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- Dyrssen, Catharina, 1949
(författare)
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Closing remarks
- 2014
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Ingår i: Method, process, reporting. Artistic research yearbook 2014. - 9789173072441 ; , s. 194-195
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Brief comment on artistic research
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| 2. |
- Dyrssen, Catharina, 1949, et al.
(författare)
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Cross- and transdisciplinary challenges: Doctoral education at Chalmers Architecture
- 2014
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Ingår i: Archidoctor Universalis: Future of research in European architectural education. ; , s. 362-376
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Academic research and doctoral education undergo considerable changes as part of 'knowledge society', and emerge as a key political and economic matter of national competition. The article discusses how this affects architectural research education in Sweden and present the structure of PhD studies at the Department of Architecture at Chalmers University of technology, Gothenburg.
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| 3. |
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| 4. |
- Dyrssen, Catharina, 1949, et al.
(författare)
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Key urban projects: Local-regional planning tools for fragile urban landscapes
- 2014
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Ingår i: World in Denmark 2014: Nordic encounters. Travelling ideas about open space design and planning.
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Konferensbidrag (refereegranskat)abstract
- In Sweden, cities are promoted as drivers of economic growth and solutions for decreased climatic influence, resulting in a dominant focus on development of large cities in the planning debate and sustainability discourse. As discussed by Harvey (2006), Massey (2007) and Tietjen (2011), this increases differences between growing and declining cities and regions, and escalates uneven geographic development. The process produces fragile urban landscapes, i.e. local situations short of resources, skills and mandates to handle change and deal with in-lock of sense-making structures, thereby concealing actual site specific possibilities and the potential of development of small towns and rural areas. This renders the need for new relevant planning tools with onset in a relational perspective on space (Harvey 2006, Massey 2007), urban ecologies (Guattari 1989, Banham 1971) and design-based, proformative approaches (Solà Morales 2008, Bunschoten 2001, Cuff & Sherman 2011). This article argues for key urban projects as a relational, place-specific, operative planning tool that can open and lock urban transformation, secure and guide implementation and reveal strategies to develop fragile urban landscapes, with ability to: handle centre-periphery and urban-rural as dynamic contingencies; combine the capacity of different urban ecologies; relate the formation of urban landscapes to different scales; optimise combinatory potentials of local-regional resources; secure forms of operative collaboration; trigger critical negotiations; and integrate spatial implementation to the planning process.These abilities are tested through design-based research-methodology with onset from works in progress in five Swedish contexts of practice that outline a spectrum of important characteristics of fragile urban landscapes.Key Urban Projects are identified and developed through a mapping process iterating between identification of specific issues and the outline of their relevant contours, a process that both visualize and establish assemblages (DeLanda 2006). Key Projects gain their potential through stepwise change of the existing material landscape and its urban ecologies.
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| 5. |
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| 6. |
- Dyrssen, Catharina, 1949, et al.
(författare)
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Sound and other spaces
- 2014
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The book, edited by Catharina Dyrssen, draws on coclusions from two larger artistic research project on urban sound environments, sound art, acoustic space, and spatial aspects of sound. The chapters comprise reflections on sound quality ans sound awareness, sound design and audio editing, technical solutions for artistic problems, and how sound can be composed and used in architectural and urban design. In text and images the four authors discuss a number of investigative projects performed within the artistic and interdisciplinary research group Urban Sound Institute.
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| 7. |
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| 8. |
- Dyrssen, Catharina, 1949, et al.
(författare)
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The Sound Labyrinth Project: Catalyst for Creative Activity
- 2012
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Ingår i: Interference: A Journal of Audioculture. - 2009-3578 .- 2009-3578. ; 2012:2
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Tidskriftsartikel (refereegranskat)abstract
- Two large sound installations, developed by transdisciplinary sound art and research group Urban Sound Institute, created a meeting place for one year of artistic and pedagogic activity in a Swedish regional museum. The project involved a historic sound archive, a string quartet, a local radio station, pedagogic workshops, several schools, children’s groups and musical education programs. The installations created a complexity of interior spaces, and acted as huge musical instruments to be ‘played’ by professional musicians, dancers and visitors. Through advanced computer programming and careful composition, modeling and distribution of sounds as words, narratives, music, space, bodily experiences and memory, the Sound Labyrinth allowed for great variations, durability over time, and different forms of interaction. The article describes the project, and discusses the exhibition as a platform for collective, multiple interaction; as an expanded musical-architectonic composition; and as a contribution to artistic research methodologies relevant for sound spaces within so-called sound-making disciplines.
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| 9. |
- Hellström, Björn, 1959, et al.
(författare)
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Modelling the shopping soundscape
- 2011
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Ingår i: Journal of Sonic Studies. - Leiden : Leiden University Press. - 2212-6252. ; 1
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Tidskriftsartikel (refereegranskat)abstract
- This article’s pivotal theme is: “How to compose a site-specific sound-art installation for a commercial space in order to improve conditions, while taking perceptual, social, aesthetical, temporal and spatial criteria into account” The interdisciplinary, art-based research approach is derived from the concept of acousmatics, i.e. the process of apprehending any sound, the source of which is invisible. Acousmatic perception concerns the everyday identification process; when lacking visual contact with the sound source, we automatically seek references, such as social (what produces the sound and what is my relation to it?), aesthetical, spatial and temporal (e.g. orientation and demarcation). The acousmatic concept identifies phenomena based on individually, culturally and spatially conditioned experiences. Today, a shopping culture dominates urban space. Indoor malls expose us to all types of acousmatically perceived sounds: jingles, signals, music and muzak from public loudspeakers, mobile devices, etc. In this respect, one could claim that the soundscape of the shopping culture embodies an acousmatic environment. In 2009, the research and sound-art group Urban Sound Institute (USIT) created a permanent sound installation in a shopping mall (Gallerian) located in downtown Stockholm. This installation serves as a case study for the present paper. The artistic assignment involved the creation of a meeting place without material devices as well as the enhancement of the overall atmosphere. The research objective was to elucidate different qualities of the sound installation in regard to the acousmatics of the shopping mall, promoting discussions on the articulation of sound-space configurations in relation to time and site-specific context, issues on musical-architectural qualities as well as objective, subjective and inter-subjective interrelationships between the experience of the sound-art installation and the experience of the shopping mall soundscape. Other applied, interrelated concepts are metabolic environment and masking- and cutting effects.
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| 10. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2014
- 2014
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Annan publikation (övrigt vetenskapligt/konstnärligt)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.
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