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"The increasing use of laptop computers in the performance of electronic music has resurrected timeworn issues for both musicians and audiences. Liberated by the use of the laptop as a musical instrument, musicians have blurred the boundaries separating studio and stage, as well as the corresponding authorial and performance modes of work. On the other hand, audiences experience the laptop’s use as a musical instrument as a violation of the codes of musical performance...." Composer/musician Kim Cascone discusses the issue of "listening" in laptop music performances and advocates cultivation of "attentive listening" which has been with the audience of electro-acoustic music concerts for decades. |
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"Fylkingen celebrated its 70th anniversary in the autumn of 2003 and once again it could be affirmed that, established in 1933, Fylkingen holds a unique position as the world’s oldest existing association for contemporary music. What is it that keeps a music and cultural association going without interruption for so many years? To be able to answer that interesting question, we must take a historical retrospect...." In conjunction with the 70th anniversary of the non-profit arts organization Fylkingen, writer Teddy Hultberg takes a revisit to the history of Fylkingen and its position in Swedish cultural life. |
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Stockhausen at a Fylkingen concert, October 1960 (foto: Lütfi Özkök ) |
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"In a networked virtual world, interconnected participants are able to enter a dialogue and to interact with one another; they cannot actually do so, however, with the remote participants, but rather with the interpretation and representation of the data, transferred from the remote site(s). Thence, the process of the evolving dialogue in such tele-immersive scenarios is complexly interwoven with another liquid, hybrid and oscillating process, the one of 'becoming a subject'...." Architect and interactive media artist Petra Gemeinboeck analyzes how "something third" emerges as a virtual identity in the tele-immersive virtual environments. |
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"The contemporary Japanese artist Mori Mariko is well known in Sweden and the rest of Scandinavia, especially after her exhibition Dream Temple at Rooseum in Malmö in 2000, which received a tremedious amount of reviews and critical acclaim. Indeed, Mori Mariko has become celebrated in most of the international circles of contemporary art, and occupies her own prominent position as “art star” on the firmament of fame. This essay will focus on Mori Mariko and her art works in order to investigate how specific art objects are incorporated into a broader ideologically constructed frame work concerning cultural identity on a national or regional level...." Gunhild Borggreen, art historian, argues how the inclusion of Mori Mariko's work in the Nordic Pavilion at the Venice International Art Biennial 1997 examplifies formation of cultural clichés based on distinction between "us" and "others". |
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