| 1. |
- Berg, Daniel, 1971-
(composer, creator_code:cre_t)
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Kinkaku-Ji : Meditation for Flauto Alto and Vibraphone
- 2020
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Artistic work (swepub:mat_score_t) (peer-reviewed)abstract
- In the late 1990s I visited Japan. Something that made a strong impression on me was the Japanese gardens who breathed meditation and inner peace. The original Japanese religion, Shinto, is based on the worship of nature spirits and therefore everything in a Japanese garden - plants, rocks and water – has a spiritual meaning and represent something beyond their physical shape.
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| 2. |
- Berg, Daniel, 1971-
(composer, creator_code:cre_t)
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Second Concerto for Flute and Percussion
- 2019
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Artistic work (swepub:mat_score_t) (peer-reviewed)abstract
- In 1939 the American Lou Harrison composed his First Concerto – a classical and fantastic work for flute and two percussion players. Influenced by this piece, Daniel Berg now wants to continue in the same atmosphere with a second concerto. The first movement is very much inspired by the groove and swinging syncopated rhythms from the concerto by Lou Harrison.In the four other movements Daniel Berg enters a world of different techniques for the flute like air tones, tongue pizzicato and Tongue Ram. Every moment is dedicated to a fantastic flute player Daniel worked with during the years – for example Björn J:son Lindh who was an excellent composer and a master in playing singing and percussive flute.For the percussion part Daniel uses traditional instruments like drums and wood blocks, but also toy electric bell, marimba, vibraphone and a tuned bottle. The Concerto is written for two percussionists, however it’s possible to be played by one player (both parts in first movement and only the marimba in the last) – just like the First Concerto for Flute and Percussion by Lou Harrison.
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| 3. |
- Berg, Daniel, 1971-
(creator_code:cre_t, composer)
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Two of a Kind : for violin & vibraphone
- 2021
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Artistic work (swepub:mat_score_t) (peer-reviewed)abstract
- Two very typical sounds from my childhood is the knocking from an office, with rooms full of typewriters, and the pinball machines in every second restaurant - oh what great memories. As a child, all machines had a life and of course they must dream when they are sleeping! This piece is written and dedicated to the composer Anton Lindström, who also is a great vibraphone player, and his father - violin player, and technical genius, Hans Lindström - Two of a Kind.
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| 4. |
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Crafting Cultural Heritage
- 2016
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Editorial collection (peer-reviewed)abstract
- The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research. What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making? How can we study and understand craft as cultural heritage? This book contains a selecion of papers from the session Crafting Cultural Heritage at the Assosiation of Critical Heritage studies inaugural conference Re/theorising Heritage 2012 in Gothenburg. The contributors are Anneli Palmsköld; Thomas Laurien; Eleonora Lupo and Elena Giunta; Gunnar Almevik and Nicola Donovan. Their common interest are theories and methods of crafting that could benefit heritage studies approach to making.
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| 5. |
- Hallgren, Hanna, 1972-, et al.
(author)
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Being each others dog : or the figure wanders on alone
- 2014
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In: A Valentine for Gertrud Stein: The Reception of Getrud Stein in the Arts and Humanities. 8-10 april 2014. Hosted by the Ubiversity of Copenhagen, Denmark and co-organized with Ghent Univeristy and Linköping Univeristy. - : University of Copenhagen.
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Conference paper (peer-reviewed)
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| 6. |
- Hallgren, Hanna, 1972-, et al.
(author)
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Translating 51 days
- 2015
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In: PARSE Conference, Nov 4-6, 2015 The 1st PARSE Biennial Research Conference on TIME, Göteborgs Universitet & Platform for Artistic Research Sweden An international initiative based at the University of Gothenburg, Sweden, aimed at supporting a multidisciplinary research culture – exploring the contemporary challenges of artistic research and the dialogue between research in the arts and research in other disciplines and domains..
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Conference paper (peer-reviewed)abstract
- In the summer of 2014 poets Somaya El-Sousi, Hanna Hallgren and Jenny Tunedal were working together in a translation workshop via skype that had been ongoing for more than a year. When war broke out in Gaza, where El-Sousi lives and works, this translation workshop transformed into a daily conversation on war, despair, food, rooms, objects, women, children, mothers, intimacy, fear, news, weather and writing.The differences and distances always present in translation work became enhanced and acute, as did a sense of closeness. The circumstances of war cut into our work and somehow into the everyday quotidian life of Sweden; as a shock, as a difference, as an acute experience of a lack of experience. The computer screen became, in El-Sousis words: “a blue window of hope”; the hope of continuing, linearity, future.Continuity is complicated for anyone living in Gaza. Life is a secluded incarceration not only in space but maybe even more so in time. Future as well as political and personal history are constantly being cut off from and / or conditioned by a claustrophobic present. The disaster that war is adds enormous pressure and fear to this present, to the extend were chronological time seems almost entirely dissolved.We would like to examine this sense of time and how it conditions the work of female writers in Gaza. We have gathered literary texts by women living in Gaza that were written during the 51 days of war and aim to perform a reading of how the temporality of war becomes readable, and possibly shareable, in these texts; as structure, as experience, as knowledge, as the unanswerable question: ”How long is that night, how hard is that darkness?” (from Somaya El-Sousis “It does not end”, written in late July 2014)Our work and our friendship takes place on skype. During the conference we would like to use skype and together, yet apart, perform a poetic conversation piece on the temporality of war, of literature, of translation and of friendship.
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| 7. |
- Karlsson, Katarina A.
(author)
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The Essentially Feminine—an investigation through artistic practice in Early Modern music
- 2013
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In: Symposium on Critical Heritage : Excavate Repressions.
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Conference paper (peer-reviewed)abstract
- The territoriality of 'masculine' and 'feminine' is an ongoing process, where boarders are constantly stretched and moved. To even use the word 'feminine' is a challenge and in combination with the word 'essential' it is yet more provoking. However, the notion of feminity is interesting, since it is used by the PR-industry as something absolute and desirable for women. This project wants to unviel the cultural heritage of the notion of femininity in the past, to learn something about power structures today. “The woman is putrefaction with a pretty face”1 From the Malleas Maleficarum (1487), that book on witchcraft that served as instruction manual for the Spanish inquisition, to the way in which women are presented in much of twentieth century American rap music, the archetype of the ”wicked woman” permeates western cultural history. Musical discourse has never been immune to the use of gendered terminology. Mysogyny is part of our cultural heritage.
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| 8. |
- Krook, Helga
(author)
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Lyssnar ni eller lyssnar ni inte
- 2009
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In: ArtMonitor. Journal of artistic research. - : University of Gothenburg. - 1653-9958. ; 2009:7
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Journal article (peer-reviewed)
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