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Sorted by Author, in Alphabetical Order
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ABRAHAMS, Annie
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Trapped
to Reveal - On Webcam Mediated Communication
and Collaboration
(#18, May 2013)
By the use of video,
performance as well as the Internet, Abrahams
questions the possibilities and the limits of
communication and investigates its modes under
networked conditions. In this text, she
explains her thoughts behind her webcam
performance practice, which, "[b]esides being
a tool to experiment with machine mediated
collaboration and communication,… also
reveal[s] ordinary, vulnerable and messy
aspect of human communication."
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AMES, Andrew
Yashar
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Games:
The Art of Making, Bending, and Breaking Rules
(#13, January 2009)
"In interactive art, the
observer and the work are constructed by rules
that can be bent or broken, but cannot be
absent." Andrew Y. Ames examines "Game-based
art... [with] implied and explicit rules that
artists expose and exploit for aesthetic and
ideological purposes."
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Modifying
Art (#10,
June 2008)
"There is an art to
modification and art in the modification." New
Media artist Andrew Y Ames revisits the
history of computer game as modifying art, a
continuation of the Fluxus tradition in which
art was conceived "'in the action rather than
the object.'"
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ANDREWS, Jim
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Computer
Art and the Theory of Computation
(#20, July 2015)
The theory of computation is
concerned with the limits and nature of what
is possible in computing. It is a useful
theory to artists whose medium is computing;
it helps them understand how far/near the
horizons of digital art are. It is
philosophically profound and links the work of
Godel, Turing, and the synthesis of
philosophy, logic, and mathematics.
Familiarity with the theory of computation
should be an important part of any significant
philosophy of computer art.
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ASCOTT, Roy
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Moistmedia,
Technoetics and the Three VRs
(#16, March 2011)
One of the most influential
theoreticians/artists in the filed of
telematics Roy Ascott's article about
Moistmedia, written in 2000, in which he
predicts "a convergence of three VRs"
(Virtual, Validated and Vegetal): "At this
interspace lies the great challenge to both
science and art: the nature of consciousness.
A technoetic aesthetic is needed which...may
enable us as artists to address the key
questions of our time."
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BACARAN, Mihai
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It
is as if you were doing work - a (mis)reading
(#21, January
2019)
Through a (mis)reading of Pippin Barr's game It
is as if you were doing work (2017), this
essay explores the relationship between bodies,
labour, and entertainment. It speculatively
argues that performing useless labour seems to
be essential for maintaining the illusion that
our(?) bodies are still 'human.'
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BADANI, Pat
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"Where
Are You From?": The Networked Sphere
(#8, June 2006)
"'Where are you from?' synthesises many of my
explorations regarding translocality, the
hybridisation of media, and the convergence of
technological and social space in the urban
environment." Interviews in 6 cities (Montreal,
Toronto, Chicago, Mexico City, Buenos Aires and
Paris) are compiled in Pat Badani's net art
project "Where Are You From" to reveal the
dynamics between the notions "place" and
"belonging."
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BAILEY, Thom
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Where
Has All the Cat Soup Gone: An Investigation of
Manga Artist Suicides
(#5, December 2004)
"Nekojiru's twin heroes carry the simple,
practical wisdom of Schultz' best creations
along with them, usually closing strips with
contented 'that's-the-way-things-are'
observations and the promise of brighter days
ahead. However... " Thom Bailey reports on high
suicidal rates amongst manga artists in Japan
and his observation over the social conditions
where the "population simultaneously praises its
manga as an inimitable cultural treasure, and
damns it as a corruptor of traditional values."
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BAUER,
Brandon
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Landscapes
of Absence
(#21, January 2019)
The project Landscapes of Absence
explores the ethical issues around the use of
ISIS propaganda within broadcast media. The
project uses images drawn from eight beheading
incidents disseminated by ISIS, these images are
digitally erased, leaving only the landscape and
the absence of the dehumanized image as a
metaphor for the larger issue of the absence of
reliable reporting from this region.
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BERDUGO, Liat
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Emergence
in the Social Web (#17,
April 2012)
With emergence theory - in ant colonies, cities,
and brains - the whole is more than the sum of
its parts. Something new is happening online,
where a collective consciousness seems to emerge
from the social web, giving rise to emergent
phenomena like memes, the Occupy Movement, and
the hacker collective Anonymous.
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BERGSTROM,
Annika Olofsdotter
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Technology
as if (#8,
June 2006)
"I am interested in the kind of identity
computer technology can give us when it acts
like a prosthesis on our bodies." Annika
Olofsondotter Bergström discusses three New
Media performances in which all use technology
as body's extension: the works discussed are
Troika Ranch's "Future of memory", Stelarc's
"Ping Body" and Laetitia Sonami's "Lady’s Glove"
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BETANCOURT,
Michael
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Critical
Glitches and Glitch Art
(#19, July 2014)
Technical failures
(glitches) are often considered ruptures
inherently criticizing media art; however,
contemporary aesthetics and theoretical concerns
with digital capitalism pose specific problems
for this critique. This analysis addresses the
underlying problematics of 'glitch' revealed by
its theorization in active::passive conceptions
of audience, the cul-de-sac posed by Formalist
conceptions of glitch, and the potential for a
critical media praxis based on rupture and
violation.
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The
Valorization of the Author
(#10, June 2007)
"The digital author is
valorized by a transformative fantasy where
authorship becomes information, not as consumer
or producer...but a commodity."
Curator/avant-garde theorist/multi-disciplinary
artist Michael Betancourt re-examines Authorship
in relation to recombinant/database work and
hyperlinking practice in blogs and social
networking. |
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BIRRINGER,
Johannes
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Resonances:
the Sound of Performance
(#20, July 2015)
This essay reflects the role of sound and
listening in dance-theatre, music theatre and
live art by taking a closer look at an
influential recent publication, Composed
Theatre. Aesthetics, Practices, Processes
(2012), edited by Matthias Rebstock and David
Roesner. Drawing attention to current
experiments in multi-media performance and the
dissemination of particular techniques of
embodiment (cf. Min Tanaka's 'body weather'
practice and its focus on listening to the
environment), the author then offers a detailed
critique of the compositional and performative
strategies, and especially the processual
devising of sound, that are featured in the book
on composed theatre.
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BOARD, Matthew
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Second
Lives, Virtual Identities and Fragging
(#12, July 2008)
"The use of the virtual
identity, whether through Second Life, the
persona of the hacker or an online identity
gives the digital artist the freedom to
explore creative strategies that would
otherwise be much more difficult to realize. "
Matthew Board investigates online art
practice.
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BOARDMAN, David
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ORAMA
Project (#7,
July 2005)
"We were unsatisfied with the already existing
ways to describe the city and all the other
spaces around us. We experienced a gap between
our personal experience and the mediated world
spread through radios, TVs, newspapers, magazine
accounts....We wanted something to build our
autonomous representation of the spaces we were
living in." David Boardman presents ORAMA, "a
collaborative writing system that supports the
creation of shared spatial narrations."
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BORGGREEN,
Gunhild
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Japan
in Scandinavia: Cultural Clichés in Receptions
of Works by Mori Mariko(#4,
June 2004)
"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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BREEZE, Mez
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_Augmentology
Extracts_
(#12, July 2008)
Futurist and cyber poet Mez
Breeze explores concepts that shape and are
shaped by an extensive range of
online/synthetic encounters through the
phenomena Reality Mixing, Game Addiction and
Avatar Formation. Three extracts from
augmentology.com
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Directory.Linking
2:/The Immersive State of Reality[Game]Play.
(#7, December 2005)
Experimental Cyber Poet MEZ analyses recent
developments in games into several categories
such as "First Person Shooters," "Massive or
Massively Multiplayer Online Games," and
"Alternative Reality Games," and arrives at
questions involving the present state of art in
relation to and in comparison with the condition
of game play.
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BROWN, Laurie
Halsey
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BRÖNDUM, Lars
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Graphic
Notation, Indeterminacy and Improvisation:
Implementing Choice Within a Compositional
Framework
(#21, January 2019)
The use of graphic notation
in relation to improvisation and indeterminacy
is examined in this paper, including the
techniques the author used in Fluttering
(Bröndum 2015) and Serpentine Line
(Bröndum 2010). Interviews with musicians
together with the author’s own experience
further provides a discussion and conclusions
in the context of using graphic notation as a
bridge between improvisation and notated
music.
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BRUSH, Bian W.,
Yong Ju LEE and Noa YOUNSE
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BUSTAMANTE,
Ariel
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Sound
Art and Public Auditory Awareness
(#12, July 2008)
Ariel Bustamante explores
the connection between Sound Art and public
auditory sensibilities by reviewing works by
Max Neuhaus, Sam Auinger and Bruce Odland,
Christina Kubisch, and Scout Arford and Randy
Yau.
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VITO CAMPANELLI
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Vertigo
of the Technological Sublime
(#17, April 2012)
This essay of Campanelli
explores a deeper reflection on Abstract
Journeys, the most recent artwork by
the Italian artist Marco Cadioli. Abstract
Journeys consists of a series of
screencapture video and images from Google
Earth whose different surfaces and forms have
been transformed by human activities in an
abstract geometric compositions.
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CASCONE,
Kim
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"Grain,
Sequence, System": Three Levels of Reception in
the Performance of Laptop Music
(#4, June 2004)
"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." |
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The
Aesthetics of Failure: "Post-Digital"
Tendencies in Contemporary Computer Music
(#3, October 2003)
Composer Kim Cascone
discusses "post-digital" tendencies in today's
computer music from the point of "aesthetics
of failure" that gave birth to new types of
computer music which incorporates "the
failure" of digital technology such as
glitches, bugs, application errors, system
crashes, clipping, aliasing, distortion,
quantization noise, etc.
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CLAY, Art
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A
Step Backwards For A Leap Forward: The OFF Label
Festival / Digital Art Weeks 2011
(#17, April 2012)
The OFF Label Festival is the brainchild of the
Digital Arts International Network group in
collaboration with host institutes around the
world. Wary of the present New Media movement in
the arts and the academic environment upon which
many "New Media Art Festivals" and "Science and
Art" fusion events depend, the DAW moved this
year's edition into more diverse and eclectic
waters and targeted a more general audience by
focusing on analogue arts, mixed-media art forms,
and by introducing the element of spirituality. |
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The
Book of Stamps: Travel Guide for Sonic
Landscaping from Cities to Urban Cultures
(#17, April 2012)
The Book of Stamps is a travel guide
between sonic landscapes from cities to urban
cultures. The sheets of the book provide a
"recording surface" and the ink stamps with their
various patterns provide the ability to place
sounds into the book. Together they act as an
interactive tangible interface for a variety of
time based musical tasks that form a collaborative
composition by its users. |
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Opening
Up Public Space
(#9, January 2007)
Sound artist Art Clay's "China Gate" is a music
project which utilises GPS to coordinate musicians
whose physical presences are dispersed throughout
a city. By "using wearable computing technology
within global ubiquitous networks as an art tool,"
"China Gate" tries to open up civic space for "one
of the most important functions of public
performance: social interaction. " |
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GoingPublik:Mobile
Multimedia as Mixed Reality
(#5, December 2004)
"This paper wishes to convey
in the small the experience of a mutual
collaboration between science and art and in
the large the fruits of that collaboration, a
mobile scoring synthesis system driven by
global information input, both technically and
artistically." Sound artist Art Clay reports
about his project, GoingPublik, a
collaboration with two scientists to develop a
mobile real-time multimedia tool for music
performers by using ideas of kinetic art .
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CLOTHIER,
Ian M
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Created
Identities: Hybrid Cultures and the Internet
(#11, December 2007)
"Heterogeneity, multiplicity
and rupture are three aspects of Deleuze and
Guattari's rhizome.... This makes the internet
an entirely suitable place to manufacture a
hybrid cultural identity..." Ian M. Clothier's
'The District of Leistavia' is a hybrid
cultural entity based on the Internet.
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de COLOGNE,
Wilfried Agricola
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VIRTUAL
MEMORIAL : A Memorial As A Process- A Model Of
The World (#3,
October 2003)
"A Virtual Memorial
represents an Internet based art work created
in Flash5, Javascript and HTML by Agricola de
Cologne, media artist form Germany. The
project is based on the artist's physical
Memorial project "A Living Memorial Spaces of
Art" which had been initiated on occasion of
the 50th return of World War II in 1995 and
created and realized in 43 installations
at 43 places in Poland, Czech Republic and
Germany until the end of 1998."
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COUNIHAN,
Laurence
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Cerebral
Augmentation: The Generative Computer Artist
as Cyborg
(#11, December 2007)
In this essay the metaphor
of the cyborg - which currently exists as a
powerful symbol for human-machine interaction
in our digital society - is used to analyse
the practice of generative computer art, which
according to Philip Galanter is: "any art
practice where the artist uses a system, such
as a set of natural language rules, a computer
program, a machine, or other procedural
invention, which is set into motion with some
degree of autonomy contributing to or
resulting in a completed work of art."
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CRAMER, Florian
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What
is 'Post-digital'?
(#19, July 2014)
In the context of recent
revivals of non-electronic media in the arts
and popular culture, this text revisits the
notion of 'post-digital,' a term originally
coined for electronic glitch music in the
early 2000s. It investigates some contemporary
tendencies in creative practices; from
'post-digital' as antithesis of 'new media' to
how the 'new media' culture has transformed
non-electronic media such as vinyl to zines.
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CRAWFORD, David
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New
Media, New Narrative
(#5, December 2004)
"...Within the greater
context of media, new media is unique in many
ways. Among the most significant, being its
compressed and repetitive temporal
qualities...." New media artist David Crawford
discusses the works of three net artists (John
Cabral, Mouchette and Mumbleboy) that "enable
users to make successive investments deeper
layers, with the initial layer being the
lynchpin. "
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CREMONESI, Matteo
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The
Pirate Cinema: A Generative Self Portrait (#20,
December 2015)
By analyzing the work The
Pirate Cinema by artist Nicolas Maigret - a
live streaming of file sharing activities on
networks using the BitTorrent protocol - this
article addresses some important issue such as
the visual representation of the peer-to-peer
systems and the schizophrenic yet
hyper-controlled and surveilled way we access
contents and data on the internet.
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DOTOLO, Michael
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Of
Ultrasound, Art and Science
(#15, September 2010)
Multimedia artist/musician
Michael Dotolo discusses sound art in the
context of art-science relating to ultrasound.
"My intent in studying the invisible sonic
spectrum is to understand the importance that
these frequencies bare on the complex
communicative fabric of the natural and
technological aspects of our lives."
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DUNCAN, John
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Phantom
Broadcast (#2,
March 2003)
After several recent
works with radio used as a side element, John
Duncan focuses again on shortwave as the full
source material in his phantom broadcast, with
one slight twist.
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FEILER, Dror
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Exile
as Noise - Noise as Exile
(#11, December 2007)
"For me to be in exile, to
be an immigrant is like being "NOISE" in
musical context....a person is here bodily
pushed over borders by forces beyond his or
her control." Composer/musician Dror Feiler
draws a parallel between the state of exile
and the musicality of noise music.
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FERNÁNDEZ,
Miguel Álvarez
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Dissonance,
Sex and Noise: (Re)Building (Hi)Stories of
Electroacoustic Music
(#9, January 2007)
"It is possible to trace one history of
electroacoustic music through the analysis of
the role played by dissonance. We can also use
the concept of noise as a guide through the
evolusion of the music that makes usse of
electroacoustic technologies." Composer,
musicologist and curator Miguel Álvarez
Fernández deconstructs the reading of history of
electroacoustic music.
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FILIMOWICZ,
Michael
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The
Mobile Augmented Soundscape: Defining an
Emerged Genre (#20,
July 2015)
This article surveys past
practices of designed systems that have
addressed the creative production of
soundscape, the 'positive' vector of
soundscape activity relative to the 'negative'
critique of noise, annoyance and environmental
degradation. Identifying thirty such systems
ranging from research prototypes to commercial
platforms to mobile apps to artworks, this
paper proposes the term Mobile Augmented
Soundscape as an umbrella category to
summarize and crystallize a tradition of
practice that can inform and guide new
configurations through the development of
wearable technologies that may wish to address
aspects of acoustic ecology.
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Metal
and Wind: Bertoia and the Space of Reverie
(#14, December 2009)
"Offering to the Wind, as
the Bertoia sound sculpture is now known,
offers one possible solution to the problem of
soundscape design for the city's places of
leisure and reverie...It reverses a certain
urban deafness, returning the possibility of
silences between sounds, producing a quietude
in the midst of the city roar."
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FODEL, David
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Between
Screen and Projector. 'Live' in Live Media
(#21, January 2019)
This
essay describes a way of looking at live media
performance practice that questions the notion
of the screen as final destination for the
content of a performance. Using a systems
aesthetic, it examines a set of entangled
elements that give an audience an alternate
means to decode the liveness of a performance
based on embodied action, transcoding, and
intermedia narrative.
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FRY, Tony
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Intimate
Transactions: Close Encounters of Another Kind
(#13, January 2009)
"Crucially, the interactive
intent of the work was to create a means to
reflect upon a particular kind of experience –
the experience of our being relationally
connected as a collective body."
Writer/theorist Tony Fry on Keith
Armstrong(creative director)'s "Intimate
Transactions" and its link to Ecosophy.
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GEMEINBOECK,
Petra
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Something
Third, Other
(#4, June 2004)
"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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GERBER, Alice
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Undervattenskonsert:
Underwater Concert
(#6, June 2005)
"I invited eleven artists working with sound to
make pieces for an underwater broadcast for
bathers in the sea between Sweden and Denmark."
Alison Gerber's report on her project in Malmö,
Southern Sweden, in which "the act of listening
would be necessarily new and arduous."
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GOTO, Suguru
Goto
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Augmented
Body and Virtual Body
(#8, June 2006)
Composer Suguru Goto's
"Augumented Body and Virtual Body" is a
combination of his previous project "BodySuit"
utilising 12 censors on a human performer and
his new project "Robotic Music," in which 5
robots performs following percussions: Gong,
Bass Drum, Snare Drum, Tom-Tom, and Cymbal. |
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Virtual
Musical Instruments: Technological Aspect and
Their Interactive Performance Issues
(#6, June 2005)
Suguru Goto, composer and media artist, takes us
behind the scenes of constructions of his
Virtual Musical Instruments with special focus
on Gestural Interface. These instruments include
SuperPolm, a virtual violin developed at IRCAM,
controlled solely through human gesture without
strings or bow, and BodySuit (or Data Suite), a
suit with 12 built-in sensors.
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GRACIA, Laura
Plana
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Landscapes
{Soundscapes: Dronestrikes on Saturn
(#19, July 2014)
Dronestikes on Saturn
by raxil4 and his Nameless Is Legion uses
sonifications of the Saturn radio waves recorded
near the poles of the planet via the Cassini
spacecraft. Lecturer and curator Laura Plana
Gracia examines various aspects and streams in
the history of soundscape, related philosophies
and technological developments, which have
served as a background for the media ecology
audio work.
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GRANDE, John
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Pixelgrain
(#12, July 2008)
Writer John Grande's essay
on "Pixelgrain" project by the artists Michael
Alstad and Leah Lazariuk, an online repository
of documents and ideas linked to the fading
symbol of the Canadian prairie grain elevator.
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GROSSER, Ben
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How
the Technological Design of Facebook
Homogenizes Identity and Limits Personal
Representation
(#19, July 2014)
This article explores how the technological
design of Facebook homogenizes identity and
limits personal representation. Using a software
studies approach, artist Ben Grosser looks at
how that homogenization transforms individuals
into instruments of capital, how Facebook's use
of lists and templates limits self-description,
and how Facebook's users resist the site's
limitations.
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GWIAZDA,
Henry
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themusicofthefutureisntmusic
(#17, April 2012)
"What is music today
anyway? Is it still organized sound? Or is it
evolving into something else? Perhaps music is
not only sound. Perhaps artists choose a medium
to work in because it enables them to present
their ideas reflecting how they view time?"
Video artist and composer Henry Gwiazda
discusses his artistic progression from
music/sound to what he describes as "multimedia
digital choreography" and questions what the
music of the future might look/sound like.
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HAIKES, Belinda
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Embodiment
and Technology: Towards a Utopian Dialectic
(#14, December 2009)
David Rokeby's A Very
Nervous System and Steve Mann's Wearable
Computer are discussed in this essay as
examples of "Utopian quest for technological
embodiment... ... that seeks to move beyond
the anxiety of new media and to position our
culture to examine the space between the
ultimate dialectics, that of man and the
machine."
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von HAUSSWOLFF,
Carl Michael
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Freq_out
8 - 4250 Cubic Metres and 48 Hours of Sound
(#18, May 2013)
freq_out is a sound
installation consisting of 12 individual sound
works, made on site, and amplified to act as a
single, generative sound space. Starting with
the first freq_out event in 2003 and now
having reached the 8th version at Moderna
Museet in Stockholm and the 9th at Stedelijk
Museum in Amsterdam, freq_out
engages 12 participating artists in a museum
environment. Each artist is assigned to a
particular range of frequency, and all the
resulting compositions are joined and mixed
together in the space by von Hausswolff to
create a specific soundscape
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HAYASHI, Sachiko
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A
Brief Historical Overview of Fylkingen's
Journals (#19,
July 2014)
Written for the 80th
anniversary of Fylkingen (the publisher of this
journal Hz), this text maps, analyses, and gives
a brief account of Fylkingen's journals through
the years. Treated here are: Fylkingens Bulletin
and Fylkingen International Bulletin (1966-1969,
1983), Hz (1992-1993), and online Hz (2000
onwards). |
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Art
and Sound in Stockholm New Music ('06) and
LARM-Nordic Sound Art Festival ('07) (#10,
June 2007)
"The grey area of the
audio-visual cross zone has been one of the
most vital fields in art for many decades."
Works by the following artists at two
Stockholm festivals are discussed: Christina
Kubisch, Janet Cardiff, Steina Vasulka and
Maia Urstad.
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Behind
Technology: Sampling, Copyleft, Wikipedia, and
Transformation of Authorship and Culture in
Digital Media (#9,
January 2007)
"Today sampling and collaborative authoring
enlivened in the digital environment seem to be on
their way to liquefy the state of writing once
again, opening our eyes to another mode of
authorship." With sampling as starting point,
artist Sachiko Hayashi relocates several issues
relevant to the culture of digital media. |
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Between
Art and Technology (#6,
June 2005)
"When using technology to create a piece of art,
you often get trapped between those who are mostly
(if not only) interested in the newest technology
and those whose references are strictly from
visual arts." Video and net artist Sachiko Hayashi
discusses 3 works presented at International Media
Art Biennale in Wroclaw and ponders over the
future language of New Media. |
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HERBER, Nobert
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The
Composition-Instrument : Musical Emergence and
Interaction(#9,
January 2007)
"What kinds of compositional techniques can be
used to create a music that recognizes the
emergence and the potential of becoming found in
a digitally-based or telematic interaction with
art and media?" Composer and sound artist Nobert
Herber explores the field of computer games and
interactive media where the line between
"composition" and "instrument" is increasingly
blurred.
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HIGHT, Jeremy
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HOGG, Bennett
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The
Violin, the River, and Me: Artistic Research
and Environmental Epistemology in Balancing
String and Devil's Water 1,
Two Recent Envrionmental Sound Projects (#18,
May 2013)
Soundscape composition and acoustic ecology,
despite significantly contributing to
contemporary culture, often remain organised by
the codes of concert listening. This
instantiates distance, inherent to the
aesthetic, but antithetical to ecosystemic
and/or auditory perception. The paper reflects
upon improvisation with the natural environment,
moving towards an alternative, participative,
and personal environmental sound practice.
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van HORRIK,
Mario
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The
Miracles of Feedback
(#13, January 2009)
"This paper deals with my
fascination for acoustic feedback... I want to
express my doubts, theories, and questions, as
well as our motives and enthusiasm for using
this medium." Sound artist Mario van Horrik
explains his involvement over two decades with
acoustic feedback experiments.
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HÖGREN, Christian
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Place,
Space and Sound (#10,
June 2007)
"How does architecture
relate to music?" With Stockhholm New Music
Festival's '06 theme "Place and Space" as a
starting point, architect/critic/musician
Christian Hörgren examines the relationship
between the notion of space and music by
tracing examples in music history: from
Palestrina, Xenakis, Morton Feldman to Alvin
Curran.
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HUDSON, Martyn
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What,
am I hearing light? Listening through Jean-Luc
Nancy (#19,
July 2014)
The work of Jean-Luc
Nancy on listening helps us to rethink questions
of sonority and the listening body. It reworks
the whole field of sound and representation, and
presents a novel way of questioning the
relations of power in terms of music. This
article itself works through the significance of
Nancy to the current state of sound studies and
the philosophy of music.
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HULTBERG, Teddy
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Fylkingen.org:
Visions of the Present in Retrospect (#4,
June 2004)
"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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IACONESI,
Salvatore, and Oriana PERSICO
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We
Are Not Alone
(#13, January 2009)
"Network and information
technologies, with a mutagen leap, directly
connect the mind of the human being to
hyper-contents and to hyper-contexts, creating
perspectives that are totally new."
Iaconesi/Persico on their projects which
emerge as one of the possibilities/directions
network technology brings forward.
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JANSSON, Mathias
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From
Plaintext Players to Avatar Actors: A Short
Survey of Online Gaming Performance (#17,
April 2012)
Online performance started
in the early text based systems as MOO, MUD
and chat rooms and have followed the
technology development into 3D online worlds.
Joseph Delappe, Eva and Franco Mattes,
Rainey Straus and Katherine Isbister are some
examples of artists who are today making
performance in these new digitals worlds.
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First
Museum Shooters (#16,
March 2011)
"When the small company id
Software in Texas, USA, 1993 released the
videogame Doom few would have guessed that
this game would change the entire game
industry, and even fewer would have guessed
which impact Doom would have on the art
world." Game Art specialist Mathias Jansson's
article about "museum shooters" in the field
of Game Art.
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JEFFERS, Jim
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JOHANSSON, Pär
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Electronic
Music Archives in the Collections of The
Swedish Performing Arts Agency (#19,
July 2014)
Historically Fylkingen and
Elektronmusikstudion EMS have been the most
important organisations for electroacoustic
music in Sweden. This article offers an
outline of their partly common history as well
as a description of their archives recently
donated to the Music and Theatre Library of
Sweden at the Swedish Performing Arts Agency.
Also touched upon in this text are other
archives and literature of Swedish EAM
available at the same institution. |
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MEREAMIS
(#2, March 2003)
Pär Johansson, the former
secretary of SEAMS (the Society for
Electroacoustic Music) presents their
programme MEREAMIS, i.e. "More Electroacoustic
Music in Sweden", which opened national-wide
tours with various forms of electroacoustic
music in Sweden.
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judsoN
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Sensory
Substitution
(#14, December 2009)
"There is some debate
whether cases of sensory substitution are the
results of imaginativeness, psychological
effects or neurological (mis-)wiring....We
have evidence such substitutions do
happen....Whether or not Wagner, Klee or
Kandinsky actually had synesthesia, there is a
rich history of people equating one type of
sensory stimuli for another."
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JUPITTER-LARSEN,
GX
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Originally
Nowhere (#19,
July 2014)
By asking ridiculous
questions one can, on occasion, inevitably
stumble upon a practical answer. This article
acts as an audit of such analysis, one in which
GX admits to being somewhat of an agnogenic
abecedarian.
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KNIGHT, Adrian
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Acoustics,
Not Theatre
(#15, September 2010)
Composer Adrian Knight:
"Sound, time and space are our way of dividing
a multidimensional reality into manageable
subunits. Sound in time and space
constitute what we call music….[O]f these
three subunits, space is the most complex, and
also most dependent on social and
architectural necessity and availability"
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KOLLIAS, Phivos-Angelos
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Ephemeron:
Control Over Self-Organised Music
(#14, December 2009)
"The present paper discusses
an alternative approach to electroacoustic
composition based on principles of the
interdisciplinary scientific field of
Systemics." Composer Phivos-Angelos Kollias
discusses the approaches of Xenakis and of Di
Scipio as well as his own composition
Ephemeron in relation to Systemics.
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LEE, Irad
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SONOMATERIA:
Audio-Tactile Composition (#16,
March 2011)
Irad Lee, sound and
interaction designer, "describes the
inspiration and implementation of SONOMATERIA,
a multi-user sound sculpture, installation,
tangible sound interface and intersensory
composition," which "aims to explore the
mutual reinforcing effect that the
manipulation of tactile and auditory
perceptions can have on each other...."
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LILJENBERG, Thomas
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Listening
Post: Chris Watson and Mike Harding (#2,
March 2003)
As one of the Fylkingen AIR
projects, Chris Watson and Mike Harding were
invited to Stockholm by Fylkingen with support
from IASPIS. As part of the exchange project
Chris Watson and Mike Harding performed a
site-specific sound installation at the Royal
Swedish Academy of Fine Arts in Stockholm and
held a workshop in "field recording" at the
Royal University College of Fine Arts in
Stockholm during the fall of 2001.
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V2_ with Swedish introduction (#1, 2000)
Thomas Liljenberg's introduction on V2, the
Institute for the Unstable Media - an
interdisciplinary center for art and media
technology in Rotterdam.
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(Swedish)
Sound as Art as Sound(#1, 2000)
Photo presentation of Sound exhibition which
took place at Museet For Samtidskunst, Roskilde,
4 November - 22 December 1999. |
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(Swedish)
Salong Fylkingen (#1, 2000)
Presentation of Salong Fylkingen. |
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(Swedish)
In Search of Miracles (#1, 2000)
"Den 10 April 1975 hittar en spansk fiskare
konstnären Bas Jan Ader´s tretton fot långa
segelbåt övergiven till havs, cirka 150 nautiska
mil väst-syd-väst om Irland. Båten var mer eller
mindre kapsejsad och hade av allt att döma
drivit omkring i flera månader, övergiven i de
atlantiska havsströmmarna. Av båtens ägare fanns
inte ett spår. Efter Ader´s mystiska
försvinnande har det uppstått en mindre kult
kring honom på amerikanska västkusten." |
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(Swedish)
Intro (#1, 2000)
"Vår tid, skrev Marshall McLuhan i
'Understanding Media' (1964), är den
'Elektromagnetiska tidsåldern'. Alltsedan dess
har hans tankar citerats flitigt, inte minst av
konstnärer inom intemediaområdet." Introduction
in Swedish by the first online Hz editor Thomas
Liljenberg |
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LOGAN, Kevin
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Rolling
Stones Gets Me No Satisfaction (#19,
July 2014)
This text foregrounds repetition as part of an
on-going exploration of the performative nature
of sound works, as mediated gestures that
destabilise the performed act. In particular,
low-key and low-fi sequences of sonic-events,
re-constructed, re-purposed and ‘re-punked',
bring into question the authenticity of their
first instantiation. Repetition is not just an
act, but an object, a thing.
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MANSOUX, Aymeric
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My
Lawyer is an Artist: Free Culture Licenses as
Art Manifestos
(#19, July 2014)
"My Lawyer is an Artist" looks back at the
nineties' free culture Pangea that saw the first
artistic appropriation of the free software
movement with projects such as GNUArt and the
Free Art License. It argues that although today
many different voices are muffled by the
globalist tone of free culture, this early
adoption was a conscious political choice
belonging to a rich lineage of proto-copyleft
artistic practices. By adopting free culture
licenses artists have turned contracts into
manifestos.
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MARTINSEN,
Franziska
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Composition
Camouflaged: on the Relationship between
Interpretation and Improvisation
(#6, June 2006)
In this follow-up-article on Art Clay's project
GoingPublik, discussed in his own article
"'GoingPublik': Mobile Multimedia as Mixed
Reality" in the last issue of Hz, philosopher
Franziska Martinsen interviews the three
trombonists involved in the project (Roland
Dahinden, Günter Heinz & Thierry Madiot)
about their experiences and interpretations of
the work.
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McINTIRE-BURNIE,
Thor
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A
PIER - A Sound Installation
(#2, March 2003)
"As the starlings migrated
back to Scandinavia, from the south coast of
England, two artists flew out with them -
bringing a sonic diary from a special starling
winter roost, a concert hall of a weathered
Victorian pier in Brighton, to Fylkingen in
Stockholm." Thor McIntire-Burnie was a
recipient of Fylkingen's AIR
(artist-in-residence) project started in 2000.
In this article, he presents his ideas behind
his sound installation "A PIER", which was
carried out in collaboration with Chris
Watson.
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McKINNON,
Dugal
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Spectral
Memories: the Aesthetics of the Phonographic
Recording
(#12, July 2008)
Sonic artist/Composer Dugal
McKinnon examines the aesthetics of the
phonographic recording: "how is the record, as
a technology with a well-documented history,
also a signifying medium that has generated
certain meanings, and modes of aesthetic
production and reception?"
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McPHEE, Christina
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Teorema
Ritournelle
(#15, September 2010)
Chritina McPhee: "This text
came into being as I struggled to explain to
myself why the idea of a witness, or
wit(h)nessing could apply to the status of an
object like a drawing. Teorema Ritournelle
turns on some observations and flights around
Pasolini's film TEOREMA, and applies them to
the transposition of drawings into presences
of an inordinate kind."
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MERZ, Evan X.
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Creativity
in Algorithmic Music
(#18, May 2013)
The issue of creativity in
algorithmic music is reviewed in this essay,
which focuses on three perspectives offered by
three groups of composers. It investigates how
their works relate to the model of creativity
proposed by Margaret Boden and further
examines the ways in which these composers'
attitudes toward creativity are embodied in
their algorithms.
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MILLER, Steven M.
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Perspective,
Texture, Density, and Motion: Aesthetics and
the Art of Audio Field Recording
(#18, May 2013)
"The four primary qualities
or characteristics I listen for in making
engaging field recordings are: perspective,
texture, density, and motion."
Sound artist Steven M. Miller discusses and
elaborates on four essential elements in the
aesthetics of audio field
recording/phonography, whose qualitative
aspects reward focused, intensive listening.
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MOURA, João
Martinho, and Jorge SOUSA
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YMYI
- You Move You Interact
(#12, July 2008)
"YMYI (You Move You
Interact) is an interactive installation,
where one is supposed to build up a body
language dialogue with an artificial system so
as to effectively achieve a synchronized
performance between the real user's body and
the virtual object itself."
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NECHVATAL, Joseph
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Towards
a Soundly Ecstatic Electronica
(#15, September 2010)
Artist/art theoretician
Joseph Nechvatal's text deals with a
phantasmagorical theorization of
electronic-based sound art that
places sound art in the context of the
abstract unlimited-field of representation
made possible by electronic communications.
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NORBERG, Björn
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Man
Machine (#8,
June 2006)
New Media Art Curator Björn Norberg leads us
through the back-stage of the exhibition "Man
Machine" shown at the National Museum of Science
and Technology, Stockholm, in February this
year. The group-show that resulted in 6
individual interactive installation was
concieved through an intensive workshop at the
Interactive Institute in Stockholm, in which 5
handpicked visual artists by Norberg
participated.
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NOVI_SAD
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Hz
vs Church
(#13, January 2009)
Sound artist/composer
Novi_sad's project "'Hz vs Church' aims to use
Churches (or other big sized public buildings)
as post loudspeakers in order to create,
unfold and play live various sounds which
appear in the 'aural surface' by using and
manipulating in real time different kinds of
frequencies."
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OLIVEROS, Pauline
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Quantum
Improvisation: The Cybernetic Improvisation
(#16, March 2011)
"It's already evident that
computers and human intelligence are merging.
What would I want on a musician chip if I were
to receive the benefit of neural implant
technology? What kind of a 21st Century
musician could I be?" Composer/musician and
one of the key figures of electronic music
Pauline Oliveros' essay from 1999 centres
around the question by revisiting 100 years of
music history since the first magnetic
recording in 1899.
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OWENS, Clifford
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Notes
on Critical Black U.S. Performance Art and
Artists (#3,
October 2003)
"Contemporary black U.S. artists working in the
medium of performance art suffer a serious
crisis of meaning in art world culture because
their work refuses to be relegated under the
hermetic rubric of black artistic
expression...." Performance and video artist
Clifford Owens takes up three critical
Afro-American performance artists from the East
Coast of USA - William Pope.L, Charles McGill
and Wayne Hodge.
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PALENCIA,
Joaquin Gasgonia
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Chong!
A Parallel Environment
(#14, December 2009)
"Chong! endeavors to
showcase an interfacial encounter between
humans and robots, much like human peers
meeting for the first time, without the robot
having to fulfill a function.... The end
purpose of this environmental installation is
to give the human a small window into how a
robot may perceive humans and how it processes
that information."
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PERINI,
Alessandro
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Click
for Details, a Sound and Light Installation
(#17, April 2012)
The core of the sound and
light installation Click for Details
is a looped 4- channels electronic music
track, entirely produced using a single
impulse (mathematically a Dirac delta, also
called "click" or "glitch") as the only source
for the whole piece. Departing from the the
traditional dualism of sound and visuals as a
combination of two different levels of
perception, the work intends to provide the
audience with an experience of sound and light
as two aspects of a sole entity, related to
the same source.
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PICOT,
Edward
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Mixing
It : 12 Remixes by Michael Szpakowski
(#19, July 2014)
In 2011-12, the video
artist and musician Michael Szpakowski entered a
remix competition every month, and compiled his
remixes (some of them with accompanying videos)
on his website. Edward Picot argues that the "12
Remixes" project provides a fascinating insight
into the links between mashup culture and
modernist theory.
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PIRTLE, JD
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Iannis
Xenakis: Form and Transformation
(#15, September 2010)
"Avant-garde composer,
architect and music theorist Iannis Xenakis
consistently pushed the boundaries of music,
mathematics, architecture and science in his
work." Artist JD Pirtle examines Xenakis'
hybridised and interdisciplinary practice in
which Xenakis was able to "augment, transform,
invert or rotate" the many ways architecture
and music are related.
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James
Turrell's Mendota Stoppages and Roden Crater:
When the Studio and the Art Become One (#15,
September 2010)
Artist JD Pirtle reviews the
relation between the space and the art in the
practice of James Turrell, whose early
departure from the white cube tradition
manifests break-down of the division "studio,
non-studio, anti-studio." Two of Turrell’s
pieces, Mendota Stoppages and Roden Crater are
revisited.
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POLLI, Andrea
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Listening
to the Earch
(#7, December 2005)
"The interpretation and presentation of data
using sound is part of a growing movement in
what is called data sonification. Like its more
popular counterpart, data visualization,
sonification transforms data in an attempt to
communicate meaning." Andrea Polli is a digital
media artist who works in collaboration with
meteorological scientists to develop systems for
understanding storms and climate through sound.
In this article, she presents two of her
projects "Heat and the Heartbeat of the City"
and "N.".
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PROSKE, Pierre
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Synchronised
Swamp: Uncanny Expressive Mathematics
(#7, December 2005)
Pierre Proske, whose life-long interest lies in
combining art and science, explains the idea
behind his audio-video installation Synchronised
Swamp which is "a computer generated simulation
of a mathematical model of a phenomenon that
recurs uncannily throughout the natural world."
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QUARANTA,
Domenico
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Remediations.
Art in Second Life
(#11, December 2007)
"SL is literally teeming
with artists. ...and it is probably the only
virtual world to have succeeded in focusing
global attention on contemporary art, thanks
to artists such as Eva and Franco Mattes
(0100101110101101.ORG) and Cao Fei...." Art
critic and curator Domenico Quaranta's report
on SL art.
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LeWitt’s
Ideal Children
(#9, January 2007)
"software art is conceptual art's acknowledged
son" is the hypothesis around which art critic and
curator Domenico Quaranta builds his anyaliseis on
genealogy of software art: "Is the history of
conceptual art relevant to the idea of software as
art?"/"Is the idea of software as art relevant to
the history of conceptual art?" |
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ROSCOE, Henrique
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Dot,
A Videogame with No Winner
(#18, May 2013)
Dot, a videogame with no winner is an
audiovisual performance with synchronized sounds
and images, played by a 'game console' built and
programmed by HOL. In this article, its complete
process of creation for the performance is
discussed, showing the artistic concept,
aesthetics and generative techniques used by the
artist.
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ROTHSTEIN,
Adam
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Here
on Earth (#20,
July 2015)
Cyborg theory was supposed to allow human bodies
to become more harmonious with the extremes of
outer space. But a side effect was that it made
us more harmonious with human life on this
planet. Aspects of high-fidelity audiophile
sound were born from the same research
attempting to prepare humans for zero-gravity,
and while today we do not all carry nuclear
oxygen-exchangers inside of us, urban life is
inseparable from a pair of headphones.
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SANDAHL, Jette
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Negotiating
Identities
(#5, December 2004)
"I am interested in identity as a dynamic rather
than as a static concept, as a process and
interpretation rather than as destiny or an
essential given. I focus on the multiple,
overlapping, fragmenting, dividing, hybridizing,
merging and fusing elements of identity...."
Jette Sandahl's thoughts over the issue of
identity in our mobile and multi-cultural
society and the question of curation for such
national institutions as national museums and
other art projects.
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SCARAVAGGI,
Silvia
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Álvarez-Fernández:
Sound Amateur
(#11, December 2007)
Art critic/curator Silvia
Scaravaggi discusses 'Soundanism' by composer
Miguel Álvarez Fernández whose current work
"mixes and hybridizes electronic and artistic
media in a research devoted to the connections
between sound, art and physiology."
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SCHLESER,
Max, and Simon LONGO
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Visual
Rhythms (#17,
April 2012)
Visual Rhythms is a
collaborative project between Simon Longo and
Max Schleser. The article explores the
transversal synergy between sound and video,
placing the Bergsonian concept of intuition at
the basis of the creative discovery in the
live performance, which materialises into a
temporal AV experience during this artistic
intervention.
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SCHORN, Brian
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Progressions:
Toward a Poetic Improvisation of Listening
(#14, December 2009)
Brian Schorn's poems here
"...are an attempt to create a writing
environment parallel to that of musical
improvisation...by using the Surrealist
technique of automatic writing while listening
to a representative number of improvised
recordings....Six classifications of
improvisation and nine composer/performers
were used to generate the writings..."
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SCHROEDER,
Franziska
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The
Old and the New and the New Old: A Conceptual
Approach Towards Performing The Changing Body
(#7, December 2005)
"I examine the idea of what may constitute an
'old' and a 'new' body in relation to the body
as situated in performance modes that are
coupled with technology." Franziska Schroeder
then goes on to search for the "new old":"rather
than injecting the body into the
digital...consider injecting the digital into
the body. I see this potential inherent in
technologies such as nanotechnology..."
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SHAKAR, Gregory
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Analog
Color Field Computer (ACFC)
(#11, December 2007)
"The Analog Color Field
Computer (ACFC) is an interactive video and
sound installation that makes both minimal and
maximal use of computer monitors." Artist
Gregory Shakar explains his ACFC whose
"conceptual and practical objectives [are]
centered around the theme of Reclaiming the
Video Screen."
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SMITH, Graham
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Pandora's
Box (#1, 2000)
"PANDORA´S BOX is an
interactive video exhibition that explores the
potential of new media and its impact on
society by juxtaposing simple miniature
environments created by 9 artists from 3
counties with a remotely controlled robotic
viewing system. It utilizes a new artistic
medium called a Cybercity which incorporates
two miniature art galleries which houses model
size installations located in Fylkingen,
Stockholm, Sweden and in InterAccess, Toronto,
Canada. "
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SONDHEIM,
Alan
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Outline
for a Talk on Blank that can't be Given
(#19, July 2014)
The article is a
result of work carried out over the past several
years by Alan Sondheim, in which issues of edge
phenomena in real and virtual spaces are
considered, along with notions of blankness and
negation. This succint article with the
accompanying media "should clarify things."
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SONESON, Thore
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Dynamic
Screen / Room :
(#16, March 2011)
"During the last decades
moving images, video and screens have expanded
from on-the-wall projections to dynamic and
multi-modulated images in different spatial
settings – on multiple screens, in dynamic and
interactive room environments and in an
immersive physical context." Film maker/producer
Thore Soneson's research into the contemporary
"dynamic screen" for his project "Journey to
Abadyl". |
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Take
a Chance on Me: an Essay on the Mediation of
the Contemporary Condition
(#6, June 2005)
"The digital technology creates a kind of
counter images to the superficial and
one-dimensional content in mainstream media. It
opens the field of narratives for real
interactivity, opens up possibilities to play
with time ...." Thore Soneson, producer and
writer of new media, argues in this article for
the non-linear narrativity which may be our new
"eye-opener" into a new art of story-telling.
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SPAHR, Robert
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CRUFT:
Art from Digital Leftovers
(#19, July 2014)
Robert Spahr's art practice reflects on our
relationship to media technologies, especially
surveillance and mind control, and in the
process contemplates what a post-human art may
look like. Organized under the umbrella concept
of Cruft, he takes apart, juxtaposes, recycles,
and interrupts the relentless flow of media to
reveal a relationship in which we don't simply
consume media, but are also consumed by it.
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STENBERG,
Ulf
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EMS
Prize (#2,
March 2003)
Ulf Stenberg, the
director of EMS (Elektron Musik Studio) in
Stockholm, explains the background and intention
behind the emsPrize, an international music
award with specific concern to "text-sound
coposition".
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STERMITZ,
Evelin
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SVENSSON, Gary
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Handling
Digital Art
(#20, July 2015)
The digital scene has brought about a change in
many people's relation to social phenomena as
well as building conventions surrounding
contemporary art. The text attempts to
establish the complex context for digital art
scene and examine some of the various attitudes
and practices involved curators may have
regarding quality assessment and selection
criteria.
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SWACK, Debra
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FEELTRACE
and The Emotions (After Charles Darwin) (#17,
April 2012)
The Emotions is a multi-channel
photographic, possibly interactive, video done
in collaboration with the Brain Mind Institute
in Switzerland about the universality of
emotions on a biological level and the potential
for futuristic misuse through genetic and or
technological modification. Genetically
emotionally or otherwise enhanced individuals
could become the fashionable norm; synthetic
biology could replace plastic surgery, with the
further complication of not knowing where those
genetic modifications might take them as
individuals or us as a species.
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TANAKA, Atau, and
Marco DONNARUMMA
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The
Body as Musical Instrument
(#21, January 2019)
Atau Tanaka and Marco Donnarumma build upon
phenomenology and body theory to consider the
human body as musical instrument. This paper
presents a history of gestural musical
instruments and looks at musical works using
physiological signals, including seminal works
of Lucier and Rosenboom. The body as instrument
is discussed as schemata and configurations of
body and technology.
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TAYLOR, Krystal
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A
Sequence of Experiences
(#5, December 2004)
"Looking at this body of work at first glance
one could easily come to the conclusion that Lee
Welch really adores himself. He may even
live in a house of mirrors to dwell within his
narcissistic obsession. I would find both
of these conclusions to be superficial...."
Krystal Taylor reports on Lee Welch's exhibition
(Ireland and UK) where, by using his portraits
only, he investigates trace and perception of
time.
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TISMA, Andrej
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Web.Art's
Nature (#11,
December 2007)
"...there is an apparent
similarity between the Internet and web.art
concept and principle and some earlier forms
of communicative art such as mail-art in the
early 60’s and network art in the 80’s."
Artist Andrej Tisma relocates the historical
connection of Web.Art to Mail Art and the
network movement.
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TSENG, Yu-Chuan
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VAVARELLA,
Emilio
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Darwikinism:
Between Trollism and Error
(#20, July 2015)
Technology has changed the way we read, write
and learn. For example, eBooks have changed the
publishing industry and grammar check technology
silently shapes our writing, while in the field
of digital humanities researchers are constantly
developing new theories and tools that will
shape the future of education. In this
ever-changing panorama, 'anarchic trollism'
collides with Wikipedia's 'positivistic
darwikinism': the two different philosophies
that will be contextualized and briefly analyzed
in the following article.
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VOGEL, Cristian
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Donkey
Bridges: on the Creative and Technical Process
Behind "Eselbrücke"
(#18, May 2013)
Eselsbrücke is a collection of 10
pieces of computer music, composed and recorded
in Berlin over a period of 6 months. This essay
about the compositional process, aims to
document some of the technical and creative
challenges which shaped the music. The story
touches on the responsibility inherent in
decision making, on the complications of
additive dimensions and the interfacing between
non-sonic forms and musical significance.
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WALTHER, Bo
Kampmann
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Space
in New Media Conception: With Continual
Reference to Computer Games
(#6, June 2005)
"This article, partly philosophical and partly
practical, challenges the notion of space (and
time) in new media conception such as it is
outlined in Lev Manovich's seminal book The
Language of New Media (2001)...." Bo
Kampmann Walther, researcher of games with
philosophy as his background, discusses here how
the space conception in computer games can be
conceived as remixes of earlier media's
representations of spatiality.
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WASIELEWSKI, Amanda
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Grains
of Gold in All This Shift: WEb 2.0,
Crowdsourcing and Participatory Art
(#16, March 2011)
"The Web 2.0 ideas of
'social networking' and 'crowdsourcing' have
filtered through to the art world where
artists are, whether consciously or not, using
Web 2.0 principles and forms in their work."
Amanda Wasielewski's critical examination over
the recent activities of participatory art
both on and offline which "begins to look like
crowdsourcing."
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WATTS, Rachael
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Interview
with Art Clay, Artistic Director of Zurich's
DAW07 (#10,
June 2007)
Art Clay, artistic director
of the Digital Art Weeks organised by the
Swiss Federal Institute of Technology Zurich,
in conversation with Rachael Watts explains
his view on the intersection between art and
new technologies.
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WELSH, Jeremy
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Exploding,
Plastic and Inevitable: the Rise of Video Art
(#7, December 2005)
"Since the advent, growth and mass acceptance of
photography and film, video is the first
representational medium to have radically
altered our modes of perception and to have
decisively and permanently changed our
expectations of visual art....This essay is
intended to provide a condensed, and necessarily
partial, overview of video art’s historical
development through the examination of a number
of genres, styles, tendencies and strategies
that have characterised its growth since the
late 1960’s."
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WENTGES, Sasha
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WHITE, Norm
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Norm
White (#1,
2000)
"Art as pure self-expression doesn't interest me
very much. Self-expression inevitably creeps
into art, but I would prefer that it sneak in
through some back-door." This text by Norm White
about his art was presented at Arte No Seculo
XXI, Sao Paolo, Brasil. Here with the
introduction text in Swedish by Thomas
Liljenberg.
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WILLIM, Robert
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The
Imaginary Scream
(#18, May 2013)
"I dreamt about a work I will never make." An
experimental essay by Robert Willim which raises
questions about conceptuality and tangibility in
art.
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WOJTOWICZ,
Ewa
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Time
and Real-time in Online Art
(#9, January 2007)
"New media artists, notably net artists, analyse
the issue of time. Their field of interest
includes time as a whole, their own time and the
viewer’s time....If there is a navigable
cyberspace – does it imply navigable time as
well?" New Media Art historian Ewa Wojtowicz
examines net art practice that employs time from
various perspectives.
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Global
vs. Local: The Art of Translocality
(# 8, June 2006)
"The global village, the network society - these
are the essentials of the current net culture and
its discourse. The Internet-based culture has a
global impact although its origin is blurred. Is
it local? Are there any tendencies of locality
visible in the world of net art?" Ewa Wojtowicz,
theoretician/historian of art & culture and
new media, examines the net art practice from the
perspective of locality and globalisation. |
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ZECCOLA, Guido
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(Swedish)
Industrimusiken - Från elektronisk pornografi
till ockultism
(#3, October 2003)
"Industribuller är
grundelement till sonora ritualer för en
betydelsefull mängd progressivrockmusiker i
Storbritannien, som i mitten av 1970-talet
experimenterade med alltmer sofistikerade och
noisebaserade elektroniska klanger."
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The
Gender of Music
(#2, March 2003)
"Have we ever really
asked ourselves why there are so many male
composers and so few female ones? " Guido
Zeccola, music critic, discusses here on the
gender of the "art music" of our time.
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ZHU, Guang
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The
Parametric Courante
(#18, May 2013)
This paper describes Guang
Zhu's exploratory research and experiments
conducted on the cardioid equation, in order
to inspire the creative use and
interdisciplinary assessment of parametric
functions. It also attempts to articulate the
first stage of integrating media art,
mathematical visualization, and the history of
geometry in her project.
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ZINSMEISTER,
Annett
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Virtual
Constructions: The Standards of Utopia
(#5, December 2004)
"Design is not only a matter of ideas and of the
interplay of form and function. It is also a
matter of technologies of representation, of
specific machines and operations...." Annett
Zinsmeister, professor of theory, architecture
and design, takes us through a historical
overview of the inter-relations between design
tools and our thoughts from the Renaissance
through the 20th century architecture to today's
virtual world of "the Sims."
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