be like
http://www.alansondheim.org/firewater02.jpg
6 grep -h "be a burden" texts/*.txt > zz
The cdrom will open in Mac or PC; only the web suites might be a
problem also be a problem, unless a new consciousness arising,
perceiving those
_there._ This could be a problem.
arguments WITH ME; thus there can only be a problematic return
to The cdrom will open in Mac or PC; only the web suites might
be a problem I'm not sure how to record, but that shouldn't be a
problem. arguments WITH ME; thus there can only be a problematic
return to
6 grep -h "be a burden" texts/*.txt > zz
11 grep -h "be any trouble" texts/*.txt >> zz
13 grep -h "be a problem" texts/*.txt >> zz
this and that which might be a nuisance to others but which is
fun to this and that which might be a nuisance to others but
which is fun to
I have failed to not be a nuisance.
this and that which might be a nuisance to others but which is
fun to viewed. I wanted to sound so smart. I sounded like an
idiot. I am an feeling like an idiot confronted with the
simplest programs feeling like an idiot confronted with the
simplest programs When I speak I sound like an idiot. I can't
control my words. Thoughts and feeling like an idiot confronted
with the simplest programs When I speak I sound like an idiot. I
can't control my words. Thoughts and
6 grep -h "be a burden" texts/*.txt > zz
11 grep -h "be any trouble" texts/*.txt >> zz
13 grep -h "be a problem" texts/*.txt >> zz
16 grep -h "be a nuisance" texts/*.txt >> zz
19 grep -h "like an idiot" texts/*.txt >> zz
for a major paper here. She writes html etc. like a maniac, and
11 grep -h "be any trouble" texts/*.txt >> zz
13 grep -h "be a problem" texts/*.txt >> zz
16 grep -h "be a nuisance" texts/*.txt >> zz
19 grep -h "like an idiot" texts/*.txt >> zz
22 grep -h "like a criminal" texts/*.txt >> zz
23 grep -h "like a killer" texts/*.txt >> zz
24 grep -h "like a maniac" texts/*.txt >> zz
muds; so i'm a virtual-worker like a sex-worker or cultural-
worker; so in above all to appear in the know following like a
dead dog after another pure, like a dead disassociated eye come
to life; an immobilized eye; the the turbid emerges; from the
turbid , the pure, like a dead disassociated
6 grep -h "be a burden" texts/*.txt > zz
11 grep -h "be any trouble" texts/*.txt >> zz
13 grep -h "be a problem" texts/*.txt >> zz
16 grep -h "be a nuisance" texts/*.txt >> zz
19 grep -h "like an idiot" texts/*.txt >> zz
22 grep -h "like a criminal" texts/*.txt >> zz
23 grep -h "like a killer" texts/*.txt >> zz
24 grep -h "like a maniac" texts/*.txt >> zz
26 grep -h "like a sex" texts/*.txt >> zz
27 grep -h "like a dead" texts/*.txt >> zz
[+++]
Hz #19
www.hz-journal.org
----------------
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 P?R 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).
----------------
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
