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- Orru, Anna Maria, 1976, et al.
(author)
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AHA! festival 2016
- 2016
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Other publication (other academic/artistic)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.
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| 2. |
- Orru, Anna Maria, 1976, et al.
(author)
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AHA! festival 2014
- 2014
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Other publication (other academic/artistic)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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| 3. |
- Geib, Jonathan, 1979
(author)
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Ett skepp kommer lastat...
- 2015
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Other publication (other academic/artistic)abstract
- Ett skepp kommer lastat...: a Swedish children's game in which players recount, in accumulated succession, the imagined contents of an incoming ship. The metaphorical abundance and unknowability of the latter drove this cross-institutional, multi-disciplinary collaboration and PhD research case study which engaged with the Frölunda Kulturhus's theme of 'neighbors'. A constellation of twelve participatory workshops with children explored indirect dialogues between neighbors via architectural interfaces and perspectival reversals of researcher and subject. The project led to a three-week exhibition in the Frölunda Kulturhus's main exhibition hall and involved over 165 children and youth from three different schools.
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| 4. |
- Asgaard Andersen, Michael, 1973, et al.
(author)
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Paradoxes of Appearing: Essays on art, architecture and philosophy
- 2009
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Book (other academic/artistic)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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| 5. |
- Nilsson, Fredrik, 1965, et al.
(author)
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Expertgruppens kommentarer till projektrapporterna inom konstnärlig forskning
- 2010
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In: Forskning och kritik - granskning och recension av konstnärlig forskning. Årsbok Vetenskapsrådet Konstnärlig FoU 2010. - 9789173071536 ; , s. 159-166
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Book chapter (other academic/artistic)abstract
- The Swedish Research Council has supported artistic research since the Council was set up in 2001. Project Research Grants have been awarded in the field since 2003.Five reports on projects that have received financial support from the Research Council are commented and reflected upon in the Yearbook, for the first time, by the Expert Panel for Artistic Research and Development.
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| 6. |
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| 7. |
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Volym 0
- 2000
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Editorial collection (peer-reviewed)abstract
- Artistic research. Publication as part of an installation of works filmed and photographed at Landschaftspark Duisburg Nord and Galleri k20, Halmstad. Edited and designed by Linton with texts by Linton, Joakim Palm & Sven-Olov Wallenstein. ISBN 91-631-0128-9
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| 8. |
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| 9. |
- Berlemont, Thierry, 1966, et al.
(author)
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The Sense of Architectural Constructs
- 2014
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In: The Art of Research Conference: Experience, Materiality, Articulation. 26-27 november 2014. Helsinki.
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Conference paper (peer-reviewed)abstract
- In architecture science and art meet each other in the design process. In most architecturalpractices designing implements both scientific knowledge, gained from unified observationsof the world, and poetic knowledge gained from embodied experiences in the world.Architectural research has an established tradition in the development of scientificknowledge in the fields of technology, construction, history and theory. But other modes ofknowledge production remain relatively uncovered. The research presented here aims toarticulate the potential of the architectural construct towards poetic knowledge productionby blurring the distinction between intelligibility and sensibility and treating the ideal andthe material as one continuous heterogeneous field. It is in the liminal zones, the in-betweenthat things meet, interact, reverberate, where encounters take place, and we expect thearchitectural construct to position in the milieu to stage these encounters. The disruptiveencounter will be discussed as a specific type of sense making involving a co-developmentof theoretical perspectives and creative making processes. Poetic measuring will bepresented as a tactic for staging encounters, recently developed within the research groupRadical Materiality at the KU Leuven, Faculty of Architecture, campus Sint-Lucas Brussels.
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| 10. |
- Geib, Jonathan, 1979
(author)
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Designing Multivocality . . . from Outer Space
- 2017
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In: Hamers, D., Bueno de Mesquita, N., Vaneycken, A. and Schoffelen, J. (eds.), Trading Places: Practices of Public Participation in Art and Design Research. - 9788494487392 ; , s. 111-124
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Book chapter (other academic/artistic)abstract
- Trading Places rethinks, develops, and tests design-driven practices and methods to engage with participation in public space and public issues. With this book we aim to help art and design researchers, students, practitioners, and the multiple stakeholders they collaborate with, to explore what participatory ways of working in our contemporary urban environment entail. Six approaches are discussed: intervention, performative mapping, play, data mining, modelling in dialogue, and curating. Each approach offers a different kind of logic and produces a different type of knowledge. Trading Places invites the reader to discover common ground, explore new territories, and exchange points of view – in short, to trade perspectives on issues of participation.
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