Morten Søndergaard

Interview with Mogens Jacobsen

The ubiquitous nature of mobile and pervasive computing has begun to reshape and complicate our notions of space, time, and identity. In this collection, over thirty internationally recognized contributors reflect on ubiquitous computings implications for the ways in which we interact with our environments, experience time, and develop identities individually and socially. Interviews with working media artists lend further perspectives on these cultural transformations. Drawing on cultural theory, new media art studies, human-computer interaction theory, and software studies, this cutting-edge book critically unpacks the complex ubiquity-effects confronting us every day. The companion website can be found here: http://ubiquity.dk

The Implied Producer and the Citizen of the Culture of Ubiquitous Information: Investigating Emergent Typologies of Critical Awareness

The ubiquitous nature of mobile and pervasive computing has begun to reshape and complicate our notions of space, time, and identity. In this collection, over thirty internationally recognized contributors reflect on ubiquitous computings implications for the ways in which we interact with our environments, experience time, and develop identities individually and socially. Interviews with working media artists lend further perspectives on these cultural transformations. Drawing on cultural theory, new media art studies, human-computer interaction theory, and software studies, this cutting-edge book critically unpacks the complex ubiquity-effects confronting us every day. The companion website can be found here: http://ubiquity.dk

Redesigning the way we listen: curating responsive sound interfaces in transdisciplinary domains

This paper is based on a research project-in-progress investigating curatorial practice as methodology for creating responsive interfaces to sound art practices. Sound art is a transdisciplinary practice. As such, it creates new domains that may be used for redesign-purposes. Not only do experiences of sound alter; the way we listen to sound is transforming as well. Thus, the paper analyses and discusses two responsive sound interfaces and claim that curating as a transdisciplinary practice may frame what is termed in the paper as a domain-game redesigning the way the audience listens to and uses sound.

Redesigning the Way We Listen

This paper is based on a research project-in-progress investigating curatorial practice as methodology for creating responsive interfaces to sound art practices. Sound art is a transdisciplinary practice. As such, it creates new domains that may be used for redesign-purposes. Not only do experiences of sound alter; the way we listen to sound is transforming as well. Thus, the paper analyses and discusses two responsive sound interfaces and claim that curating as a transdisciplinary practice may frame what is termed in the paper as a domain-game redesigning the way the audience listens to and uses sound.

Proceedings of the 9th Audio Mostly

This paper is based on a research project-in-progress investigating curatorial practice as methodology for creating responsive interfaces to sound art practices. Sound art is a transdisciplinary practice. As such, it creates new domains that may be used for redesign-purposes. Not only do experiences of sound alter; the way we listen to sound is transforming as well. Thus, the paper analyses and discusses two responsive sound interfaces and claim that curating as a transdisciplinary practice may frame what is termed in the paper as a domain-game redesigning the way the audience listens to and uses sound.

Punctures in the Periphery. Show-Bix and the Media Conscious Practice of Per Højholt.

Around 1967 and onwards, Per Hojholt (1923-2004) performs a series of punctures in the periphery of a small and self-conscious avant-garde in Denmark - experiments that combine most of the known art forms and genres in a still more active dialogue with new media and technology. One of the first things Hojholt engaged himself in at the time was Show-Bix , which is best described as an artist group consisting of the photographer and visual artist Poul Ib Henriksen, composer Gunner Moller Pedersen, and Per Hojholt (at the time described largely as a poet). The group was operative from 1968 and until 1971, a period during which it conducted a series of complex experiments involving an audience as well as a media consciousness which is quite unique in Denmark - perhaps even more so today. In fact, I claim that Show-Bix is the visible proof of a paradigmatic change in Per Hojholts artistic practice, as well as in the overall definition of the contemporary art scene.