www.hz-journal.org
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FREQ_OUT 8 - 4250 CUBIC METRES AND 48 HOURS OF SOUND
by CARL MICHAEL VON HAUSSWOLFF
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
THE VIOLIN, THE RIVER, AND ME: ARTISTIC RESEARCH AND ENVIRONMENTAL EPISTEMOLOGY IN BALANCING STRING AND DEVIL'S WATER 1, TWO RECENT ENVIRONMENTAL SOUND PROJECTS
by BENNETT HOGG
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.
PERSPECTIVE, TEXTURE, DENSITY AND MOTION: AESTHETICS AND THE ART OF AUDIO FIELD RECORDING
by STEVEN M. MILLER
"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.
CREATIVITY IN ALGORITHMIC MUSIC
by EVAN X. MERZ
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.
THE PARAMETRIC COURANTE
by GUANG ZHU
This article 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.
DONKEY BRIDGES: ON THE CREATIVE AND TECHNICAL PROCESS BEHIND "ESELSBRÜCKE"
by CRISTIAN VOGEL
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.
DOT, A VIDEOGAME WITH NO WINNER
by HENRIQUE ROSCOE
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.
TRAPPED TO REVEAL - ON WEBCAM MEDIATED COMMUNICATION AND COLLABORATION
by ANNIE ABRAHAMS
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 essay, she explains her thoughts behind her webcam performance practice, which, "besides being a tool to experiment with machine mediated collaboration and communication, …also reveal
THE IMAGINARY SCREAM
by ROBERT WILLIM
"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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Hz is published by Fylkingen in Stockholm. Established in 1933, Fylkingen has through the years made major contributions to introducing yet-to-be-established art forms in Sweden. For more information, please visit: http://www.hz-journal.org/n4/hultberg.html