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#19, July 2014
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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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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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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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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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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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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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"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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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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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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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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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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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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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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