| 1. |
- Eurell, John-Christian, Teol DR, 1987-
(author)
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Doktorandpresentation
- 2018
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Conference paper (other academic/artistic)
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| 2. |
- Samuelsson, Lars, 1975-, et al.
(author)
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A Counterfactual Argument for Environmentalists to Endorse Non-Instrumental Value in Nature
- 2021
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In: Abstract Book. - Aten : Athens Institute for Education and Research (ATINER). - 9789605984045 ; , s. 27-28
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Conference paper (peer-reviewed)abstract
- Environmentalists care about nature. Often, they reason and act as if they consider nature to be valuable for its own sake, i.e., to have non-instrumental value (often referred to as intrinsic value). Yet, there is a rather widespread reluctance, even among environmentalists, to explicitly ascribe such value to nature. One important explanation for this is probably the thought that such value, at least when attached to nature, is mysterious in one way or another. Anthropocentrists within environmental ethics have argued that the idea of non-instrumental value in nature is problematic in various ways (see Samuelsson, 2010a, for references), and some so called environmental pragmatists have maintained that a focus on non-instrumental value in nature among environmentalists is counter-productive (see Samuelsson, 2010b, for a critical account of such environmental pragmatism). In addition, Bryan Norton‘s influential convergence hypothesis states that from a practical point of view it makes no or little difference whether we ascribe noninstrumental value to nature, given the depth and variety of instrumental value that it possesses (Norton, 1991, 237-43).Several environmental ethicists have provided replies to this pessimistic outlook on the prospects for non-instrumental value in nature (e.g., Callicott, 1995; McShane, 2007). In this paper we add to this list of replies by providing a counter-factual argument, applying to anyone who genuinely cares about nature, for ascribing non-instrumental value to it. Even if we accept, for the sake of argument, something like the convergence hypothesis, relying on nature‘s instrumental value for preservational purposes is risky business for environmentalists. We can easily imagine a scenario where some crucial instrumental value that is in fact (now) possessed by some preservation-worthy natural entity (such as a species or a diverse and unique ecosystem) is absent. Yet, even under such circumstances, environmentalists would generally want to preserve this entity. In other words, the convergence hypothesis can only be contingently true, and once we acknowledge this fact it becomes clear that giving up on the non-instrumental value of nature means losing an important source for providing arguments to the effect that we ought to preserve certain natural entities.In the paper we develop this argument, go through some possible replies to it and briefly consider the theoretical costs that might be involved in ascribing non-instrumental value to nature. We argue that with respect to most accounts of such value, whatever theoretical costs one might claim to be involved in ascribing such value to nature, these costs are not higher than the costs of ascribing it to anything else.
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| 3. |
- Coble, Mary
(author)
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How of Words: Queerness-Panel
- 2015
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In: As part of the Gothenburg International Biennial for Contemporary Art, held at the Roda Sten Konsthall, Gothenburg, Sweden, November 2015.
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Conference paper (other academic/artistic)abstract
- About House of Words (HoW): refers to “la Casa de la Palabra” – a traditional meeting place common in Equatorial Guinea and some African societies providing a hub for oral history, storytelling, performance, and ritual. GIBCA 2015’s HoW functions as a social platform for multidisciplinary discussion, exchange, and collaboration throughout the biennial and beyond. Its construction, led by Santiago Cirugeda, has consisted of a collective process engaging individuals and local communities. HoW has been built with recycled materials and is temporarily attached to the Röda Sten Konsthall. HoW is now open to everyone and is activated by a program of filmed roundtable sessions conceived by artist Loulou Cherinet. Each session is a collective experience: there are Storytellers, a Hostess/Host, a Camera, and sometimes an Audience. The Storytellers are specially invited guests who share ideas about a specific experience or topic over a meal. The Hostess or Host takes care of them, the Camera circulates slowly in the middle of the table, and the Audience joins in the conversation. On the Queerness Session: In collaboration with Goldsmiths, University of London and Valand Academy, Gothenburg, this session will Interrogate the politicization of identity and celebration of non-conformist ambiguity. Participating storytellers: Gavin Butt - artist and art historian, professor Goldsmiths, University of London, UK Dr. Henriette Gunkel - Lecturer in Visual Cultures, Goldsmiths, University of London Tanya Charif - artist, aktivist, founder of G.I.A Gays In Angered Hannah Heilmann - artist and lecturer, Royal Academy of Art, Copenhagen Mary Coble - artist and professor, Valand Academy Anna Linder - artist, curator and researcher, Valand Academy
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| 4. |
- Coble, Mary, et al.
(author)
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"It's a Joke" Seminar, Co-organized with Ulla Hvejsel
- 2015
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In: 13 Festivalen-Festival of Performance Art, Konstepidemin, Gothenburg, Sweden, January 2016.
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Conference paper (other academic/artistic)abstract
- ’Performance’ is a word that is both used to describe efficiency and productivity while also being a genre of art practises that may seem absurd and even a bit ridiculous to some – especially if thought about in terms of efficiency! A performance art version of the classic light bulb joke, which also points to efficiency, goes: ”Question: How many performance artists does it take to screw in a light bulb” Answer: I don’t know, I didn’t stay to find out” In this seminar we will embrace both the absurdity and the ridiculousness of performance art, while also examining the performance artist as a joke. We will discuss jokes, play, hilarity frivolity, and seriousness, and debate whether nonsensical acts may in fact be efficient calls to action. We will question what is actually funny and discuss the difficulties of explaining both performance art and jokes, as well as lots of other ridiculously important topics. This seminar is co-organized by Mary Coble and Ulla Hvejsel with the support of 13 Festivalen 2016. “It’s a Joke” Schedule Monday January 4th, 2016 10-10:30 Seminar Introduction 10:30-11:30 Tactical frivolity Mary Coble will present an investigation of Tactical Frivolity as a strategy of artistic and activist protest. Tactical Frivolity involves humor, loudness, performativity and peaceful non-compliance as forms of resistance. It includes pieing, drag, glitter bombing, and various forms of political theatre as opposition to disciplinary politics and the control of seriousness. 11:30-12:00 Discussion 12-13:00 Lunch 13:00-15.30 (with a coffee break from 14-14.20) LMAO – laughing my ass off In the afternoon, as a tribute to all those performance artists that keep making complete asses of themselves Ulla Hvejsel will put her ass on the line and let it host a panel discussion with specially invited guests. Together, they will look into jokes about performance artists – and try to figure out and explain what the point is, and perhaps also close in on some points about performance art. It is common knowledge however, that a joke is just not so funny anymore once you explain why it is funny, and that may also be the case for performance art. However, in the rubble of the broken joke, a new joke may appear – and that joke might just be the one that can make us laugh in new and unexpected way at things we never realized were ridiculous before. 15.30 – 16.00: Wrap up
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| 5. |
- Brauer, Rene, et al.
(author)
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Trust vs. indirect harm of research: Introducing the defiltration maxim
- 2016
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In: RSA (Regional Studies Association) Conference: “Towards Impact and Contributions to Knowledge”, 27-28 October 2016, Newcastle, UK.
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Conference paper (other academic/artistic)abstract
- “Trust is central to our social world (…) and to the knowledge claims we make as academics” (Withers, 2016). In the context of human geography and other regional studies, however, trust has not been subject to detailed review, including inquiries into under what conditions trust in the testimony of geography can be warranted, and possibly lost. While research ethics committees represent a formal accountability system set out to ensure that geographers follow ethical guidelines in order not to cause harm, for research-induced harm to be identified there must be a direct connection between research and victim. This raises the question of what to do when there are premises suggesting that research may cause harm indirectly. How can we as researchers deal with this dilemma until the link between research and harm has become formalized through an accountability system? In this paper, we address this problem through the example of collective research practices of human geographers, whose central analytical categories of ‘rural’ and ‘urban’ are amenable to harmdoing when emulated by policymakers in subsequent so-called “rural” and “urban” development programs. Realizing that raising awareness about the potential harms of research is a time-consuming process, there is a need for provisional solutions in the meantime. In this sense, informal accountability procedures play an invaluable role as they offer guidance to individual researchers how to scrutinize their own positionalities. In this presentation, we propose a new informal accountability procedure that can help the individual researcher evaluate the analytical value of some potentially harmful concepts in order to minimize their impact. Given that human geography has been defined less by its canonical works but rather by its canonical concepts (Johnston & Sidaway, 2014), we must ensure that the canonical concepts we rely on are of such quality as to ascertain solid geographical inquiry. This is particularly important in times of greater academic transparency, when uncritical use of canonical concepts is likely to undermine trust in human geography.
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| 6. |
- Coble, Mary
(author)
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“Queer Strategies of Resistance”-Talk
- 2015
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In: At Högskolan för design och konsthantverk, Gothenburg, Sweden, December 2015.
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Conference paper (other academic/artistic)abstract
- Mary Coble, artist and educator at Valand Art Academy, will discuss queer strategies of resistance through artistic practice and activism. The talk will include examples from Coble’s current research project Gestures of Defiance, which looks at symbols of protests such as the raised fist, as well as uses of tactical frivolity (such as glitter bombing or drag). Through live work and multimedia installations - including photography, video, sound and sculpture - Mary Coble aims to manifest problems of bodily, societal and symbolic navigation particularly focusing on issues of injustice and normative boundaries. Recurrent themes in Coble’s work revolve around queer politics, poetics and histories, and the projects are often site-specific, research-based and - from time to time – collective and participatory.
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| 7. |
- Amundin, Mats, et al.
(author)
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A proposal to use distributional models to analyse dolphin vocalisation
- 2017
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In: Proceedings of the 1st International Workshop on Vocal Interactivity in-and-between Humans, Animals and Robots, VIHAR 2017. - 9782956202905 ; , s. 31-32
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Conference paper (peer-reviewed)abstract
- This paper gives a brief introduction to the starting points of an experimental project to study dolphin communicative behaviour using distributional semantics, with methods implemented for the large scale study of human language.
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| 8. |
- Schötz, Susanne, et al.
(author)
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Phonetic Characteristics of Domestic Cat Vocalisations
- 2017
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In: Proceedings of the 1st International Workshop on Vocal Interactivity in-and-between Humans, Animals and Robots, VIHAR 2017. - 9782956202905 ; , s. 5-6
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Conference paper (peer-reviewed)abstract
- The cat (Felis catus, Linneaus 1758) has lived around or with humans for at least 10,000 years, and is now one of the most popular pets of the world with more than 600 millionindividuals. Domestic cats have developed a more extensive, variable and complex vocal repertoire than most other members of the Carnivora, which may be explained by their social organisation, their nocturnal activity and the long period of association between mother and young. Still, we know surprisingly little about the phonetic characteristics of these sounds, and about the interaction between cats and humans.Members of the research project Melody in human–cat communication (Meowsic) investigate the prosodic characteristics of cat vocalisations as well as the communication between human and cat. The first step includes a categorisation of cat vocalisations. In the next step it will be investigated how humans perceive the vocal signals of domestic cats. This paper presents an outline of the project which has only recently started.
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| 9. |
- Grinell, Klas, 1969
(author)
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The Soteriology of Heritage: UNESCO, salvation and the museum
- 2018
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In: Museums and the sacred: Material for a discussion / Editor François Maires. Papers from the ICOFOM 41th symposium held in Tehran (Iran), 15-19 October 2018. - Paris : IFOCOM. - 9789290124474
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Conference paper (peer-reviewed)
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| 10. |
- Lund, Martin, 1984-
(author)
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Signifying Supersession : Christian Seder "How-To" Guides, Affordances, and Rhetorics of Authenticity
- 2023
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Conference paper (other academic/artistic)abstract
- The rapidly growing popularity of Christian Seders in recent years has been accompanied by the equally rapid emergence of a genre of “how-to” guides that tell celebrants, among other things, how to structure their evenings – what to do and when – and how Jesus is supposed to be understood to have fulfilled the hopes and promises embedded in the Seder and Haggadah. This paper positions the genre as a social phenomenon tied to a process of authentication, through which Christian Seders are simultaneously re-positioned as a form of authentically Christian practice and legitimized as such over and against ongoing critiques that the practice is an appropriative and supersessionist one. The paper maps and discusses recurring elements in the guides and analyzes their shared symbols, ideas, and objects to highlight the major constituent parts of supersessionist rhetorics of authenticity about Christian Seder practices. Using a critical form of social semiotics, the analysis highlights how guide-authors navigate both the modal affordances of traditionally Jewish practice and narrative and an historically Christian epistemological framework in their commitment to suturing them into a newly-fabricated and artificially-aged whole. This suturing is an appropriative process that often requires overexplicit Christian or Christianizing anchoring of core semiotic resources for Christian Seders to be legitimized. As historically conceived, neither Seders nor, for example, the conception of Jesus as the Paschal lamb or as Jewish, allow for easy cross-cultural translation; both modalities need to be actively shaped for any claim that they are related to be made. This shift, or suturing, may entail linking the New Testament last supper to the Passover meal or convincing readers how an element of the Seder should be understood to symbolize something Christian, often Easter-related. This is neither a neutral nor self-evident reframing of the Seder; how-to guides allow socially situated, often but not exclusively white US American Evangelical Protestants, to name and claim a Jewish practice as their own in a dual sense: on the one hand, they demonstrate the practice for newcomers and, on the other, justify, legitimize, and mark it as authentic.
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