Thomson & Craighead’s Never Odd Or Even has been chosen as Show of the Week in Time Out, which, in a review awarding the exhibition five stars, remarks that this ‘mini-survey makes a strong case for the duo being two of our most forward-looking and underrated artists’. The show itself has been extended until Saturday 13 July, so there’s still a chance to visit before the gallery takes an extended summer break until the next exhibition in September.

Their first ever survey show, featuring seminal works such as ‘More Songs of Innocence and of Experience’ (2012), and ‘Time Machine in alphabetical order’ (2011), Never Odd or Even also includes a new work that grows day by day: ‘London Wall W1W’ (2013) is the artists’ physical manifestation of Tweets drawn from within a one-mile radius of Carroll / Fletcher, which are then turned into propaganda-style posters and adhered to the gallery wall. Keep up to date with the latest tweets from W1W on @CarrollFletcher and tclondonwall.tumblr.com.

From 7pm on Wednesday 10 July, the artists are repeating the popular tour of the show they gave in June. Bookings can be made at carrollfletcher.eventbrite.com.

Modernity on Display: Technology, Science and the Culture Wars at International Expositions circa World War II

Thursday 4^th April 2013, 4 – 7 p.m.
Boardroom, University of Westminster, 309 Regent Street, London W1B 2UW.

Speakers:
Professor Robert Kargon, Willis K. Shepard Professor of the History of Science, Johns Hopkins University, Baltimore.
Dr Arthur Molella, Director, The Lemelson Center, National Museum of American History, Smithsonian Institution, Washington DC.

International expositions are receiving significant attention from historians of science and technology, and of culture more generally. These complex events mirror ideological and national rivalries as well as domestic social, economic and political struggles. In short, they are remarkable indices of important historical tensions. Especially interesting are the international expositions planned and/or mounted just before the outbreak of the Second World War. These expositions reflected the political regimes of the host countries, and in some cases serious divisions within them. They also highlight increasingly tense ideological divisions between nations representing liberal or social democratic republics (France and the US), communist (Soviet Union) and reactionary modernist or fascist regimes such as Germany, Italy and Japan.

The book in progress on which this seminar will be based includes chapters about World’s Fairs and expositions from 1937 to 1942, drawing upon three actually built, Paris, 1937, Dusseldorf 1937 and New York 1939, and two planned in detail but, owing to the coming of war, never executed, Tokyo 1940 and Rome 1942. The presentations will use two examples – New York 1939 and Rome 1942 – to illuminate the representation of science and technology at these fairs as indicators of modernity as part of the on-going culture and propaganda wars preceding actual hostilities.

Organised by the Graduate School, University of Westminster

R.S.V.P. Sharon Sinclair, sinclas@westminster.ac.uk

Wednesday 6th March, 4pm – 5.15pm
Wells Street, room 106

Allan Stoekl (Penn State University / IMCC)
“Le Corbusier and the Challenge of a Pascalian Technocracy”

Jon Goodbun’s review of Eden Medina’s fascinating Cybernetic Revolutionaries: Technology and Politics in Allende’s Chile is currently up as a freebie on the Radical Philosophy website here.

A new piece by Chris Daley in the excellent online journal Alluvium about railway fiction. Here’s the first couple of paragraphs:

Railways are news. On the one hand, they are the source of consternation as above inflation fare rises couple with the perceived drudgery of commuting to characterise the railways as a site of soaring ticket prices and overcrowded, invariably late trains. But this sentiment lives alongside whimsy and romanticism, be it through preservation lines or the restoration of ageing steam engines. This paradoxical image of the railway system is, however, nothing new within the British popular imagination and as Ian Carter (2000) points out, this may have something to do with the railways’ historical link to contested areas of modern everyday life: “So much that we take for granted today was invented or perfected in the nineteenth century to facilitate railways’ development, or to limit their potential for political, fiscal or physical mayhem: standardised time, a disciplined and uniform labour force, large-scale bureaucratic organisation, joint-stock industrial corporations, close State regulation of private capitalists’ activities.”

Similarly, British fiction has maintained an ambivalent relationship with railways. Confronted with a new revolutionary transport system, Victorian novelists offered the most sustained exploration of the potentialities of trains, yet by being, as Nicholas Daly (1999) puts it, ‘the agent and icon of the acceleration of the pace of everyday life’ (463) in the mid-nineteenth century, the railways were also a source for the countless anxieties of industrialisation. Contemporary fiction, in Britain at least, is curiously quiet on the railways, with their appearance often limited to neo-Victorian narratives that attempt to reignite the energy of the steam age. However, to mark the 150 year anniversary of the London Underground, Penguin will release, in March, a series of railway writings that could, perhaps, ignite an imaginative investigation of a transport system that is often seen as mundane, yet is simultaneously a potent symbol of transformation. It is therefore apt to briefly map the terrain of railways in fiction and popular culture in order to anticipate where any future speculation may venture.

Read further at: http://www.alluvium-journal.org/2013/01/12/railways-and-fiction/

Wednesday 31^st October, 4.00pm – 5.30pm
Wells Street, room 106

Zara Dinnen (Birkbeck College, University of London)
Did we Miss it? The Legacy of Cyberculture in Contemporary Representations of Digital Technology

It seems today the watchword of the contemporary is augmented reality not virtual reality. As we move toward an increasingly ubiquitous digital culture, are we able to begin to historicise late twentieth century projections for a digital future? This talk will discuss how cyberculture might be perceived as being of a distinct technocultural moment, and the ways that might matter for approaches to our digital present.

Further details as usual at: http://seminarserieswmin.wordpress.com/

Alexa Wright is taking part in Digital Aesthetic³ 2012, an international exhibition and conference which explores the impact that the digital has on our sense of self and our relationship to the physical world. The exhibition is housed in the Harris Museum & Art Gallery, and the University of Central Lancashire’s PR1 Gallery in Preston. It demonstrates some of the diverse ways that artists are utilising digital technology, including projection, digital print, 3d work, screen based video work, touch panel installation, and a live interactive website. The conference takes place over Friday Oct 5^th and Saturday Oct 6^th. In a great line up, other participants include Mark Amerika, Sean Cubitt and Sophie Calle.

Further details at: http://digitalaesthetic.org.uk/

#Citizencurators is a history project that will record the experience of Londoners during the Olympic fortnight. Created for the Museum of London, #Citizencurators will collect tweets, moments and images using social networking to tell the story of everyday life in the capital. Directed by the IMCC’s Peter Ride and the Museum of London’s Hilary Young, with a project team made up of students from the MA Museums, Galleries and Contemporary Culture at Westminster, the aim is to investigate how new media/ social networking can provide alternative approaches to supplement contemporary collecting. As action research project, it is also designed to result in knowledge that can assist the Museum in the collection and management of ‘born digital’ material.

#Citizencurators explores what it is like to live in London during the Olympic fortnight (27 July – 12 August). The established narrative of the Olympics is focused on the experience of the athletes, participants, employees and tourists. However a larger part of the Olympic experience in London is not being articulated. This is the daily experience residents whose lives are inevitably caught up in the Olympics but who are ‘bystanders’. What will the Olympics mean to the single mum with a young family in Stratford, the work commuter who uses the Jubilee line, the resident in an apartment block partially occupied by the army, the young club-goer intending to enjoy a summer of fun, the foreign student or to the Starbucks barista? Will the Olympic experience unfold as community-strengthening activity or a headache of disruptions and an overflow of tourists?

To take part, simply tweet like you normally do and use the #citizencurators hashtag. Ultimately by following typical tweeters the team want to collect streams that document peoples’ lives in London during the Games in a way that reflects the normal use of social media, not something out of the ordinary.

For further details, see: http://citizencurators.com/

Great piece by Chris Daley in the new online journal Alluvium about nuclear criticism. Here’s the first paragraph:

In 1984, the journal Diacritics set out to define what it labelled as the developing academic terrain of ‘nuclear criticism’. The opening section of the journal entitled ‘Proposal for a Diacritics Colloquium on Nuclear Criticism’ established that ‘critical theory ought to be making a more important contribution to the public discussion of nuclear issues’ and proceeded to list a series of nuclear themes that required immediate consideration. Among these were an examination of the nuclear arms race and the ‘dialectic of mimetic rivalry’ it provoked, ‘the power of horror’ and most pertinently ‘the representation of nuclear war in the media as well as in the literary canon’. This last topic was all the more powerful for a mid-eighties audience as the early years of the decade had seen a re-emergence of nuclear anxieties that were reminiscent of the fears twenty years earlier during the Cuban Missile Crisis. The election of Ronald Reagan in 1980 and his subsequent verbal assaults on the ‘evil empire’ of the Soviet Union, energised the ferocious ideological divide between the two superpowers that had ebbed and flowed in intensity throughout the Cold War. Meanwhile, in both the United States and Britain a variety of cultural and media productions speculated on the consequences of such intense political rhetoric. While these texts were predominantly non-canonical and therefore often overlooked by the nuclear critics, they nonetheless question and evaluate the purpose of the nuclear referent in the political power struggle of the Cold War.

Read further at: http://www.alluvium-journal.org/2012/07/01/nuclear-criticism/

Wednesday 6^th June 2012, 4pm
Room 358, University of Westminster, 309 Regent Street, London W1B 2UW

Professor Thomas Y. Levin
Princeton University / IKKM Bauhaus University, Weimar

“Ghostly Surveillance: Some Stabs in the Ciné-Narratological Dark”

Simultaneous with the increasingly widespread use of surveillance as a narrative device in contemporary cinema – its most obvious manifestation being the rise of so-called “real-time” transmission characteristic of CCTV systems in films such as The Truman Show — we are also witnessing a curious proliferation of ghosts within the surveillant machinery, from disturbing videocasettes desposited mysteriously on doorsteps (Lost Highway, Caché) to the re-appearance of people who are supposedly dead on the screens of corporate security systems (Michael Almereyda’s Hamlet [2000]) and the documentation of the presence of demons by means of home surveillance cameras (Paranormal Activity).  While it could be argued that at least since Bentham, there has always been a ghostly dimension to surveillance (the panoptic tower functions despite the complete inability to determine whether anyone is actually really inside), what might these ghostly apparitions reveal about the assumptions we make about surveillance images, indeed about cinema as such?

Thomas Y. Levin teaches media theory and history, cultural theory, intellectual history, and aesthetics. His essays have appeared in October, Grey Room, New German Critique, Screen, The Yale Journal of Criticism, and Texte zur Kunst. He translated and edited the critical edition of Siegfried Kracauer’s The Mass Ornament: Weimar Essays (1995). He was part of the curatorial collective responsible for the first exhibition on the Situationist International at the Centre Pompidou, ICA London and the ICA Boston in 1989. Levin also conceived and curated the exhibition CTRL [SPACE], Rhetorics of Surveillance from Bentham to Big Brother which opened at at the ZKM Center for Art and Media Technology in Karlsruhe in October 2001 and edited the catalogue under the same title (with Ursula Frohne and Peter Weibel). His more recent curatorial activities include Anxious Omniscience: Surveillance and Contemporary Cultural Practice (Princeton University Art Museum, 2002), 911+1: The Perplexities of Security (Watson Institute, Brown University, 2002) and The Arts of the Future will be Radical Transformations of Situations, or They will be Nothing’: Guy Debord Cineaste (Slought Foundation, Philadelphia, 2006).

“Rorschach Audio – Art & Illusion for Sound” by Joe Banks – “The earliest form of sound recording technology was not a machine but was written language…” (page 96)

What are the connections between Leonardo da Vinci and Dick Whittington, between the BBC Monitoring Service and punk band The Clash, between wartime military intelligence work, visual arts theory, battle management systems, Spiritualism, radio and recording technology and criminal witness testimony? What role do JG Ballard, Osama bin Laden, William Burroughs, Jean Cocteau, Jean Genet, Adolf Hitler, William Hogarth, Victor Hugo, Joe Meek, Pope Pius XII, Primo Levi, proto-Surrealist writer Raymond Roussel, teenage criminal Derek Bentley, Sigmund Freud and crystallographer Louis Albert Necker play in the disentangling of mysteries of human perception?

“Rorschach Audio” is a work of contemporary cultural scholarship and an exploration of the art and science of psychoacoustic ambiguities. Part detective story, part artistic and cultural critique, “Rorschach Audio” lifts the lid on an array of fascinating and under-examined perceptual and political phenomena.

“Rorschach Audio” is essential reading for everyone interested in air-traffic control, anechoic chambers, artificial oxygen carriers, audio art, bell-ringing, cocktail parties, cognitive science, communications interference, compost, the death penalty, Electronic Voice Phenomena, evolutionary biology, experimental music, ghosts, the historiography of art, illusions of sound and illusions of language, lip-reading jokes, nuclear blast craters, predictive texting, singing hair, sonic archives, sound design, steam trains, tinnitus, the Turing Test, Victorian blood painting, visual depth and space perception, ultrasonic visual music, ventriloquism, voices and warehouse fires and robberies.

Trade distribution by Turnaround
Production by Strange Attractor
Published by Disinformation

ISBN 978-1-907222-20-7
Hardback, 191 pages
UK £10 Non-Fiction
Psychoacoustics, Art Theory

RELEASE DATE MONDAY 21st MAY 2012

Wednesday 6^th June 2012, 4pm
Room 358, University of Westminster, 309 Regent Street, London W1B 2UW

Professor Thomas Y. Levin
Princeton University / IKKM Bauhaus University, Weimar

“Ghostly Surveillance: Some Stabs in the Ciné-Narratological Dark”

Simultaneous with the increasingly widespread use of surveillance as a narrative device in contemporary cinema – its most obvious manifestation being the rise of so-called “real-time” transmission characteristic of CCTV systems in films such as The Truman Show — we are also witnessing a curious proliferation of ghosts within the surveillant machinery, from disturbing videocasettes desposited mysteriously on doorsteps (Lost Highway, Caché) to the re-appearance of people who are supposedly dead on the screens of corporate security systems (Michael Almereyda’s Hamlet [2000]) and the documentation of the presence of demons by means of home surveillance cameras (Paranormal Activity).  While it could be argued that at least since Bentham, there has always been a ghostly dimension to surveillance (the panoptic tower functions despite the complete inability to determine whether anyone is actually really inside), what might these ghostly apparitions reveal about the assumptions we make about surveillance images, indeed about cinema as such?

Thomas Y. Levin teaches media theory and history, cultural theory, intellectual history, and aesthetics. His essays have appeared in October, Grey Room, New German Critique, Screen, The Yale Journal of Criticism, and Texte zur Kunst. He translated and edited the critical edition of Siegfried Kracauer’s The Mass Ornament: Weimar Essays (1995). He was part of the curatorial collective responsible for the first exhibition on the Situationist International at the Centre Pompidou, ICA London and the ICA Boston in 1989. Levin also conceived and curated the exhibition CTRL [SPACE], Rhetorics of Surveillance from Bentham to Big Brother which opened at at the ZKM Center for Art and Media Technology in Karlsruhe in October 2001 and edited the catalogue under the same title (with Ursula Frohne and Peter Weibel). His more recent curatorial activities include Anxious Omniscience: Surveillance and Contemporary Cultural Practice (Princeton University Art Museum, 2002), 911+1: The Perplexities of Security (Watson Institute, Brown University, 2002) and The Arts of the Future will be Radical Transformations of Situations, or They will be Nothing’: Guy Debord Cineaste (Slought Foundation, Philadelphia, 2006).

Wednesday 16 May 2012, 6.30 – 8.30 p.m.
The Boardroom, University of Westminster, 309 Regent Street, London W1B 2UW

The Smithsonian-Westminster Colloquium invites you to a discussion forum with Dr Peter Jakab, Associate Director, Smithsonian National Air and Space Museum, Washington DC

Other contributors include: Andrew Nahum, Senior Curator in Aviation, Science Museum, London; David Hendy, Professor of Media History, University of Westminster.

Peter Jakab is Associate Director for Collections and Curatorial Affairs and curator of World War I Aviation at the National Air and Space Museum.  His publications include Visions of a Flying Machine: The Wright Brothers and the Process of Invention (Smithsonian Institution Press, 1990); The Published Writings of Wilbur and Orville Wright (Smithsonian Institution Press, 2000; co-edited with Rick Young); and The Wright Brothers and the Invention of the Aerial Age (National Geographic Society, 2003; co-authored with Tom Crouch). At NASM he has curated numerous exhibitions, including The Wright Brothers and the Invention of the Aerial Age, which opened in 2003.

Open and free. No booking required, but RSVP appreciated.
Further information and RSVP: Helena Scott, email H.Scott@westminster.ac.uk

Sir George Cayley (1773-1857), the Father of Flight

Friday 27^th April, 1.00-.200 pm
The Royal Society, Carlton House Terrace, 6-9 Carlton House Terrace, London SW1Y 5AG

This Royal Society lecture discusses Cayley’s pioneering aviation work, and his roles as an inventor and as founder of the Royal Polytechnic Institution in Regent Street. Cayley’s work will be related to the scientific and intellectual milieu of the day, and to debates regarding the public engagement with science and technology. The lecture will be delivered by Alan Morrison, who is an Honorary Fellow in the IMCC at the University of Westminster, as well as a Lemelson Center Research Associate at the Smithsonian’s National Museum of American History. He curated the exhibition ‘Sir George Cayley: the Father of Flight’ shown at the RAF Museum Hendon.

The lecture is open and free to the public – there is no need to book, and seats are allocated on a first-come, first-served basis.

The Institute’s friends and colleagues in the Centre for Research and Education in Arts and Media (CREAM) at University of Westminster are organizing a three-day international conference this coming weekend on ‘exhibiting video’, please see below for full details:

Exhibiting Video – International Conference
Date: 23, 24 and 25 March, 2012
Venue: University of Westminster, 309 Regent Street, London, W1B 2UW

To coincide with the new David Hall Ambika P3 commission ‘1001 TV Sets (End Piece)’ 1972-2012 the Centre for Research and Education in Arts and Media (CREAM) of the University of Westminster is convening Exhibiting Video, a three-day event considering issues central to the display of video art. Bringing together notable artists, curators and writers the event will provide a forum for a number of related questions:

· On what terms has the rise of video in contemporary arts taken place?
· How do notions of medium specificity and site specificity shape video art work made for exhibition?
· What is the legacy of analogue video technology in the digital age?
· How do our museums and galleries understand video art?

Confirmed participants include:
Mark Bartlett, Irit Batsry, Amanda Beech, Steven Ball, Steven Bode, Margarida Brito Alves, David Campany, Stuart Comer, Sean Cubitt, Shezad Dawood, Catherine Elwes, Solange Oliveira Farkas, Terry Flaxton, David Hall, Adam Kossof, Anya Lewin, Adam Lockhart, Chris Meigh-Andrews, Stuart Moore, Marquard Smith, Kayla Parker, Margherita Sprio, Minou Norouzi, Stephen Partridge, Ken Wilder and Lori Zippay

To register please go to:

http://www.westminster.ac.uk/research/a-z/cream/events/exhibiting-video-conference

Thomson & Craighead are part of the inaugural exhibition ‘Being Social’ in the new Furtherfield Gallery slap bang in the middle of Finsbury Park, North London where they are showing a version of ‘London Wall’.  The exhibition is on already and runs until 28th April. Details here.

T&C are also showing a new projected version of ‘Flipped Clock’ and the short documentary artwork, ‘Several Interruptions’ as part of the exhibition ‘Mirror Neurons’ at the National Glass Centre in Sunderland,  on until 20th May. Details here.

They’ve also completely revamped their 2001 online artwork ‘e-poltergeist’ for the Canadian journal ‘BleuOrange’, and this goes live on 20th March at 0300hrs GMT. And finally, a new artwork, ‘A live portrait of Sir Tim Berners Lee (an early warning system)’ will be part of the major new exhibition, ‘Life Online’ launching in the National Media Museum on 29th March. Further details here.

Wednesday 22 February at 3pm
2.05A School of Law, 4 Little Titchfield Street, London W1W 7UW

Cory Doctorow
‘There is a war coming: the future regulation of general purpose computation’

Organised by our friends in The Centre for Law, Society and Popular Culture
ALL WELCOME. RSVP Danilo Mandic: danilo.mandic@my.westminster.ac.uk

Cory Doctorow (craphound.com) is a science fiction author, activist, journalist and blogger — the co-editor of Boing Boing (boingboing.net) and the author of Tor Teens/HarperCollins UK novels like FOR THE WIN and the bestselling LITTLE BROTHER. He is the former European director of the Electronic Frontier Foundation and co-founded the UK Open Rights Group. He is the author of Content: Selected Essays on Technology, Creativity, Copyright and the Future of the Future, (2008). Born in Toronto, Canada, he now lives in London. See further, http://craphound.com/bio.php

WESTMINSTER.AC.UK/LAW

An Ecology of Mind: A Film by Nora Bateson
Monday 27 February 2012, 18:30-22:00 pm
Old Cinema, University of Westminster, 309 Regent Street, London W1B 2UW

Tickets: £9.50; £3.50 (student/unwaged/Westminster staff)
Book your ticket from: http://anecologyofmindlondon.eventbrite.co.uk/

The Institute for Modern and Contemporary Culture (IMCC) at the University of Westminster is proud to host the London premier of Nora Bateson’s An Ecology of Mind: A Daughter’s Portrait of Gregory Bateson. The screening will be followed by an interdisciplinary panel and audience discussion with Nora Bateson, and will end with a wine reception in the Regent Street foyer.

Panel with Nora Bateson; Iain Boal (Birkbeck College); Jody Boehnert (Brighton University); Ranulph Glanville (American Society for Cybernetics); Peter Reason (Action Research); and Wendy Wheeler (London Metropolitan University). Chaired by Jon Goodbun (IMCC and Architecture, Westminster)

“Tell me a story” … of life, art and science, of systems and survival. Gregory Bateson’s way of thinking – seeing the world as relationships, connections and patterns – continues to influence and provoke new thinking about human social life, about ecology, technology, art, design and health. Nora Bateson, Gregory’s youngest daughter, introduces Bateson’s ideas to new audiences in her film An Ecology of Mind, using the metaphor of a relationship between father and daughter, and footage of Bateson’s talks.

Each screening, too, hosts a discussion between Nora and a wide range of people working in depth with Bateson’s ideas: artists, architects, action researchers, ecological activists, mental health practitioners, scientists, urban designers, cyberneticians. These screenings and discussions intend to show a way of thinking that crosses fields of knowledge and experience, one that can lead out of the ecological crisis and towards a more sound way of living.
 
Awards for the film:
Gold for Best Documentary, Spokane International Film Festival, 2011
Audience Award Winner, Best Documentary, Santa Cruz Film Festival, 2011
Winner, Media Ecology Association, John Culkin Award for Outstanding Praxis, 2011 

Event organised by Jon Goodbun (Westminster), Wallace Heim, Kevin Power (Centre for Action Research, Ashridge Business School) and Eva Bakkeslett

To book a ticket go to: http://anecologyofmindlondon.eventbrite.co.uk/

‘Rorschach Audio: Mysterious-devil-tale, Devil-bewitched-by-Death’
Wednesday 7 December 2011, 1.15pm – 2.45pm
Room 359, University of Westminster, 309 Regent Street, London W1B 2UW

Following on from the “Rorschach Audio” lecture demonstration presented to the IMCC in March 2011, and, in particular, that lecture’s discussions of Jean Cocteau, Salvador Dali, EH Gombrich, Primo Levi and Leonardo da Vinci, visual and sound artist Joe Banks presents further explorations of the influence of “Rorschach Audio” phenomena on contemporary literature and creative art. This presentation directly extends the material discussed in the previous lecture, so any guests not familiar with the earlier talk are encouraged to read the “Rorschach Audio” research publications available here…

http://muse.jhu.edu/journals/lmj/summary/v011/11.1banks.html
http://www.slashseconds.org/issues/002/004/articles/jbanks/index.php

Non-Westminster staff and students should RSVP Joe Banks at: j.banks@wmin.ac.uk

Another fine video from the Institute’s AHRC Research Fellow Joe Banks (Disinformation):

Film copyright © Joe Banks & Poulomi Desai 31 Oct 2011
Headphones or external loudspeakers essential

The Canadian psychologist Albert Bregman’s theory of Auditory Scene Analysis describes how the human mind is able to identify, focus on, isolate and extract streams of actually or potentially meaningful sound information, which it recognises as emanating from discreet sources, using analysis of what amounts to the musical content of specific “melodic streams” within environmental noise. In terms of evolutionary biology, the theory suggests that our capacity for appreciating music may have evolved at least in part as a by-product of the mechanism that enables us to identify sound-streams that come from, say, a distant river, particular types of bird-song, or the call of a potentially hostile predator etc; and in human communications this faculty is most obviously in evidence as a contributory factor in enabling us to perceive individual speakers in crowded social environments (the Cocktail Party Effect). In terms of everyday experience, the isolation of such streams may seem deceptively simple, but in information theoretic and signal processing terms, the level of computational power required to extract such invariants* from the distorting influences of complex and rapidly-changing real-world sound environments still challenges engineers and computer scientists. Problems associated with extracting invariants from noisy environments are of particular relevance to air traffic control, military fighter and helicopter communications and battle management systems. Generalities aside, the soundtrack used in the Disinformation + Usurp “Sun Rays” film is a direct recording of the real sound-ambience of the film’s location, “composed” using sharp graphic-equalisation only, to reproduce the subjective experience of the melodic streams that were perceived in the extraordinarily atmospheric ambience of that underground space (and, totally coincidentally, the title of this film, which is taken from the footage itself, is also the name of the Indian Air Force military aerobatics demonstration team).

Filmed in New Delhi, Oct 2011. (J. Banks, IMCC Westminster, 1st Nov 2011).

*The term “invariant” was coined by the American psychologist JJ Gibson