Articles de revues sur le sujet « Musik i litteraturen »

Helena Francke om Björn HammarfeltFollowing the Footnotes. A Bibliometric Analysis of Citation Patterns in Literary StudiesUppsala: Uppsala universitet 2012, 193 s. (diss. Uppsala) (Skrifter utg. av Inst. för ABM vid Uppsala universitet, 5) Torbjörn Forslid om Pamela Schultz NybackaBookonomy. The Consumption Practice and Value of Book ReadingStockholm: Företagsekonomiska institutionen 2011, 417 s. (diss. Stockholm) Sara Kärrholm om Ulla Carlsson och Jenny Johannisson (red.)Läsarnas marknad, marknadens läsare. En forskningsantologi utarbetad för LitteraturutredningenGöteborg: Nordicom 2012, 344 s. Margareta Petersson om Elisabeth Bladh & Christina Kullberg (red.)Litteratur i gränszonen. Transnationella litteratureri översättning ur ett nordiskt perspektivFalun: Högskolan Dalarna 2011, 175 s. Linn Areskoug om Inger Littberger Caisou-RousseauÖver alla gränser. Manlighet och kristen (o)tro hos Almqvist, Strindberg och LagerlöfGöteborg & Stockholm: Makadam 2012, 399 s. Katarina Bernhardsson om Magnus PerssonDen goda boken. Samtida föreställningar om litteratur och läsningLund: Studentlitteratur 2012, 230 s. Stefano Fogelberg Rota om Eva Nilsson NylanderThe Mild Boredom of Order. A Study in the History of the Manuscript Collection of Queen Christina of SwedenLund: Bokhistoriska skrifter 8, 2011, s. 328 (diss. Lund) Patrik Mehrens om Yvonne BlombergAtt besvärja döden. Död- och återfödelsetematiken i Lars Noréns författarskap 1963–1999Möklinta: Gidlunds förlag 2011, 412 s. (diss. Stockholm) Jenny Bergenmar om Ann-Sofi Ljung SvenssonJordens dotter. Selma Lagerlöf och den tyska hembygdslitteraturenGöteborg & Stockholm: Makadam 2011, 316 s. (diss. Lund) Leena Kaunonen om Axel Englund,Still Songs: Music In and Around the Poetry of Paul CelanAldershot: Ashgate, 2012, 239 pages.

Indhold: Bøger og bibliotek; Jyske Lov; Kulturminister Per Stig Møller; Det Kongelige Bibliotek på nettet; Foredrag; Foredragsrækken Carsten Niebuhr; International forfatterscene; Paul Auster og Siri Hustvedt; Beate Grimsrud; Amos Oz; György Dragomán; Et Øieblik – ny scene for litteratur og lyrik; Musik; Erhvervelser; Publikationer

Baggrunden for dette temanummer er, at der i disse år pågår en meget stor udvikling i Grønland. Det er spaendende at se, hvordan psykologien indgår i denne udvikling. At se, hvor den knytter sig til selvstaendighed, kulturel revival og levende udvikling med musik, litteratur, økonomisk vaekst, økologisk bæredygtighed og social ansvarlighed. Og også at se, hvordan psykologien kan gå fra en dominerende opfattelse af at beskrive og forklare sociale problemer til at blive en aktiv “driver for change” og dermed bidrage til løsning af sociale og mentale sundhedsproblemer og bidrage til at skabe grundlag for trivsel og resiliens for alle.

Denne artikel af Marcha Kinder er allerede en klassiker. I næsten al litteratur om musikvideoer henvises der til den - også herhjemme. Det er især hendes typologi over musikvideoerne, som der refereres til, mens artiklens percep- tionspsykologiske sammenligninger mellem musikvideoer og drømme næsten ikke har været inddraget i debatten. Marcha Kinder har arbejdet med medier i en årrække og udgav sammen med Beverle Houston "Self and Cinema A Transformalist Perspective" /(Redgrave Publishing Vompany) i 1980. Artiklen "Musikvideo og tilskuer" er oversat i sin helhed fra "Music Video and the Spectator": Television, Ideology and Dream, Film Quarterly, vol. XXXVIII, no. I 1984 af Jim Høyer.

Indhold: Tyverierne fra Det Kongelige Bibliotek før 1978 under opklaring; Musikafdelingen 12 5 år; Klippoteket og Arkiv for Dansk Jazzhistorie - oversigter nu online; Ny jazzdiskografi på cd The jazz Discography afTom Lord er nu tilgængelig som cd på Center for Musik og Teater; Danske nodeskriftprøver på nettet; Rischel og Birket-Smiths samling af trykte noder nu online; Middelalder korbog på nettet; Poul Reumerts samling kan søges online; Præsentation af Albansk Samling i Contessa Entelina på Sicilien; Orfeus online; Tegninger fra Georgia på nettet; Tilvækst i registrering af Udenlandske Ældre Samling på nettet; Brugerundersøgelse af Det Kongelige Bibliotek som universitetsbibliotek; Ny udlånsaftale i Øresundsregionen forbedrer de studerendes adgang til litteratur; Bogudgivelser og nye tidsskrifter; Carl Nielsen Studies; Diamanten - nyt kulturblad; Føreren har ordet! – boglancering; Nyt nummer af Fund og forskning; Et leksikon bliver til; Ny bog om nybyggeri og udviklingslinier for biblioteker i Østersøområdet; Foredrag; Brunch på Biblioteket; Udstillinger; Musikarrangementer; Erhvervelser

De fleste af os har en helt klar fornemmelse for, hvad der er skidt og kanel på kulturmarkedet, hvadenten det drejer sig om maleri, musik, litteratur eller TV-fiktion. Kim Schrøder plæderer i denne artikel for, at den øgede indsigt i tekstoplevelser, som receptionsforskningen har skabt i de senere år, må føre frem til en rehabilitering af "den folkelige smag" og til et opgør med "den gode smags tyranni": med den herskende opfat- telse af kulturel kvalitet, der ser bort fra oplevelseskvaliteten og udelukkende baserer sin kvalitetsvurdering på værkets formelle æstetiske træk. Han rejser bl.a. det spørgsmål, om man ikke bliver nødt til at opgive en almengyldig forestilling om, hvad kvalitet er, så både "godt" og "dårligt" altid er godt og dårligt for nogen? - Men hvis man virkelig accepterer, at "smag og behag er forskellig", må det få kulturpoliti- ske konsekvenser, som artiklen til slut kommer ind på.

Senaste nytt i institutionens skriftserier: Gunilla Byrman (red.), En värld för sig själv - Nya studier i medeltida ballader. Ord och Musik och Bild. Intermediala studier 1, Växjö University Press 2008. Åsa Nilsson Skåve, Den befriade sången. Stina Aronsons berättarkonst. Acta Wexionensia. Nr 108/2007. Doktorsavhandling i litteraturvetenskap. Olof Eriksson (red.), Översättning och Kultur. Föredrag från ett symposium vid Växjö universitet 17-18 november 2006. Acta Wexionensia. Nr 113/2007. Sofia Ask, Vägar till ett akademiskt skriftspråk. Acta Wexionensia. Nr 115/2007. Doktorsavhandling i nordiska språk. Jimmy Engren, Railroading and Labor Migration. Class and Ethnicity in Expanding Capitalism in Northern Minnesota, the 1880s to the mid 1920s. Acta Wexionensia. Nr 122/2007. Doktorsavhandling i historia. Thérèse Eng, Traduire l’oral en une ou deux lignes – Étude traductologique du sous-titrage français de films suédois contemporains. Acta Wexionensia. Nr 125/2007. Doktorsavhandling i franska. Annette Årheim, När realismen blir orealistisk. Litteraturens ”sanna historier” och unga läsares tolkningsstrategier. Acta Wexionensia. Nr 128/2007. Doktorsavhandling i litteraturvetenskap. Brigitte Kühne, Varför informationskompetens? (Rapport) Tommy Olofsson och Vasilis Papageorgiou (red.), Föraningar. Kreativt skri­vande i Växjö. Lagerkvist-serien 3. Växjö University Press 2007. Lo Snöfall och Vasilis Papageorgiou, Ingen hand orörd. Städer. Växjö Univer­sity Press 2007. Maria Fohlin, La modification adverbiale de iádjectif en français et en suédois. Licentiatavhandling. Mary Ingemansson, Skönlitterär läsning och historiemedvetande hos barn i mellanåldrarna. Licentiatavhandling. Jesper Johansson, ”Så gör vi inte här i Sverige. Vi brukar göra så här.” Retorik och praktik i LO:s invandrarpolitik 1945-1981. Licentiatavhandling. Lennart Karlsson, Arbetarrörelsen, Folkets Hus och offentligheten i Bromölla 1905-1941. Licentiatavhandling. Johan Svanberg, Flyktingar och arbetskraftsmigranter från Estland vid Svenska Stålpressing AB i Olofström 1945-1952. Licentiatavhandling.

Intresset för affekt och dess betydelse för mänskligt agerande har under det senaste halvseklet vuxit sig allt starkare inom en rad forskningsområden. Vad gäller musikforskning är detta dock långt från nytt. Relationen mellan musik och affekt har varit föremål för omfattande diskussioner sedan antiken. För 1600- och 1700-talens europeiska teoretiker och musiker var musikens förmåga att uttrycka och uppväcka affekter central. 1700-talets affektbegrepp hade dock inte samma innebörd som termen ”affekt” har i nutida affektteori, utan refererade till definierbara och medvetna emotionella tillstånd som var möjliga att verbalisera, som exempelvis sorg, glädje och rädsla. Termers innebörder förskjuts eller förändras ibland över tid, det är något som all historiografi måste ta hänsyn till. De ord och begrepp som vi använder färgar vår förståelse, och dessa betydelseskiftningar kan ge upphov till missförstånd. Termen affektlära (ty. Affektenlehre, eng. doctrine of the affections eller theory of the affections) har sedan tidigt 1900-tal använts i litteratur i musikestetik och musikhistoria. Begreppet etablerades av tyska musikforskare1 men är välbekant även från svensk musikhistorieundervisning.2 Affektlära kan i diskussioner om europeisk 1600- och 1700-talsmusik referera till periodens estetiska åskådning att musikens roll var att uppväcka specifika affekter hos åhörarna.3 Ofta inkluderar termen även uppfattningar om hur tonsättaren kunde uttrycka eller representera olika affekter i musik.4 Ibland förmedlar litteraturen intrycket att 1700-talets musiker och teoretiker använde termen affektlära i betydelsen av en mer eller mindre allmän, detaljerad, statisk, närmast schematisk och mekanistisk lära om hur musikaliska parametrar som intervall, melodiska figurer, rytmer och tonarter skulle användas för att objektivt kunna representera specifika affekter.5 Detta har dock under senare tid ifrågasatts av bland andra Buelow (1983, s. 397–400). Denna artikel undersöker vilka eventuella missuppfattningar som en användning av termen affektlära i diskussioner om 1600- och 1700-talens musik kan förorsaka. Vidare undersöks vilka eventuella missförstånd som kan uppkomma då ordet det svenska ordet affekt används i musikforskning som motsvarighet till 1700-talstyskans Affect.6

Herefter følger Martin Glaz Serups artikel “Konceptuel litteratur”, der præsenterer en kortlægning af de sidste 10 års konceptuelle litteratur med særlig vægt på dansk poesi. Parallelt med at samtidslyrikken i sin bevægelse i feltet mellem billedkunst og musik nedtoner betydningen af digteren med stort D, er den konceptuelle poesi – og herunder også postproduktionen – med til at flytte opmærksomheden fra kunstens æstetiske niveau til dens idémæssige og materielle forudsætninger.Martin Glaz Serup: “Conceptual literature”This article presents the last ten years of conceptual literature through a series of intertwining movements with a special focus on Danish conceptual literature and how it is embedded in and closely connected to the Nordic and North American scenes. The article gives a brief history of the theoretical background of conceptualism, within both visual art and literature. A discussion of what is (not) conceptual literature unfolds alongside the distinctions made among the related concepts of conceptual literature, poetic documents, post-production and uncreative writing. Furthermore, the article provides both an overview of the most important recent international monographs, anthologies and debates on conceptual literature as well as an attempt to compile a complete list of the full books of conceptual poetry that have been published in Denmark in the last ten years.

Denne teksta undersøker korleis musikkterapeuten kan utforme levande musikk i reseptiv musikkterapi, og kva informasjon ein støtter seg til i denne utforminga. Ein gjennomgang av aktuell litteratur gir få eller ingen opplysningar om dette, men ein finn materiale som er med på å poengtere den aktualitet som denne undersøkinga fortsatt har. To musikkterapeutar, som nytter levande musikk i reseptivt musikkterapi med klientane sine, har blitt intervjua. Intervjua er semi-strukturerte og har blitt transkribert og analaysert ved hjelp av ei ad-hoc metode som består av fenomenologisk meiningsfortetting og tematisk systematisering. Ein finn at utviklinga av musikken er ein sirkulær prosess som består av det musikalske utgangspunktet, pasientens respons undervegs, teknikkar og terapeuten sjølv. Resultat og metodar vert drøfta og munner ut i implikasjonar for framtidig forsking.

1. A Minor Philosopher According to Guattari and Deleuze's definition, a 'minor literature' is the literature of a minority that makes use of a major language, a literature which deterritorialises that language and interconnects meanings of the most disparate levels, inseparably mixing and implicating poetic, psychological, social and political issues with each other. In analogy, the Japanese media theorist Toshiya Ueno has refered to Félix Guattari as a 'minor philosopher'. Himself a practicing psychoanalyst, Guattari was a foreigner to the Grand Nation of Philosophy, whose natives mostly treat him like an unworthy bastard. And yet he has established a garden of minor flowers, of mongrel weeds and rhizomes that are as polluting to philosophy as Kafka's writing has been to German literature (cf. Deleuze & Guattari, Kafka). The strategies of 'being minor' are, as exemplified by Guattari's writings (with and without Deleuze), deployed in multiple contexts: intensification, re-functionalisation, estrangement, transgression. The following offers a brief overview over the way in which Guattari conceptualises media, new technologies and art, as well as descriptions of several media art projects that may help to illustrate the potentials of such 'minor machines'. Without wanting to pin these projects down as 'Guattarian' artworks, I suggest that the specific practices of contemporary media artists can point us in the direction of the re-singularising, deterritorialising and subjectifying forces which Guattari indicated as being germane to media technologies. Many artists who work with media technologies do so through strategies of appropriation and from a position of 'being minor': whenever a marginality, a minority, becomes active, takes the word power (puissance de verbe), transforms itself into becoming, and not merely submitting to it, identical with its condition, but in active, processual becoming, it engenders a singular trajectory that is necessarily deterritorialising because, precisely, it's a minority that begins to subvert a majority, a consensus, a great aggregate. As long as a minority, a cloud, is on a border, a limit, an exteriority of a great whole, it's something that is, by definition, marginalised. But here, this point, this object, begins to proliferate ..., begins to amplify, to recompose something that is no longer a totality, but that makes a former totality shift, detotalises, deterritorialises an entity.' (Guattari, "Pragmatic/Machinic") In the context of media art, 'becoming minor' is a strategy of turning major technologies into minor machines. a. Krzysztof Wodiczko (PL/USA): Alien Staff Krzysztof Wodiczko's Alien Staff is a mobile communication system and prosthetic instrument which facilitates the communication of migrants in their new countries of residence, where they have insufficient command of the local language for communicating on a par with the native inhabitants. Alien Staff consists of a hand-held staff with a small video monitor and a loudspeaker at the top. The operator can adjust the height of the staff's head to be at a level with his or her own head. Via the video monitor, the operator can replay pre-recorded elements of an interview or a narration of him- or herself. The recorded material may contain biographical information when people have difficulties constructing coherent narratives in the foreign language, or it may include the description of feelings and impressions which the operator normally doesn't get a chance to talk about. The Staff is used in public places where passers-by are attracted to listen to the recording and engage in a conversation with the operator. Special transparent segments of the staff contain memorabilia, photographs or other objects which indicate a part of the personal history of the operator and which are intended to instigate a conversation. The Alien Staff offers individuals an opportunity to remember and retell their own story and to confront people in the country of immigration with this particular story. The Staff reaffirms the migrant's own subjectivity and re-singularises individuals who are often perceived as representative of a homogenous group. The instrument displaces expectations of the majority audience by articulating unformulated aspects of the migrant's subjectivity through a medium that appears as the attractive double of an apparently 'invisible' person. 2. Mass Media, New Technologies and 'Planetary Computerisation' Guattari's comments about media are mostly made in passing and display a clearly outlined opinion about the role of media in contemporary society: a staunch critique of mass media is coupled with an optimistic outlook to the potentials of a post-medial age in which new technologies can develop their singularising, heterogenic forces. The latter development is, as Guattari suggests, already discernible in the field of art and other cultural practices making use of electronic networks, and can lead to a state of 'planetary computerisation' in which multiple new subject-groups can emerge. Guattari consistently refers to the mass media with contempt, qualifying them as a stupefying machinery that is closely wedded to the forces of global capitalism, and that is co-responsible for much of the reactionary hyper-individualism, the desperation and the "state of emergency" that currently dominates "four-fifth of humanity" (Guattari, Chaosmosis 97; cf. Guattari, Drei Ökologien 16, 21). Guattari makes a passionate plea for a new social ecology and formulates, as one step towards this goal, the necessity, "to guide these capitalist societies of the age of mass media into a post-mass medial age; by this I mean that the mass media have to be reappropriated by a multiplicity of subject-groups who are able to administer them on a path of singularisation" (Guattari, "Regimes" 64). Guattari consistently refers to the mass media with contempt, qualifying them as a stupefying machinery that is closely wedded to the forces of global capitalism, and that is co-responsible for much of the reactionary hyper-individualism, the desperation and the "state of emergency" that currently dominates "four-fifth of humanity" (Guattari, Chaosmosis 97; cf. Guattari, Drei Ökologien 16, 21). Guattari makes a passionate plea for a new social ecology and formulates, as one step towards this goal, the necessity, "to guide these capitalist societies of the age of mass media into a post-mass medial age; by this I mean that the mass media have to be reappropriated by a multiplicity of subject-groups who are able to administer them on a path of singularisation" (Guattari, "Regimes" 64). b. Seiko Mikami (J/USA): World, Membrane and the Dismembered Body An art project that deals with the cut between the human subject and the body, and with the deterritorialisation of the sense of self, is Seiko Mikami's World, Membrane and the Dismembered Body. It uses the visitor's heart and lung sounds which are amplified and transformed within the space of the installation. These sounds create a gap between the internal and external sounds of the body. The project is presented in an-echoic room where sound does not reverberate. Upon entering this room, it is as though your ears are no longer living while paradoxically you also feel as though all of your nerves are concentrated in your ears. The sounds of the heart, lungs, and pulse beat are digitised by the computer system and act as parameters to form a continuously transforming 3-d polygonal mesh of body sounds moving through the room. Two situations are effected in real time: the slight sounds produced by the body itself resonate in the body's internal membranes, and the transfigured resonance of those sounds is amplified in the space. A time-lag separates both perceptual events. The visitor is overcome by the feeling that a part of his or her corporeality is under erasure. The body exists as abstract data, only the perceptual sense is aroused. The visitor is made conscious of the disappearance of the physical contours of his or her subjectivity and thereby experiences being turned into a fragmented body. The ears mediate the space that exists between the self and the body. Mikami's work fragments the body and its perceptual apparatus into data, employing them as interfaces and thus folding the body's horizon back onto itself. The project elucidates the difference between an actual and a virtual body, the actual body being deterritorialised and projected outwards towards a number of potential, virtual bodies that can, in the installation, be experienced as maybe even more 'real' than the actual body. 3. Artistic Practice Guattari's conception of post-media implies criss-crossing intersections of aesthetic, ethical, political and technological planes, among which the aesthetic, and with it artistic creativity, are ascribed a position of special prominence. This special role of art is a trope that recurs quite frequently in Guattari's writings, even though he is rarely specific about the artistic practices he has in mind. In A Thousand Plateaus, Deleuze and Guattari give some detailled attention to the works of artists like Debussy, Boulez, Beckett, Artaud, Kafka, Kleist, Proust, and Klee, and Chaosmosis includes longer passages and concrete examples for the relevance of the aesthetic paradigm. These examples come almost exclusively from the fields of performing arts, music and literature, while visual arts are all but absent. One reason for this could be that the performing arts are time-based and processual and thus lend themselves much better to theorisation of flows, transformations and differentiations. The visual arts can be related to the abstract machine of faciality (visageité) which produces unified, molar, identical entities out of a multiplicity of different singularities, assigning them to a specific category and associating them with particular social fields (cf. Deleuze & Guattari, Tausend Plateaus 167-91) This semiotic territorialisation is much more likely to happen in the case of static images, whether two- or three-dimensional, than in time-based art forms. An interesting question, then, would be whether media art projects, many of which are time-based, processual and open-ended, can be considered as potential post-medial art practices. Moreover, given the status of computer software as the central motor of the digital age, and the crucial role it plays in aesthetic productions like those discussed here, software may have to be viewed as the epitome of post-medial machines. Guattari seems to have been largely unaware of the beginnings of digital media art as it developed in the 1980s. In generalistic terms he suggests that the artist is particularly well-equipped to conceptualise the necessary steps for this work because, unlike engineers, he or she is not tied to a particular programme or plan for a product, and can change the course of a project at any point if an unexpected event or accident intrudes (cf. Guattari, Drei Ökologien 50). The significance of art for Guattari's thinking comes primarily from its close relation with processes of subjectivation. "Just as scientific machines constantly modify our cosmic frontiers, so do the machines of desire and aesthetic creation. As such, they hold an eminent place within assemblages of subjectivation, themselves called to relieve our old social machines which are incapable of keeping up with the efflorescence of machinic revolutions that shatter our epoch' (Guattari, Chaosmosis 54). The aesthetic paradigm facilitates the development of new, virtual forms of subjectivity, and of liberation, which will be adequate to these machinic revolutions. c. Knowbotic Research + cF: IO_Dencies The Alien Staff project was mentioned as an example for the re-singularisation and the virtualisation of identity, and World, Membrane and the Dismembered Body as an instance of the deterritorialisation and virtualisation of the human body through an artistic interface. The recent project by Knowbotic Research, IO_Dencies -- Questioning Urbanity, deals with the possibilities of agency, collaboration and construction in translocal and networked environments. It points in the direction of what Guattari has called the formation of 'group subjects' through connective interfaces. The project looks at urban settings in different megacities like Tokyo, São Paulo or the Ruhr Area, analyses the forces present in particular local urban situations, and offers experimental interfaces for dealing with these local force fields. IO_Dencies São Paulo enables the articulation of subjective experiences of the city through a collaborative process. Over a period of several months, a group of young architects and urbanists from São Paulo, the 'editors', provided the content and dynamic input for a database. The editors collected material (texts, images, sounds) based on their current situation and on their personal urban experience. A specially designed editor tool allowed the editors to build individual conceptual 'maps' in which to construct the relations between the different materials in the data-pool according to the subjective perception of the city. On the computational level, connectivities are created between the different maps of the editors, a process that is driven by algorithmic self-organisation whose rules are determined by the choices that the editors make. In the process, the collaborative editorial work in the database generates zones of intensities and zones of tension which are visualised as force fields and turbulences and which can be experienced through interfaces on the Internet and at physical exhibition sites. Participants on the Net and in the exhibition can modify and influence these electronic urban movements, force fields and intensities on an abstract, visual level, as well as on a content-based, textual level. This engagement with the project and its material is fed back into the database and influences the relational forces within the project's digital environment. Characteristic of the forms of agency as they evolve in networked environments is that they are neither individualistic nor collective, but rather connective. Whereas the collective is determined by an intentional and empathetic relation between agents within an assemblage, the connective rests on any kind of machinic relation and is therefore more versatile, more open, and based on the heterogeneity of its components or members. In the IO_Dencies interfaces, the different networked participants become visible for each other, creating a trans-local zone of connective agency. The inter-connectedness of their activities can be experienced visually, acoustically, and through the constant reconfiguration of the data sets, an experience which can become the basis of the formation of a specific, heterogeneous group subject. 4. Guattari's Concept of the Machinic An important notion underlying these analyses is that of the machine which, for Guattari, relates not so much to particular technological or mechanical objects, to the technical infrastructure or the physical flows of the urban environment. 'Machines' can be social bodies, industrial complexes, psychological or cultural formations, they are assemblages of heterogeneous parts, aggregations which transform forces, articulate and propel their elements, and force them into a continuous state of transformation and becoming. An important notion underlying these analyses is that of the machine which, for Guattari, relates not so much to particular technological or mechanical objects, to the technical infrastructure or the physical flows of the urban environment. 'Machines' can be social bodies, industrial complexes, psychological or cultural formations, they are assemblages of heterogeneous parts, aggregations which transform forces, articulate and propel their elements, and force them into a continuous state of transformation and becoming. d. Xchange Network My final example is possibly the most evocative in relation to Guattari's notions of the polyvocity and heterogenesis that new media technologies can trigger. It also links up closely with Guattari's own engagement with the minor community radio movement. In late 1997, the E-Lab in Riga initiated the Xchange network for audio experiments on the Internet. The participating groups in London, Ljubljana, Sydney, Berlin, and many other minor and major places, use the Net for distributing their original sound programmes. The Xchange network is "streaming via encoders to remote servers, picking up the stream and re-broadcasting it purely or re-mixed, looping the streams" (Rasa Smite). Xchange is a distributed group, a connective, that builds creative cooperation in live-audio streaming on the communication channels that connect them. They explore the Net as a sound-scape with particular qualities regarding data transmission, delay, feedback, and open, distributed collaborations. Moreover, they connect the network with a variety of other fields. Instead of defining an 'authentic' place of their artistic work, they play in the transversal post-medial zone of media labs in different countries, mailing lists, net-casting and FM broadcasting, clubs, magazines, stickers, etc., in which 'real' spaces and media continuously overlap and fuse (cf. Slater). 5. Heterogenic Practices If we want to understand the technological and the political implications of the machinic environment of the digital networks, and if we want to see the emergence of the group subjects of the post-media age Guattari talks about, we have to look at connectives like Xchange and the editor-participant assemblages of IO_Dencies. The far-reaching machinic transformations which they articulate, hold the potential of what Guattari refers to as the 'molecular revolution'. To realise this revolution, it is vital to "forge new analytical instruments, new concepts, because it is ... the transversality, the crossing of abstract machines that constitute a subjectivity and that are incarnated, that live in very different regions and domains and ... that can be contradictory and antagonistic". For Guattari, this is not a mere theoretical question, but one of experimentation, "of new forms of interactions, of movement construction that respects the diversity, the sensitivities, the particularities of interventions, and that is nonetheless capable of constituting antagonistic machines of struggle to intervene in power relations" (Guattari, "Pragmatic/Machinic" 4-5). The implication here is that some of the minor media practices pursued by artists using digital technologies point us in the direction of the positive potentials of post media. The line of flight of such experimentation is the construction of new and strong forms of subjectivity, "an individual and/or collective reconstitution of the self" (Guattari, Drei Ökologien 21), which can strengthen the process of what Guattari calls "heterogenesis, that is a continuous process of resingularisation. The individuals must, at the same time, become solidary and ever more different" (Guattari, Drei Ökologien 76). References Deleuze, Gilles, and Felix Guattari. Kafka: Pour une Litterature Mineur. Paris: Ed. de Minuit, 1975. ---. Tausend Plateaus. (1980) Berlin: Merve, 1992. Guattari, Félix. Cartographies Schizoanalytiques. Paris: Ed. Galilée, 1989. ---. Chaosmosis: An Ethico-Aesthetic Paradigm. (1992) Sydney: Power Publications, 1995. ---. Die drei Ökologien. (1989) Wien: Passagen Verlag, 1994. ---. "Pragmatic/Machinic." Discussion with Guattari, conducted and transcribed by Charles J. Stivale. (1985) Pre/Text 14.3-4 (1995). ---. "Regimes, Pathways, Subjects." Die drei Ökologien. (1989) Wien: Passagen Verlag, 1994. 95-108. ---. "Über Maschinen." (1990) Schmidgen, 115-32. Knowbotic Research. IO_Dencies. 1997-8. 11 Sep. 1999 <http://io.khm.de/>. De Landa, Manuel. "The Machinic Phylum." Technomorphica. Eds. V2_Organisation. Rotterdam: V2_Organisation, 1997. Mikami, Seiko. World, Membrane and the Dismembered Body. 1997. 11 Sep. 1999 <http://www.ntticc.or.jp/permanent/mikami/mikami_e.php>. Schmidgen, Henning, ed. Ästhetik und Maschinismus: Texte zu und von Félix Guattari. Berlin: Merve, 1995. ---. Das Unbewußte der Maschinen: Konzeptionen des Psychischen bei Guattari, Deleuze und Lacan. München: Fink, 1997. Slater, Howard. "Post-Media Operators." Nettime, 10 June 1998. 11 Sep. 1999 <http://www.factory.org>. Wodiczko, Krzysztof. 11 Sep. 1999 <http://cavs.mit.edu/people/kw.htm>. Xchange. 11 Sep. 1999 <http://xchange.re-lab.net>. (Note: An extended, Dutch version of this text was published in: Oosterling/Thissen, eds. Chaos ex Machina: Het ecosofisch Werk van Félix Guattari op de Kaart Gezet. Rotterdam: CFK, 1998. Citation reference for this article MLA style: Andreas Broeckmann. "Minor Media -- Heterogenic Machines: Notes on Félix Guattari's Conceptions of Art and New Media." M/C: A Journal of Media and Culture 2.6 (1999). [your date of access] <http://www.uq.edu.au/mc/9909/minor.php>. Chicago style: Andreas Broeckmann, "Minor Media -- Heterogenic Machines: Notes on Félix Guattari's Conceptions of Art and New Media," M/C: A Journal of Media and Culture 2, no. 6 (1999), <http://www.uq.edu.au/mc/9909/minor.php> ([your date of access]). APA style: Andreas Broeckmann. (1999) Minor Media -- Heterogenic Machines: Notes on Félix Guattari's Conceptions of Art and New Media. M/C: A Journal of Media and Culture 2(6). <http://www.uq.edu.au/mc/9909/minor.php> ([your date of access]).