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  • Orru, Anna Maria, 1976-, et al. (författare)
  • AHA! festival 2016
  • 2016
  • Annan publikation (övrigt vetenskapligt)abstract
    • For the third year, the AHA festival investigates the meeting between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture and the Department of Physics. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about exploring the world through art and science. We invite scientists (physicists, historians, astronomers, engineers), artists (dancers, musicians, painters, poets, acrobats) who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.The first year’s theme ’Embodiment’ (2014) explored the body as our anchor in the world, followed by the 2015 theme on ’Numbers’, a delightful net we cast over the world. This year's theme is ’Uni-verse,’ again a natural consequence of our interest in the relation between art and science. The elemental force that drives science as well as art is curiosity. Come be curious with us! During the festival we have chosen to divide the word universe into three: uni and "-" and verse. Uni means that something is combined into a whole. Verse means that we are turned in a direction, the origin of the word tells us that it is the plow that turns at the end of the field. And the dash "-" is all the spaces and cracks where new discoveries can grow. Art and science unfolds in the gap between what we know and what we want to know.
  • Orru, Anna Maria, 1976-, et al. (författare)
  • AHA! festival 2014
  • 2014
  • Annan publikation (övrigt vetenskapligt)abstract
    • ”Science and art” is the typical motto of a polytechnic, with the Royal Institute of Technology in Stockholm as a Swedish example. Only too seldom do we have occasion to ask ourselves what the words are meant to imply.The Royal Institute of Technology received its emblem in 1827. At that time, ”science” referred to theoretical knowledge, and ”art” to practical ability. Our understanding of the world around us on the one hand, our capacity to change it on the other – in both cases in a systematic or methodical fashion, and in both cases in broad generality. Today, we would rather speak of theory and practice, but the question is essentially the same: how do we go from thought to action, and how do we get back again?But the meaning of the two words was soon to change. Today, ”science” no longer refers to systematic knowledge, but rather to a highly professionalised, specialised and often technically advanced activity intended for the production of empirically secure facts. Similarly, ”art” is no longer a methodical ability, but rather a complex and autonomous activity comparable to science: the creation of images, sounds, and other forms of sensuous experience with a most immediate effect. Forms that grab hold, shake up, leave us at a loss. Experiences that make us question ourselves and the world around us.The relation between science and art has become more complex, but is just as important to attend to. Their meeting is still that of theory and practice, but also something more: a meeting of causal connections and meaningful coherences, of given conditions and unsuspected possibilities, of the order of things and our own place within it.By bringing together science and art, architecture provides an ideal playing field for such a confrontation. This is why the Department of Architecture at the Chalmers University of Technology has initiated the AHA! Festival, October 21–23, 2014 that, during three days of lectures, workshops, conversations, exhibitions, concerts, performances, and mingles, will offer thought-provoking experiences, hands-on surprises, itinerant perspectives, and savoury ideas. In this way the festival welcomes students and researches at Chalmers and the University of Gothenburg to turn the searchlight onto the relation between two different– but equally important – human activities.
  • Wilson, Mick, 1964- (författare)
  • White Mythologies and Epistemic Refusals: Teaching Artistic Research Through Institutional Conflict
  • 2020
  • Ingår i: Teaching Artistic Research: Conversations Across Cultures. - Berlin : De Gruyter. - 3110662396
  • Bokkapitel (refereegranskat)abstract
    • This essay outlines a heuristic model of a teaching practice that attempts to operate within the fundamentally contested field of artistic research by exploring the terms and processes of conflicted institutional practices and rhetorics. Taking account of the different ways in which artistic research has become a highly visible moment of institutional conflict, this paper outlines an approach to teaching early-stage researchers through active processes of knowledge conflict. The model outlined here proposes a group process by which fault-lines of conflict and disagreement may be thematized and operationalized within a teaching praxis. The provisional model being proposed is based upon concrete experiment and application over the last decade in a range of formal and informal educational settings.
  • Orru, Anna Maria, 1976-, et al. (författare)
  • AHA! festival 2015
  • 2015
  • Annan publikation (övrigt vetenskapligt)abstract
    • The AHA festival investigates the borders between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about the space between art and science. We invite scientists (physicists, historians, mathematicians, medical students), artists (dancers, musicians, painters, poets, chefs) and not least architects, who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.
  • Grillner, Katja, 1970- (författare)
  • När arkitektur är arkitektur är arkitektur konst
  • 2001
  • Ingår i: Det transparenta huset : Om glas och ljus i konst och arkitektur .... - Stockholm : Statens konstråd. - 91-974028-6-9
  • Bokkapitel (övrigt vetenskapligt)
  • The Best of New Urbanism: Selected Articles & Essays 2002-2012 : Celebrating the 20th Anniversary of Congress for New Urbanism
  • 2012
  • Samlingsverk (redaktörskap) (övrigt vetenskapligt)abstract
    • <p>This unique book brings together, for the first time ever, a collection of probably the best papers &amp; essays written on the international phenomena known as new urbanism. The range of articles spans different tenets of the movement, its theories and principles, methods &amp; tools, contributions &amp; critique and much more. The authors originate from variety of disciplines such as, sociology, public policy, human geography, economics, urban planning, urban design, architecture, real estate development and urban studies. It is a unique and timely collection of new and older works, freshly complied for the 20th anniversary of congress of new urbanism and the new urbanism movement. This volume is a limited release printed only for academia, faculty and students</p>
  • Asgaard Andersen, Michael, 1973-, et al. (författare)
  • Paradoxes of Appearing: Essays on art, architecture and philosophy
  • 2009
  • Bok (övrigt vetenskapligt)abstract
    • The book contains a collection of essays by scholars and artists from a range of different fields including art, art history, architectural theory and philosophy. The essays are based on papers given at a symposium in Copenhagen in June 2008 and refer to the following considerations: When spectators confront and designers invent works of art and architecture, vital questions regarding their appearance arise. These are not simply questions about what appears, also what does not, i.e. what withdraws when works are experienced and created. How do we cope with this withdrawal, with latencies that escape concretization? What are the productive paradoxes associated hereto and how do they influence the processes of making? Based on multiple discourses on these subjects, contemporary positions in art, architecture and philosophy draw up new challenges, especially with regard to the creative practices. Within and between these positions emerge potentials for modes of thinking and doing with a new sensitivity.With contributions by Michael Asgaard Andersen and Henrik Oxvig, Renaud Barbaras, Andrew Benjamin, Olafur Eliasson, Sanford Kwinter, David Leatherbarrow, Martin Seel, David Summers, and Sven-Olov Wallenstein.
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