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cold c utLetUsPl 
2009-10-20 - extension: rar - size: 94 MB
cold c utLetUsPl
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cold c utSM 2009-10-20 - extension: rar - size: 80 MB
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Coldcut - Sound Mirrors Ninja Tune ZENCD115P .zip 
2008-12-08 - extension: zip - size: 82 MB
Coldcut - Sound Mirrors Ninja Tune ZENCD115P .zip
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Disinformation "Blackout" Sound Mirrors This sequence features brief extracts from "Blackout (The Antiphony Video Supplement)" by (More) This sequence features brief extracts from "Blackout (The Antiphony Video Supplement)" by Disinformation - Barry Hale's highly influential (and frequently copied) film of concrete parabolic air-defence Sound Mirrors, built at various sites on the UK coast between WW1 and WW2. "Blackout" was conceived as an installation supplement to Sound Mirror images by photographer Julian Hills (taken in January 1996) which appear on the sleeve of the Disinformation "Antiphony" double remix CD, published by the record company Ash International in 1997 [1] [2].
Barry Hale's Sound Mirror video has been shown at NTT ICC (Tokyo), The Royal College of Art (London), Galerie fur Zeitgenossische Kunst (Leipzig), The Art House (London), Schirn Kunsthalle (Frankfurt), The Dom (Moscow), and exhibited at The ICA (London), CCCB (Barcelona), The Mac (Birmingham), Now 1999 (Nottingham), Waygood Gallery (Newcastle), Quay Arts (Isle of Wight), Wrexham Arts Centre, South Hill Park (Bracknell), Saltburn Artists Projects, Q Gallery (Derby), Study Gallery of Modern Art (Poole), Event Gallery (London), Ginza Art Lab (Tokyo) and The Latvian National Museum of Art.
Documentation of the Disinformation project appears in The Wire magazine in 1997; in "100% Pylon" by Angus Carlyle, pp. 68-83, "Themepark" 2, 2000; in The Hayward Gallery "Sonic Boom" catalogue, pp. 26-29, 2000; the "Sound Art - Sound as Media" catalogue, pp. 70-73, NTT ICC Tokyo 2000; "The Analysis of Beauty" exhibition catalogue 2003; the "Waves" catalogue, pp. 48-49, Latvian National Museum of Art 2006, and others. The "Antiphony Architectural Supplement" appears in Sound Projector, issue 6, pp. 57-64, 1999.
The long version of this film runs just short of 20 minutes, and (even in 2008) remains one of the most comprehensive visual surveys of these extraordinary structures ever conducted. One element notable by its absence from this edit is the long (and beautiful) abstract sequence which Barry created for the middle of the full version of this film.
This video is virtually identical to later films by Tacita Dean and Lise Autogena, etc [3], and if there is any confusion about the similarity between the original Sound Mirrors film and Tacita Dean's (much later) film "Sound Mirrors", readers should refer to art historian and curator Anda Rottenberg's letter to Art Monthly [4] about the similarity between artist Katarzyna Kozyra's film "Bath House" - of people chatting in a bath house in Budapest, and Tacita Dean's (much later) film "Gellert" - also of people chatting in a bath house in Budapest! What's most surprising is the fact that Tacita Dean's "Sound Mirrors" was commissioned (by The Public Art Development Trust) AFTER these "methods" had been exposed in the art press.
In a virtuoso display of institutional gullibility, a plan by artist Lise Autogena to build 2 new communicating sound mirrors received funding from The Royal Society of Arts "Art for Architecture" scheme, The Arts Council England, Creative Partnerships, Shepway District Council and South East Arts, and support from Arts Catalyst, Demos, Fondation de France, and £70,000 from The National Endowment for Science, Technology and the Arts, despite Autogena freely admitting that (in her own words) she knows "absolutely nothing" [5] about acoustics! Anyone with any knowledge of meteorological or acoustic science would know that any proposal to use parabolic reflectors to transmit human speech across the English channel always was inherently technically unsound. However, when in trouble, reach for the "community", so this expenditure has not only been rationalised as a product of "idealism", but also justified on grounds that it provided opportunities to host workshops teaching schoolkids about (no kidding) "science".
Despite the precedents, Autogena's website declares her ideas to be "groundbreaking" and "innovative" (!) and (equally predictably) contains passages that are almost verbatim quotes from earlier "Antiphony" texts. Writing in The Guardian, Tom Dyckhoff reported Autogena's promise to deliver the finished project "in 2002"... six years later, you'd have thought the penny might have dropped, but resources are still being diverted away from viable projects to try and keep this one afloat. The greater tragedy is that in response to increased public interest, a deep trench has now been cut in front of the main Sound Mirror site, which can only be crossed over a metal swing-bridge, which is normally locked shut - in other words the great and the good have responded to public enthusiasm for the Sound Mirrors, by spending public money on restricting public access to the Sound Mirrors.
[1] http://www.discogs.com/release/117617
[2] http://rixc.lv/waves/en/txt08.html
[3] The correct chronology of these projects is documented in "Listening for the Enemy" by Brian Dillon, pp. 68-71, "Cabinet" 12, New York 2003
[4] Art Monthly, Oct 1998, page 14
[5] "I'm on the Beach" The Guardian, 13 June 2001 (Less)
Disinformation and Hari Kunzru Noise DJ and sound artist Joe Banks interviewed by Hari Kunzru for the Sky TV arts programme (More) Noise DJ and sound artist Joe Banks interviewed by Hari Kunzru for the Sky TV arts programme "The Lounge" in 1999. The content of the interview relates to recordings of usually VLF band radio / electromagnetic noise produced by the sun, live mains electricity, lightning, VLF "whistlers", domestic appliances, IT technology and industrial hardware, railway and metro systems etc, produced by Disinformation and released (by the record company Ash International) on CD and LP between 1996 and 1999, described as "electronic wildlife recording". See http://www.youtube.com/watch?v=B13-09K-Ubc (video and text) for more details. These ideas were later "rediscovered" (lock, stock and barrel) by artists like (amongst others) Honor Harger and Joyce Hinterding.
Hari is the journalist and author most famous for receiving a £1.25 million advance for his novel "The Impressionist", and for telling the Daily Mail newspaper where to shove it on their attitude to immigration. However the main purpose of uploading this clip is to document the connection between Disinformation's work with Sound Mirrors, to themes that Hari and DJ group Coldcut explored in their BBC radio play "Sound Mirrors", as followed by Coldcut's own (equally imaginatively entitled) project "Sound Mirrors". Disinformation Sound Mirror images also appear on page 59 of the 2001 Sonar Festival catalogue, while Coldcut's contribution appears on page 63 of that same catalogue, so there's no question that Coldcut knew about Disinformation's work as well.
See http://rixc.lv/waves/en/txt08.html + http://www.discogs.com/release/117617 + http://www.youtube.com/watch?v=qsR3qyJDk0c etc.
Disinformation's VLF work was most recently exhibited in the "4:33" exhibition at Kunstverein Bregenz, Austria in July 2007 (alongside work by Martin Creed), see http://www.bregenzerkunstverein.at/english/m4_4_33.htm (Less)
c2005 2009-06-01 - extension: rar - parts: 2 - size: 40 MB
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