| 1. |
- Lagerström, Cecilia, 1968
(författare)
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(O)Rättvisa i staden
- 2016
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Ingår i: Exploiting Justice: Processes, Performances and Politics - a multi/interdisciplinary symposium.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Ett gående seminarium och stadsvandring om (o)rättvisa i staden med utgångspunkt från stadsdelen Haga.
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| 2. |
- Lagerström, Cecilia, 1968
(författare)
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Walking the every day as performative event
- 2016
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Ingår i: Circle7 Practicing Communities: Transformative societal strategies of Artistic research, Nordic Summer University.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Participatory presentation on performative writing with examples from the project Gå i Göteborg (Walking in Gothenburg)/GångART.
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| 3. |
- Belgrano, Elisabeth, 1970
(författare)
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'Lasciatemi morire' & 'Rochers vous etes sourds': interpreting Arianna's tears, sighs and pain by investigating Italian and French ornaments through vocal practice-based research
- 2009
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Ingår i: Singing Music from 1500 to 1900: style, Technique, Knowledge, Asssertion, Experiment. 7-10 juli 2009. National Early Music Association International Conference, University of York, UK.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT: In my PhD research I depart from a female singer’s perspective of interpreting 17th century opera laments , based on musicologist Mauro Calcagno’s statement signifying the voice of the female singer as a symbol of Nothing in association with the concept of aesthetics in the early 17th century opera genre . The female singer, he points out, justified the relevance of “pure voice” and “over-vocalization” referring to two recurring tropes, pronounced within a larger discourse among 17th century intellectuals in Italy and France, concerned with the concept of aesthetics: the concept of nothingness and the singing of the nightingale. In this presentation I show my perceptions of the voice of Arianna. My aim is to better understand the use of ornamentation in my performance of Italian and French 17th century vocal music. Knowledge of ornamentation can be obtained by investigating at depth the singer’s process from the first encounter with the text and musical score, to the actual performance of stage. There are two important aspects I take into consideration. First, the intellectual discourse, contemporary to the creations and performances of the two laments by Monteverdi and Lambert, carries a great deal of information significant to vocal interpretation. Second, the oriental ornamentation is reflected upon the arts and architecture in Venice during the 16th and 17th centuries, but has not yet been fully addressed in relation to vocal ornamentation in the 17th century opera repertory. I have been observing the life and career of Signora Anna Renzi Romana, one of the first opera prima donnas active in Venice during mid 17th century. Her interpretations of laments and mad scenes made a great impact on her audience as well and on the intellectual academies supporting the early operatic events in Venice. As the sounding voices of the Greek Sirens seducing Odysseus and his sailors , Anna Renzi and her female colleagues seduced their audiences in the Venetian opera theaters. Renzi’s performances are described in a volume published to her honor in 1644, “La Glorie della Signora Anna Renzi Romana”. In my research I explore and reflect upon the vocal sounds of ‘trillo’, ‘esclamazione’ and ‘coup de gosier’ by merging these vocal ornaments and my experience of PURE VOICE to theories of Nothingness, debated by Italian and French17th century intellectuals in Venice and Paris. I also combine their thoughts and theories to philosophical theories of Nothing referring to Jean-Paul Sartre and Marcia Ça Cavalcante Schuback . My personal experience of the lamenting sound is then analyzed along with the glorious description of Renzi’s performances of the laments. Finally in my search for sources of vocal ornaments, I listen to voices and vocal music from the ‘east’, following the 16th and 17th century Venetian trading routes. The Eastern throat–beating ornaments and vibratos appears similar to the ones described by 17th century composers and authors like Giulio Caccini and Benigne de Bacilly, and they inspire my research towards different possible ways of performing the sighs, tears and pains of Arianna. This research and presentation is part of my PhD research project“Passionate Women’s Voices on Stage and an Interpretation of the 17th Century Lamenti and Scene di Pazzie”. See: http://www.konst.gu.se/forskarutbildning/doktorander/Elisabeth_Belgrano/
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| 4. |
- 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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| 5. |
- 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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| 6. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Digging Where You Stand? Critical approaches to participatory and activist heritage work
- 2020
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Ingår i: ACHS 2020 Futures.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Recent years have seen growing interest in participatory, community-led and activist approaches to knowledge production across a range of disciplines and practices including heritage, archive and public history work (Flinn 2011). Frequently such practices have been associated with radical and social justice orientated politics but participatory methodologies have also been critically examined as complex and contested, not least because of unequal power and trust relations often embedded in such approaches (Sexton 2015). Dig Where You Stand (DWYS), a complex mixed methods D-I-Y history methodology, rooted in history from below movements of the 1970s and expounded by Swedish author Sven Lindqvist (1978, 1979) is a still influential, fruitful yet challenging model for participatory and activist orientated heritage practices today (Flinn & Sexton 2018, von Rosen 2017). The papers in this double session will explore some of the challenges of participatory heritage and archive work by describing recent transformative developments of DWYS, combining a 1970’s ethos that ‘history is too important to be left just to historians’ (History Workshop Journal 1,1976) with contemporary critical thinking and the affordances of digital technologies, including the use of big data and social media, participatory system design, citizen sourced materials, and the many ethical concerns that are often left invisible and unexamined when studying digital archives and heritage and their affect. By doing so, the session will re-imagine DWYS and other similar D-I-Y participatory history and heritage methodologies in a dialogue with the future, opening up for multiple human, non-human and hybrid critical dialogues challenging authorized heritage discourses and practices and supporting social justice struggles in the present and the future. The papers presented represent current critical approaches to heritage, archives and digital humanities, practised across a range of disciples and developed within the joint University College London University of Gothenburg Centre for Critical Heritage Studies.
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| 7. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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Co-created staging : situating installations
- 2011
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Ingår i: Interactive Media Arts Conference, IMAC2011, Re-new digital arts festival. - Copenhagen.
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Konferensbidrag (refereegranskat)abstract
- Staging is the creative act of showing something to an audience.When staging, the artist choose and create the context, situationand structure of the presented object, play or installation. The chosen context and situation provide background for the audience interpretations. Meaning is co-created between the artist and audience, based on the cultural and individual understanding of the context and situation. The term installation is open, ambiguous and undefined. One does not completely know what to expect and where to find an installation. It is open towards many interpretations. In this paper we present how we worked with staging of two interactive installations in different exhibition situations, to provoke and motivate different interpretations, expectations and interactions. We argue for staging as a communicative strategy to attract and motivate diverse audiences and user groups to collaborate and co-create through interpretation and interaction. Further we argue that installations have to be open to many possible structures, interpretations, interaction forms and roles the user can take, and shift betweendynamically. When the user dynamically restructure, shift rolesand thereby re-situate the installation, the user is a co-creator in the staging act. We call this dynamic staging.
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| 8. |
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| 9. |
- 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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| 10. |
- Persson, Beatrice, 1963
(författare)
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Notions on Norm Critical Image Interpretation – It's not in the Image It's in Me
- 2017
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Ingår i: E17, Research conference in Umeå on the Aesthetic Subjects: Tacit knowing or just plain silence?.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Everyone is aware of the fact that we live in an image society and that it is important to discuss the significance of images in school. But discussing images, and foremost image interpretation, is complicated and multifaceted. Master students at the Art Teacher Program in Gothenburg expressed crucial concerns about this topic – for them, image interpretation triggered a conception of responsibility to reveal the images to the pupils. After further discussion we agreed upon that teachers felt a responsibility to give students good tools to be able to "read" and understand images, and by extension, to view images critically. This is the backdrop for my paper where I, based on the current Swedish curriculum for the compulsory school, preschool class and the recreation centre (Lgr 11), will discuss how to interpret and view images from a norm critical perspective using gender theory and postcolonial theory. My point of departure will be that all of us who interpret images never reveal the images as such, they are just the incentive, what we really reveal is our own preconceptions and prejudices.
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