| 61. |
- Slavik, Andrej, 1981
(författare)
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Tea and opium: variations
- 2013
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Ingår i: Farhad Kalantary. A new beginning. - 9788299838511 ; , s. 27-44
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 62. |
- Åsberg, Cecilia, 1974-
(författare)
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Looking at science, looking at you! : the feminist re-visions of nature (Brain and genes)
- 2009. - 1
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Ingår i: Teaching visual culture in interdisciplinary classrooms. - Utrecht : ATHENA 3. - 9187792494 ; , s. 95-121
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Vision has often been a central concern of feminist studies of science, medicine and technology. In cultural or social feminist analysis, the male gaze and the ways in which technoscience accommodates, and in effect organizes the watching of women, has been an important part of the feminist interrogation of the gender and power relations that produce the subjects and the objects of science. This attention is due to the intimate, and power-saturated, merge of processes of seeing and processes of knowing. Inherent in the notion of vision, there is always a politics to ways of seeing, ordering and observing, of organising the knowledge of the world. Historically, this can be exemplified by the eighteen-century Swedish “father” of biological classification, Linnaeus. Taking a leap away from Christian assumptions, Linnaeus placed human beings in a taxonomic order of nature together with other animals.
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| 63. |
- Israel, Lena, 1949
(författare)
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Vilnapartituren - en existentiell resa i tid, rum, kropp och minne : Vilna, min älskade
- 2010
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Föreliggande arbete är ett konstnärligt utvecklingsprojekt vid Konstnärlig Fakultet, Göteborgs universitet och består av en poetisk dokumentärfilm "Vilna, min älskade!" samt en tillhörande forskningstext "Vilnapartituren - en existentiell resa i tid, rum, kropp, och minne".
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| 64. |
- La Cour, Eva, et al.
(författare)
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Constructions and consequences of power-full Svalbard imaginaries
- 2021
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Ingår i: RGS-IBG Annual International Conference 2021.
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Konferensbidrag (refereegranskat)abstract
- Svalbard’s ascending role as a Norwegian flagship pristine wilderness, attractive adventurescape and aspiring Arctic sustainable exemplar is challenged by its ongoing and historical dependence on coal as both an energy source and a foundation for Norwegian presence. In this paper we take the site and figure of an old coal power plant, last operational in 1983 as our central focus. Having been the Norwegian capital of Longyearbyen’s main source of power from 1920, the old powerplant manifests how imaginaries once driven by coal today are subjects of investigation and exposition. Plans of turning the power plant into “an industrial monument, cultural arena and a visitor attraction” raise questions as to what stories the plant will be enrolled in telling and how these will be related and incorporated into geopolitical and cultural imaginaries of a ‘greener’ Svalbard. We draw upon our collective, multi-disciplinary ethnographic engagements with Svalbard, ongoing discussions on the development of the tourist attraction, and an analysis of films commissioned by the stated funded coal company, Store Norske Spitsbergen Kulkompani in the 1960s and 1970s. This provides a historical contrast to the planned decommissioning of the current coal-fired plant in favour of a cleaner solution, with a time when Svalbard’s settlements were still functioning and imagined foremost as coal company towns. We critically explore questions of representation, temporality and technological agency in the shaping of Svalbard imaginaries and ask how this connects with and is part of global reconfigurations of nature-capital relations.
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| 65. |
- Tofighian, Nadi
(författare)
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Mapping ‘the whirligig of amusements’ in colonial Southeast Asia
- 2018
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Ingår i: Journal of Southeast Asian Studies. - : Cambridge University Press. - 0022-4634 .- 1474-0680. ; 49:2, s. 277-296
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Tidskriftsartikel (refereegranskat)abstract
- This article assesses the interconnected nature of Southeast Asia around 1900, the transnational entertainment scene in Southeast Asia, and the role of Singapore as a hub for commerce, shipping, and entertainment. The global and regional development of transportation and communications technology and networks facilitated the movement of people, goods, ideas, and amusement forms. The article is based primarily on archival research from colonial newspapers in the region. It surveys and maps more than one hundred itinerant entertainment companies that travelled throughout Southeast Asia around the turn of the century, thereby creating and visualising a circuit of entertainment.
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| 66. |
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A Place in Europe : Proposed project description peered by Project Anywhere
- 2017
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Konstnärligt arbete (refereegranskat)abstract
- This is not conceived as an exclusive work but rather a demonstrably inclusive one (albeit resistant to the logic of circular reproduction). Within the process of artistic research and a developing practice, new methods might constitute another form of art. The project has been centered upon the idea of a round table at which a number of people with different competences have collaborated productively to build the project. The divergent competences that make up the project team have all contributed to the development of A Place in Europe, and moreover worked to challenge conventional practices and forms of knowledge belonging to the various fields of expertise in order to foster a spirit of experimentation and novelty. The key point of departure for all collaborators has been the value of approaching the topic from a creative base, and in doing so striving to exchange ideas in a productive manner with others, both at the site and within the process of developing the project and presentation. We have also been collectively mindful of the potentially asymmetrical power relations at play in any process during which “we” film and interact with “them”. We do not seek to speak for ”them” but rather use our collective desire to explore a more inclusive society.
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| 67. |
- Arvidson, Mats, et al.
(författare)
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Intermedial combinations
- 2022
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Ingår i: Intermedial Studies. - London : Routledge. - 9781032004549 - 9781032004662 - 9781003174288 ; , s. 106-137
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Bokkapitel (refereegranskat)abstract
- Media products of all sorts form a complex web of different relationships. Media products involve transformations, integrations and combinations as well as transmedial aspects. When we look at media combinations in this chapter, all these different aspects are brought into play. Media combinations of different basic media types are always, literally, intermedial combinations that involve intermedial relations between different forms of communication.This chapter deals with different kinds of combinations of technical, basic and qualified media types in comics, films, radio drama, songs/singing and music videos. Some of them are more obvious in this aspect. The music video, for instance, integrates sound, words and (moving) images. The pages of comics display text and image, and these two basic media types communicate differently in the semiotic modality. In radio dramas or songs, the combination aspect is not as visually apparent. Still, the soundwaves of a song or a radio drama firmly integrate several auditory media types.With specific examples, we discuss how to understand the different intermedial aspects at play whenever different media types are brought together in a particular media product. Different perspectives are possible. Should one focus on the combination of different forms of meaning-making, or instead stress how deeply integrated these different media types are? Should one approach a song as the combination of different qualified media (poetry and music), or focus on the close integration of different auditory media types (words and organized sound)? When we approach media combinations with the four modalities, we can focus on both. When words, (moving) images, and organized sounds are brought together in media products, such as comics, songs and music videos, they form an integrated whole. We can focus on how different basic media types in the material and sensorial modality are firmly integrated. We can then explore how these integrations on pages, in soundwaves, on stages or in the studio enable an intricate combination of different forms of meaning-making that support and interact with each other in the spatiotemporal and semiotic modality.First, we will take a look at how words and images on pages convey a graphic narrative in comics. Then we will highlight the importance of sound effects in the complex combination of moving images and auditory media types in film. We then explore how different auditory basic and qualified media types together create a complex auditory narrative in radio drama, using the specific example of The Unforgiven (2018). We will also discuss how word and music combine on different levels in art and pop songs. The chapter will end with a few reflections on the audiovisual combinations of basic and qualified media types at work in music videos.
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| 68. |
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| 69. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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John Williams, The Boston Pops Orchestra and Film Music in Concert
- 2012
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Ingår i: <em>Cinema, critique des images</em>. - Udine : Campanotto. - 9788845612886 ; , s. 230-235
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The Boston Pops is a world-class orchestra playing “non-high Art music” in one of the most prestigious concert venues in the world: Symphony Hall in Boston. The first in its genre, with an impressive array of best-selling recordings, tours, and nation-wide radio and TV broadcasts, the Boston Pops has always been at the forefront of American music and has, over the years, achieved huge popularity. In 1980, famed Hollywood composer John Williams was named to succeed the late Fiedler. While several film composers had conducted film music concerts before, this was the very first case of a Hollywood composer appointed leader of such an important musical institution. During his fourteen-year tenure, Williams seized the opportunity to erode the “iron curtain” that segregated “applied” film music from “absolute” concert music.
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| 70. |
- Brunow, Dagmar, Dr. phil. 1966-
(författare)
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Audiovisual Memory and Placemaking in the Music City : Salford Lads in the Digital Era
- 2020
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Ingår i: Book of Abstracts, Groove the City 2020. - Lüneburg : Leuphana University of Lüneburg. ; , s. 11-12
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Konferensbidrag (refereegranskat)abstract
- This paper looks at the remediation of memory as a method of place making and negotiating urban spaces through music. It shows how music memories can be mobilised through the interplay of locations and digital tools. City tours, audio walks, tourist amateur photography or selfies in front of iconic buildings contribute to mapping the city. In classical concepts around the locatedness of memory (e.g. Pierre Nora’s notion of the lieux de mémoire), memories are tied to specific places. Yet, what is the ‘site’ of memory in times of digitization? The third wave of memory studies (Erll, Rigney, Rothberg) has focused on the transnational dynamics of memory, of memory as a process, as never stable, as always in flux. Drawing on my recent research on the digitization of audiovisual heritage, on the remediation of transcultural memory and on the construction of post-punk memory in Manchester, I argue that remediation creates nodal points (mnemotopes) around which narratives of the past are constructed. These mnemotopes can be mobilised for city branding (Brunow 2019). The paper argues that digital cultures (e.eg. social media) can be a means of “bringing home” transnational memories, tying these back into the local urban scape while remaining constantly in flux. Two cases of living archives will serve as theoretical objects to exploring the tensions of de- and reterritorialization within urban memory cultures: 1) The Salford Lad’s Club and 2) The Manchester Music Tours, a guided tour to locations relevant to bands such as Joy Division, The Smiths or Oasis.
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