Signal A Running Record of Findings from the Internet / September 15, 2026

How Shiv-Hari Hid a Stalker Inside a Love Song

Zane Merritt takes apart the score Shiv-Hari wrote for Yash Chopra's Darr in 1993 and finds the menace built into the orchestration rather than laid over it. Jaadu Teri Nazar opens as flirtation and turns proprietary in the arrangement. The instrumental Obsession escalates through percussion and wordless choir as Rahul's fantasy runs away from him, and by Tu Mere Saamne the track is breathing. Merritt traces a perfect fifth recurring across all three and argues the harmonica does the real work, an instrument that has to inhale and exhale at once to sound at all.

Read the story By Zane Merritt · Sounding Out!
Darr, 1993
Darr, 1993

Design

Arts & Culture

Sound

Collecting

Document

Film

Italy Is Building the Overcrowding Into the Prisons 
The Back Room Is Getting the Budget the Front Room Used To 
Silicone Lamps You Press, Pull or Bop Instead of Switching On 
Robert Osborn Drew American Mediocrity in 1960 and It Still Lands 
Ten Years of Berlin Doorways and Staircases, in Seventy-Nine Pictures 
Twenty-Three Years of Allevol, Corrected by the Man Who Built It 
The Lockpickers Who Post Everything and the Ones Who Never Did 
Gillian Cooper on What the First Stitch Commits You To 
Nine Shows, Seven Venues, Four Days in Chicago 
Friedrich Hollaender's 1930 Cabaret Score, Read Cue by Cue 
Bach's Pedalling, Argued From Eighteenth Century Shoes 
Sixteen Pairs of Vietnamese Kite Flutes, Spun on Rotating Arms 
Fifteen Thousand Engine Drawings, Seven Thousand of Them Unrecorded 
A French Doctor Traced 867 Tattoos Off Prisoners' Skin 
Two Eleven-Pound Hubs, Rescued From a Dead Mint 
A Planter's Thirty-Four Books, and the Earliest Shakespeare in America 
The Sea Peoples May Have Been Refugees as Much as Raiders 
The Alamo's Second Battle Was Over What the First One Meant 
Anna Julia Cooper's Universalism, Against Victorian Womanhood 
Mercy Brown Died in 1892 and the Folklore Ate Her 
Hope Keeps Putting Incompetent People Past Their Capacity 
Six Films From Toronto, None of Them the Ones Being Sold 
Framing British Sign Language When the Hands Are the Performance 
Two Argentine Directors on Making a Manifesto Out of a Cineclub 
Signal A Running Record of Findings from the Internet / September 14, 2026

A Poet With a Camera, Restored by Her Daughter

Sarah Maldoror made Sambizanga in 1972, three films on Aime Cesaire across as many decades, a carnival trilogy shot in Cape Verde, the Sahel and Bissau, and a portrait of Louis Aragon. Since her death her daughter Annouchka de Andrade has been putting the work back into circulation, securing Martin Scorsese's Film Foundation for the Sambizanga restoration that finished in 2021. She has now curated a season of it at BFI Southbank, running to the fourth of October.

Read the story By Rachel Pronger · Sight and Sound
Sambizanga, 1972
Sambizanga, 1972

Design

Arts & Culture

Sound

Collecting

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A Vintage Book Dealer on How Books Actually Get Shelved 
Sao Paulo Bars Are Borrowing the Boteco's Old Signage 
The Infamous Upholstery Story, Corrected by the Man Who Started It 
What MoMA's West Africa Models Leave Out of the Buildings 
Walking the Corporate Utopia North Texas Built and Left Running 
How a Bench Gets Laid Out, by Someone Standing at One 
Two 1950s Braun Rangefinders, Shot and Assessed 
Jane Wade on Turning a Tool Belt Into a Gathered Drawcord 
The Czech Philharmonic, Bychkov and Yunchan Lim in Prague 
Jeff Tweedy on Tone and the Importance of Imperfection 
Talk Talk's Last Live Shows, Forty Years On 
What the Program Note Does to What You Hear 
Walking the Hong Kong Watch Fair Floor 
Deciding What a Museum's European Collection Keeps 
One-Sixth Scale Arcade Cabinets, and the Obsession Behind Them 
Mari Hong on the Pieces That Were Never Meant to Be Hers 
The Coalition That Fought Infant Mortality, From Its Own Papers 
The Patriots Burned Norfolk in 1776, Not the British 
Wheat, Smoke and Three Decades of Advocacy on the Palouse 
Bandung Internationalism, Traced Through Rare Pressings 
An Incomplete Calendar, Built From Petro-Archive Imagery 
Margaret at Fifteen, and Adolescence Under National Mourning 
Iranian Cinema, From Ellipsis as Poetics to Ellipsis as Testimony 
Elvis in Vegas, Against Venturi and Scott Brown 
Signal A Running Record of Findings from the Internet / September 13, 2026

Catalogued as Another Paper for Two Hundred and Fifty Years

A volunteer working through eighteenth-century Admiralty records at Kew opened a file listed only as another paper and found one of eleven known Exeter broadsides of the Declaration of Independence, printed by Robert Luist Fowle between the sixteenth and nineteenth of July 1776. Michael Scurr made the identification in May. The sheet had been carried aboard the American privateer Dalton, seized off Portugal by HM Raisonable on Christmas Eve that year, and filed with the prize papers ever since. It is the only Exeter broadside known outside the United States.

Read the story By Kele Johnson · Antique Trader
Exeter broadside, printed July 1776
Exeter broadside, printed July 1776

Design

Arts & Culture

Sound

Collecting

Document

Film

Chybik and Kristof on the Arena They Built in Jihlava 
A Derelict Bunker in Ubud, Remade by Fifteen Named Makers 
A Clamp-Based Tape Dispenser, and the Flaw Nobody Fixed 
Julia Kahl on What Should Never Be Printed 
How to Mix, Burnish and Fire Terra Sigillata 
Em Davenport's Paintings, Read as Atavistic Feminism 
Three Levels for Judging a Photograph 
What People Actually Wore at Rat Party 
Carlo Vistoli, From Baroque to Broadway in One Recital 
What Shaving the Bridge Does to an Acoustic Guitar's Top 
Nine Ukrainian Musicians on Working Through the Air Raids 
Two Composers Split the Cues for The Shards, Remotely 
Pretty Changes, Totally Hair, Cut and Style: Barbie by the Hair 
The FBI Agent Who Traces Stolen Art 
Yemen's State Press, Printing for Readers Who Expected Manuscripts 
The 2001 Air Force 1 Shape, and the Digging It Took to Learn It 
What Medieval Physicians Actually Prescribed for the Mind 
The Accuracy Complaints Film Inherited From History Painting 
Four Manuscript Rolls Mapping a Medieval Water System 
The Postwar Rush to Prospect the Colorado Plateau 
Viktoria Schmid on Shooting in Three-Colour Separation 
Alan Jones on Curating a Box Set of Italian Disco Cinema 
Turning a Trippy UFO Academy Archive Into a Documentary 
Shooting a Bluegrass Band as It Formed 
Signal A Running Record of Findings from the Internet / September 12, 2026

An Avatar of Yuja Wang, a Basement Bunker, and Eleven Out of a Hundred

Pierre-Alain Giraud's installation puts the audience in headsets in a basement bunker under the Royal Festival Hall, free to walk around a pre-recorded avatar of Yuja Wang as she plays Ravel, Stravinsky, Bach and six other works. Warnings appear if you get too close to the piano. Eleanor Knight found the pianist herself curiously incidental to the whole apparatus, objected to the imagery and the heavy-handed setup, and scored it eleven out of a hundred. Her conclusion was that the pictures are better with your eyes closed.

Read the story By Eleanor Knight · Bachtrack
Playing with Fire, Royal Festival Hall
Playing with Fire, Royal Festival Hall

Design

Arts & Culture

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Collecting

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Film

A 1944 Master Plan, and the Seventy Years of Demolition That Followed 
A Vienna Apartment Reworked Around Secession Curves and Bespoke Joinery 
Honda Built a Tailgate That Opened Two Ways and Called It Waku-Waku 
Persian Lettering, Cast Into Manhole Covers Across Four Cities 
Christopher Wool and Richard Shiff, Talking in the Studio 
Shipyard Photographs, Read Against a Century of Worker Pictures 
How One Swiss Shop Became a Measure of Taste 
Li Xianglong Works Between Fever Dreams and Internet Memes 
Camille Norment Would Rather Not Explain Her Work 
Friedhofer's 1943 Score for a B-Picture, Read Cue by Cue 
More Eaze Tracked It Live to Get Away From Dense and Digital 
Inside the Last Magnetic Tape Factory in Europe 
Fifty Years and Forty Thousand Items on Women in the Wilderness 
A Complete 1799 Set of Rowlandson's Cries of London, Spotted in a Window 
The Grocery-Checkout Pamphlets Nobody Else Is Cataloguing 
Four Thousand Pounds of Petoskey Stones, Hauled Home One at a Time 
One Speech in Midsummer Night's Dream, Tracked Through Four Centuries 
Sophistication as Anti-Sincerity, From Notes on Camp to Newport 
Stapledon Wrote Two Billion Years of History After Driving Ambulances 
His Biographer Checks the de Gaulle Film Against the Record 
Crossroads, Film by Film, and an Argument About AI Imagery 
Albert Serra on Destabilising a Shoot and Cutting 540 Hours 
Joe Dante's The Burbs, and What the Cul-de-Sac Was Hiding 
Working Through Barbara Hammer's Archive, and Her Own Face 
Signal A Running Record of Findings from the Internet / September 11, 2026

One Light for Every Person Killed, Flown as the Towers at Full Scale

Creative director Addison Mehr built the piece with the Dutch studio Drift, architects Shigeru Ban and Dean Maltz, producer Sky Elements and drone artist Yan Paul Dubbelman, taking direction from FDNY responders, families and survivors. The 2,977 drones launched from Governors Island on the evening of 9 September, forming a spiralling helix before resolving into the outlines of the towers at full architectural scale, over a score drawing on John Adams, Philip Glass and Max Richter.

Read the story By Ryan Waddoups · Galerie Magazine
2,977 drones over New York Harbor
2,977 drones over New York Harbor

Design

Arts & Culture

Sound

Collecting

Document

Film

Tom Sachs Rebuilt Chanel's Paris Flagship From Plywood and Cardboard 
The Ratchet Binder Had a Safety Flaw, So He Redesigned It 
Four Hundred Square Feet, Built Around the Shutters That Were Already There 
Europe's Largest 3D-Printed Housing, Planned Around the Trees 
A Seven-Hundred-Year-Old Guild Puts an AI Installation in Its Fair 
The Counterpublic Triennial Argues With the Idea of Public Space 
Hayun Surl on Working From the Inside of the Form Outward 
Nine Thousand Hours Into Embroidering the Bayeux Tapestry by Hand 
She Recorded Rose Garden Over Her Husband's Objections 
New Adventures in Hi-Fi at Thirty, and Where It Got Them 
Bonobo's New Record, Studiedly Moody and Urgently Intense 
Haruomi Hosono Made Another Record at Seventy-Nine 
Shankly's This Is Anfield Sign Went for Seven Times Its Estimate 
Sixteen Hundred Photographs of E3 2009, Donated to an Archive 
The Zelda Anniversary Hardware Sold Out and Went Straight to eBay 
Fifty Books and Letters From Beatrix Potter's Great-Nephew 
What Hempstead Looked Like Before the Cars Came 
What the Chronicles Actually Say About the 1381 Revolt 
A Date That Does Not Add Up in Nabokov's Pnin 
Ctesibius Built a Water Clock That Held the Record for 1,800 Years 
The Day Photojournalism Went Digital, and the Photographer Who Died in It 
Mungiu on Parental Authority and the State, With Sebastian Stan 
Venice Let the Politics In, Carefully 
Five and a Half Hours on Borges, Built as a Detective Story 
Signal A Running Record of Findings from the Internet / September 10, 2026

The House Rogers Built for His Parents Now Belongs to the National Trust

Richard and Su Rogers built 22 Parkside between 1968 and 1970 for his parents, Nino and Dada, as two single-storey glass-and-steel pavilions set around a central courtyard and assembled from a prefabricated system. The family has given it to the National Trust through the Richard Rogers Charitable Settlement, and it opens on Saturday 12 September as part of Open House London.

Read the story By Camille Tenneson · Wallpaper*
22 Parkside, Wimbledon
22 Parkside, Wimbledon

Design

Arts & Culture

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Collecting

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Milan Design Week, Read as Contamination Between Old and New 
A Studio Reorganises Itself Around Lighting and Waste 
A Cloister Added to the Back of a 1904 House 
They Built the Gear Shed First, Then the House Around It 
The Needlewomen May Have Argued Back in the Borders 
Elizabeth Atterbury Stages Objects Until They Hold Memory 
She Started Pinching Clay Vessels After an Earthquake 
Tarot and Pop Culture, Painted Edge to Edge 
Jem Finer and John Matthias on Building Almost Starlight 
Sam Sodomsky on Take Leave and What Got Him There 
Little Simz Headlined Forwards, and the Rest Struggled 
Arca, Traced From the Margins to the Centre 
Rare's SNES Prototype That Became Banjo-Kazooie Is Now Online 
The Jacket From Mercury's Last Live Vocal Sold for 111,000 Pounds 
A 1970s King Seiko Revived, on a Movement From Grand Seiko 
Six Overlooked Seikos, Including One Made for Tokyo 1964 
Twenty-Five Tonnes of Stone, Hauled Eleven Miles 
The Paris Review Starts an Oral History Series With Alexievich 
A Paleolithic Child's Teeth, Read Again for Growth Patterns 
The Summer of Love, Moved Back to the Nineteenth Century 
Photographing the Loss of a Childhood Home 
Seventy-Two Frank Horvat Photographs, Hung in the Baths of Caracalla 
Robert Greene Lets His Subjects Direct Their Own Scenes 
Twenty Years of River Footage, Recombined by Algorithm 
Signal A Running Record of Findings from the Internet / September 9, 2026

A Lisbon Church Raised Off the Ground, With a Ten-Metre Void Through It

Pedro Matos Gameiro and Joao Favila Menezes lifted the Church of Sao Jose da Boavista clear of its site and cut a ten-metre void down the middle of it. The raised structure and the contrast between materials put the building in a line running back through Le Corbusier and Aalto.

Read the story By Yatzer
Church of Sao Jose da Boavista, Lisbon
Church of Sao Jose da Boavista, Lisbon

Design

Arts & Culture

Sound

Collecting

Document

Film

A $240 Million Renovation That Copies the Original Board-Formed Concrete 
Two Logos That Would Not Sit Together, Solved Inside a Typeface 
Seventy-One Square Metres Zoned by Angles Instead of Walls 
Supermarket Own-Brand Packaging That Refuses to Look Cheap 
Jonathan Baldock Works in Textiles, Ceramics and Things You Can Touch 
Sewn Paintings About What a Uniform Hides 
The Lost Interiors of Siena's Palaces, Put Back Together 
Incise the Clay, Fill It With Slip, Then Soda-Fire for Depth 
Jorja Smith's Introspection Set Against 130 BPM, in Under Three Minutes 
A Gothic Electronic Duo Turns Occult Philosophy Into Texture 
Chelsea Wolfe's Ninth Record, and the Ancestor Work Behind It 
Movado's First In-House Automatic Was 1956, and Twenty-Nine Millimetres 
Ideal Turned The Fugitive Into a Spin-and-Move Board Game in 1964 
The Human Ladder at the Second Step, and the Ladder That Followed 
Sixty Years of Star Trek, Read Through Mego Figures and Happy Meals 
Two Weimar Plays, Read as a Record of How Much Freedom Was Left 
How the British Elite Learned to Signal Status by Seeming Ordinary 
Doctors Have Always Read the Hand, Same as the Palmists Did 
William Meyers Photographs Civic Life in the Outer Boroughs 
The Falling Soldier May Have Been Taken by Gerda Taro, Not Capa 
Na Hong-jin and Hoyeon on Contradiction, and the Making of Hope 
Lee Chang-dong on a Friendship That Is Not Quite One 

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