| 1. |
- Lundin, Susanne, et al.
(författare)
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Introduction
- 2012
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Ingår i: The Atomized Body. The Cultural Life of Stem Cells, Genes and Neurons. - 9789187121920 ; , s. 15-40
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Bokkapitel (refereegranskat)abstract
- Just like the first theories in physics viewed atoms as independent and surrounded by a void, our bodies’ microscopic constituents are often portrayed as disconnected from the body as a unified organism, and from its cultural and social contexts. In The Atomized Body the authors examine the relations between culture, society and bioscientific research and show how our bodies’ singularized atoms indeed still are socially and culturally embedded. In today’s medicine, the biosciences are entangled with state power, commercialism, and cultural ideas and expectations, as well as with the hopes and fears of individuals. Therefore, biomedicine and biotechnology also reshape our perceptions of selfhood and life. From a multidisciplinary perspective, with authors from art science to ethnology, this volume discusses the biosciences and the atomized body in their social, cultural and philosophical contexts.
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| 2. |
- Liljefors, Max, et al.
(författare)
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Neuronal Fantasies : Reading Neuroscience with Schreber
- 2012
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Ingår i: The Atomized Body. The Cultural Life of Stem Cells, Genes and Neurons. - 9789187121920 ; , s. 143-169
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Bokkapitel (refereegranskat)abstract
- This essay examines the aesthetics and rhetoric through which popular science delivers the message of brain-mind conflation—‘You are your brain’. Noting the entwinement of realist and imaginary visual tropes in popular scientific presentations of brain imaging, author seeks a correlative ‘counter-text’ to this discourse in one of the classic texts in psychiatric history, the memoirs of the paranoid nineteenth-century judge, Daniel Paul Schreber. In this juxtaposition of contemporary neuroscience and a century-old insider report from madness, the author sees two opposite fantasies about the biologization of the mind. In the end, Schreber’s is deemed the most ‘realist’, since his delusions highlight precisely the blind spots of popular neuroscience today, especially the eclipse of societal, collective meaning in strictly biologistic explanations of the mind.
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| 3. |
- Liljefors, Max, et al.
(författare)
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Ordet och djuren : En dubbel blick på det mänskliga
- 2018
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Ingår i: Bild och natur : Tio konstvetenskapliga betraktelser - Tio konstvetenskapliga betraktelser. - 2001-7510 .- 2001-7529. - 9789198369045 ; 16, s. 13-40
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Bokkapitel (refereegranskat)
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| 4. |
- Cronqvist, Marie, et al.
(författare)
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Virtualiteter : sex essäer
- 2006
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Sex forskare från olika humanistiska discipliner skriver varsin essä kring temat virtualitet.
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| 5. |
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Bild och natur : Tio konstvetenskapliga betraktelser
- 2018
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Anthology that investigates the complex relationship between nature and images. The book encompasses 10 chapters focusing on a wide range of empirical material, including photographic works, scientific images, news images, street art, public art, computer games, installation art, religious spaces and architecture.
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| 6. |
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| 7. |
-
The atomized body : The cultural life of stem cells, genes and neurons
- 2012
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Just like the first theories in physics viewed atoms as independent and surrounded by a void, our bodies’ microscopic constituents are often portrayed as disconnected from the body as a unified organism, and from its cultural and social contexts. In The Atomized Body the authors examine the relations between culture, society and bioscientific research and show how our bodies’ singularized atoms indeed still are socially and culturally embedded. In today’s medicine, the biosciences are entangled with state power, commercialism, and cultural ideas and expectations, as well as with the hopes and fears of individuals. Therefore, biomedicine and biotechnology also reshape our perceptions of selfhood and life. From a multidisciplinary perspective, with authors from art science to ethnology, this volume discusses the biosciences and the atomized body in their social, cultural and philosophical contexts.
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| 8. |
- Noll, Gregor, 1964, et al.
(författare)
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Visions
- 2019
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Ingår i: War and algorithm / Edited by Max Liljefors, Gregor Noll and Daniel Steuer. - London/New York : Rowman & Littlefield International. - 9781786613646 ; , s. 191-204
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Bokkapitel (refereegranskat)
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| 9. |
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| 10. |
- Diurlin, Lars
(författare)
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"Filmreformens förste avantgardist" : Experimentfilmaren Peter Kylberg
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation is about the Swedish filmmaker, painter and composer Peter Kylberg (1938–). The study examines how Swedish film-cultural and film-political actors interacted with Kylberg in his ambition to create a particular type of expression in the film medium. Thus, not only Kylberg stands in focus, but also the surrounding film-cultural and film-political climate that Kylberg related to. Kylberg’s nine productions produced between the years 1959 and 1996 serves as a historical delimitation. The approach of the dissertation is essentially chronological, as it enables a presentation of Kylberg’s artistry as an emerging development process. The bulk of the source material which constitutes the basis of the study comprises unprocessed primary sources from public and private archives as well as articles and reviews from the daily press and trade press.A purpose of the study, with Kylberg as a point of departure, is to critically review the existing historical writing surrounding Swedish film culture and film politics, during the years Kylberg was active. The dissertation is also a study of the type of expression that Kylberg tried to convey, as well as a discussion of what can be said to construe Kylberg’s concept of art. The study revolves around two problem areas which can be summarized in the words position and expression. These areas deal with Kylberg’s prerequisites as an artist and his aesthetics respectively. Kylberg’s experimental films were generally state funded and produced by major film companies for commercial exhibition. They were thus included into a film culture which essentially encompassed narrative films in feature-length format. An argument that carries through the study is that positioning Kylberg as a filmmaker is problematic. A classic romanticized definition of the avant-gardist experimental filmmaker, arguing for a clear polarization between autonomous avant-garde film and commercial industry, does not fit Kylberg. In the study, he is therefore categorized as a within-industry experimental filmmaker sandwiched between the two seemingly separated spheres “minor” and “major cinemas” – a conceptual apparatus mainly developed by film scholar David E. James.Kylberg was seen by several contemporary critics as a “traditional” modernist. The dissertation fixes on this track and argues for a reading of Kylberg as a belated modernist. Kylberg’s artistic activity is discussed as an extension – or reflection – of various modernistic approaches and perspectives, which linked several of the experimental films and synthesized art’s pioneers in the 1910s and 1920s. Furthermore, Kylberg’s films have striking similarities to a number of the trends, genres and approaches that several experimental film researchers have identified as characteristic of experimental films, mainly European and American, in the 1900s – such as city symphonies, trance films, exile films, diary films, structural films and expanded cinema. The comparison between Kylberg’s work and expressions in earlier and contemporary experimental films make it possible to see his artistry in the light of an international experimental film context.Furthermore, the study wishes to demonstrate that the basic conditions for Kylberg’s position, can be derived from a number of cultural-political reforms which took shape during the beginning of the 1960s. Emphasized in the dissertation is the dependency relationship between Kylberg and a number of cultural-political actors, which were crucial in allowing Kylberg to place minority expressions within the framework of such a resource-dependent art form as the studio-produced nationally and internationally, marketed and theatrically screened film. The dissertation studies the film artist’s role in the Swedish welfare state and problematizes the avant-garde concept in this specific context. The study argues that Kylberg’s production conditions were directly related to a Social Democratic overall culture policy goal to promote the production of what the representatives of the implemented policy called “cultural benefits”. In 1966 a film critic identified Kylberg as “The first avant-gardist of the film reform” – a categorization that tells us something decisive about Kylberg’s social role as a film artist. If he were an avant-gardist he was neither his own, nor his artistic medium’s avant-gardist, but the cultural policy reform’s. Throughout the study, Kylberg functions as an indicator of which of the institutions of the Swedish welfare state were at the time able to finance, or not finance, the kind of experimental expression he wished to create. It can be said that the acceptance of these institutions gave Kylberg an artistically legitimate, as well as economically possible, front-runner position as one of the welfare state’s sanctioned avant-gardists.
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