<nettime-ann> Hz #19

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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