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Blåshålet
- 2019
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Konstnärligt arbete (refereegranskat)abstract
- Denna session, baserad på material från ett historiskt ljudarkiv, utgår från ljudinspelningar av kommunikationsexperiment med delfiner som utfördes på 1950 och 60‐talet i USA, där delfinerna skulle lära sig att tala engelska med blåshålet.
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| 2. |
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| 3. |
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Gränssnitt
- 2019
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Konstnärligt arbeteabstract
- Ur inbjudan: "Välkomna i skymningen till en experimentell kväll med ljudvandring, film, installationer och värmande brasa. Vi har under olika tidpunkter och skiftande årstider återkommit till en och samma plats, en kolonilott. Nu bjuder vi in till en work-in-progress där vi hoppas att ni vill komma och lyssna, titta, vandra och värma er med oss.Vi har tänkt på kolonin som ett gränssnitt, ett medium som förbinder olika användare. Några av dessa användare är Zea mays, satellitparet Sentinel-1, diverse däggdjur, samt en uppsjö växter, mikrober och okända entiteter."
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| 4. |
- Holmstedt, Janna, 1972-
(författare)
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Are you ready for a wet live-in? : explorations into listening
- 2017
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations?This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet).The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them.
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| 5. |
- Holmstedt, Janna, 1972-
(författare)
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Between Earthworms and Satellites
- 2019
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Ingår i: Open Humanities Lab Symposium: New Humanities & the Anthropocene, KTH, Stockholm, 14-15 May, 2019.
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Konferensbidrag (populärvet., debatt m.m.)
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| 6. |
- Holmstedt, Janna, 1972-
(författare)
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The Blowhole : Posthumanist reflections on interspecies communication, listening, and the aesthetics of more-than-human relations
- 2019
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Ingår i: RE:SOUND, the 8th International Conference for Histories of Media Arts 2019, Aalborg, Denmark, 20-22 Aug, 2019..
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Konferensbidrag (refereegranskat)abstract
- Sounds are leaky phenomena, pointing to the unavoidable entanglement of bodies, technologies and environs. A captured sound is a record of loss, as is the archive. This loss urges me – as artist, researcher, and listener – to story and restory entanglements. While the media might be fixed, listening is fluid and dynamic. And a sonic sensibility, I find, holds the potential to counteract a reductive, visual-textual logic and its related knowledge formations.This journey into a predominantly sonic ecology departs from the unique archival material of American neurophysiologist John C. Lilly. In the 1950s and 1960s Lilly conducted controversial scientific experiments with dolphins, as well as on himself. I will focus on an aspect previously not discussed in relation to Lilly's dolphin research, the role of listening and the use of sound technology, and I will attend to Lilly's experimental set-ups as media ecologies. The encounter with an animal "voice" and the attempts to record this phenomena as sound objects would force Lilly into uncharted territories. When the recordings of words uttered by dolphins were played back to other researchers, they didn't hear what Lilly's team had heard. As Lilly began experimenting with sound, it seemed as neither technology nor perception could be relied on. Even the role of language in the act of communication became increasingly elusive.
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(P)Art of the Biomass
- 2019
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Konstnärligt arbete (refereegranskat)abstract
- Är möjligt att tala om jordens, dvs. myllans, rättigheter? Jord är i många fall en blind fläck och något som lätt tas för givet. Den ligger där under våra fötter. Samtidigt är den ett komplext levande system som håller på att utarmas. Den kallas också en hotad resurs, då människans matproduktion och det hårt industrialiserade jordbruket har nått en kritisk gräns.Holmstedt och Lobell utgår från jord som mer-än-mänsklig aktivitetszon och habitat då de spekulerar i möjligheten att upprätta ett Allting. Förutom att anknyta till nordisk historia och de tidiga församlingarna för lagstiftning, rättskipning och förvaltning, syftar Allting på Bruno Latours teori "Parliament of Things" där lagar inte instiftas med människan i centrum utan kring livet självt.Om vi skulle kalla till ting, vilka tingsplatser skulle kunna fungera som relationella "knutar" där politiska ekologier och mer-än-mänskliga relationer kan uppmärksammas? Vilka nya lagar skulle kunna framträda ur varje tingsplats om den bemöts som ett parlament av mänskliga och icke-mänskliga aktörer där människan inte är den privilegierade livsformen. Behövs jordreservat? Krävs en ny jordreform? Vilka är myllans rättigheter?
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Shared Surfaces
- 2019
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Konstnärligt arbete (refereegranskat)abstract
- In this combined talk, walk, listening session and reading, Janna Holmstedt will depart from an invisible border and an urban allotment, the tiny remnants of a once huge community that was levelled with the ground in 1965. Relations are traced between different figures, places and times: earthworms in the soil beneath our feet, potato riots in Stockholm during WW1, the allotment movement, archaeological findings of popcorn in Peru, Sentinel-1, a pair of satellites that orbit Earth to monitor soil moisture, and a cob of corn from Zea mays var. amylacea. All are fragments from a work-in-progress where the allotment becomes a place to think with and through, where the small place, the everyday and the trivial intra-acts with the global, large-scale and remote. Holmstedt uses this superficially demarcated piece of land as an interface - or rather, a situation of shared surfaces - through which post-anthropocentric modalities of belonging and care can be attended to, and transcorporeal entanglements be experienced. In her own words, it is a place for 'unlearning'.
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| 9. |
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Sonic Sensibilities
- 2019
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Konstnärligt arbete (refereegranskat)abstract
- I Sonic Sensibilities möts Jaceks och Jannas konstnärsskap samt intresse för olika former av lyssnade praktiker och ljudteknologier. I ett aktivt lyssnade träder andra aspekter av omgivningen fram än de vi vanligtvis uppmärksammar i en visuellt orienterad kultur. Hur upplever jag omgivningen och min egen närvaro i den om jag under tystnad lyssnar in, istället för att betrakta eller prata om den? Hur låter omgivningen och objekten? Hur låter egentligen språket? Vad gör teknologin med lyssnandet och våra kroppar? I Sonic Sensibilities, som kan sägas bestå av tre akter, leds vi från befintliga ljudvärldar och lyssnande utomhus, till förstärkta, förvrängda och inspelade ljud i Jaceks performativa ljudkollage där vardagliga föremål används på oväntade och poetiska sätt, över till historiska ljudarkiv, djurröster och berättande i Jannas performance som bitvis har karaktär av föreläsning (lecture performance).
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| 10. |
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Sonic Sensibilities: /Mis/communication/s
- 2019
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Konstnärligt arbeteabstract
- In this mixed and postdisciplinary gathering, with listening sessions and talks by artists and researchers, we will visit the limits of communication(s) – when our technologies, ideas, languages and intentions fail us. We will among other things encounter phenomena that cannot be decoded, interspecies communication experiments, and speculations about how we can communicate with not only aliens but also inhabitants on planet Earth in a distant future.In a society imbued with communication technologies and a positive belief in the possibilities of accurately formulating, transmitting, receiving and archiving, it might be sobering to consider situations where the communicative attempt takes us elsewhere. Where it derails our assumptions and intentions and where we admittedly are out of control. What can be gleaned from these limits and borderlands? What can be unlearned? What ethico-political considerations do they confront us with?
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