Here’s a new interview with Morgan Levy and myself on our project, Alviso’s Medicinal All-Salt. Our interview is about 10 minutes long and goes into depth about some aspects of the project that we’ve never talked about before. We’re about 30 minutes into the show, or you can listen to the whole episode which has three other great stories about hookworms, DDT, and the arctic.

“New Art/Science Affinities” (2011, 8.5×11 inches, 190 pages, perfect-bound paperback, 232 full-color illustrations) is available for purchase ($45.75) through print-on-demand service Lulu, or for free download via the Miller Gallery website (http://www.cmu.edu/millergallery/nasabook).

(If you have high blood pressure, suffering from heart disease, or not in good health, consult doctor before use)

“A Bright Idea” is a part of a series of projects called drug machines. This is was exhibitied at Ditch Projects together with Jen Delos Reyes and Sara Rabinowitz  in September/October 2011.

ReMarshing is a project by Myriel Millicevic and Jon Cohrs. It was created at Timelab in Ghent Belgium.

Belgium and the Netherlands have a long history of slowly draining the wetlands on which it is founded. ReMarshing is a processes of bring the land back to its previous state while also cleaning the water of its toxins by planting remediation plants within the wetland to remove the metals and other toxins.

We created a wetland water wheel that is powered by the wind. The windwheel spins and powers a water wheel that dumps canal water back on to the land. The water floads the land attempting to recreate wetlands. In front of the wetland waterwheel we planted remediation plants such as poplar, rap seed, willow, and other grasses.

AUDiNT’s embeded research, download and re-seed. Each decade is embeded into a different record. Use the ghostcoder to decode the research. D/L and Re-Seed plz. You can also find our research by googling “[AUDiNT]“

text from Courtenay Finn.

Since 1945, AUDiNT has been conducting research, rituals, and experiments into the opening of the 3rd ear, a dimension that materializes when sound, ultrasound, and infrasound are simultaneously deployed in a precise schema of sequencing, duration, and amplification. The 3rd ear forms a conduit for the channelling of voices and frequencies, allowing communication between the living and the dead, sanity and insanity and between disparate locations in space and time.

Adapting to, and capitalizing on the viral dynamics and tactical battlefields of 21st century digital networks, we are systematically uploading the AUDiNT research archive that has been compiled throughout the past 60 years. Our research concerns the hauntological power of sonic weaponry). This ritualized uploading of the spectral archive aims to create a prospective archive of wave-formed affect that is propagated throughout the living dead networks of our communication systems. This tactical shift – to open up our archive to the public – relates to our new mandate of arming the mass populace with the efficacy of sonic weaponry so that it does not become the sole preserve of the military-entertainment complex. With its dark science and sonically dissonant content, Dead Record Office is the enshrined location from which this viral transfer begins.

In 2011, AUDiNT produced the Ghostcoder software which allowed it to begin, in encrypted fashion, to upload its research archive through the trojan horse of bit torrented popular music files from the last 70 years, providing a digital parallel to the Dead Record Network set up by the original members of AUDiNT.

The GhostCoder software is a utility to embed sound files or spoken text files within flac files so the information can piggyback on top of torrents without being noticed. Later the torrent stream can be decoded to yield the embedded information. The GhostCoder produces public secrets – it is intended to use viral dynamics as an archiving tool to ensure important data stays within the public domain.

The Ghostcoder software has two functions for AUDiNT:
1) It allows us to upload our spectral archive of research relating to sonic warfare
2) It functions as an alternative messaging system, which has allowed under cover operatives to contact us in encrypted fashion.

The uploading occurs in a fabricated shack entitled the Dead Record Office. In actuality, the DRO is half office, half shrine, functioning as both a repository for AUDiNT’s research archive, but also a sacred space, testament to the distributed efforts of AUDiNT members, over the last 7 decades, to re-purpose military research relating to acoustic weaponry, in order to improve previously occulted attempts to open up the 3rd Ear.

During the ongoing process of uploading, AUDiNT have been contacted through the Ghostcoder software channel by a correspondent going under the name the Walter Mancer. The messages from Walter Mancer (stored in a Dossier, the WMD) were comprised of computer-generated voices encrypted using the Ghostcoder and embedded into sound effects records. The content of the messages contain secret information regarding the US military’s experimentation with infrasound and directional ultrasound speakers in Iraq, a project entitled Phantom Hailer. The Phantom Hailer campaign, according to the WMD, involved the attempt to manipulate crowd behaviour in Iraqi cities by projecting voices from the HyperSonic sound and LRAD type systems at bodies in a way that makes it difficult to discern whether the voice is coming from that persons own consciousness, or projected from the outside. With Phantom Hailer, the brain itself has become the battleground.

In phase 1 of AUDiNT’s research, the Ghost Army campaign attempted to simulate the sound of the enemy. In phase 2, Wandering Soul attempted to simulate the sound of dead allies communicating from beyond the grave. In phase 3, Phantom Hailer entails the attempt to simulate the self, or even question that the voices in our heads are actually possessed by the subject in the first place.

This New York test site features a new upgraded version of the Unsound System, a bespoke Infrasound speaker system, and 3 directional ultrasound speakers. Dead Record Office also consists of, for the 1st time in the US, access to some of AUDiNT’s research archive, and an upload portal that doubles as a sacred space dedicated to the opening of the 3rd ear.

[Show as slideshow]

AUDiNT: Dead Record Office
June 17–July 23, 2011

Opening this Friday , June 17th, at Art In General.
79 Walker Street | New York, NY 10013

Art in General is pleased to present Dead Record Office, a New Commission project by AUDiNT. The researchers currently active within the AUDiNT research cell are Jon Cohrs(splnlss.com), Toby Heys(cocosolidciti.com) and Steve Goodman(hyperdub.com), whose combined practices include music production and performance, sonic installation, academic research, and writing. For their first exhibition in New York, AUDiNT have produced a multi-sensory installation which brings together a number of their research techniques, softwares, sound systems, and archives for the first time; a culmination of decades worth of investigative analysis into the trans-historical orchestration of the soundscape.

In short, it’s a show about sonic warfare with several custom built tools that explores theories surrounding hauntology and the history of sound used as a tool for deceit.

We’ve written our own software that you can download to embed research and other sound files onto of bittorrents to use viral dynamics as an archive. GhostCoder

This panel consisting of individual presentations and a group discussion will explore the intersection of sonic culture and the military-entertainment complex through the disembodied voices of secret communication devices, battlefield sonic deception and propaganda, acoustic weaponry, the physiology of inaudible vibration (unsound systems) and the encrypted, viral transmission channels of both analog and digital culture.
Presenters and organizers
Toby Heys (AUDiNT), Jon Cohrs (AUDiNT), Steve Goodman (AUDiNT), Dave Tompkins, Andy Battaglia.

From Domenico Quaranta :
“The DEberlusconiZER is proud to announce DE_ZER Vol. 3, the third of a series of exhibitions in which some contemporary artists are invited to give a new meaning to the informational space “liberated” from the unwieldy presence of the Italian Prime Minister. Every show includes three works by three different artists and lasts ten days, in an unprecedented adaptation of the codes of street art and public art to the online environment.
From May 16 to May 25, 2011, three works will alternate randomly into this public space: Offresi piazze italiane per aspiranti rivoluzionari, by Maddalena Fragnito; Your Face Here, by Les Liens Invisibles; and The bigger a man’s gun the smaller his doodlewick, by Jon Cohrs.”

Few places reflect the growing disconnect between contemporary food and its origins more profoundly than the artificial flavoring industry that makes its home in the swampy wetlands of Northern New Jersey. The Meadowlands have long been the dumping ground of industry and now have one of the highest concentrations of artificial flavoring factories in the world. Today, what was once a vibrant ecosystem is now a combination of remediation sites, a post-industrial landscape, and a recovering urban wilderness–producing many of the “natural flavors” we consume.

Assuming the role of a modern-day Marco Polo, The Spice Trade Expedition will embark, by canoe, on a journey through the industrial wetlands in search of “spices”, specifically, artificial flavoring factories. Through the process of seeking these spices, we will spend two weeks canoeing, camping and backpacking through the wilderness southward down the Hackensack River to explore the interwoven nature of industry and wildlife in the Meadowlands. This landscape of juxtaposition will also
reflect our evolving perceptions and increased confusion of what is “natural” and what is artificial and how this is mirrored in our relation to food.

[Show as slideshow]

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The marco polo style expedition will be shot and edited into 80 minute vérité film about artificial flavoring and the New Jersey wetlands.