| 1. |
- Bowman, Jason E., 1967
(författare)
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De-Imagining Critical Communities
- 2015
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Ingår i: Community Arts? Learning from the Legacy of Artists' Social Initiatives Conference, Liverpool, 1st of nov.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I contributed a presentation and moderated a session. This daylong event brings together distinguished thinkers and practitioners from the field of community arts, in order to discuss the legacy of such practices in the light of a renewed interest in socially engaged art. This event will re-open conversations and instigate new ones, ensuring that important work undertaken in the 1970s and 1980s continues to resonate. Speakers: Assemble, Ania Bas, Sonia Boyce, Jason E. Bowman, Polly Brannan, Anna Colin, Anna Cutler, Rosie Cooper, Janna Graham, Granby 4 Streets Community Land Trust, Jeanne van Heeswijk, Homebaked, Sophie Hope, Nina Edge, Bill Harpe, Wendy Harpe, Loraine Leeson, Angela McKay, Andrea Phillips, Laura Raicovich, Alan Read, Frances Rifkin, Sally Tallant, Nato Thompson and Ed Webb-Ingall. This event is part of a weekend of programmes in Liverpool and beyond that considers current approaches in socially engaged art
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| 2. |
- Leach, Maddie, 1970
(författare)
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Engaging with Place: Ruin, Memory, Regeneration : Att hämta vatten – The Fountain: An art-technological social drama
- 2022
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Ingår i: The Curatorial Thing: Audacious Landscapes. - Copenhagen, Denmark : SixtyEight Art Institute.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- AUDACIOUS LANDSCAPES took place in Copenhagen 1 – 8 October 2022, with workshops and lectures led by invited culture, science, and technology professionals. The symposium's goal was to move participants’ thinking from art histories of grief to imaginative proto-histories of thriving in profoundly changed ecosystems and to move critical inquiry from a modernising to an ecologising mindset. The aim was to find a triad of art histories, climate narratives, and innovative spatial-natural theories that could enable a new climate art history. The paper ´Att hämta vatten – The Fountain: An art-technological social drama' was presented as part of a panel with the theme of Engaging with Place: Ruin, Memory, Regeneration.
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| 3. |
- Bowman, Jason E., 1967
(författare)
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Speaking Mandy
- 2014
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Ingår i: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I will present at the very beginning of a research process, towards the making of a new art work through which I aim to interrogate the heritage of the phonocentric Oralist tradition in the education of Deaf people. I seek to ‘read’ and deconstruct Alexander McKendrick’s film, Mandy (1952) through a co-participatory process - with Deaf people educated through Oralism and of the same generation as the child protagonist in the film - to question the advocacy of entry into the symbolic via the ‘spoken’ and ‘speech-identification’ and its relations to psychoanalytic and inter-subjective, spectator-focused film theory. Through mimetic and performative processes inherent to Oralism (such as speech-reading, lip-reading, ventriloquism, echo-practice, dubbing and lip-synchronisation) I aim to adapt Mandy - itself an adaptation of Hilda Lewis’ novel, 'The Day is Ours' (1947) – in ways that reveal the psychoanalytic dynamics of shame at play in Oralism’s delineation of Deafness as a culture and its adherence to Deafness as a disability.
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| 4. |
- Bowman, Jason E., 1967
(författare)
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Expert Panelist : Visible Art Award
- 2015
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Ingår i: Visible Award Parliament.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I was invited as an expert panelist for the Visible Award. The Visible Award is the first international production award devoted to art work in the social sphere, that aims to produce and sustain socially engaged artistic practices in a global context. Part of the broader research project, aims to research, support and offer a discursive and productive platform to innovative artistic projects that are able to become visible also in fields other than the artistic ones.
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| 5. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Suriashi as a ceremonial, subversive act
- 2019
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Ingår i: WNM 2019: Walking’s New Movements’: a conference to discuss the latest developments and future prospects for radical walking and walking arts.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Abstract My presentation departures from my PhD project ‘Suriashi – an interventionist practice in urban spaces’, where I look at society from within a Japanese practice called suriashi. Suriashi is practiced in performance, martial arts and Sumo wrestling. On stage, suriashi often represents the traveler in constant flux, either travelling between geographical places or travelling from a spiritual state to a human state. The practice not only depicts geographical places, it also depicts metaphysical and liminal spaces and time. For my research, I have since 2014 practiced suriashi at a very slow pace in urban spaces, in squares and on streets, inside busy places, as a solo act, a conversation act, an activist act, a thing-to-do-together-act, a gift-act, a friendship act etc. I will present what I have found since I started to practice in 2000 with the master Nishikawa Senrei in Kyoto. The slow practice has become a methodology to approach spaces, while investigating the location of bodies and immaterial and material monuments, and thereby challenge how we relate to each other and to spaces.
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| 6. |
- Rosen, Astrid von, 1964
(författare)
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Scenographic approaches: conceptualizing multisensory heritage
- 2017
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Ingår i: GPS400 conference 8-9 November 2017.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- During the last decades the concept of scenography has not only undergone considerable theorization but has also expanded beyond more traditional theatrical settings to include potentially all environments, objects, actors and actions (McKinney & Butterworth 2009, Lotker & Gough 2013, McKinney & Palmer 2017, Aronson 2017). This expansion has to an increasing extent emphasized the critical, transformative potential of embodied, multisensory dimensions of scenographic events emphasizing the roles of participants and performers. In recognition of this the aim of my presentation is to identify productive approaches within scenography research to better conceptualize and examine multisensory heritage. In particular the paper will explore relational, affective and material approaches to multifaceted performative, socially engaged and artistic events. I will for example look into Dr Alda Terracciano’s multisensory digital installation Zelige Door on Golborne Road from the arts and heritage project Mapping Memory Routes of Moroccan Communities.
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| 7. |
- Rosen, Astrid von, 1964
(författare)
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Database as Utopian Performer
- 2021
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Ingår i: ANTS Utopia and Performance, Stockholm, 30 september-02 oktober, 2021.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Abstract: In this paper, a relational database, a digital technological device, constructed by humans for humans, is understood as an active agent, a precarious and even utopian performer, acting in the broader field of performing arts historiography. The database was constructed, and is still being developed, within a cross-disciplinary research project called Expansion and Diversity: Mapping and analysing independent performance in Gothenburg 1965-2000 (funded by the Swedish Research Council). During 2021, the last year of Expansion and Diversity, as project leader I find it timely to reflect upon and analyse the particular role of the database in relation to the ambitions and dreams connected with its existence. With the Swedish city of Gothenburg as a case study, the role of the database was and still is to help better representing and making accessible the complex diversities of independent performing arts from 1965 to 2000. On the one hand, I can demonstrate that the database is capable of doing precisely this and explain how it does it. On the other hand, since its launch in 2020, the database has been described as ugly, difficult to operate, lacking functions, or unable to meet wishes for archival representation. To debate and explore these frictions, I have started to play with the idea of understanding the database as a utopian performer, an agential feature, who affects and is affected by, the humans engaging with it. Drawing on Victor Hugo, I will start by considering the database-performer “utopian” as it thrives on a scholarly dream of a future performing arts historiography that will be more just, inclusive, diverse and democratic. Second, by turning to Slavoj Žižek, I will grapple with the urgent struggles and areas of friction involving the database. For example, in what ways does it account for and represent the materialities of performance, the materialities of archival remains as well as the material dimensions of scholarly work? Equally urgent is to address the frictions between the project’s findings and common media and historiographical beliefs of what groups and features are “important” to represent. Third, the database forms part of a participatory or “dig where you stand” approach in terms of practitioner involvement in the research. As suggested by Jill Dolan, utopia “takes place now, at the interstices of present interactions, in glancing moments of possibly better ways to be together as human beings”. By including the relational database among the “beings” forming utopia in the present, I yearn to find ways of accounting for the potential community building that goes on in the here and now, in the everyday struggle to shape and shift performing arts historiography.
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| 8. |
- Akner-Koler, Cheryl, 1956-, et al.
(författare)
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Sharing Haptic Attributes : Model development of 4 haptic attribute models for hand, nose, mouth and, body
- 2020
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Ingår i: Working Together 2020.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Our topic concerns how to conduct practice-based research between and within three aesthetic disciplines: sculptor, professional taster, and performative artist. We continue to work with the material and experiences developed during the 3-year VR-funded HAPTICA research project. Our plan is to actualise a few practical situations that show how we gained both a deeper aesthetic knowledge within our own artistic disciplines and grew more sensitive and knowledgeable about the challenges faced in the other disciplines. The overall topic has been to expand the field of aesthetics by including the proximity senses: tactile, haptic, smell, taste, and movement by conducting artistic research in haptic.
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| 9. |
- Bowman, Jason E., 1967
(författare)
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Scavenging Surveillance
- 2015
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Ingår i: WATCHED! Symposium 7-8 oktober. Surveillance Art & Photography in Europe post 9/11'.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Jason E. Bowman will examine his 2009-10 project Untitled (on a day unknown), commissioned by the Whitworth Art Gallery. Bowman worked with Out in the City - a group of LGBTQ senior citizens - to exhume then re-iterate and interpret a court case of a group of 29 men tried for homosexual crimes in 1936 in a small English town. From multiple archival resources - newspaper reports, criminal and court records etc. – the trial, its mediation within popular press and its meanings within a culture of inter-war years surveillance were re-traced. Via a performative reiteration of the trial, held in private, a series of pinhole photographs and a suite of drawings, conducted from memory by a official court artist, were produced, then co-exhibited. Jason will discuss the relations between the psychoanalytic culture of shame, the performativity of the legal body, and of scavenging amidst an historiography of surveillance as a method to ingeminate the queered archive as a site of trauma, violence and inspection.
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| 10. |
- Mistry, Jyoti, 1970
(författare)
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Decolonising Film Education
- 2020
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Ingår i: Film Education Journal. - Scotland : SCOTTISH INTERNATIONAL FILM EDUCATION.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The discussion around how to develop curricula that are inclusive and reflexive of their historical and epistemic positions has grown in urgency. This is connected to discourses around the call for decolonising institutions, reconstituting teaching-learning frameworks and revitalising pedagogy, which draws from and includes multiple experiences and subjectivities present in the classroom. How then do we approach the necessity for revising received certainties of western knowledge paradigms and reference points to include histories, experiences and image-making practices that draw from multiple positions and perspectives? More significantly, images (and image-making) are increasingly central to modes of expressing research processes and outcomes across faculties and disciplines. Experiments in decolonising pedagogy implies that there are no given certainties of what decolonising might mean in image-making beyond its metaphoric meanings. The approach suggests working through historical and contemporary power relations in representations to encourage collaborative understandings of what the “decolonial” might be that advances active teaching-learning and encourages critical thinking which is central to the idea of critical pedagogy. More importantly how does this relate to the contemporary issues in film education where online platforms are increasingly central to education and exhibition (dissemination) of content. Drawing from the conference-workshop titled: Decolonising Pedagogy: Exploring processes in image-making as a case study this presentation provides some reflection on the implications of shifting paradigms and challenging received canons and addressing an integrated disciplinary approach to other (across) disciplines. This presentation will offer a set of conceptual possibilities gleaned not just from this particular workshop-conference but site some examples from visual methodologies framed by the BRICS (Brazil, Russia, India, China South Arica) geo-economic alliance film practice research. The ideas proposed in this presentation will further suggest that strategies for active learning implies not just a radical shift in pedagogic approaches but that the re-examination of the curriculum advances socio-political enquiry, affirming critical thinking by encouraging student engagement with curriculum (content) and the how (methods) of what is taught (not just the what (content) of the curriculum) is paramount to active learning.
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