sachiko hayashi
Since the beginning
Works in Falerum Sweden

PORTFOLIO (2)
BIO
works primarily with net art and video. Her works consistently aim at integrating use of technology and aesthetic/conceptual/social discourses. more info at www.e-garde.net
Discussions (28) Opportunities (14) Events (26) Jobs (0)
EVENT

Hz #19


Dates:
Wed Jul 16, 2014 00:00 - Tue Jul 14, 2015

Hz #19
www.hz-journal.org

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WHAT, AM I HEARING LIGHT? LISTENING THROUGH JEAN-LUC NANCY
by MARTYN HUDSON
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.

WHAT IS 'POST-DIGITAL'?
by FLORIAN CRAMER
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.

CRITICAL GLITCHES AND GLITCH ART
by MICHAEL BETANCOURT
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.

MIXING IT: 12 REMIXES BY MICHAEL SZPAKOWSKI
by EDWARD PICOT
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.

LANDSCAPES {SOUNDSCAPES: DRONESTRIKES ON SATURN
by LAURA PLANA GRACIA
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.

HOW THE TECHNOLOGICAL DESIGN OF FACEBOOK HOMOGENIZES IDENTITY AND LIMITS PERSONAL REPRESENTATION
by BEN GROSSER
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.

MY LAWYER IS AN ARTIST: FREE CULTURE LICENSES AS ART MANIFESTO
by AYMERIC MANSOUX
"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 many different voices are muffled today under 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.

CRUFT: ART FROM DIGITAL LEFTOVERS
by ROBERT SPAHR
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.

OUTLINE FOR A TALK ON BLANK THAT CAN'T BE GIVEN
by ALAN SONDHEIM
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."

ROLLING STONES GETS ME NO SATISFACTION
by KEVIN LOGAN
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.

ORDINARILY NOWHERE
by GX JUPITTER-LARSEN
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.

ELECTRONIC MUSIC ARCHIVES IN THE COLLECTION OF THE SWEDISH PERFORMING ARTS AGENCY
by PÄR JOHANSSON
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.

A BRIEF HISTORICAL OVERVIEW OF FYLKINGEN'S JOURNALS
by SACHIKO HAYASHI
Written for the 80th anniversary of Fylkingen (the publisher of 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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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


OPPORTUNITY

Call for Articles


Deadline:
Sat May 31, 2014 00:00

Online journal Hz (www.hz-journal.org) is looking for articles on New Media, Sound Art, Electro-Acoustic Music, Virtual World, and Social Media. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal@telia.com

Deadline: 31 May, 2014

Hz is published by the non-profit organisation Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, Stelarc, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden. For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.html


EVENT

The Augmented Plateau: Art and Virtual Worlds in HUMlab 2007-2013


Dates:
Thu Feb 20, 2014 12:00 - Wed Mar 12, 2014

Location:
Umeå, Sweden

Please join us in looking back on 7 years of artist in residency in Second Life:

The Augmented Plateau: Art and Virtual Worlds in HUMlab 2007-2013

20 February - 12 March 2014 @ HUMlab-X, the Arts Campus at Umeå University, Sweden
Opening Hours: Monday - Friday, Noon - 4pm
(21 and 24 February, 10 March Closed)
Opening: 14 February between Noon - 5pm

HUMlab is a humanities-led, interdisciplinary digital lab at Umeå University in Sweden. For the last seven years, HUMlab has given support to Second Life artists by hosting their works on SL HUMlab Island for constructions as well as organising exhibitions at HUMlab's Real-Life multimedia venue.

In 2007-08 Humlab hosted on its Second Life sim Goodwind Seiling's "N00sphere Playground" for the Virtual Moves exhibition at the National Gallery in Copenhagen. Later, it further supported Avatar Orchestra Metaverse for their constructions and premier performances of "XAANADRuul" and "The Heart of Tones" before providing a home for the Yoshikaze "Up-In-The-Air" virtual artist residency programme in 2010. Since then, HUMlab has been a host for nine Second Life artists in Yoshikaze artist residency as well as one artist talk by Kristine Schomaker on her project "My Life as an Avatar." Another outcome of HUMlab's engagement for the advancement of virtual worlds and art was their assistance in bringing an ambitious mixed-reality project by Goodwind Seiling to fruition. The project "Experimentation #1" was based on the use of Kinect to control avatar movements and would have been unable to be realised without HUMlab's support.

The work conducted in HUMlab and Yoshikaze by virtual world artists and creators has led to a number of academic publications and conference presentations and also resulted in two self-published artist books.

This year between 20 February and 12 March, HUMlab and Yoshikaze proudly present a group exhibition with all the artists who have been involved in shaping HUMlab's engagement in supporting SL artists and their art. This include, besides those mentioned above, Alan Sondheim, Juria Yoshikawa, Garrett Lynch, Selavy Oh, Katerina Karoussos, Fau Ferdinand, Pyewacket Kazyanenko, Oberon Onmura, Alpha Auer, Maya Paris, Eupalinos Ugajin and SaveMe Oh. We would also like to acknowledge the following SL artists for this show: Machinimatographers Marx Catteneo, Mab MacMoragh, Steve Millar, and Evo Szuyuan, as well as Puppeteer Jo Ellsmere. The exhibition takes place at the newly acquired HUMlab-X at the Art Campus of Umeå University.

We, who have been working with this project for seven years, would like to thank all the participants. Thanks are also due to the HUMlab technicians, poster makers, and HUMlab director Patrik Svensson.

Sachiko Hayashi (Yoshikaze Curator)
James Barrett (SL HUMlab Sim Manager)
Carl-Erik Engqvist (RL HUMlab Artistic Leader)
February 2014


EVENT

Hz #18


Dates:
Thu May 09, 2013 14:05 - Sat Mar 15, 2014

Hz #18
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[s] ordinary, vulnerable and messy aspect of human communication."

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


OPPORTUNITY

Call for Articles


Deadline:
Sun Mar 31, 2013 00:00

Online journal Hz (www.hz-journal.org) is looking for articles on New Media, Sound Art, Electro-Acoustic Music, Virtual World/Machinima and Social Media. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal@telia.com

Deadline: 31 March, 2013

Hz is published by the non-profit organisation Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, Stelarc, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden. For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.html