Rockville, Connecticut, John Oswald, Digital Only
Unidentified Cabinet Card by forgottenfacesforgottenplaces
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Rockville, Connecticut, John Oswald, Digital Only
Rockville, Connecticut, John Oswald, Digital Only
Rockville, Connecticut, John Oswald, Digital Only
Rockville, Connecticut, John Oswald, Digital Only
Rockville, Connecticut, John Oswald, Digital Only
Rockville, Connecticut, John Oswald, Digital Only
Rockville, Connecticut, John Oswald, Digital Only
Rockville, Connecticut, John Oswald, Digital Only
DIGITAL ONLY. Rockville, Connecticut photographer John Oswald. Unidentified Cabinet Card.
DIGITAL ONLY. Rockville, Connecticut photographer John Oswald. Unidentified Cabinet Card.
DIGITAL ONLY. Rockville, Connecticut photographer John Oswald. Unidentified Cabinet Card.
DIGITAL ONLY. Rockville, Connecticut photographer John Oswald. Unidentified Cabinet Card.
Page height advertisement in Time Out magazine, 17 May 2000, page 57, promoting the “Sonic Boom” exhibition at the Hayward Gallery, London, April to June 2000. The “Sonic Boom” exhibitors were Angela Bulloch, Paul Burwell, Disinformation, Heri Dono, Max Eastley, Brian Eno, Paulo Feliciano, Greyworld, Stephan von Huene, Ryoji Ikeda, Philip Jeck, Thomas Köner, Christina Kubisch, Chico MacMurtie, Christian Marclay, Katarina Matiasek, Russell Mills, Mariko Mori, John Oswald, Pan Sonic, Project Dark, Lee Ranaldo (from Sonic Youth), Scanner, Paul Schütze, Rafael Toral and Ian Walton. Click on the image to enlarge.
“Sonic Boom” was curated by David Toop and Fiona Bradley, and was (and still is) the largest and most ambitious exhibition of sound art ever staged in the UK (and, in terms of cultural context, it’s also interesting to note that the reverse page in this Time Out advertises “Witness” - the UFO themed exhibition by Susan Hiller, staged by Artangel, and “Ant Noises” at the Saatchi Gallery - featuring Damien Hirst, Ron Mueck, Gavin Turk, Chris Ofili and Rachael Whiteread). For details of the “Sonic Boom” performances follow the links...
www.flickr.com/photos/disinfo/35498595384/
Advertisement printed in Art Monthly magazine (June 2000, issue 237) announcing the performance “with live mains electricity” by sonic arts project Disinformation, which was presented live at the Hayward Gallery, London, on the 2nd June 2000. Four years after the first performance of “National Grid” (at club Disobey, 1996) the Hayward Gallery performance employed three electromagnetic sources - re-tuned electrical noise from live mains transformers (“National Grid”, published 1996), shortwave radio noise from the sun (“Stargate”, also 1996), plus live radio noise from the sound and light installation “Artificial Lightning”, also by Disinformation.
The “Artificial Lightning” installation was set-up in a (large) darkened space, between the “Mantle” exhibit by Russell Mills and Ian Walton, and the “Civic Recovery Centre” by Brian Eno. The performance took place inside this space, was well advertised (in Art Monthly, Time Out and The Wire magazines) and was physically packed - so well attended that it proved impossible to fit the whole audience in. The Hayward Gallery deemed the performance to have been a success… because young people turned-up “wearing expensive trainers” (direct quote).
The Hayward Gallery’s catalogue for “Sonic Boom” documents the Disinformation artworks “National Grid”, the “Negatives of Lightning” and “The Analysis of Beauty”, and the “Sonic Boom” CDs feature a recording of “National Grid”. The catalogue also features photos of coastal air-defence Sound Mirrors, from the “Blackout” project, and a 2-page spectrogram of the extraordinarily musical swooping and swirling radio noise produced by “Artificial Lightning”. In terms of electromagnetic sound art, “National Grid” precedes works such as “Electrical Walks” by fellow “Sonic Boom” exhibitor Christina Kubisch by seven years.
The “Artificial Lightning” exhibit was described as “actively thrilling” and “admirable” by William Packer (in the Financial Times), while Sci-Fi author Jeff Noon wrote (in The Independent) that “people are fascinated by this work”. Sian Ede (of the Calouste Gulbenkian Foundation) described the exhibit as “way and ahead the best piece in Sonic Boom”. Reviewing “Sonic Boom” for the same issue of Art Monthly (page 35), sound artist David Cunningham described the Disinformation exhibit however as “disturbing” and as featuring “aggressive oscillators” (there were no oscillators).
The “Artificial Lightning” exhibit was later re-titled “The Origin of Painting” (in homage to “The Maid of Corinth, or the Origin of Painting” by the eighteenth century painter Joseph Wright), and has since been exhibited throughout the UK, and in Holland, Belgium and Spain, more than 30 times. The “Sonic Boom” exhibition drew over 36,000 visitors - just under 700 per day. “The Origin of Painting” exhibition at Fabrica (Brighton, 2001) was attended by 9,300 people - 332 per day, which was pretty good, especially considering the huge difference is resources.
The Art Monthly advertisement also announces performances by the artist David Toop, who curated Sonic Boom in conjunction with Fiona Bradley, and by the artist Harry Bertoia. Sonic Boom exhibitors included Angela Bulloch, Paul Burwell, Disinformation, Heri Dono, Max Eastley, Brian Eno, Paulo Feliciano, Greyworld, Stephan von Huene, Ryoji Ikeda, Philip Jeck, Thomas Köner, Christina Kubisch, Chico MacMurtie, Christian Marclay, Katarina Matiasek, Russell Mills, Mariko Mori, John Oswald, Pan Sonic, Project Dark, Lee Ranaldo, Scanner, Paul Schütze, Rafael Toral and Ian Walton.
www.flickr.com/photos/disinfo/22175744070/
Special thanks to Tim Register
First Released 11/1994
Transitive Axis (7/25/1994)
Mirror Ashes (7/1995)
Released Together 9/15/1995
Promotional graphics advertising the Disinformation performance at The Hayward Gallery, London, 2 June 2000. The performance took place inside “Artificial Lightning” - a hugely successful and wildly interactive sound, light and shadow installation, that since toured extensively under the revised title “The Origin of Painting”. The Hayward Gallery performance consisted of the live electromagnetic soundtrack used in the “Artificial Lightning” installation, mixed with an in-situ performance of “National Grid” (electromagnetic noise from live alternating current), mixed with (pre-recorded) sounds from the Disinformation “Stargate” recordings (radio emissions from the sun), originally released (alongside “National Grid”) by the record company Ash International in 1996. The performance was widely advertised (in for instance Time Out magazine) and physically packed, taking place as part of the “Sonic Boom” exhibition, curated by David Toop and organised by Fiona Bradley, which ran at The Hayward Gallery, April to June 2000.
Sonic Boom exhibitors included Angela Bulloch, Paul Burwell, Disinformation, Heri Dono, Max Eastley, Brian Eno, Paulo Feliciano, Greyworld, Stephan von Huene, Ryoji Ikeda, Philip Jeck, Thomas Köner, Christina Kubisch, Chico MacMurtie, Christian Marclay, Katarina Matiasek, Russell Mills, Mariko Mori, John Oswald, Pan Sonic, Project Dark, Lee Ranaldo, Scanner, Paul Schütze, Rafael Toral and Ian Walton. “Artificial Lightning” was installed directly adjacent to Brian Eno’s exhibit. Siân Ede (of the Calouste Gulbenkian Foundation) described “Artificial Lightning” as (quote) “way and ahead the best piece in Sonic Boom”, sci-fi author Jeff Noon wrote in The Independent newspaper that “people are fascinated by this work; it brings a shiver, a sudden recognition of death... as though we have seen or heard our own ghost”, and, writing in The Financial Times, the art critic William Packer described the Disinformation installation as “actively thrilling”.
Similar graphics were previously produced for Disinformation performances at Disobey (10 Oct 1996), The Royal College of Art (5 Dec 1996) and South London Gallery (15 Aug 1998) etc. The promotional graphics feature 3d computer models of VLF and military radio antennas, which served as de-facto Disinformation logos on various CDs and catalogues etc from 1996 onwards.
rorschachaudio.com/author-info/
Special thanks to Tim Register
File Name: CHA_S23_Ribbon Cutting
Citation: From the College History Archives, Archives and Special Collections at the Penn State Harrisburg Library, Pennsylvania State University Libraries.
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Original held by Archives and Special Collections, Penn State Harrisburg
Institution: The Pennsylvania State University
Location: Middletown, PA
Contact us: 717.948.6070
File Name: CHA_S23_Heindel Oswald and Herpel
Citation: From the College History Archives, Archives and Special Collections at the Penn State Harrisburg Library, Pennsylvania State University Libraries.
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Original held by Archives and Special Collections, Penn State Harrisburg
Institution: The Pennsylvania State University
Location: Middletown, PA
Contact us: 717.948.6070
In loving memory of the undermanned seventeen Protestant Martyrs who for their faithful testimony to God's Truth were during the Reign of Queen Mary Burned to Death in front of the then Star Inn - Now the Town Hall - Lewes. This Obelisk provided by public subscriptions, was erected A.D. 1901. Dates of Martyrdom
Dirick Carver of Brighton July 22nd 1555 - Thomas Harland and John Oswald both of Woodmancote and Thomas Avington and Thomas Reed both of Ardingly June 6th 1556 - Thomas Wood (A minister of the Gospel) of Lewes and Thomas Myles of Hellingly about June20 1556 - Richard Woodman and George Stevens both of Warbleton Alexander Hosman, William Mainard and Thomasina Wood all of Mayfield Margery Morris and James Morris (her son) both of Heathfield Denis Burges of Buxted, Ann Ashdon of Rotherfield, Mary Groves of Lewes June 22nd 1557
And they overcame - because of the blood of the lamb, and because of the word of their testimony and they loved not their lives even unto death Rev. 12 v 11 (R.V)
