• Comment: It's very difficult to write an autobiographic article in a formal, neutral encyclopedic tone. The draft is filled with overly detailed explanations similar to an artist statement, and much promotional wording. As such, it is not ready for main space. Articles should be concise, neutral and cover key events in a person's life, not everything they have ever done. For more information on some of the hazards of writing an autobiography, please take some time and read through WP:AUTOBIO and WP:PROUD for a more comprehensive understanding. Netherzone (talk) 21:47, 15 March 2025 (UTC)
  • Comment: Please remove all external links from the body of the article and read WP:REFBOMB. More sourcing for the same fact is not always better. We need quality over quantity. It is probably better if you leave this draft to someone else. Star Mississippi 15:36, 7 March 2025 (UTC)
  • Comment: It seems that this is a User page that was then submitted to AfC. Since this seems to be an autobiography based on the user's name, the COI template belongs on the editor's actual user page and the draft should be decoupled from that.
    The draft is ref-bombed with unreliable sources, and sources that don't mention the person. To establish notability, it's best to remove the unreliable sources, and focus on including secondary, fully independent reliable sources that discuss the person in-depth, providing significant coverage. Netherzone (talk) 14:43, 7 March 2025 (UTC)

Sachiko Hayashi

Sachiko Hayashi (born 1962) is a Japanese-born, Sweden-based visual artist known for her net art, video art, and interactive work, with focus on gender, identity, and knowledge. She was also the editor for the online new media journal Hz.

Early Life and Education

Hayashi was born in Tokyo, Japan, in 1962. She holds a BA in International and Cultural Studies from Tsuda University in Tokyo and an MA in Design and Digital Media from the Coventry School of Art and Design, Coventry University, UK. Additionally, she completed two-year postgraduate studies in Computer Arts at the Royal Institute of Art in Stockholm.[1]

Career

Works

In the late 1990s Hayashi emerged in the early field of digital interactivity with CD-ROM projects and net art works. Last Meal Requested (2003), one of her net artworks described as “a collage of media communication and the construction mechanisms of collective memory,”[1] examines three incidents of human rights violations, using sound and visual documentary materials that are placed within a historical context.[2] The work was included in Rhizome’s educational CD-ROM compilation GROK (2006), which introduced high-school-aged youth to new media art and digital culture.[3] It was also part of the exhibition Regeneration.011: A Selection of Web Biennial Revealing the Politics and Poetry in Net Art in Istanbul (2011), showcasing works by 19 selected artists from the past four Web Biennials (2003–2010) which addressed themes of freedom of speech, anti-war activism, and personal stories.[4]

Her video work from 2004, Boop-Oop-A-Doop, explores identity in a mass-mediated society. The work was featured in Aspect Magazine Vol. 7: Personas and Personalities, a biannual DVD magazine dedicated to new media art. This issue examines how identities are constructed or abstracted through social conventions, gestures, and assumed roles. Each featured work is accompanied by commentary, offering insight into artistic explorations of personality in the digital age.[5]

Boop-Oop-A-Doop combines digital processing and historical video synthesizers such as Paik/Abe Wobbulator from the Experimental Television Center. Devoid of verbal elements, the narrative of Boop-Oop-A-Doop is driven solely by its audio and visual composition. It is included in the DVD anthology Experimental Television Center: 1969–2009, "a compilation of groundbreaking electronic media works by 100 artists who participated in the Center's Residency Program during the...four decades."[6]

Flurry (2006), an interactive audio-visual installation, was commissioned and produced by the Interactive Institute in Stockholm. Curated by Björn Norberg, it was exhibited at the National Museum of Science and Technology of Sweden with four other commissioned works. "Hayashi has worked with the theme of snow, and her work Flurry consists of an interactive animation where one can catch snowflakes, triggering different sounds and stories connected to snow."[7] Norberg interprets Flurry as a physical adaptation of Hayashi's web-based art, where interactions via mouse and marker on a computer screen give way to the viewer's full-body engagement, transforming the intimate environment of the computer into a more expansive and physically immersive experience.[8] The work was also included in the exhibition LARM - Nordic Sound Art (2007) at Kulturhuset in Stockholm, a festival featuring female artists in Nordic countries who use sound in their practice.[9]

In 2008, Hayashi was commissioned by TaggingArt in Copenhagen to create an artwork in Second Life with support from the Danish Arts Council. This commission led to the Virtual Moves exhibition at the National Gallery of Denmark, where Hayashi exhibited her virtual audio-visual interactive installation, N00sphere Playground, alongside seven other works by the commissioned artists.[10][11]

Hayashi's work has been presented at numerous film and new media festivals as well as various other venues, including Ideologia II - Nordic Biennial of Contemporary Art (Gothenburg)[12], Museum of Modern Art (Saitama)[13], Transmediale (Berlin)[14], and FILE - Electronic Language International Festival (São Paulo)[15].

Editor of Hz Journal

From 2003 to 2019, Hayashi served as editor of the online journal Hz, published by the non-profit organisation Fylkingen in Stockholm. The journal explored the intersection of art, sound, and technology. Hz's articles have been included in academic research platforms[16][17][18], and referenced in peer-reviewed publications such as Sociological Research Online.[19] It has also published articles by some of the renowned artists in the field: Pauline Oliveros, Roy Ascott, Kim Cascone, Alan Sondheim, Atau Tanaka, among others.[20]

Between 2003 and 2009, it also hosted Hz Net Gallery, an online forum introducing international web-based artworks, curated by Hayashi.[21]

Other

Hayashi was an active virtual musician in the Second Life music group Avatar Orchestra Metaverse (AOM) between 2007 and 2010. She also designed the stage set and HUD receiver for AOM's PwRHm (composed by Humming Pera), which was commissioned and premiered at the Deep Listening Institute in New York, 2008.[22] Additionally between 2010 and 2013, she curated the virtual artist residency Yoshikaze in Second Life, in collaboration with the digital humanities lab Humlab at Umeå University, Sweden. This residency program also produced real-life exhibitions at the university.[23]

Her 2007 article, "Behind Technology: Sampling, Copyleft, Wikipedia, and the Transformation of Authorship and Culture in Digital Media," first published in the online Hz Journal[24], was later reprinted in the Polish art magazine Format[25] and included in the special edition on Art + Copyright of the online journal interartive.org.[26] Since its publication, the article has been referenced in several academic papers as part of the scholarly literature.[27][28][29]

In 2011, she held an Artist Talk at BEK (Bergen senter for elektronisk kunst), Bergen.[30]

Reception

Last Meal Requested has been analyzed by art scholar Annie Gérin, who describes it as a sensitive exploration of virtual memorial. Gérin writes, “Last Meal Requested submerges its user in a meditative environment produced by a monotonous 'techno' soundtrack and slowly scrolling lines, within which the artist also documents visually and narrates three instances of tragic human loss….” She suggests that the piece highlights how these events have raised global awareness of human rights and loss, defining public remembrance as a shared human responsibility.[31]

James Barrett, in his doctoral thesis, discusses how Last Meal Requested positions the viewer as a witness to historical oppression, particularly in relation to gender and ethnicity. He argues that the work’s spatial and temporal structure is shaped by sound and repetition, through its “looped audio and video, visual images of a repeated moment, and the present tense of spoken language,” placing the viewer in a perpetual present of mediated violence. Barrett states, “The overall design of Last Meal Requested emphasizes the status of the reader as a witness in both time and space.”[32]

In the book Cybermuseologi: Kunst, Museer Og Formidling i et Digitalt Perspektiv (Cybermuseology: Art, Museums and Communication in a Digital Perspective), Linnea Jacobsen studies Hayashi’s N00sphere Playground in the context of the Virtual Moves exhibition. In her chapter “Kuratering På Tværs Af Fysiske Og Virtuelle Rum – Virtual Moves På Statens Museum for Kunst” (“Curating Across Physical and Virtual Spaces – Virtual Moves at the National Gallery of Denmark”), she notes how the work exemplifies the curatorial challenges of exhibiting art created for digital environments, particularly those existing entirely within a virtual, interactive space, prompting a re-examination of how such works are contextualized and presented within institutional frameworks as they are translated into physical exhibition contexts. The piece is also cited as a key example of distributed curation, where responsibilities are shared among artists, technicians, and online communities, leading to a more collaborative and decentralized mode of curating in networked digital environments. Jacobsen observes that N00sphere Playground illustrates the complex demands placed on curators to adapt institutional models to new forms of production, presentation, and audience engagement.[33]

Interviews, Publications, and Collections

Publications:

  • GROK, Rhizome, New York[3]
  • Experimental Television Center: 1969–2009 DVD Set, Experimental Television Center, New York[34]
  • Aspect magazine vol. 7  Personas and Personalities, Aspect Magazine, Boston[5]

Interviews:

  • JavaMuseum Interview Project (2006), by Wilfried Agricola de Cologne[35]
  • Digicult Magazine (2012), interview with Mathias Jansson.[36][37]
  • Stigmart Magazine (2014), on video work process[38]
  • Pandemic Exchange: How Artists Experience the COVID-19 Crisis (2021), edited by Josephine Bosma .[39]

Collection:

  • United States Library of Congress via Exit Art as part of Reactions: A Global Response to the 9/11 Attacks.[40]

References

  1. ^ a b "VIPER BASEL 2003/ Int. Festival für Film, Video und Neue Medien". Medienarchiv der ZHdK (in German and English). Lucerne University of Applied Sciences and Arts – Design & Art (HSLU). 2003. p. 42. Retrieved 17 March 2025.
  2. ^ Split Film Festival 2004 (festival catalog), Splitski Filmski Festival (in English and Croatian). 2004. p.103. See also: Program, New Media (archived website confirming participation), retrieved 22 March 2025.
  3. ^ a b "Grok". Rhizome Archive. Rhizome. Retrieved 6 March 2025.
  4. ^ Regeneration.011: Poetics and Politics of Net Art (exhibition book). 2011. ISBN 978-605-61311-1-0.
  5. ^ a b Aspect Magazine, Aspect Magazine: Personas and Personalities, 2006, ISBN 09749574X, ASIN B000H6SY7I
  6. ^ "ETC: Experimental Television Center 1969-2009". Electronic Arts Intermix. Retrieved 17 March 2025.
  7. ^ "Man Machine – i gränslandet mellan konst och teknik" (Press release) (in Swedish). Tekniska museet. 2006-02-02. Retrieved 14 March 2025.
  8. ^ Norberg, Björn (2006). "Man Machine". Hz Journal (8). Retrieved 9 March 2025.
  9. ^ Strömberg, Mikael (13 April 2007). "Nu hörs de – överallt". Aftonbladet (in Swedish). Retrieved 17 March 2025.
  10. ^ "Virtual Moves". Digicult. 20 January 2008. Retrieved 17 March 2025.
  11. ^ "Exhibitions 2008 – Special exhibitions of the year". Statens Museum for Kunst. National Gallery of Denmark. 2008. Retrieved 17 March 2025.
  12. ^ Director: Jonas Stampe (2003). Ideologia II May 31–August 24, 2003 Röda Sten Gothenburg (exhibition catalog). Gothenburg. pp. 31–32.{{cite book}}: CS1 maint: location missing publisher (link)
  13. ^ 2002 CAF展: 特別企画 国際現代美術交流（exhibition catalog) [2002 CAF Exhibition: Special Feature: International Contemporary Art Exchange (exhibition catalog)] (in Japanese). Saitama, Japan: 2002CAF展実行委員会. 2002. p. 19.
  14. ^ "Transmediale Archive". Transmediale. 2003. Retrieved 20 March 2025.
  15. ^ Perissinotto, Paula. "FILE SÃO PAULO 2019 festival internacional de linguagem eletrônica electronic language international festival 2 0 A N O S" [FILE SÃO PAULO 2019 Electronic Language International Festival 20th Anniversary] (in Portuguese). p. 209. Retrieved 6 March 2025.
  16. ^ Hudson, Martyn. "What, am I hearing light? Listening through Jean-Luc Nancy" (PDF). Northumbria Research Link, Northumbria University New Castle, University Library, in CORE- A comprehensive bibliographic database of the world’s scholarly literature. Retrieved 31 March 2025.
  17. ^ Birringer, J. "Resonances: The sound of performance". Brunel University Research Archive(BURA), Dept of Arts and Humanities Research Papers, Brunel University of London. Retrieved 31 March 2025.
  18. ^ Borggreen, Gunhild. "Japan in Scandinavia: Cultural Clichés in Receptions of works by Mori Mariko". Copenhagen University. Retrieved 31 March 2025.
  19. ^ Hudson, Martyn (2014). "Music, Knowledge and the Sociology of Sound". Sage Journal Sociological Research Online. 19 (4): 48–60. doi:10.5153/sro.3440 – via British Sociological Association.
  20. ^ "Hz Journal Articles". Hz Journal. Retrieved 6 March 2025.
  21. ^ "Hz Net Gallery". Hz Journal. Retrieved 6 March 2025.
  22. ^ Gema Fernández-Blanco Martín, Procesos creativos en entornos musicales inmersivos: un estudio de caso a través del análisis de metaversos. La Avatar Orchestra Metaverse en Second Life, (in Spanish) p. 274, p.404 Retrieved 6 March 2025
  23. ^ Lynch, Garrett (2012). "A Metaverse Art Residency: 'Garrett Lynch Yoshikaze "Up-in-the-air" Second Life Residency'". Metaverse Creativity. 2 (2). Intellect Books: 161–179. doi:10.1386/mvcr.2.2.163_1. Retrieved 13 March 2025.
  24. ^ Hayashi, Sachiko (2007). "Behind Technology: Sampling, Copyleft, Wikipedia, and Transformation of Authorship and Culture in Digital Media". Hz Journal (9). Retrieved 6 March 2025.
  25. ^ "Format : pismo artystyczne, listopad 2008, nr 55". oai:dbc.wroc.pl:9990 (in Polish). Wrocław: Akademia Sztuk Pięknych we Wrocławiu i Fundacja im. Eugeniusza Gepperta, Wrocław (Academy of Fine Arts in Wrocław and the Eugeniusz Geppert Foundation). 2008. pp. 24-25 (paper), 26-27 (pdf). Retrieved 20 March 2025.
  26. ^ "Issue #50, March 2013 :: Special Issue: Art and Copyright". Interartive, a platform for contemporary art and thought. March 2013. Retrieved 7 March 2025.
  27. ^ Mattias Andersson & Daniel Odén, "Från MP3 till Spotify - diskursanalys av fildelningsdebatten i fyra svenska tidningar" (in Swedish), Institutionen för studier av samhällsutveckling och kultur – ISAK LiU Norrköping, Linköping University Retrieved 7 March 2025
  28. ^ Fernandes, Marcos Leandro Kurtinaitis (2013). Found Footage em Tempo de Remix: Cinema de Apropriação e Montagem como Metacrítica Cultural e sua Ocorrência no Brasil (PDF) (Thesis) (in Porugese). Universidade de São Paulo. Retrieved 7 March 2025.{{cite thesis}}: CS1 maint: unrecognized language (link)
  29. ^ Mishra, Abhinav K.; Madhav, Rupesh Chandra (2015). "Open Access Movement and Moral Rights: Rejuvenation of Digital Copyright". In Rai, Priya; Sharma, R. K.; Jain, P. K.; Singh, Akash (eds.). Transforming Dimensions of IPR: Challenges for New Age Libraries. New Delhi: National Law University, Delhi. pp. 381–400. ISBN 978-93-84272-03-6.
  30. ^ BEK. "Sachiko Hayashi: Artist Talk". Archive-Bergen senter for elektronisk kunst. Retrieved 24 March 2025.
  31. ^ Gérin, Annie (2006). "The Virtual Memorial: Temporality, Interactivity, and the Internet". RACAR: Revue d'art Canadienne / Canadian Art Review. 31 (1/2): 42–54. doi:10.7202/1069622ar. JSTOR 42631168.
  32. ^ Barrett, James (2015). The Ergodic Revisited: Spatiality as a Governing Principle of Digital Literature. Umeå University, Faculty of Arts, Department of Language Studies. ISBN 978-91-7601-283-3.
  33. ^ Jacobsen, Linnea (2015). "Kuratering På Tværs Af Fysiske Og Virtuelle Rum – Virtual Moves På Statens Museum for Kunst". In Larsen, Ane Hejlskov; Gade, Rune; Hansen, André Wang (eds.). Cybermuseologi: Kunst, Museer Og Formidling i et Digitalt Perspektiv (in Danish). Aarhus University Press. pp. 219–235. doi:10.2307/jj.608315.15.
  34. ^ Experimental Television Center, Experimental Television Center: 1969–2010 DVD Set,. Retrieved 17 March 2025
  35. ^ Agricola de Cologne (6 October 2006). "Interview with Sachiko Hayashi". JIP - JavaMuseum Interview Project. Retrieved 17 March 2025.
  36. ^ Jansson, Mathias (2012), "Up in the Air with Sachiko Hayashi" , Digicult Magazine Retrieved 17 March 2025.
  37. ^ Jansson, Mathias (2012). Everything I Shoot Is Art (PDF). Brescia, Italy: LINK Editions. pp. 85–96. ISBN 978-1-291-02050-2.
  38. ^ Stigmart VideoFocus Special Edition, 2014. Retrieved 17 March 2025.
  39. ^ Bosma, Josephine (ed.). Pandemic Exchange: How Artists Experience the COVID-19 Crisis. ISBN Paperback: 978-94-02302-74-8. ISBN E-Pub: 978-94-92302-75-5.
  40. ^ Library of Congress. Exit Art "Reactions" exhibit collection [finding aid]. Span Dates: 2001–2002, Call No.: LOT 13520, PDF, p. 60, Exhibit No. 0975, Archive No. 2070.
Allikas: http://en.wikipedia.org/wiki/Draft:Sachikosky
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