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, “[b]esides 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.
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
There is much evidence to suggest that man may have paid too dear a price for his new environment of specialist technology and values. Schizophrenia and alienation may be the inevitable consequences of phonetic literacy. It’s metaphorically significant, I suspect, that the old Greek myth has Cadmus, who brought the alphabet to man, sowing dragon’s teeth that sprang up from the earth as armed men. Whenever the dragon’s teeth of technological change are sown, we reap a whirlwind of violence.
— Marshal McLuhan, interview for Playboy March 1969
Resonance is the condition whereby a tiny input autonomously cascades into a much larger output. It occurs when a small vibration interacts with the internal structure of a material and greatly increases in intensity, threatening to destroy the object if pushed beyond a certain limit. Chaos is the point at which order breaks down, when elements in an organized system start acting randomly and autonomously, creating a situation where it is impossible to predict exactly what will happen next or in what order. Both involve limits and thresholds that have been crossed, organization that breaks down, actions that go out of control, systems that collapse—creating something new and unexpected in the process.
— Bill Viola, “David Tudor: The Delicate Art of Falling,” 2004
Decisions I regret:
- Doing things to make other people happy at the expense of my own happiness.
- Doing things to make me happy at the the expense of other people’s happiness.
— Kevin Blechdom (interview in Electronic Beats Spring 2013)
We do not understand, or we vaguely sympathize with, those cultures for which the sexual act has no finality in itself and for which sexuality does not have the deadly seriousness of an energy to be freed, a forced ejaculation, a production at all cost, or of a hygienic reckoning of the body. These are cultures which maintain long processes of seduction and sensuousness in which sexuality is one service among others, a long procedure of gifts and countergifts; love-making is only the eventual outcome of this reciprocity measured to the rhythm of an ineluctable ritual. For us, this no longer has any meaning: for us, the sexual has become strictly the actualization of a desire in a moment of pleasure - all the rest is “literature”
from Forget Foucault by Jean Baudrillard