New issue of Hz, #16

Quantum Improvisation: The Cybernetic Presence
by Pauline Oliveros
"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.

Moistmedia, Technoetics and the Three VRs
by Roy Ascott
One of the most influential theoreticians/artists in the field 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."

Grains of Gold in All This Shift: Web 2.0, Crowdsourcing and Participatory Art
by Amanda Wasielewski
"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."

Dynamic screen / room:
by Thore Soneson
"During the last decades moving images, video and screens have expanded from on-the-wall projections to dynamic and multi-modulated images in different spatial settings – on multiple screens, in dynamic and interactive room environments and in an immersive physical context." Film maker/producer Thore Soneson's research into the contemporary "dynamic screen" for his project "Journey to Abadyl".

First Museum Shooters
by Mathias Jansson
"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.

SONOMATERIA: Audio-tactile Composition
by Irad Lee
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...."

Sound art courses in Sweden

There are at least two courses in sound art for active professionals (e.g. artists, musicians, sound engineers) that might be of interest this year.

The first is a one-year sound art course (M.A., 60 ECTS), at The Stockholm Academy of Dramatic Arts in Stockholm. The course is arranged in collaboration with EMS, and will be taught in Swedish. The course info is also in Swedish, but with some help from a well-known free online service, I've translated it thus:

The master's programme in sound art is a multi-disciplinary training aimed at professionals who are interested to deepen and explore sound art. The training focuses on sound installation and you will explore how sound can be used in different rooms and on different types of sites.

The purpose of the course is to provide an overview of methods and processes within the sound art field, and an understanding of the role of sound in contemporary art.

The goal is to help you gain knowledge and understanding of sound installation in public and other rooms, and how to use sound as a tool in various types of artistic production. In parallel with ongoing practical production training, we will discuss artistic courage and the ethical approach to working with sound in public places.

The second is a distance learning course in sound art and sound design (15 ECTS), at The Department of Music and Media at Luleå University of Technology in Piteå in Northern Sweden. Since the course info is in Swedish, I guess the course will be taught in Swedish, too. English translation:

The course is for artists and other interested who want to work with sound creation and sound design. Your individual production work is done continuously during the course and is combined with seminars, workshops, lectures, group work and individual supervision. Current events in the sound field may be treated on the course.

During the course you will meet active practitioners as lecturers and at workshops. You will learn about various tools like Pure Data and Audiomulch, solder piezo-electric microphones, work with field recordings and sound installations interspersed with studies of existing sound/sound design-work, and immerse yourself in your own project to be presented at the end of the course.

Four meetings during autumn 2011 and 2-3 meetings in spring 2012, combined with distance learning at any place.

The application deadline for both courses is April 15, 2011. The deadline for the course at the Stockholm Academy of Dramatic Arts has been extended to May 17, 2011.