Exhibition: Disinformation ‘Language [as] Meta-Technology
Next Sunday December 2 closes the inaugural exhibition of the Passen-gers off-site series: Disinformation ‘Language [as] Meta-Technology. Passen-gers is a site-specific exhibition series that explores the historical, social and material contexts of prominent sites and architecture. It references the 1975 film The Passenger by Michelangelo Antonioni that features the Brunswick Centre as a location. To encourage deeper discussion on architecture and the built environment, the exhibitions are supported by Gauld Architecture, a London based architectural practice.
CW Morris, Umberto Eco, Roland Barthes, and Colin Cherry are four of the most prominent thinkers of our time on the subject of semiotics. If for Umberto Eco was the ‘the discipline studying everything which can be used in order to lie’, Roland Barthes associated sings with myths and in his The Fashion System Barthes showed how the adulteration of signs could be translated into words.
Disinformation ‘Language [as] Meta-Technology, produced by Joe Banks, is an electronic music, arts research and installation art project, whose work focuses on communications, electricity and language and goes a step further on this analysis of semiotic. Disinformation‘Language [as] Meta-Technology takes language as metaTechnology by using a variety of speech recording, speech synthesis, psychoacoustics research and speech coding technologies. Other works that are also being exhibited at Sluice HQ include Spellbound (2001), an installation which alludes to ethical dilemmas similar to those explored by the plays Copenhagen (1998) by Michael Frayn and Oppenheimer (2015) by Tom Morton-Smith and Theophany (2000), a recording of VLF-band radio noise radiated by a single lightning strike.
Text by CLOT Magazine (Twitter @clotmagazine)
(All photos courtesy of Passen-gers)