AUDINT - The 64 short essays in this volume probe how unsound serves to activate the undead.Contributors from a variety of disciplines chart these warped zones, mapping out a zigzagging timeline stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), and speculatively extending into 2057

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AUDINT—Unsound:Undead, Ed. By Steve Goodman, Toby Heys and Eleni Ikoniadou, Urbanomic, 2019.

For as long as recording and communications technologies have existed, the potential of the vibrational continuum that connects sound to infrasound, ultrasound and other inaudible frequencies has been evoked to access anomalous zones of transmission between the realms of the living and the dead.
For the past ten years the AUDINT group has been researching these peripheries of sonic perception (unsound) and the portals they open to new dimensions, activating a continual intersection between fiction and fact, and pressuring thought to become something other than what it has been. The 64 short essays in this volume probe how unsound serves to activate the undead.
Contributors from a variety of disciplines chart these warped zones, mapping out a zigzagging timeline stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), and speculatively extending into 2057 (the emergence of holographic and holosonic phenomena).
With texts by: Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.

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AUDINT, Dead Record Office, Art in General, 2014.

The Dead Record Office outlines a brief history of AUDINT from their emergence as a sonic research unit shortly after the end of the Second World War until 2014. During this documented 70-year period, the works of the three waves of AUDINT personnel are focused on and their connection to three phases of martial hauntology – the Ghost Army, Wandering Soul and Phantom Hailer – explained. The book functions as a historical document that offers insight into the framework of AUDINT’s investigations and experiments; an on going inquiry into the weaponisation of waveforms and the activities of those that harness such techniques to stake out psychological and physiological realms at the edge of perception.
The Dead Record Office reveals the deceptive sonic strategies, technologies, and programs developed by military organisations since 1944 to orchestrate the spectral phenomena of a haunting within an area of conflict for territorial gain. Instances of this frequency-based haunting of the battlefield include – World War II when the U.S. military’s Ghost Army pioneered speaker based deception techniques and apparatus; the Vietnam War in which the U.S. military deployed ‘Wandering Soul’ (‘Ghost Number 10’) tapes that imitated the voices of dead Vietcong fighters from helicopter mounted speaker units; and in Guantánamo Bay, where detainees who were legally dead yet biologically alive were tortured by Death Metal music.

2017: Greg J. Smith, Dread Bass: AUDINT’s alternate timelines reverberate with fear and death, Creative Applications, August
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2016: Philipp Rhensius, Schallkanonen und Rauchpanzer
Das englische Künstlerkollektiv Audint nähert sich beim Loop Festival der historischen Verwendung von Klang und Musik für militärische Zwecke.


2016: Eleni Ikoniadou & Lendl Barcelos, The Unsound Methods of AUDINT, Wire magazine online, December
http://www.thewire.co.uk/in-writing/interviews/the-unsound-methods-of-audintdownload PDF

2016: Kristen Gallerneaux, Humming Through Salt: AUDINT’s Spurious Frequencies. ArtWindsor. Issue: Winter, Canada
https://issuu.com/barbedmagazine/docs/noisesissueiii, p22-27
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2015: Marc Couroux, Internal: AUDINT (Phonocultural Studies). CTM Magazine, Berlin, Germany
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film animation in development
Based on the book The Holo Wars by AUDINT, Ghostcode is an animation set in 2056 when Corporations and Nation states have fused into single economic and political entities. This is an era in which human flesh has been removed from the messy equations of political turbulence, resulting in conflicts being conducted by holographic and holosonic forces. The film follow the exploits of Irex2, a rogue Artifical Intelligence on the run from its undead creators as it competes against a Columbian Black Hat named Sureshot to develop A.I. Holographic fighters named AIHolos.
Fuelled by the sound of human pain, the AIHolo’s weapons require massive injections of recorded suffering. As torment becomes an economy in its own right, Pain ©Amps are constructed to generate the sonic power source. By amping up the rationale of the music industry’s most successful formula of the C20th – recording and selling the sound of poverty stricken urban areas – the functionality of suffering has been pushed to the limit. The needle is in the red, but it is pain that is wanted, not blood.

Delusions of The Living Dead

film animation, video installation
22 mins, 2015

AUDINT’s animated film Delusions of the Living Dead is a sub-chapter of their Martial Hauntology book, which documents Walter Slepian’s 1949 plan to purloin and photograph Jules Cotard’s notebook; a medical document that holds information pertaining to the process and methods required to seed walking corpse syndrome into a subject’s bed of cognition.
Martial Hauntology was released in late 2014 as a limited edition of 256 copies. It links the underground groove of the Large Hadron Collider with the vaults of the Bank of Hell; connects the Dead Record Network with the Phantom Hailer; and traces the evolution of the Wandering Soul Tapes to the viral dynamics of the online spectreware named IREX2.

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