| 1. |
- Berger, Erich, et al.
(författare)
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Editorial: State of the Art
- 2023
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Ingår i: State of the Art: Elements for Critical Thinking and Doing. - Helsinki : Bioart Society. ; , s. 8-17
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 2. |
- Radomska, Marietta, PhD, 1984-
(författare)
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RESURRECT.ME 2.0: Invoking the Dead, or on a Thousand (Tiny) Extinctions
- 2024
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What does resurrection mean in the digital era and beyond religious associations or sentimentality? The virtual and the physical are more entangled than they may seem, blurring the boundaries between the living and the non-living, or further: the dead. The environmental cost of generative AI might be one example. But digital worlds also play a special role in the context of the question of death as such. Around 20 years into the existence of Myspace, Facebook, and other social media platforms, these spaces have been populated by profiles of people long gone. On the other hand, digitalized venues of remembrance multiply: from digital ‘tombstones’ in China, through various memorial websites (commemorating humans and their nonhuman companions alike), to digital transformation of photography in the practices of remembering, like in the case of “New Dimensions of Testimony” by the Shoah Foundation, which enables interaction with holograms of Holocaust survivors. Yet, human (mass) death is not the only one that ‘materializes’ digitally. The Anthropocene necropolitics is being fleshed out in many ways: the sixth mass species extinction, extractivist capitalism- and war-induced ecocide, pollution, toxicity, and slaughter for the sake of slaughter. The more-than-human worlds are dying. While finding new ways of staying with and caring for ‘terminally ill’ environments – to paraphrase queer-ecocritical scholar Sarah Ensor – is a must, there is also a need for cultural and affective ways of working with the actual or potential loss, for communities to partake in. This is where the digital meets the physical, once again. Following this intuition, the present talk will zoom in on new-media artworks, design projects, or digital sound archives that venture into the living/non-living interface by bringing back to ‘life’ – even if for a brief moment – that which in one way or another has been marked as ‘extinct.’ Some of the examples include: Tanja Vujinovic’s “Carboflora,” a virtual environment populated by the plants of the Carboniferous period; C-Lab’s “The Living Dead: On the Trail of a Female,” which uses a drone with a multispectral camera to search for a potential last remaining female specimen of the “Encephalartos woodii” cycad – a plant species that does not exist in the wild; or Alexandra Daisy Ginsberg’s “The Substitute,” dealing with the extinction of the northern white rhinoceros. What do such projects tell us about practices of remembrance? How are they linked to the de-extinction movement? What do they tell us about our relation to that (more-than-human) which is gone? And perhaps, even more importantly, to that (more-than-human) which is not gone yet? Where does the boundary between the living and non-living run – if there is still one? Who is at the center of digitalized resurrections? These are some of the questions this talk aims to tackle.
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| 3. |
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State of the Art : Elements for Critical Thinking and Doing
- 2023
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present.
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| 4. |
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| 5. |
- Smolicki, Jacek, 1982-
(författare)
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Acoustethics: Careful Approaches to Recorded Sounds and Their Second Life
- 2022
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Ingår i: Prace Kulturoznawcze. - : Wydawnictwo Uniwersytetu Wroclawskiego. - 0860-6668. ; 26:1, s. 11-33
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Tidskriftsartikel (refereegranskat)abstract
- This article attempts to rethink some problematic ways and motivations for engaging in (field) recording and working with recorded sounds. Interweaving reflections from my long-term soundscape archiving initiative undertaken in Stockholm, with projects of others aiming at preserving cultures through sound, I reflect upon ethical challenges that emerge against the prospect of second and following lives and deaths of recordings. Does the second life of a recorded event risk replicating power relationships that the original recording was enmeshed in? What can be gained and, more importantly, lost while conceiving a second life of a recorded sound? This article intends to open up an array of such questions which, as I suggest, need to be taken into consideration already before and during the recording process. As a discursive tool that does not resolve those concerns but instead creates space for critical reflection, I propose a concept of acoustethics. In a nutshell, acoustethics, as this portmanteau of acoustics and ethics suggests, is an ethically informed approach to the world’s soundscapes. I argue that any kind of engagement with the auditory world through recording technologies requires careful consideration of multiple agencies contributing to the recorded sound. As a reflective attitude to the sonic realm, acoustethics acknowledges that any recording takes place within already existing fields of relations and simultaneously generates new links between subjects, histories, worldviews, technologies, and other forces. In other words, any recording is intrinsically field recording.
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| 7. |
- Jonsson, Stefan, 1961-
(författare)
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Aesthetic Knowledge of Social Transformations : Migrant Agency and Political Emergence in the Artwork
- 2020
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Ingår i: The Large Glass. Journal of Contemporary Art, Culture and Theory. - Skopje : Museum of Contemporary Art Skopje. - 1409-5823. ; :29-30, s. 10-17
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Tidskriftsartikel (refereegranskat)abstract
- To say that migration entails new forms of political emergence amounts to the proposition that migration today constitutes a ‘hypothesis’ of a coming society, where sovereignty does not translate into exclusion. Over the past two-three decades, the human sciences, helped by art and literature, have begun to explore this hypothesis. This is the context of several recent interrogations by artistic practices and aesthetic works of notions such as citizenship, borders, sovereignty, statehood and community. In this context, we can recognize migration, including the colonial legacies from which it derives and the agency that it exercises, as a political process constitutive of our future. At the core of such analyses is the process whereby the aesthetic presentation transforms political negativity, and objective historical constraints, into agency, a site of becoming.
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| 8. |
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| 9. |
- Radomska, Marietta, PhD, 1984-
(författare)
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Between Terminal Ecologies and Arts of Eco-Grief: A Queering Reflection
- 2023
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- While the notion of bereavement linked to the death of a human or to the loss of that which hasalready passed are societally accepted or even expected, the mourning of nonhuman death andecological loss has a rather different status. It is frequently described as ‘disenfranchised grief’(Doka 1989): not openly accepted or acknowledged in society. Simultaneously, in the presentanthropocenic context, where planetary environmental destruction generates unliveable spacesand amplifies ‘more-than-human’ vulnerabilities, the killing of nonhuman populations, annihilationof entire ecosystems and species extinction catalyse discussions among scientists, legal experts,activists and general society. Yet, it is not only natural-scientific and legal, but also philosophical,artistic and cultural understandings of death and eco-grief that are urgently needed. Grounded inQDS, this talk zooms in on the imaginaries and engagements with more-than-human death, as theyare interwoven through the tissues of select contemporary artworks, where ecological ontologyof death is being exposed and where ethical territories of eco-grief and mourning the more-thanhuman unfold.
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| 10. |
- Radomska, Marietta, PhD, 1984-
(författare)
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Ecologies of Death, Ecologies of Mourning: A Biophilosophy of Non/Living Arts
- 2023
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Ingår i: Research in Arts and Education. - Helsinki : Aalto University, School of Arts, Design and Architecture, Department of Art and Media. - 2670-2142. ; 2023:2, s. 7-20
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Tidskriftsartikel (refereegranskat)abstract
- In the present condition of planetary environmental crises, violence, and war, entire ecosystems are annihilated, habitats turn into unliveable spaces, and shared “more-than-human” vulnerabilities get amplified. Here and now, death and loss become urgent environmental concerns, while the Anthropocene-induced anxiety, anger, and grief are manifested in popular-scientific narratives, art, culture, and activism.Grounded in the theoretical framework of queer death studies, this article explores present grief imaginaries and engagements with more-than-human death, dying, and extinction, as they are interwoven through contemporary art. It is there where an ecological ontology of death is being exposed and ethical territories of eco-grief unfold.
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