[artinfo] Hz #19

[sachiko hayashi]

Hz #19
<http://www.hz-journal.org/>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>http://www.hz-journal.org/n4/hultberg.html