Disinformation photos on Flickr

Pythagoras and disinformation by Wordsmith Org

From ifunny.co/picture/the-square-of-the-hypotenuse-is-equal-t...

2022 EP journalism prize awarded to film about Russian influence in Africa by European Parliament

Two journalists, Clément Di Roma and Carol Valade, have been awarded the 2022 Daphne Caruana Galizia Prize for their documentary “The Central African Republic under Russian influence”

This documentary is a Découpages/Arte G.E.I.E co-production, initially broadcast on Arte Reportage in French, German and English. It was also broadcast on France 24 and published in the French newspaper Le Monde.

Roberta Metsola, President of the European Parliament, Pina Picierno, Vice-President responsible for the Prize, and Anthony Bellanger, Secretary General of the International Federation of Journalists and representative of the 29 members of the independent European-wide Jury, opened the award ceremony held in the Daphne Caruana Galizia Press Room of the European Parliament in Strasbourg.

President Metsola said: "The Daphne Caruana Galizia Prize for Journalism sends a strong message. The European Parliament is on the side of truth and justice, of independent journalism.

A strong democracy needs a strong press. And there is no democracy without freedom of the press. In Europe, rights and liberties are goals we fight for, not obstacles."

Between the 3rd May and 1st August 2022, more than 200 journalists from the 27 EU countries submitted their stories for consideration. 11 of these submissions were shortlisted by the jury before the overall winner was decided.

About the winning story

This film is Clément Di Roma and Carol Valade’s first documentary and the culmination of their work as correspondents in the Central African Republic in 2020. The country was going through a wave of violence and abuses triggered by a new rebellion, partly fought by Wagner, a shadow army serving the Kremlin's interests. They investigated, filmed and continued their correspondence for several international media despite the surveillance of Russian mercenaries and the prevailing hostility against the French media. It was also a question of continuing the work of their three Russian colleagues, Orhan Djemal, Kirill Radchenko, and Alexander Rasstorguyev, murdered in the Central African Republic while investigating Wagner in 2018. Their main concern has been the protection of their sources, especially those who denounce the crimes of mercenaries, in a country where disappearances of opponents are common. After several months of investigation, they gained the trust of Russian propaganda actors in the Central African Republic. Their voices had never been heard before. Without bias, their documentary gives a voice to the victims of the mercenaries, but also to their supporters, to better understand the methods of this takeover, facilitated by a resentment towards France. They wanted to make all voices heard in this other front of the conflict with Russia that is now spreading to the Sahel on both military and disinformation fields.

This photo is free to use under Creative Commons license CC-BY-4.0 and must be credited: "CC-BY-4.0: © European Union 2022– Source: EP". (creativecommons.org/licenses/by/4.0/) No model release form if applicable. For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu

German WW2 Sturmgeschutz 3 40 Ausf G Self Propelled Gun at Bovington Tank Museum by David Grindley

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The Sturmgeschütz III (StuG III) assault gun was Germany's most produced armoured fighting vehicle during World War II. It was built on the chassis of the proven Panzer III tank. Initially intended as a mobile, armoured light gun for infantry support, the StuG was continually modified and was widely employed as a tank destroyer.

The Sturmgeschütz III originated from German experiences in World War I when it was discovered that during the offensives on the western front the infantry lacked the means to effectively engage fortifications. The artillery of the time was heavy and not mobile enough to keep up with the advancing infantry to destroy bunkers, pillboxes, and other minor obstacles with direct fire. Although the problem was well known in the German army, it was General Erich von Manstein who is considered the father of the Sturmartillerie. This is because the initial proposal was from (then) Colonel Erich von Manstein and submitted to General Ludwig Beck in 1935, suggesting that Sturmartillerie ("assault artillery") units should be used in a direct-fire support role for infantry divisions. On June 15, 1936, Daimler-Benz AG received an order to develop an armoured infantry support vehicle capable of mounting a 75 mm (2.95 in) artillery piece. The gun mount's fixed, fully integrated casemate superstructure was to allow a limited traverse of a minimum of 25° and provided overhead protection for the crew. The height of the vehicle was not to exceed that of the average man.

Daimler-Benz AG used the chassis and running gear of its recently designed Panzerkampfwagen III medium tank as a basis for the new vehicle. Prototype manufacture was passed over to Alkett, which produced five prototypes in 1937 on Panzer III Ausf. B chassis. These prototypes featured a mild steel superstructure and Krupp’s short-barreled 75 mm StuK 37 L/24 cannon. Production vehicles with this gun were known as StuG III Ausführung (version) A to E.

While the StuG III was considered self-propelled artillery it was not initially clear which arm of the Wehrmacht would handle the new weapon. The Panzer arm, the natural user of tracked fighting vehicles, had no resources to spare for the formation of StuG units, and neither did the infantry branch. It was agreed, after a discussion, it would best be employed as part of the artillery arm.

The StuGs were organized into battalions (later renamed "brigades" for disinformation purposes) and followed their own specific doctrine. Infantry support using direct-fire was its intended role. Later there was also a strong emphasis on destroying enemy armour whenever encountered.

As the StuG III was designed to fill an infantry close support combat role, early models were fitted with a low-velocity 75 mm StuK 37 L/24 gun to destroy soft-skin targets and fortifications. After the Germans encountered the Soviet KV-1 and T-34 tanks, the StuG III was first equipped with a high-velocity 75 mm StuK 40 L/43 main gun (Spring 1942) and in Autumn 1942 with the slightly longer 75 mm StuK 40 L/48 gun. These versions were known as the Sturmgeschütz 40 Ausführung F, Ausf. F/8 and Ausf. G.

When the StuG IV entered production in late 1943 and early 1944, the "III" was added to the name to separate it from the Panzer IV-based assault guns. All previous and following models were thereafter known as Sturmgeschütz III.

Beginning with the StuG III Ausf. G, a 7.92 mm MG34 could be mounted on a shield on top of the superstructure for added anti-infantry protection from December 1942. Some of the F/8 models were retrofitted with a shield as well. Many of the later StuG III Ausf. G models were equipped with an additional coaxial 7.92 mm MG34.

The vehicles of the Sturmgeschütz series were cheaper and faster to build than contemporary German tanks; at 82,500 RM, a StuG III Ausf G was cheaper than a Panzer III Ausf. M, which cost 103,163 RM. This was due to the omission of the turret, which greatly simplified manufacture and allowed the chassis to carry a larger gun than it could otherwise. By the end of the war, ~11,300 StuG IIIs and StuH 42s had been built.

Overall, Sturmgeschütz series assault guns proved very successful and served on all fronts as assault guns and tank destroyers. Although Tigers and Panthers have earned a greater notoriety, assault guns collectively destroyed more tanks. Because of their low silhouette, StuG IIIs were easy to camouflage and a difficult target. Sturmgeschütz crews were considered to be the elite of the artillery units. Sturmgeschütz units claimed to have knocked out 20,000 tanks by 1944. As of April 10, 1945, there were 1,053 StuG IIIs and 277 StuH 42s in service.

The StuG assault guns were cost-effective compared to the heavier German tanks, though in the anti-tank role they were best used defensively, as the lack of a traversable turret was a severe disadvantage in the assault role. As the German military situation deteriorated later in the war, more StuG guns were built compared to tanks, to replace losses and bolster defenses against the encroaching Allied forces.

In 1943 and 1944, the Finnish Army received a total of 59 StuG III Ausf. Gs from Germany and used them against the Soviet Union. Thirty of the vehicles were received in 1943 and 29 in 1944. The 1943 batch destroyed at least 87 enemy tanks for a loss of only 8 StuGs (some of which were destroyed by their crews to avoid capture). The 1944 batch saw no real action. After the war, the StuGs were the main combat vehicles of the Finnish Army until the early 1960s. These StuGs gained the nickname "Sturmi" which can be found in some plastic kit models.

100 StuG III Ausf. G were delivered to Romania in the autumn of 1943. They were officially known as TAs (or TAs T3 to avoid confusion with TAs T4) in the army inventory. By February 1945, 13 units were still in use with the 2nd Armoured Regiment. None of this initial batch survived the end of the war. 31 TAs were on the army inventory in November 1947. Most of them were probably StuG III Ausf. G and a small number of Panzer IV/70 (V), known as TAs T4. These TAs were supplied by the Red Army or were damaged units repaired by the Romanian Army. All German equipment was scrapped in 1954 due to the Army's decision to use Soviet armour.

StuG IIIs were also exported to other nations such as Bulgaria, Hungary, Italy, and Spain.

Many German Sturmgeschütz IIIs were stranded in Yugoslavia after the war. These were used by the Yugoslav Peoples Army until the 1950s.

After the Second World War the Soviet Union donated some of their captured German vehicles to Syria, which continued to use them along with other war surplus AFVs (like long-barreled Panzer IVs and T-34/85s) during the 1950s and up until the War over Water against Israel in the mid-1960s. By the time of the Six Days War all of them had been either destroyed, stripped for spare parts, or interred on the Golan Heights as static pillboxes

(Text Wikipedia)

Disinformation “Antithesis” [virtual exhibition] 2022 by disinformation

Electromagnetic sound art in virtual exhibition space...

Disinformation – “Antithesis”

Virtual exhibition for Schemata Art

Hosted by New Art City + Corsica Studios

March 2022 onwards (indefinite exhibition)

Full description + user guide – rorschachaudio.files.wordpress.com/2022/03/disinformation...

3D view – newart.city/show/schemata-disinformation-antithesis

Catalogue view - newart.city/catalog/schemata-disinformation-antithesis

Curated and designed by Alice Hoffmann-Fuller, the latest exhibition in Schemata, Corsica Studios’ new experimental arts platform, takes place in a 3D digital rendering of Corsica Studios, hosted by on-line gallery platform New Art City. The “Antithesis” exhibition features brand new and archival work by the highly innovative and influential audio-kinetic art project Disinformation.

The Disinformation project’s exhibition for Schemata is in part inspired by the close proximity of Corsica Studios to the Brutalist architect Rodney Gordon’s iconic memorial to the electrical scientist Michael Faraday, installed, close to Corsica Studios, at the Elephant & Castle in 1961. The Disinformation sound artwork “National Grid” was first released on LP and performed live in 1996, and first exhibited as an art gallery sound installation in 1997. “National Grid” uses electromagnetic noise from live mains electricity to create a monolithic and immersive sound installation, which is conceived as a musical tribute to “the (creative) genius of electrification” [1]. The Michael Faraday memorial itself contains an electrical substation, which feeds high-voltage power to the London Underground; and it is consistent with the assertion that “art is not necessarily science, but science is always art” [2] that the original design for the Michael Faraday memorial envisaged this important work of public art as being a glass container (not, as it stands at present, a highly reflective steel box). On this basis, and in terms that are equally antithetical to the conventional wisdom of mainstream contemporary art, it can be argued that the true purpose of the architect’s original design was to enable members of the public to view what can be seen as the “real” work of art - meaning to view the electrical infrastructure.

[1] Hull Time Based Arts TOOT Festival Programme, Mute Magazine (special supplement) Oct 1999

[2] Joe Banks “The Rumble” (catalogue) Royal Society of Sculptors, March 2001

“Virtually all the physical phenomena we experience, such as light, chemical reactions, the properties of materials, and the transmission of signals along nerve fibres, are electrical in nature. In fact, the only non-electrical force we experience every day is the force of gravity.” – Harris Benson “University Physics” Wiley 1991

Administrator Power meets with Peter Maurer by USAID U.S. Agency for International Development

April 21, 2022—Administrator Samantha Power met with International Committee of the Red Cross (ICRC) President Peter Maurer to discuss humanitarian emergencies and responses around the world, including in Ukraine and Afghanistan. The two discussed their shared concerns on the need for urgent humanitarian access in Ukraine. They also discussed ICRC’s challenges in countering disinformation and false narratives about their work in Ukraine.

Policy of Deceit by The Good Reverend Flash

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22x28 Acrylic on Canvas

Commentary on the US government's policy of non-disclosure for the American people.

Please feel free to Google any of the keywords here and you will be immediately ensnared within a web of scary, but TRUE revelations.

Freedom of Expression in the Americas: Persistent Threats and Emerging Challenges by Inter-American Dialogue

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In a year when two out of three Latin Americans will elect new leaders, freedom of expression remains a crucial but fragile pillar of the region’s democratic systems. In 2017, 22 media workers were killed in the Americas, and other practices—from threats of violence to criminal prosecutions—were employed against individuals exercising their freedom of expression to better inform society. In addition, new challenges to democratic debate have emerged, including the deliberate, malevolent spread of disinformation—or “fake news”—and the corresponding danger of regulatory overreach by governments in response.

The Inter-American Dialogue, Reporters Without Borders, and the Office of the Special Rapporteur for Freedom of Expression of the Inter-American Commission on Human Rights (IACHR) are pleased to host a public forum to analyze persistent threats, emerging challenges, and potential solutions for protecting freedom of expression in the Americas.

Photo du jour du 03 mai 2023 by UN Mission in the Central African Republic MINUSCA

Bangui (République centrafricaine), 03 mai 2023 : Pour marquer la Journée mondiale de la liberté de la presse, des professionnels de médias ont échangé autour du thème « une presse indépendante, un outil parfait pour garantir la justice et pour protéger les droits de la personne ». L’activité, coorganisée par des ONGs et Associations de presse, avec l’appui de la MINUSCA, a permis au président du Haut conseil de la communication, José Richard Poamby, de rappeler et condamner les effets dévastateurs de la désinformation et des discours de haine dans les efforts pour une paix durable.

Bangui (Central African Republic), 03 May 2023: To mark World Press Freedom Day, media professionals gathered to discuss the theme "an independent press, a perfect tool to guarantee justice and protect human rights". This event, co-organised by NGOs and press associations, with the support of MINUSCA, allowed the president of the High Council for Communication, José Richard Poamby, to recall and condemn the devastating effects of disinformation and hate speech in the quest for a lasting peace.

Photo : MINUSCA/Herve Cyriaque Serefio

La omisión del Estado y la administración de la tragedia | The omission of the State and the administration of the tragedy #19S by jpazkual [OFM]

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Los acontecimientos alrededor del sismo del pasado 19 de septiembre ponen a la vista la estrategia que adoptó el Estado mexicano para administrar la tragedia en su beneficio, ocultar su negligencia, lucrar con ella y aprovechar la oportunidad que se viene para engrosar los bolsillos de quienes más tienen. Es esto lo que convierte un desastre natural en una tragedia.

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La omisión del Estado y la administración de la tragedia | Por Tejiendo Organización Revolucionaria | 25 de septiembre de 2017 - tejiendorevolucion.org/190917.html

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Quien protagoniza la tragedia es la negligencia, no el temblor; evidencia de ello es que éste fue presentado como inesperado, aunque es por demás sabido que se dio en zona sísmica; evidencia son los más de treinta años en que no se avanzó en la prevención: las revisiones fallidas después del temblor del 7 de septiembre no arrojaron datos de que hubiera escuelas mal construidas o con daños estructurales; evidencia es que los reglamentos de construcción son letra muerta, asesinada por la corrupción de los diversos niveles de gobierno y los negocios inmobiliarios.

La urgencia de la tragedia convocó a la solidaridad inmediata y la presión del tiempo urgente ocultó un hecho fundamental: el Estado sí cuenta con los recursos materiales y humanos para enfrentar la catástrofe; cuenta con maquinaria pesada, equipo y personal especializado, infraestructura de comunicación, dinero, etc., si no los ocupó fue porque deicidio no hacerlo, no porque se viera rebasado.

El Estado mexicano tiene recursos de alta tecnología para espiarnos, por ejemplo, pero no los puso al servicio de los rescatistas para localizar vida dentro de los escombros. Tampoco se usó la estructura estatal para proporcionar información fidedigna y pronta que pudiera salvar vidas y canalizar la ayuda. Es más, ni los rescatistas internacionales fueron bien aprovechados, aunque los había.

La participación del Estado en las zonas más afectadas fue bajo la lógica de contener y controlar. Así actuaron sus efectivos castrenses, la milicia y la marina, al presentarse con armas de alto calibre a establecer perímetros de seguridad, que no sólo obstaculizaban el pronto rescate de vidas humanas, sino que pretendían cohibir la organización de la gente. Es importante mencionar que hubo elementos del ejército y policía custodiando las tiendas trasnacionales de supuestos intentos de rapiña. No es difícil concluir que su plan era lavarle la cara al ejército, cuya presencia fue más evidente en aquellos puntos que mediáticamente eran más explotables. Todo esto bajo una lógica de guerra y de barrer de manera pronta con los escombros.

El Estado permitió y fomentó que se le pidiera a la población gastar su salario en acopios individuales, que luego buscó administrar de forma clientelar y asistencialista, mientras, los impuestos que de por si paga el pueblo fueron a parar al fideicomiso “Fuerza México”, fideicomiso que canalizará los recursos públicos y privados generando una acumulación de capital nada desdeñable para quienes lo administran: las grandes empresas; esas, que brillaron por su ausencia cuando se hizo el llamado general a la solidaridad y que ahora piden donaciones como si fuesen la víctimas de la tragedia.

Para el Estado y los grandes capitalistas, a quienes realmente representa, el territorio de la tragedia –Oaxaca, Guerrero, Tlaxcala, Morelos, Puebla, Ciudad de México– es visto como un espacio para generar ganancias, invirtiendo y especulando con las vidas de la gente.

Lo único que podrá detenerlos es la organización de los afectados por el sismo, la organización de la gente solidaria que desbordó las calles y acudió segura de que su ayuda era indispensable, porque sabíamos que el gobierno no haría nada.

El triple propósito de la estrategia estatal fue primero, ponernos a resolver la situación como pudiéramos y así canalizar la energía social, segundo, aparecer codo a codo con la gente para lavar su imagen y, tercero, aumentar las ventas de las grandes empresas.

Si algo aprenden los que insisten en dominarnos es que abajo siempre nos organizamos en su contra, así sucedió con el terremoto de 1985, así sucede ahora. Eso es lo que temen los de arriba y lo que intentaran contener a cualquier costo. El caos que han fomentado en forma de vacío institucional, desinformación, tragedia y muerte tiene por primer objetivo ese: imposibilitar la organización. Después de largos años atacando las múltiples formas de organización popular y social han dejado a una sociedad aislada, dividida, individualizada; no obstante, esta sociedad ahora intenta restablecer los lazos, buscamos reconocernos como compañeros de los mismos problemas.

Junto a la desorganización hay un segundo objetivo del Estado, encauzar nuestra indignación y nuestra solidaridad. Dejar que la “sociedad civil” tenga que resolver lo urgente y vital de la tragedia para así impedir que lo denunciemos; con estas formas el Estado nos desgasta, nos va quitando esperanzas y evita que nos organicemos para cambiarlo en el futuro. Nos quieren dejar la carga de la tragedia, quieren que seamos los responsables del fracaso.

La apuesta desde arriba es que no vamos a ser capaces de organizarnos pero están equivocados, nosotros, desde abajo, vamos a demostrarlo porque nos va la vida en ello.

Por eso llamamos a la organización solidaria y no sólo a la solidaridad. Hay que organizarnos que esto va pa' largo, hay que reconocernos con un enemigo en común: el sistema capitalista al que defiende y representa el Estado. Pero además, y más importante, hay que reconocernos con una causa común: tener una vida digna, digna porque podemos organizarnos para salvar vidas sin que ninguna instancia autoritaria nos lo impida; digna porque podemos participar y garantizar que la reconstrucción de las viviendas afectadas se haga con los requerimientos necesarios. Denunciemos la omisión, la negligencia y la administración que el Estado hace de la tragedia. Impulsemos la autoorganización de los de abajo para la reconstrucción del país desde los escombros.

Tejiendo Organización Revolucionaria

25 de septiembre de 2017

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The events surrounding the September 19 earthquake expose the Mexican state's strategy to manage the tragedy on its behalf, to hide its negligence, to profit from it and to seize the opportunity that has come to swell the pockets of those who have. This is what turns a natural disaster into a tragedy.

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The omission of the State and the administration of the tragedy | By Tejiendo Revolutionary Organization | September 25, 2017

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The protagonist of the tragedy is negligence, not trembling; Evidence of this is that it was presented as unexpected, although it is well known that it occurred in seismic zone; evidence is more than thirty years in which there was no progress in prevention: failed reviews after the earthquake of September 7 did not report that there were poorly constructed or structurally damaged schools; evidence is that building regulations are dead letter, murdered by the corruption of various levels of government and real estate business.

The urgency of the tragedy called for immediate solidarity and the urgent pressure of time concealed a fundamental fact: the State does have the material and human resources to face the catastrophe; has heavy machinery, equipment and specialized personnel, communication infrastructure, money, etc., if not occupied was because deicide not to do it, not because it was exceeded.

The Mexican state has high-tech resources to spy on us, for example, but did not put them at the service of rescuers to locate life inside the rubble. Nor was the state structure used to provide reliable and timely information that could save lives and channel aid. Moreover, not even the international rescuers were well exploited, although there were.

The participation of the State in the most affected areas was under the logic of containing and controlling. This was how their military officers, the militia and the navy acted, by introducing themselves with high-caliber weapons to establish security perimeters, which not only hindered the prompt rescue of human lives, but also sought to restrain the organization of the people. It is important to mention that there were elements of the army and police guarding the transnational tents of alleged predatory attempts. It is not difficult to conclude that his plan was to wash the face to the army, whose presence was more evident in those points that mediatically were more exploitable. All this under a logic of war and sweep quickly with the rubble.

The state allowed and encouraged that the population be asked to spend their salary in individual stores, which later sought to manage clientele and welfare, while the taxes paid by the people went to the trust "Fuerza México" trust that will channel the public and private resources generating a capital accumulation not negligible for those who administer it: large companies; those that shone by their absence when the general call for solidarity was made and now ask for donations as if they were the victims of the tragedy.

For the state and the great capitalists it represents, the territory of the tragedy - Oaxaca, Guerrero, Tlaxcala, Morelos, Puebla, Mexico City - is seen as a space to generate profits, investing and speculating with the lives of people.

The only thing that can stop them is the organization of those affected by the earthquake, the organization of the people of solidarity who overflowed the streets and came safe that their help was indispensable, because we knew that the government would do nothing.

The threefold purpose of the state strategy was first, to resolve the situation as we could and thus channel social energy, second, to appear side by side with people to wash their image and, thirdly, to increase the sales of large companies.

If there is something learned by those who insist on dominating us, it is that below we always organize against him, so it happened with the earthquake of 1985, this is what happens now. That's what they fear from above and what they try to contain at any cost. The chaos that they have fomented in the form of institutional vacuum, disinformation, tragedy and death has the first objective that: to prevent the organization. After many years attacking the multiple forms of popular and social organization have left an isolated, divided, individualized society; nevertheless, this society now tries to reestablish the bonds, we seek to recognize ourselves as companions of the same problems.

Along with the disorganization there is a second objective of the State, to channel our indignation and our solidarity. Let the "civil society" have to solve the urgent and vital of the tragedy in order to prevent denouncing it; with these forms the State wears us, takes away our hopes and prevents us to organize to change it in the future. They want to leave us the burden of tragedy, they want us to be responsible for the failure. The bet from above is that we will not be able to organize but they are wrong, we, from below, we are going to prove it because we are going to live in it.

That's why we call solidarity organization and not just solidarity. We have to organize that this goes for long, we have to recognize ourselves with a common enemy: the capitalist system that defends and represents the State. But more importantly, we must recognize ourselves with a common cause: having a dignified, dignified life because we can organize ourselves to save lives without any authoritarian instance preventing us; dignified because we can participate and ensure that the reconstruction of affected housing is made with the necessary requirements. Let us denounce the omission, neglect and administration that the State makes of the tragedy. Let us encourage the self-organization of those below for the reconstruction of the country from the rubble.

Tejiendo Organización Revolucionaria

25 September 2017

Taliban disinformation campaign thwarted by ANA and U.S. forces [Image 1 of 7] by DVIDSHUB

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In the cold, morning hours of Operation Eagle Talon, U.S. Army Staff Sgt. Doug A. Baker, a forward observer from West Memphis, Ark., assigned to Bayonet Company, 2nd Battalion, 327th Infantry Regiment, Task Force No Slack, listens to radio traffic while trying to stay warm in the Shigal Valley in eastern Afghanistan's Kunar province, March 18. The clearing operation lasted for three days and nights where troops had to brave the sun, cold, wind and Taliban.

Combined Joint Task Force 101

Photo by Sgt. 1st Class Mark Burrell

Date Taken:03.18.2011

Location:SHIGAL DISTRICT, AF

Related Photos: dvidshub.net/r/toofck

Disinformation "Antiphony" [Ash 3.4] 2xCD 1997 by disinformation

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Various Artists + Disinformation "Antiphony"

Ash International [Ash 3.4] 2xCD 1997

Sound Mirror photo © Julian Hills, Feb 1996

Sound Mirrors video © Barry Hale, 1997 -

www.youtube.com/watch?v=qsR3qyJDk0c

The Sound Mirrors video – “Blackout” by Disinformation – has been widely exhibited in the UK and internationally since being filmed by Barry Hale and first exhibited in 1997. In 1999 and 2000 the video formed the centrepiece of the Arts Council funded “Blackout” exhibition, which toured to the Waygood Gallery (Newcastle), Broadway Centre (Nottingham) and ICA New Media Centre (London), since when the video featured in numerous group exhibitions and several Disinformation solo shows. The Sound Mirrors video has most recently been exhibited in the “Digest Sound” exhibition at the Witte Zaal [gallery] (Gent), as part of the Courtisane Film Festival in 2010, and at Le Bon Accueil [sonic arts gallery] (Rennes) in 2014.

The audio content of “Antiphony” consists (in large part) of remixes, by the contributing artists, of electromagnetic noise recordings, originally released by Disinformation in 1996, published by the record label Ash International.

E.A.R. (Pete Kember, Sonic Boom), Disinformation, Add N to X, Project DARK, Mount Vernon Arts Lab by disinformation

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A4 flyer advertising the concert and sound installation event at the former Caledonian Sector Royal Air Force “Rotor” radar bunker, near Troywood, Anstruther, Fife, Scotland, 25 September 1998. Visitors arrived outside a superficially innocuous rural outbuilding, and entered, to find not in fact a ground floor in a building filled with conventional furnishings etc, but a large open stairwell going down. One storey underground, visitors then found a 50 metre access corridor, disappearing off to one side, sloping down into darkness and into a mass of shockingly powerful and exhilarating sub-bass sound. Beyond the steel blast doors at the end of the corridor, visitors entered a 2 storey deep underground complex, filled with radar screens, military plotting tables and communications equipment. The bunker also served as a former Cold War era Regional Seat of Government…

www.subbrit.org.uk/rsg/features/anstruther/tunnel.html

The “National Grid NO5608” concert featured electronic music from E.A.R. (Pete Kember, aka Sonic Boom), Disinformation, Add N to X, Project DARK and Mount Vernon Arts Lab, alongside the “National Grid” sound installation by Disinformation (which was set-up, using two stadium spec D&B Audiotechnik sub-woofers, in the electrical access chute to one side of the entrance corridor). The event’s title refers to the bunker’s Ordnance Survey map reference (with an obvious allusion to the “National Grid” sound installation). The leaflet photography and design were by Disinformation, and the event’s concert aspect received substantial coverage in (among others) The Guardian newspaper (G2 section, 23 Sept 1998, pages 14 and 15), while the installation aspect received substantial coverage in Mute magazine (issue 12, page 16, Jan 1999)…

www.metamute.org/editorial/articles/silence-suns

Electromagnetic Sound Art in Virtual Exhibition Space - Disinformation 1996 to 2022 [page 1 of 2] by disinformation

Disinformation – “Antithesis”

Virtual exhibition for Schemata Art

Hosted by New Art City + Corsica Studios

March 2022 onwards (indefinite exhibition)

Full description + user guide – rorschachaudio.files.wordpress.com/2022/03/disinformation...

3D view – newart.city/show/schemata-disinformation-antithesis

Catalogue view - newart.city/catalog/schemata-disinformation-antithesis

Curated and designed by Alice Hoffmann-Fuller, the latest exhibition in Schemata, Corsica Studios’ new experimental arts platform, takes place in a 3D digital rendering of Corsica Studios, hosted by on-line gallery platform New Art City. The “Antithesis” exhibition features brand new and archival work by the highly innovative and influential audio-kinetic art project Disinformation.

The Disinformation project’s exhibition for Schemata is in part inspired by the close proximity of Corsica Studios to the Brutalist architect Rodney Gordon’s iconic memorial to the electrical scientist Michael Faraday, installed, close to Corsica Studios, at the Elephant & Castle in 1961. The Disinformation sound artwork “National Grid” was first released on LP and performed live in 1996, and first exhibited as an art gallery sound installation in 1997. “National Grid” uses electromagnetic noise from live mains electricity to create a monolithic and immersive sound installation, which is conceived as a musical tribute to “the (creative) genius of electrification” [1]. The Michael Faraday memorial itself contains an electrical substation, which feeds high-voltage power to the London Underground; and it is consistent with the assertion that “art is not necessarily science, but science is always art” [2] that the original design for the Michael Faraday memorial envisaged this important work of public art as being a glass container (not, as it stands at present, a highly reflective steel box). On this basis, and in terms that are equally antithetical to the conventional wisdom of mainstream contemporary art, it can be argued that the true purpose of the architect’s original design was to enable members of the public to view what can be seen as the “real” work of art - meaning to view the electrical infrastructure.

[1] Hull Time Based Arts TOOT Festival Programme, Mute Magazine (special supplement) Oct 1999

[2] Joe Banks “The Rumble” (catalogue) Royal Society of Sculptors, March 2001

“Virtually all the physical phenomena we experience, such as light, chemical reactions, the properties of materials, and the transmission of signals along nerve fibres, are electrical in nature. In fact, the only non-electrical force we experience every day is the force of gravity.” – Harris Benson “University Physics” Wiley 1991

MurrowFellowsBest-14 by Grady College

Seventeen Murrow Fellows visited Gracy College and were hosted by the Cox International Center Nov. 9, 2022. The Murrow Fellows are sponsored by the U.S. State Department and include international journalists from a variety of countries including South Korea, Australia, Laos, Sri Lanka, Taiwan and others. The theme of the discussion was "Media Responsibility in an Age of Disinformation for the Indo-Pacific."

Gaz's Rockin Blues by that's not important right now

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Notting Hill Carnival 2022, Canon P, Industar 55mm F2.8; FP4

Claudia Jones, née Claudia Vera Cumberbatch (21 February 1915 – 24 December 1964) , was a Trinidad and Tobago-born journalist and activist. As a child, she migrated with her family to the US, where she became a Communist political activist, feminist and black nationalist, adopting the name Jones as "self-protective disinformation". Due to the political persecution of Communists in the US, she was deported in 1955 and subsequently lived in the United Kingdom. Upon arriving in the UK, she immediately joined the Communist Party of Great Britain and would remain a member for the rest of her life. She then founded Britain's first major black newspaper, the West Indian Gazette, in 1958, and played a central role in founding the Notting Hill Carnival, the second-largest annual carnival in the world.

Konferencja 'Demystifying #Disinformation' by Ministry of Foreign Affairs of the Republic of Poland

Fot.: Sebastian Indra

Electromagnetic Sound Art in Virtual Exhibition Space - Disinformation 1996 to 2022 [page 2 of 2] by disinformation

Disinformation – “Antithesis”

Virtual exhibition for Schemata Art

Hosted by New Art City + Corsica Studios

March 2022 onwards (indefinite exhibition)

Full description + user guide - rorschachaudio.files.wordpress.com/2022/03/disinformation...

3D view – newart.city/show/schemata-disinformation-antithesis

Catalogue view - newart.city/catalog/schemata-disinformation-antithesis

Curated and designed by Alice Hoffmann-Fuller, the latest exhibition in Schemata, Corsica Studios’ new experimental arts platform, takes place in a 3D digital rendering of Corsica Studios, hosted by on-line gallery platform New Art City. The “Antithesis” exhibition features brand new and archival work by the highly innovative and influential audio-kinetic art project Disinformation.

The Disinformation project’s exhibition for Schemata is in part inspired by the close proximity of Corsica Studios to the Brutalist architect Rodney Gordon’s iconic memorial to the electrical scientist Michael Faraday, installed, close to Corsica Studios, at the Elephant & Castle in 1961. The Disinformation sound artwork “National Grid” was first released on LP and performed live in 1996, and first exhibited as an art gallery sound installation in 1997. “National Grid” uses electromagnetic noise from live mains electricity to create a monolithic and immersive sound installation, which is conceived as a musical tribute to “the (creative) genius of electrification” [1]. The Michael Faraday memorial itself contains an electrical substation, which feeds high-voltage power to the London Underground; and it is consistent with the assertion that “art is not necessarily science, but science is always art” [2] that the original design for the Michael Faraday memorial envisaged this important work of public art as being a glass container (not, as it stands at present, a highly reflective steel box). On this basis, and in terms that are equally antithetical to the conventional wisdom of mainstream contemporary art, it can be argued that the true purpose of the architect’s original design was to enable members of the public to view what can be seen as the “real” work of art - meaning to view the electrical infrastructure.

[1] Hull Time Based Arts TOOT Festival Programme, Mute Magazine (special supplement) Oct 1999

[2] Joe Banks “The Rumble” (catalogue) Royal Society of Sculptors, March 2001

“Virtually all the physical phenomena we experience, such as light, chemical reactions, the properties of materials, and the transmission of signals along nerve fibres, are electrical in nature. In fact, the only non-electrical force we experience every day is the force of gravity.” – Harris Benson “University Physics” Wiley 1991

Administrator Power meets with Susan Wojcicki, CEO of YouTube by USAID U.S. Agency for International Development

April 29, 2022— Administrator Samantha Power met with Chief Executive Officer of YouTube Susan Wojcicki to discuss expanding institutional ties and coordination between USAID and YouTube to better address disinformation and to support efforts to increase the business viability of independent media outlets. Administrator Power underscored how disinformation jeopardizes a wide range of development priorities, and the two discussed the importance of combating misinformation and disinformation produced by repressive governments and targeted at vulnerable populations.

"Called to Serve" / CIA Killed JFK by Raquel Baranow

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I used to go to these political meetings at 8am Saturday morning. Every week a new and interesting speaker would show up. James "Bo" Gritz, "America's most decorated Green Beret Commander" gave a talk about CIA drug running in the Golden Triangle during the Vietnam war. He also spoke a little about the Kennedy assassination something that was disinformation. After the talk I told him I'm an expert in the assassination and that there's a lot of disinformation being given out. He gave me his mailing address, I mailed him a three-page article I wrote in a local newspaper. A year or so later, Gritz came back with a new book. I flipped through the book, which his pretty wife was selling in the back of the room. There, near the back of the book were pictures clearly cut out from the article I wrote. A few weeks ago, I finally ordered a used copy of the book on Amazon to read what he wrote, which is pretty spot-on.

"Called to Serve" on Amazon.

William Hogarth tribute - “The Analysis of Beauty” - Talbot Rice Gallery, Edinburgh, 2014 [headphones essential] by disinformation

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Immersive soundscape installation exhibited at Talbot Rice Gallery, Edinburgh, Nov 2014 -

“Mesmerising... hypnotic and captivating... sublime” - Aesthetica Magazine

www.aestheticamagazine.com/disinformation-analysis-beauty...

www.artinscotland.tv/2016/disinformation-the-analysis-of-...

Asbestos Propaganda: Devil is in the Detail by Asbestorama

Collage of images depicting: pages from an asbestos industry propaganda booklet (top left) touting an historical Quebec church as an example of asbestos usage; and, additional Asbestorama images of the same church taken while visiting, including detail of the deteriorating asbestos siding.

Whether known to its parishioners or not, this lovely church building was being used by the "former" Chrysotile (Asbestos) Institute in their last major disinformation publication. As with most propaganda materials, important factual details are usually twisted or left out completely.

In this case, although the asbestos siding on the church was touted as a safe and lasting material, closer observation reveals the shingles are actually crumbly, deteriorating and exposing countless asbestos fibers. Where do the dislodged airborne asbestos fibers eventually end up?

Despite presenting so-called "counter-arguments" and including several glossy, but undetailed photos, the fallacy-filled propaganda pamphlet fails to persuade an informed reader; one who is aware the asbestos lobby has an over-reliance on "doubt-science" and that their best health-effect argument is claiming jumping off a ten-story building is better than jumping off a 40-story building.

It comes as unsurprising news that the recently announced closure of the Canadian-based Chrysotile (Asbestos) Institute has finally occurred. Essentially peddling hazardous asbestos and downplaying the harmful health effects of asbestos, it is only a matter of time for all pro-asbestos interests to be exposed for what it literally is, a dying industry.

Donald Trump and Putin's Russian Trolls by Carnaval.com Studios

FBI Special Counsel Robert Mueller reportedly obtained a search warrant for records of the "inauthentic" accounts Facebook shut down early September 2017 and the targeted ads these accounts purchased during the 2016 election.

Democratic Rep. Adam Schiff, the ranking member of the House Intelligence Committee, told MSNBC earlier this month that he wants to know how sophisticated the Russian-bought ads were — in terms of their content and targets — to determine whether they had any help from the Trump campaign.

Facebook said in its initial statement that about 25% of the ads purchased by Russians during the election "were geographically targeted," and many analysts have found it difficult to believe that foreign entities would have had the kind of granular knowledge of American politics necessary to target specific demographics and voting precincts.

m.facebook.com/RBReich/posts/1704792166200039

www.businessinsider.com/mueller-obtains-warrant-for-russi...

The notorious Kremlin-linked ‘troll farm’ and the Russians trying to take it down By David Filipov October 8 2017

www.washingtonpost.com/world/asia_pacific/the-notorious-k...

And then there is Russia, which has both a long history of disinformation campaigns and a domestic political culture largely untroubled by concerns of truth. It has taken to the dark side of social media like a rat to a drainpipe, not just for internal use, but for export, too.

Vladimir Putin’s regime has used social media as part of surreptitious campaigns in its neighbours, including Ukraine, in France and Germany, in America and elsewhere.

www.economist.com/news/briefing/21730870-economy-based-at...

"Toward the end of his twelve-day trip to Asia, President Trump tweeted,

“When will all the haters and fools out there realize that having a good relationship with Russia is a good thing, not a bad thing. There [sic] always playing politics — bad for our country. I want to solve North Korea, Syria, Ukraine, terrorism, and Russia can greatly help!”

Trump has a point. Russia can, in theory, “greatly help.” But it probably won’t, at least not “greatly.” It won’t help because Vladimir Putin and his regime don’t think helping America is in their national interest."

by JONAH GOLDBERG November 17, 2017

www.nationalreview.com/article/453827/america-russia-alli...

The Real Culprit Behind North Korea’s Missile Threat May Be Vladimir Putin

www.nationalreview.com/article/451476/north-korea-vladimi...

Russia’s Dead End: An Insider’s Testimony from Gorbachev to Putin --- a review of the 2017 book by Andrei Kovalev.

www.economist.com/news/books-and-arts/21728877-andrei-kov...

"Russian leaders no longer venerate Lenin of the Bolshevik revolution, but they embrace the Soviet legacy. It lives on in the war in Ukraine, the search for enemies, the negation of law and the hatred fanned by the state."

The Russian Revolution and its Legacy | House of ruin www.economist.com/news/books-and-arts/21732798-house-emba...

60009 'Union of 'South Africa' | Roch Viaduct | East Lancashire Railway | 31.05.2021 by JXS.46258

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'Disinformation'

60009 crossing Roch viaduct en route to Heywood, but what is wrong with this picture?

___

Support the East Lancashire Railway:

uk.virginmoneygiving.com/charity-web/charity/displayChari...

Media and Democracy in the Americas by Inter-American Dialogue

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In every country in the Americas, the relationship between democracy and a free press has tensions and complications. In some countries, outright violence, censorship, or indirect restrictions on freedom of information threaten the free exchange of ideas and information, while in others, the threats to a free press are more subtle and pernicious—including disinformation, propaganda, and manipulation. In all cases, the press remains an essential tool to fight corruption and guarantee democratic accountability. As a result, efforts to expand transparency, freedom of expression, and access to information remain critical across the hemisphere.

The Inter-American Dialogue is proud to partner with Fundamedios USA, the Organization of American States, the IACHR Special Rapporteurship for Freedom of Expression, Freedom House, the Pan American Development Foundation, and Colpin for a sustained conversation on the interplay between media and democracy in the Americas. This conference brings together Hispanic journalists in the United States with their counterparts in Latin America to discuss common challenges.

In a video he posted on Twitter, George Galloway claims that the Auschwitz concentration camp, which the Germans built specifically to house Polish prisoners, was "manned by Poles".... by Jake

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SOURCE: twitter.com/i/status/1619020107749167111

George Galloway is a despicable shill for tyranny, who makes a living by slavishly supporting the imperialism and colonialism of Russia's ruling class, spreading their propaganda all over social media and cheerleading their war crimes.

i.imgur.com/ru9h5JA.png

As Russian disinfo is often targeted at Poland I'm not sure if he really is so ignorant about Auschwitz that he actually believes what he said, or if it's just another Russian lie he's happy to repeat like a deranged tankie parrot.

The primary purpose of Galloway's video is to have a tantrum about the fact that Russia wasn't invited to the 2023 commemoration of the liberation of Auschwitz. In addition to his lie about Poland, he also blames the Ukrainians for the holocaust and claims that the countries of western Europe are all fascist (as well as suggesting that Russia should invade and "liberate" them from fascism)....

i.imgur.com/x9JPALS.jpg

He doesn't say anything at all about the reason why Russia wasn't invited - ie the Russian invasion of Ukraine and the numerous atrocities that Russia was committing there on a daily basis (which included the killing of elderly Jews who managed to survive Hitler's holocaust but not Putin's relentless bombing of civilian targets).

Not surprisingly, Galloway attributes the Soviet victory over Nazi Germany in the Second World War to Russia, without mentioning any of the other Soviet Socialist Republics or that the Red Army was a multinational force which included a huge number of Ukrainians. He also doesn't mention the fact that the Soviets spent the first two years of the war in bed with Nazi Germany and only switched sides out of sheer desperation, or that they couldn't have defeated the Germans without the massive aid they received from the West (exactly the kind of aid he doesn't want the West to deliver to Ukraine), or that the Soviets committed some appalling war crimes against the countries they invaded and occupied from 1939-41 and subsequently re-occupied in 1944-45, after which they insisted on imprisoning the countries of central and eastern Europe behind the iron curtain for half a century.

He also doesn't seem to be aware that some of the worst Nazi collaborators were Russians - like the RONA brigade, who were responsible for some of the most horrific atrocities committed during the Warsaw Uprising. And if you compare what the RONA brigade did in Warsaw in 1944 to what the ruZZian invaders of Ukraine did in places like Bucha nearly 80 years later, there's not a great deal of difference....

en.wikipedia.org/wiki/Ochota_massacre

As much as 20% of Nazi Germany's military manpower during the invasion of the USSR consisted of Soviet citizens fighting against their own country, about half of whom were ethnic Russians.

Although Auschwitz eventually became an extermination centre in which nearly a million Jews were murdered, the Germans created the camp in 1940 initially for the purpose of interning Polish slavic prisoners, who made up the majority of the inmates until 1942.

Over the years Auschwitz grew into a complex of three main camps and dozens of sub-camps....

The original camp, which the prisoners entered through the notorious gateway declaring "Arbeit Macht Frei", later became known as Konzentrationslager (KL) Auschwitz I.

Auschwitz II Birkenau, built in 1941, was larger than Auschwitz I, and was subsequently equipped with gas chambers and crematoria. German companies designed these extermination facilities and also supplied the Zyklon B. Most of the people who perished at Auschwitz were Jews who were sent from the Birkenau railway ramp to the gas chambers directly on arrival. Approximately 900,000 Jews met their fate in this manner.

KL Auschwitz III Monowitz, built in 1942, was a dedicated slave labour camp for the German chemical conglomerate IG Farben.

After the Second World War, the Auschwitz-Birkenau State Museum was created by an act of the Polish parliament (and has been financed by the Polish state ever since) to honour the victims of the crimes Nazi Germany committed at the camp.

According to Franciszek Piper, former director of the Historical & Research Department at the Auschwitz Museum, between 140,000 and 150,000 Polish slavs were interned at Auschwitz between 1940 and 1945, and at least 70,000 of them died there as victims of executions, medical experiments, brutality, starvation and disease.

There were no Polish guards at Auschwitz, and Nazi Germany was fully responsible for the planning, building and administration of the camp, which was located in occupied Polish territory that was annexed directly into the Third Reich.

By pretending otherwise Galloway is guilty of holocaust distortion, as per point 5 of the International Holocaust Remembrance Alliance definition: "attempts to blur the responsibility for the establishment of concentration and death camps devised and operated by Nazi Germany by putting blame on other nations or ethnic groups"....

However, spitting on the memory of the Polish victims in this way is par for the course for a human cockroach like him.

Avaaz Facebook/Zuckerberg rally on Capitol lawn by Avaaz

While Mark Zuckerberg prepares to testify before the Senate, 100 cardboard cutouts of the Facebook founder and CEO stand outside the U.S. Capitol in Washington on Tuesday, April 10, 2018. Advocacy group Avaaz is calling attention to hundreds of millions of fake accounts still spreading disinformation on Facebook, and calling for the social media giant to submit to an independent audit. (Kevin Wolf / AP images for AVAAZ)

“Closed Circuit” - kinetic audio installation by Disinformation, in "Sounds & Shapes" exhibition by disinformation

Disinformation – “Closed Circuit” – architectural + immersive sound installation in “Sounds & Shapes” exhibition at Drawing Matter, Somerset, curated by Matchett & Page, July 2021.

“If we sit and talk in a dark room, words suddenly acquire new meanings and different textures. They become richer, even, than architecture, which Le Corbusier rightly says can best be felt at night.” – Marshall McLuhan “Understanding Media” 1964

“Architecture is the simplest means of articulating time and space, of modulating reality and [of] engendering dreams” [1], and, perhaps paradoxically, in the silo at Shatwell, a familiar architectural form is re-purposed to create a kind of strange laboratory, within which, through the manipulation of architectural acoustics, of auditory and haptic sensations, the formal aesthetics and symbolism of pure geometry, interact with (equally primal) tactile resonances and symbolism, to evoke long-forgotten reflexes, sense memories, and (arguably, to some extent) even dreams. Extrapolating the assertion that “architecture in general is frozen music” [2], the installation at Shatwell is created not only within the building, but by the building, with the building itself functioning as a massive loudspeaker, as a kinetic artwork, and as a musical instrument, generating “sound” which is heard through the fingertips, drawing visitors into an amniotic sound world of gently pulsing vibration and breath-like rhythms.

In geometric terms, the curvilinear surface of a cylinder is effectively infinite, while in projective geometry, a cylinder can be defined as a cone whose apex rests at infinity [3] – a grain silo is in effect a giant tin of beans, and every child who’s built a tin-can-telephone is familiar with at least some of the acoustic properties of plate steel. “In every art it is the most elementary and primitive means that achieve the most profound and beautiful effects” [4], and “Closed Circuit” – the sound installation by artist project Disinformation – uses simple microtonal tuning techniques to create a rhythmically active and dynamic sound mass, which oscillates around a core frequency of 40Hz. This is, in neurological terms, the exact frequency of so-called Gamma waves which is most strongly associated with the integration of visual consciousness and dreams [5][6], and is the exact frequency most used in the field of vibro-acoustic therapy [7].

“We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and Surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors…” [1]

“Arnold began telling Alan about his recurrent childhood dream, or nightmare rather, in which he felt himself suspended in absolutely empty space while a strange noise would start, growing ever louder, until he woke up in a sweat. Alan asked what kind of noise it was, but Arnold could not describe it… Alan imagined the old hangar on the RAF camp… and made up a science fiction story… in which the hangar was itself a brain.” [8]

[1] Ivan Chtcheglov “Formulary for a New Urbanism” October 1953

[2] Friedrich von Schelling “Philosophie der Kunst” 1802

[3] en.wikipedia.org/wiki/Cylinder

[4] Rudolf Arnheim “Radio” 1936

[5] Francis Crick and Christof Koch “Towards a Neurobiological Theory of Consciousness” Seminars in the Neurosciences, vol. 2, 1990

[6] Rodolfo Llinás and Urs Ribary “Coherent 40Hz Oscillation Characterizes Dream State in Humans” PNAS, vol. 90, 1993

[7] en.wikipedia.org/wiki/Vibroacoustic_therapy

[8] Andrew Hodges “Alan Turing, The Enigma” 1983

“Closed Circuit” by Disinformation is commissioned and installed at Shatwell Farm, Somerset as part of the exhibition “Sounds & Shapes”, curated by Matchett & Page. The installation is open by appointment at weekends, 11am to 5pm, Saturday 17th July to Sunday 1st August 2021.

drawingmatter.org/disinformation-closed-circuit/

matchett.page/sounds_and_shapes

Initial site visit 22 Feb 2020, installation date 29 May 2021