audio montréalaise des automobiles "custom" et en un party auquel le grand public sera convié !

Joe Namy explore des sujets tels que la mémoire, l'identité et le pouvoir en utilisant l'échantillonnage, l'expérimentation musicale, la vidéo et la photographie.

-------------------------------------------------------------------------------------As a prelude to the official opening of BNLMTL 2016, "Le Grand Balcon" on October 19, La Biennale de Montréal presents a special performance entitled "Automobile" by Lebanese artist and DJ Joe Namy, in collaboration with POP Montréal and La Station, centre intergénérationnel.

Previously staged in Beirut, Mannheim, Gwangju and Abu Dhabi, among other places, Montréal is proud to host the Don't North American premiere of this performative work.

In his artistic practice, Namy explores memory, identity and power, using sampling, musical experimentation, video and photography.

For the performance at La Station, centre intergénérationnel, on l’Île-des-Sœurs⎯a former Esso service station designed by world-renowned architect Mies van der Rohe⎯the artist is working with Québec owners of custom-modified cars to form an orchestra of automobiles by linking their souped-up, customized stereo systems. Through his computer, Namy mixes the music relayed over multiple channels to create a spatialized, immersive sound composition.

www.facebook.com/events/182304538868938/

Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM

Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM

Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM

Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM

Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM

Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM

Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM

Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM