Trapped to Reveal - On Webcam Mediated Communication and Collaboration (#18, May 2013)
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 text, 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."

Games: The Art of Making, Bending, and Breaking Rules (#13, January 2009)
"In interactive art, the observer and the work are constructed by rules that can be bent or broken, but cannot be absent." Andrew Y. Ames examines "Game-based art... [with] implied and explicit rules that artists expose and exploit for aesthetic and ideological purposes."

Modifying Art (#10, June 2008)
"There is an art to modification and art in the modification." New Media artist Andrew Y Ames revisits the history of computer game as modifying art, a continuation of the Fluxus tradition in which art was conceived "'in the action rather than the object.'"

Computer Art and the Theory of Computation (#20, July 2015)
The theory of computation is concerned with the limits and nature of what is possible in computing.  It is a useful theory to artists whose medium is computing; it helps them understand how far/near the horizons of digital art are. It is philosophically profound and links the work of Godel, Turing, and the synthesis of philosophy, logic, and mathematics. Familiarity with the theory of computation should be an important part of any significant philosophy of computer art.

Moistmedia, Technoetics and the Three VRs (#16, March 2011)
One of the most influential theoreticians/artists in the filed of telematics Roy Ascott's article about Moistmedia, written in 2000, in which he predicts "a convergence of three VRs" (Virtual, Validated and Vegetal): "At this interspace lies the great challenge to both science and art: the nature of consciousness. A technoetic aesthetic is needed which...may enable us as artists to address the key questions of our time."

It is as if you were doing work - a (mis)reading (#21, January 2019)
Through a (mis)reading of Pippin Barr's game It is as if you were doing work (2017), this essay explores the relationship between bodies, labour, and entertainment. It speculatively argues that performing useless labour seems to be essential for maintaining the illusion that our(?) bodies are still 'human.'

"Where Are You From?": The Networked Sphere (#8, June 2006)
"'Where are you from?' synthesises many of my explorations regarding translocality, the hybridisation of media, and the convergence of technological and social space in the urban environment." Interviews in 6 cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris) are compiled in Pat Badani's net art project "Where Are You From" to reveal the dynamics between the notions "place" and "belonging."

Where Has All the Cat Soup Gone: An Investigation of Manga Artist Suicides (#5, December 2004)
"Nekojiru's twin heroes carry the simple, practical wisdom of Schultz' best creations along with them, usually closing strips with contented 'that's-the-way-things-are' observations and the promise of brighter days ahead. However... " Thom Bailey reports on high suicidal rates amongst manga artists in Japan and his observation over the social conditions where the "population simultaneously praises its manga as an inimitable cultural treasure, and damns it as a corruptor of traditional values."

Landscapes of Absence (#21, January 2019)
The project Landscapes of Absence explores the ethical issues around the use of ISIS propaganda within broadcast media. The project uses images drawn from eight beheading incidents disseminated by ISIS, these images are digitally erased, leaving only the landscape and the absence of the dehumanized image as a metaphor for the larger issue of the absence of reliable reporting from this region.

Emergence in the Social Web (#17, April 2012)
With emergence theory - in ant colonies, cities, and brains - the whole is more than the sum of its parts. Something new is happening online, where a collective consciousness seems to emerge from the social web, giving rise to emergent phenomena like memes, the Occupy Movement, and the hacker collective Anonymous.

Technology as if (#8, June 2006)
"I am interested in the kind of identity computer technology can give us when it acts like a prosthesis on our bodies." Annika Olofsondotter Bergström discusses three New Media performances in which all use technology as body's extension: the works discussed are Troika Ranch's "Future of memory", Stelarc's "Ping Body" and Laetitia Sonami's "Lady’s Glove"

Critical Glitches and Glitch Art (#19, July 2014)
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.

Resonances: the Sound of Performance (#20, July 2015)
This essay reflects the role of sound and listening in dance-theatre, music theatre and live art by taking a closer look at an influential recent publication, Composed Theatre. Aesthetics, Practices, Processes (2012), edited by Matthias Rebstock and David Roesner. Drawing attention to current experiments in multi-media performance and the dissemination of particular techniques of embodiment (cf. Min Tanaka's 'body weather' practice and its focus on listening to the environment), the author then offers a detailed critique of the compositional and performative strategies, and especially the processual devising of sound, that are featured in the book on composed theatre.

Second Lives, Virtual Identities and Fragging (#12, July 2008)
"The use of the virtual identity, whether through Second Life, the persona of the hacker or an online identity gives the digital artist the freedom to explore creative strategies that would otherwise be much more difficult to realize. " Matthew Board investigates online art practice.

ORAMA Project (#7, July 2005)
"We were unsatisfied with the already existing ways to describe the city and all the other spaces around us. We experienced a gap between our personal experience and the mediated world spread through radios, TVs, newspapers, magazine accounts....We wanted something to build our autonomous representation of the spaces we were living in." David Boardman presents ORAMA, "a collaborative writing system that supports the creation of shared spatial narrations."

Japan in Scandinavia: Cultural Clichés in Receptions of Works by Mori Mariko(#4, June 2004)
"This essay will focus on Mori Mariko and her art works in order to investigate how specific art objects are incorporated into a broader ideologically constructed frame work concerning cultural identity on a national or regional level...." Gunhild Borggreen, art historian, argues how the inclusion of Mori Mariko's work in the Nordic Pavilion at the Venice International Art Biennial 1997 examplifies formation of cultural clichés based on distinction between "us" and "others".

_Augmentology Extracts_ (#12, July 2008)
Futurist and cyber poet Mez Breeze explores concepts that shape and are shaped by an extensive range of online/synthetic encounters through the phenomena Reality Mixing, Game Addiction and Avatar Formation. Three extracts from augmentology.com

Directory.Linking 2:/The Immersive State of Reality[Game]Play. (#7, December 2005)
Experimental Cyber Poet MEZ analyses recent developments in games into several categories such as "First Person Shooters," "Massive or Massively Multiplayer Online Games," and "Alternative Reality Games," and arrives at questions involving the present state of art in relation to and in comparison with the condition of game play.

Open Systems: A Perspective on the Dutch Electronic Arts Festival 07 (#10, June 2007)
Intra-disciplinary hybrid practioner laurie halsey brown reports from 'Interact or Die!' the eighth edition of the Dutch Electronic Art Festival by v2, the Institute for the Unstable Media in Rotterdam, the Netherlands.

Graphic Notation, Indeterminacy and Improvisation: Implementing Choice Within a Compositional Framework (#21, January 2019)
The use of graphic notation in relation to improvisation and indeterminacy is examined in this paper, including the techniques the author used in Fluttering (Bröndum 2015) and Serpentine Line (Bröndum 2010). Interviews with musicians together with the author’s own experience further provides a discussion and conclusions in the context of using graphic notation as a bridge between improvisation and notated music.

Dynamic Performance of Nature: Augmenting Environmental Perception Through Social Media and Architectural Informatics (#17, April 2012)
Dynamic Performance of Nature is a permanent architectural media installation in the Leonardo Museum located in Salt Lake City, Utah. It intends to augment environmental perception in museum visitors by communicating global environmental information through a dynamic and interactive interface, facilitated by social media, and embedded in the material of a high-tech media wall.

Sound Art and Public Auditory Awareness (#12, July 2008)
Ariel Bustamante explores the connection between Sound Art and public auditory sensibilities by reviewing works by Max Neuhaus, Sam Auinger and Bruce Odland, Christina Kubisch, and Scout Arford and Randy Yau.

Vertigo of the Technological Sublime (#17, April 2012)
This essay of Campanelli explores a deeper reflection on Abstract Journeys, the most recent artwork by the Italian artist Marco Cadioli. Abstract Journeys consists of a series of screencapture video and images from Google Earth whose different surfaces and forms have been transformed by human activities in an abstract geometric compositions.

The Aesthetics of Failure: "Post-Digital" Tendencies in Contemporary Computer Music (#3, October 2003)
Composer Kim Cascone discusses "post-digital" tendencies in today's computer music from the point of "aesthetics of failure" that gave birth to new types of computer music which incorporates "the failure" of digital technology such as glitches, bugs, application errors, system crashes, clipping, aliasing, distortion, quantization noise, etc.

GoingPublik:Mobile Multimedia as Mixed Reality (#5, December 2004)
"This paper wishes to convey in the small the experience of a mutual collaboration between science and art and in the large the fruits of that collaboration, a mobile scoring synthesis system driven by global information input, both technically and artistically." Sound artist Art Clay reports about his project, GoingPublik, a collaboration with two scientists to develop a mobile real-time multimedia tool for music performers by using ideas of kinetic art .

Created Identities: Hybrid Cultures and the Internet (#11, December 2007)
"Heterogeneity, multiplicity and rupture are three aspects of Deleuze and Guattari's rhizome.... This makes the internet an entirely suitable place to manufacture a hybrid cultural identity..." Ian M. Clothier's 'The District of Leistavia' is a hybrid cultural entity based on the Internet.

VIRTUAL MEMORIAL : A Memorial As A Process- A Model Of The World (#3, October 2003)
"A Virtual Memorial represents an Internet based art work created in Flash5, Javascript and HTML by Agricola de Cologne, media artist form Germany. The project is based on the artist's physical Memorial project "A Living Memorial Spaces of Art" which had been initiated on occasion of the 50th return of World War II in 1995 and created and realized  in 43 installations at 43 places in Poland, Czech Republic and Germany until the end of 1998."

Cerebral Augmentation: The Generative Computer Artist as Cyborg (#11, December 2007)
In this essay the metaphor of the cyborg - which currently exists as a powerful symbol for human-machine interaction in our digital society - is used to analyse the practice of generative computer art, which according to Philip Galanter is: "any art practice where the artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art."

What is 'Post-digital'? (#19, July 2014)
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.

New Media, New Narrative (#5, December 2004)
"...Within the greater context of media, new media is unique in many ways. Among the most significant, being its compressed and repetitive temporal qualities...." New media artist David Crawford discusses the works of three net artists (John Cabral, Mouchette and Mumbleboy) that "enable users to make successive investments deeper layers, with the initial layer being the lynchpin. "

The Pirate Cinema: A Generative Self Portrait (#20, December 2015)
By analyzing the work The Pirate Cinema by artist Nicolas Maigret - a live streaming of file sharing activities on networks using the BitTorrent protocol - this article addresses some important issue such as the visual representation of the peer-to-peer systems and the schizophrenic yet hyper-controlled and surveilled way we access contents and data on the internet.

Of Ultrasound, Art and Science (#15, September 2010)
Multimedia artist/musician Michael Dotolo discusses sound art in the context of art-science relating to ultrasound. "My intent in studying the invisible sonic spectrum is to understand the importance that these frequencies bare on the complex communicative fabric of the natural and technological aspects of our lives."

Phantom Broadcast (#2, March 2003)
After several recent works with radio used as a side element, John Duncan focuses again on shortwave as the full source material in his phantom broadcast, with one slight twist.

Exile as Noise - Noise as Exile (#11, December 2007)
"For me to be in exile, to be an immigrant is like being "NOISE" in musical context....a person is here bodily pushed over borders by forces beyond his or her control." Composer/musician Dror Feiler draws a parallel between the state of exile and the musicality of noise music.

Dissonance, Sex and Noise: (Re)Building (Hi)Stories of Electroacoustic Music (#9, January 2007)
"It is possible to trace one history of electroacoustic music through the analysis of the role played by dissonance. We can also use the concept of noise as a guide through the evolusion of the music that makes usse of electroacoustic technologies." Composer, musicologist and curator Miguel Álvarez Fernández deconstructs the reading of history of electroacoustic music.

The Mobile Augmented Soundscape: Defining an Emerged Genre (#20, July 2015)
This article surveys past practices of designed systems that have addressed the creative production of soundscape, the 'positive' vector of soundscape activity relative to the 'negative' critique of noise, annoyance and environmental degradation. Identifying thirty such systems ranging from research prototypes to commercial platforms to mobile apps to artworks, this paper proposes the term Mobile Augmented Soundscape as an umbrella category to summarize and crystallize a tradition of practice that can inform and guide new configurations through the development of wearable technologies that may wish to address aspects of acoustic ecology.

Metal and Wind: Bertoia and the Space of Reverie (#14, December 2009)
"Offering to the Wind, as the Bertoia sound sculpture is now known, offers one possible solution to the problem of soundscape design for the city's places of leisure and reverie...It reverses a certain urban deafness, returning the possibility of silences between sounds, producing a quietude in the midst of the city roar."

Between Screen and Projector. 'Live' in Live Media (#21, January 2019)
This essay describes a way of looking at live media performance practice that questions the notion of the screen as final destination for the content of a performance. Using a systems aesthetic, it examines a set of entangled elements that give an audience an alternate means to decode the liveness of a performance based on embodied action, transcoding, and intermedia narrative.

Intimate Transactions: Close Encounters of Another Kind (#13, January 2009)
"Crucially, the interactive intent of the work was to create a means to reflect upon a particular kind of experience – the experience of our being relationally connected as a collective body." Writer/theorist Tony Fry on Keith Armstrong(creative director)'s "Intimate Transactions" and its link to Ecosophy.

Something Third, Other (#4, June 2004)
"In a networked virtual world, interconnected participants are able to enter a dialogue and to interact with one another; they cannot actually do so, however, with the remote participants, but rather with the interpretation and representation of the data, transferred from the remote site(s). Thence, the process of the evolving dialogue in such tele-immersive scenarios is complexly interwoven with another liquid, hybrid and oscillating process, the one of 'becoming a subject'" Architect and interactive media artist Petra Gemeinboeck analyzes how "something third" emerges as a virtual identity in the tele-immersive virtual environments.

Undervattenskonsert: Underwater Concert (#6, June 2005)
"I invited eleven artists working with sound to make pieces for an underwater broadcast for bathers in the sea between Sweden and Denmark." Alison Gerber's report on her project in Malmö, Southern Sweden, in which "the act of listening would be necessarily new and arduous."

Virtual Musical Instruments: Technological Aspect and Their Interactive Performance Issues (#6, June 2005)
Suguru Goto, composer and media artist, takes us behind the scenes of constructions of his Virtual Musical Instruments with special focus on Gestural Interface. These instruments include SuperPolm, a virtual violin developed at IRCAM, controlled solely through human gesture without strings or bow, and BodySuit (or Data Suite), a suit with 12 built-in sensors.

Landscapes {Soundscapes: Dronestrikes on Saturn (#19, July 2014)
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.

Pixelgrain (#12, July 2008)
Writer John Grande's essay on "Pixelgrain" project by the artists Michael Alstad and Leah Lazariuk, an online repository of documents and ideas linked to the fading symbol of the Canadian prairie grain elevator.

How the Technological Design of Facebook Homogenizes Identity and Limits Personal Representation (#19, July 2014)
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.

themusicofthefutureisntmusic (#17, April 2012)
"What is music today anyway? Is it still organized sound? Or is it evolving into something else? Perhaps music is not only sound. Perhaps artists choose a medium to work in because it enables them to present their ideas reflecting how they view time?" Video artist and composer Henry Gwiazda discusses his artistic progression from music/sound to what he describes as "multimedia digital choreography" and questions what the music of the future might look/sound like.

Embodiment and Technology: Towards a Utopian Dialectic (#14, December 2009)
David Rokeby's A Very Nervous System and Steve Mann's Wearable Computer are discussed in this essay as examples of "Utopian quest for technological embodiment... ... that seeks to move beyond the anxiety of new media and to position our culture to examine the space between the ultimate dialectics, that of man and the machine."

Freq_out 8 - 4250 Cubic Metres and 48 Hours of Sound (#18, May 2013)
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

Art and Sound in Stockholm New Music ('06) and LARM-Nordic Sound Art Festival ('07) (#10, June 2007)
"The grey area of the audio-visual cross zone has been one of the most vital fields in art for many decades." Works by the following artists at two Stockholm festivals are discussed: Christina Kubisch, Janet Cardiff, Steina Vasulka and Maia Urstad.

The Composition-Instrument : Musical Emergence and Interaction(#9, January 2007)
"What kinds of compositional techniques can be used to create a music that recognizes the emergence and the potential of becoming found in a digitally-based or telematic interaction with art and media?" Composer and sound artist Nobert Herber explores the field of computer games and interactive media where the line between "composition" and "instrument" is increasingly blurred.

Floating Points: Locative Media, Perspective, Flight and the International Space Station (#8, June 2006)
Artist Jeremy Hight has developed an experiment for the International Space Station that questions all the current notions of location in locative media and proposes the inclusion of perspective. He proposes a new field of art to trigger above cities and the landscape at various altitudes.

The Violin, the River, and Me: Artistic Research and Environmental Epistemology in Balancing String and Devil's Water 1, Two Recent Envrionmental Sound Projects (#18, May 2013)
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.

The Miracles of Feedback (#13, January 2009)
"This paper deals with my fascination for acoustic feedback... I want to express my doubts, theories, and questions, as well as our motives and enthusiasm for using this medium." Sound artist Mario van Horrik explains his involvement over two decades with acoustic feedback experiments.

Place, Space and Sound (#10, June 2007)
"How does architecture relate to music?" With Stockhholm New Music Festival's '06 theme "Place and Space" as a starting point, architect/critic/musician Christian Hörgren examines the relationship between the notion of space and music by tracing examples in music history: from Palestrina, Xenakis, Morton Feldman to Alvin Curran.

What, am I hearing light? Listening through Jean-Luc Nancy (#19, July 2014)
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.

Fylkingen.org: Visions of the Present in Retrospect (#4, June 2004)
"Fylkingen celebrated its 70th anniversary in the autumn of 2003 and once again it could be affirmed that, established in 1933, Fylkingen holds a unique position as the world’s oldest existing association for contemporary music. What is it that keeps a music and cultural association going without interruption for so many years? To be able to answer that interesting question, we must take a historical retrospect...." In conjunction with the 70th anniversary of the non-profit arts organization Fylkingen, writer Teddy Hultberg takes a revisit to the history of Fylkingen and its position in Swedish cultural life.

We Are Not Alone (#13, January 2009)
"Network and information technologies, with a mutagen leap, directly connect the mind of the human being to hyper-contents and to hyper-contexts, creating perspectives that are totally new." Iaconesi/Persico on their projects which emerge as one of the possibilities/directions network technology brings forward.

First Museum Shooters (#16, March 2011)
"When the small company id Software in Texas, USA, 1993 released the videogame Doom few would have guessed that this game would change the entire game industry, and even fewer would have guessed which impact Doom would have on the art world." Game Art specialist Mathias Jansson's article about "museum shooters" in the field of Game Art.

The Edge of Artlessness: The video reflection, snap-shot, family and self-portraiture; and almost losing it all. (#3, October 2004)
"Post 9-11 (September 11, 2001) the art world, and artists seem to have lost their legs." Intermedia artist Jim Jeffers travels back to his home town in Colorado. The Edge of Artlessness is a photo-essay in which he shares his thoughts after the incidents of the Columbine High School shootings, 9-11, Osama Bin Laden, Timothy McVeigh and the Iraq War.

MEREAMIS (#2, March 2003)
Pär Johansson, the former secretary of SEAMS (the Society for Electroacoustic Music) presents their programme MEREAMIS, i.e. "More Electroacoustic Music in Sweden", which opened national-wide tours with various forms of electroacoustic music in Sweden.

Sensory Substitution (#14, December 2009)
"There is some debate whether cases of sensory substitution are the results of imaginativeness, psychological effects or neurological (mis-)wiring....We have evidence such substitutions do happen....Whether or not Wagner, Klee or Kandinsky actually had synesthesia, there is a rich history of people equating one type of sensory stimuli for another."

Originally Nowhere (#19, July 2014)
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.

Acoustics, Not Theatre (#15, September 2010)
Composer Adrian Knight: "Sound, time and space are our way of dividing a multidimensional reality into manageable subunits. Sound in time and space constitute what we call music….[O]f these three subunits, space is the most complex, and also most dependent on social and architectural necessity and availability"

Ephemeron: Control Over Self-Organised Music (#14, December 2009)
"The present paper discusses an alternative approach to electroacoustic composition based on principles of the interdisciplinary scientific field of Systemics." Composer Phivos-Angelos Kollias discusses the approaches of Xenakis and of Di Scipio as well as his own composition Ephemeron in relation to Systemics.

SONOMATERIA: Audio-Tactile Composition (#16, March 2011)
Irad Lee, sound and interaction designer, "describes the inspiration and implementation of SONOMATERIA, a multi-user sound sculpture, installation, tangible sound interface and intersensory composition," which "aims to explore the mutual reinforcing effect that the manipulation of tactile and auditory perceptions can have on each other...."

Listening Post: Chris Watson and Mike Harding (#2, March 2003)
As one of the Fylkingen AIR projects, Chris Watson and Mike Harding were invited to Stockholm by Fylkingen with support from IASPIS. As part of the exchange project Chris Watson and Mike Harding performed a site-specific sound installation at the Royal Swedish Academy of Fine Arts in Stockholm and held a workshop in "field recording" at the Royal University College of Fine Arts in Stockholm during the fall of 2001.

V2_ with Swedish introduction (#1, 2000)
Thomas Liljenberg's introduction on V2, the Institute for the Unstable Media - an interdisciplinary center for art and media technology in Rotterdam.

Rolling Stones Gets Me No Satisfaction (#19, July 2014)
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.

My Lawyer is an Artist: Free Culture Licenses as Art Manifestos (#19, July 2014)
"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 today many different voices are muffled by 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.

Composition Camouflaged: on the Relationship between Interpretation and Improvisation (#6, June 2006)
In this follow-up-article on Art Clay's project GoingPublik, discussed in his own article "'GoingPublik': Mobile Multimedia as Mixed Reality" in the last issue of Hz, philosopher Franziska Martinsen interviews the three trombonists involved in the project (Roland Dahinden, Günter Heinz & Thierry Madiot) about their experiences and interpretations of the work.

A PIER - A Sound Installation (#2, March 2003)
"As the starlings migrated back to Scandinavia, from the south coast of England, two artists flew out with them - bringing a sonic diary from a special starling winter roost, a concert hall of a weathered Victorian pier in Brighton, to Fylkingen in Stockholm." Thor McIntire-Burnie was a recipient of Fylkingen's AIR (artist-in-residence) project started in 2000. In this article, he presents his ideas behind his sound installation "A PIER", which was carried out in collaboration with Chris Watson.

Spectral Memories: the Aesthetics of the Phonographic Recording (#12, July 2008)
Sonic artist/Composer Dugal McKinnon examines the aesthetics of the phonographic recording: "how is the record, as a technology with a well-documented history, also a signifying medium that has generated certain meanings, and modes of aesthetic production and reception?"

Teorema Ritournelle (#15, September 2010)
Chritina McPhee: "This text came into being as I struggled to explain to myself why the idea of a witness, or wit(h)nessing could apply to the status of an object like a drawing. Teorema Ritournelle turns on some observations and flights around Pasolini's film TEOREMA, and applies them to the transposition of drawings into presences of an inordinate kind."

Creativity in Algorithmic Music (#18, May 2013)
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.

Perspective, Texture, Density, and Motion: Aesthetics and the Art of Audio Field Recording (#18, May 2013)
"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.

YMYI - You Move You Interact (#12, July 2008)
"YMYI (You Move You Interact) is an interactive installation, where one is supposed to build up a body language dialogue with an artificial system so as to effectively achieve a synchronized performance between the real user's body and the virtual object itself."

Towards a Soundly Ecstatic Electronica (#15, September 2010)
Artist/art theoretician Joseph Nechvatal's text deals with a phantasmagorical theorization of electronic-based sound art that places sound art in the context of the abstract unlimited-field of representation made possible by electronic communications.

Man Machine (#8, June 2006)
New Media Art Curator Björn Norberg leads us through the back-stage of the exhibition "Man Machine" shown at the National Museum of Science and Technology, Stockholm, in February this year. The group-show that resulted in 6 individual interactive installation was concieved through an intensive workshop at the Interactive Institute in Stockholm, in which 5 handpicked visual artists by Norberg participated.

Hz vs Church (#13, January 2009)
Sound artist/composer Novi_sad's project "'Hz vs Church' aims to use Churches (or other big sized public buildings) as post loudspeakers in order to create, unfold and play live various sounds which appear in the 'aural surface' by using and manipulating in real time different kinds of frequencies."

Quantum Improvisation: The Cybernetic Improvisation (#16, March 2011)
"It's already evident that computers and human intelligence are merging. What would I want on a musician chip if I were to receive the benefit of neural implant technology? What kind of a 21st Century musician could I be?" Composer/musician and one of the key figures of electronic music Pauline Oliveros' essay from 1999 centres around the question by revisiting 100 years of music history since the first magnetic recording in 1899.

Notes on Critical Black U.S. Performance Art and Artists (#3, October 2003)
"Contemporary black U.S. artists working in the medium of performance art suffer a serious crisis of meaning in art world culture because their work refuses to be relegated under the hermetic rubric of black artistic expression...." Performance and video artist Clifford Owens takes up three critical Afro-American performance artists from the East Coast of USA - William Pope.L, Charles McGill and Wayne Hodge.

Chong! A Parallel Environment (#14, December 2009)
"Chong! endeavors to showcase an interfacial encounter between humans and robots, much like human peers meeting for the first time, without the robot having to fulfill a function.... The end purpose of this environmental installation is to give the human a small window into how a robot may perceive humans and how it processes that information."

Click for Details, a Sound and Light Installation (#17, April 2012)
The core of the sound and light installation Click for Details is a looped 4- channels electronic music track, entirely produced using a single impulse (mathematically a Dirac delta, also called "click" or "glitch") as the only source for the whole piece. Departing from the the traditional dualism of sound and visuals as a combination of two different levels of perception, the work intends to provide the audience with an experience of sound and light as two aspects of a sole entity, related to the same source.

Mixing It : 12 Remixes by Michael Szpakowski (#19, July 2014)
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.

Iannis Xenakis: Form and Transformation (#15, September 2010)
"Avant-garde composer, architect and music theorist Iannis Xenakis consistently pushed the boundaries of music, mathematics, architecture and science in his work." Artist JD Pirtle examines Xenakis' hybridised and interdisciplinary practice in which Xenakis was able to "augment, transform, invert or rotate" the many ways architecture and music are related.

James Turrell's Mendota Stoppages and Roden Crater: When the Studio and the Art Become One (#15, September 2010)
Artist JD Pirtle reviews the relation between the space and the art in the practice of James Turrell, whose early departure from the white cube tradition manifests break-down of the division "studio, non-studio, anti-studio." Two of Turrell’s pieces, Mendota Stoppages and Roden Crater are revisited.

Listening to the Earch (#7, December 2005)
"The interpretation and presentation of data using sound is part of a growing movement in what is called data sonification. Like its more popular counterpart, data visualization, sonification transforms data in an attempt to communicate meaning." Andrea Polli is a digital media artist who works in collaboration with meteorological scientists to develop systems for understanding storms and climate through sound. In this article, she presents two of her projects "Heat and the Heartbeat of the City" and "N.".

Synchronised Swamp: Uncanny Expressive Mathematics (#7, December 2005)
Pierre Proske, whose life-long interest lies in combining art and science, explains the idea behind his audio-video installation Synchronised Swamp which is "a computer generated simulation of a mathematical model of a phenomenon that recurs uncannily throughout the natural world."

Remediations. Art in Second Life (#11, December 2007)
"SL is literally teeming with artists. ...and it is probably the only virtual world to have succeeded in focusing global attention on contemporary art, thanks to artists such as Eva and Franco Mattes (0100101110101101.ORG) and Cao Fei...." Art critic and curator Domenico Quaranta's report on SL art.

Dot, A Videogame with No Winner (#18, May 2013)
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.

Here on Earth (#20, July 2015)
Cyborg theory was supposed to allow human bodies to become more harmonious with the extremes of outer space. But a side effect was that it made us more harmonious with human life on this planet. Aspects of high-fidelity audiophile sound were born from the same research attempting to prepare humans for zero-gravity, and while today we do not all carry nuclear oxygen-exchangers inside of us, urban life is inseparable from a pair of headphones.

Negotiating Identities (#5, December 2004)
"I am interested in identity as a dynamic rather than as a static concept, as a process and interpretation rather than as destiny or an essential given. I focus on the multiple, overlapping, fragmenting, dividing, hybridizing, merging and fusing elements of identity...." Jette Sandahl's thoughts over the issue of identity in our mobile and multi-cultural society and the question of curation for such national institutions as national museums and other art projects.

Álvarez-Fernández: Sound Amateur (#11, December 2007)
Art critic/curator Silvia Scaravaggi discusses 'Soundanism' by composer Miguel Álvarez Fernández whose current work "mixes and hybridizes electronic and artistic media in a research devoted to the connections between sound, art and physiology."

Visual Rhythms (#17, April 2012)
Visual Rhythms is a collaborative project between Simon Longo and Max Schleser. The article explores the transversal synergy between sound and video, placing the Bergsonian concept of intuition at the basis of the creative discovery in the live performance, which materialises into a temporal AV experience during this artistic intervention.

Progressions: Toward a Poetic Improvisation of Listening (#14, December 2009)
Brian Schorn's poems here "...are an attempt to create a writing environment parallel to that of musical improvisation...by using the Surrealist technique of automatic writing while listening to a representative number of improvised recordings....Six classifications of improvisation and nine composer/performers were used to generate the writings..."

The Old and the New and the New Old: A Conceptual Approach Towards Performing The Changing Body (#7, December 2005)
"I examine the idea of what may constitute an 'old' and a 'new' body in relation to the body as situated in performance modes that are coupled with technology." Franziska Schroeder then goes on to search for the "new old":"rather than injecting the body into the digital...consider injecting the digital into the body. I see this potential inherent in technologies such as nanotechnology..."

Analog Color Field Computer (ACFC) (#11, December 2007)
"The Analog Color Field Computer (ACFC) is an interactive video and sound installation that makes both minimal and maximal use of computer monitors." Artist Gregory Shakar explains his ACFC whose "conceptual and practical objectives [are] centered around the theme of Reclaiming the Video Screen."

Pandora's Box (#1, 2000)
"PANDORA´S BOX is an interactive video exhibition that explores the potential of new media and its impact on society by juxtaposing simple miniature environments created by 9 artists from 3 counties with a remotely controlled robotic viewing system. It utilizes a new artistic medium called a Cybercity which incorporates two miniature art galleries which houses model size installations located in Fylkingen, Stockholm, Sweden and in InterAccess, Toronto, Canada. "

Outline for a Talk on Blank that can't be Given (#19, July 2014)
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."

Take a Chance on Me: an Essay on the Mediation of the Contemporary Condition (#6, June 2005)
"The digital technology creates a kind of counter images to the superficial and one-dimensional content in mainstream media. It opens the field of narratives for real interactivity, opens up possibilities to play with time ...." Thore Soneson, producer and writer of new media, argues in this article for the non-linear narrativity which may be our new "eye-opener" into a new art of story-telling.

CRUFT: Art from Digital Leftovers (#19, July 2014)
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.

EMS Prize (#2, March 2003)
Ulf Stenberg, the director of EMS (Elektron Musik Studio) in Stockholm, explains the background and intention behind the emsPrize, an international music award with specific concern to "text-sound coposition".

Artistic Textual and Performative Paths in New Media Correlations: An Interview with Annie Abrahams (#14, December 2009)
Evelin Stermitz' interview with net artist Annie Abrahams, whose "works are structured on both digitized hyper and on site realities. She constructs forms of collective writings on the net and reconstructs them into offline perceptions, which leads to creations of net-operas and other web based interventions."

Handling Digital Art (#20, July 2015)
The digital scene has brought about a change in many people's relation to social phenomena as well as building conventions surrounding contemporary art.  The text attempts to establish the complex context for digital art scene and examine some of the various attitudes and practices involved curators may have regarding quality assessment and selection criteria.

FEELTRACE and The Emotions (After Charles Darwin) (#17, April 2012)
The Emotions is a multi-channel photographic, possibly interactive, video done in collaboration with the Brain Mind Institute in Switzerland about the universality of emotions on a biological level and the potential for futuristic misuse through genetic and or technological modification. Genetically emotionally or otherwise enhanced individuals could become the fashionable norm; synthetic biology could replace plastic surgery, with the further complication of not knowing where those genetic modifications might take them as individuals or us as a species.

The Body as Musical Instrument (#21, January 2019)
Atau Tanaka and Marco Donnarumma build upon phenomenology and body theory to consider the human body as musical instrument. This paper presents a history of gestural musical instruments and looks at musical works using physiological signals, including seminal works of Lucier and Rosenboom. The body as instrument is discussed as schemata and configurations of body and technology.

A Sequence of Experiences (#5, December 2004)
"Looking at this body of work at first glance one could easily come to the conclusion that Lee Welch really adores himself.  He may even live in a house of mirrors to dwell within his narcissistic obsession.  I would find both of these conclusions to be superficial...." Krystal Taylor reports on Lee Welch's exhibition (Ireland and UK) where, by using his portraits only, he investigates trace and perception of time.

Web.Art's Nature (#11, December 2007)
"...there is an apparent similarity between the Internet and web.art concept and principle and some earlier forms of communicative art such as mail-art in the early 60’s and network art in the 80’s." Artist Andrej Tisma relocates the historical connection of Web.Art to Mail Art and the network movement.

"Program" System of Digital Art:"BOOM! Fast and Frozen Permutation" – Taiwan-Australia New Media Art Exhibition (# 13, January 2009)
Yu-Chuan Tseng reports on Taiwan-Australia New Media Art Exhibition from the perspective: "An important element of digital computer technology ... has digital art features of aesthetic concepts and behavioral structure....'program' is an important factor in constructing the work. If the 'program' is taken away, the work will loose its core meaning."

Darwikinism: Between Trollism and Error (#20, July 2015)
Technology has changed the way we read, write and learn. For example, eBooks have changed the publishing industry and grammar check technology silently shapes our writing, while in the field of digital humanities researchers are constantly developing new theories and tools that will shape the future of education. In this ever-changing panorama, 'anarchic trollism' collides with Wikipedia's 'positivistic darwikinism': the two different philosophies that will be contextualized and briefly analyzed in the following article.

Donkey Bridges: on the Creative and Technical Process Behind "Eselbrücke" (#18, May 2013)
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.

Space in New Media Conception: With Continual Reference to Computer Games (#6, June 2005)
"This article, partly philosophical and partly practical, challenges the notion of space (and time) in new media conception such as it is outlined in Lev Manovich's seminal book The Language of New Media (2001)...." Bo Kampmann Walther, researcher of games with philosophy as his background, discusses here how the space conception in computer games can be conceived as remixes of earlier media's representations of spatiality.

Grains of Gold in All This Shift: WEb 2.0, Crowdsourcing and Participatory Art (#16, March 2011)
"The Web 2.0 ideas of 'social networking' and 'crowdsourcing' have filtered through to the art world where artists are, whether consciously or not, using Web 2.0 principles and forms in their work." Amanda Wasielewski's critical examination over the recent activities of participatory art both on and offline which "begins to look like crowdsourcing."

Interview with Art Clay, Artistic Director of Zurich's DAW07 (#10, June 2007)
Art Clay, artistic director of the Digital Art Weeks organised by the Swiss Federal Institute of Technology Zurich, in conversation with Rachael Watts explains his view on the intersection between art and new technologies.

Exploding, Plastic and Inevitable: the Rise of Video Art (#7, December 2005)
"Since the advent, growth and mass acceptance of photography and film, video is the first representational medium to have radically altered our modes of perception and to have decisively and permanently changed our expectations of visual art....This essay is intended to provide a condensed, and necessarily partial, overview of video art’s historical development through the examination of a number of genres, styles, tendencies and strategies that have characterised its growth since the late 1960’s."

Three Cats in a Box with 'Bots: Convergence/Teleconferencing/Inter-facing and the Delicate Chemistry of Balance (#1, 2000)
"… it was [Graham Smith's] vision that instigated Pandoras Box; the first international interactive encounter with art using remotely controlled robots, which took place simultaneously at InterAccess and Fylkingen. What connected the two cities are twin robots; invented by Smith, with
cameras attached, recording and transmitting images across the earth, making McLuhan´s global village a little closer to home. "

Norm White (#1, 2000)
"Art as pure self-expression doesn't interest me very much. Self-expression inevitably creeps into art, but I would prefer that it sneak in through some back-door." This text by Norm White about his art was presented at Arte No Seculo XXI, Sao Paolo, Brasil. Here with the introduction text in Swedish by Thomas Liljenberg.

The Imaginary Scream (#18, May 2013)
"I dreamt about a work I will never make." An experimental essay by Robert Willim which raises questions about conceptuality and tangibility in art.

Time and Real-time in Online Art (#9, January 2007)
"New media artists, notably net artists, analyse the issue of time. Their field of interest includes time as a whole, their own time and the viewer’s time....If there is a navigable cyberspace – does it imply navigable time as well?" New Media Art historian Ewa Wojtowicz examines net art practice that employs time from various perspectives.

(Swedish) Industrimusiken - Från elektronisk pornografi till ockultism (#3, October 2003)
"Industribuller är grundelement till sonora ritualer för en betydelsefull mängd progressivrockmusiker i Storbritannien, som i mitten av 1970-talet experimenterade med alltmer sofistikerade och noisebaserade elektroniska klanger."

The Gender of Music (#2, March 2003)
"Have we ever really asked ourselves why there are so many male composers and so few female ones? " Guido Zeccola, music critic, discusses here on the gender of the "art music" of our time.

The Parametric Courante (#18, May 2013)
This paper 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.

Virtual Constructions: The Standards of Utopia (#5, December 2004)
"Design is not only a matter of ideas and of the interplay of form and function. It is also a matter of technologies of representation, of specific machines and operations...." Annett Zinsmeister, professor of theory, architecture and design, takes us through a historical overview of the inter-relations between design tools and our thoughts from the Renaissance through the 20th century architecture to today's virtual world of "the Sims."