{"id":113,"date":"2014-10-30T11:14:48","date_gmt":"2014-10-30T11:14:48","guid":{"rendered":"http:\/\/digital.eca.ed.ac.uk\/gap-in-air\/?p=113"},"modified":"2014-11-03T10:08:17","modified_gmt":"2014-11-03T10:08:17","slug":"the-analysis-of-beauty-by-disinformation","status":"publish","type":"post","link":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/2014\/10\/30\/the-analysis-of-beauty-by-disinformation\/","title":{"rendered":"\u201cThe Analysis of Beauty\u201d by Disinformation"},"content":{"rendered":"<p><strong>15 \u2013 29 Nov 2014<a href=\"http:\/\/digital.eca.ed.ac.uk\/gap-in-air\/files\/2014\/10\/The-Analysis-of-Beauty-lines.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"alignright wp-image-165 size-thumbnail\" src=\"http:\/\/digital.eca.ed.ac.uk\/gap-in-air\/files\/2014\/10\/The-Analysis-of-Beauty-lines-150x150.jpg\" alt=\"William Hogarth - illustration from &quot;The Analysis of Beauty&quot; book 1753\" width=\"150\" height=\"150\" \/><\/a><\/strong><\/p>\n<p>\u201cThe eye hath this sort of enjoyment in winding walks, and serpentine rivers, and all sorts of objects, whose forms, as we shall see hereafter, are composed principally of what I call the waving and serpentine lines. Intricacy in form, therefore, I shall define to be that peculiarity in the lines, which compose it, that leads the eye a wanton kind of chace, and from the pleasure that gives the mind, intitles it to the name of beautiful&#8230;\u201d William Hogarth \u201cThe Analysis of Beauty\u201d 1753<\/p>\n<p>&nbsp;<\/p>\n<figure id=\"attachment_114\" aria-describedby=\"caption-attachment-114\" style=\"width: 248px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/digital.eca.ed.ac.uk\/gap-in-air\/files\/2014\/10\/Hogarth.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\" wp-image-114\" src=\"http:\/\/digital.eca.ed.ac.uk\/gap-in-air\/files\/2014\/10\/Hogarth.jpg\" alt=\"William Hogarth (1753) 'The Analysis of Beauty' book\" width=\"248\" height=\"321\" \/><\/a><figcaption id=\"caption-attachment-114\" class=\"wp-caption-text\">William Hogarth (1753) &#8216;The Analysis of Beauty&#8217; book<\/figcaption><\/figure>\n<p>In 1753 the Georgian artist William Hogarth self-published his magnum-opus, \u201cThe Analysis of Beauty\u201d &#8211; the book in which Hogarth expounded an aesthetic system based on analysing the virtues of the Serpentine, S-shaped, waving and snake-like lines. The Serpentine Line that William Hogarth discussed is identical to what modern nomenclature refers to as the sine-wave &#8211; the mathematical function whose geometry finds physical expression in oscillatory motion of musical strings, in pure musical tones, and in many phenomena of engineering, physics and communications science, signal processing and information technology.<\/p>\n<p>&nbsp;<\/p>\n<p>In context of the architect William Playfair\u2019s design for the Georgian Gallery at Talbot Rice, sonic and visual arts project Disinformation presents a minutely-tuned assemblage of pure musical sine-waves, which manifest throughout the Georgian Gallery as a gently-hypnotic, immersive and dream-like sound-world. The installation is created using signals from laboratory oscillators, which manifest in-situ as standing-waves (the audio equivalent of stationary pond-ripples) &#8211; through which visitors move as they explore the architectural acoustics of the exhibition space and interact with the \u201cThe Analysis of Beauty\u201d sound installation.<\/p>\n<p><a title=\"overview\" href=\"http:\/\/digital.eca.ed.ac.uk\/gap-in-air\/\">back to overview<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>15 \u2013 29 Nov 2014 \u201cThe eye hath this sort of enjoyment in winding walks, and serpentine rivers, and all sorts of objects, whose forms, as we shall see hereafter, are composed principally of what I call the waving and serpentine lines. Intricacy in form, therefore, I shall define to be that peculiarity in the lines, which compose it, that leads the eye a wanton kind of chace, and from.. <a href=\"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/2014\/10\/30\/the-analysis-of-beauty-by-disinformation\/\">Read More<\/a><\/p>\n","protected":false},"author":123,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[16,17,15,8],"acf":[],"_links":{"self":[{"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/posts\/113"}],"collection":[{"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/users\/123"}],"replies":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/comments?post=113"}],"version-history":[{"count":7,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/posts\/113\/revisions"}],"predecessor-version":[{"id":166,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/posts\/113\/revisions\/166"}],"wp:attachment":[{"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/media?parent=113"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/categories?post=113"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/tags?post=113"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}