| 1. |
- 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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| 2. |
- Persson, Beatrice, 1963
(författare)
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Hospitality within the inclusive arts intervention River of Light
- 2018
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Ingår i: NORDIK XII, No Title, 24-27/10-2018, University of Copenhagen.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Internationally and in Sweden there are many artworks dealing with the global migration/refugee crisis. For instance, Ai Weiwei’s works at the Sydney Biennale 2018, all of them advocating for refugee’s human rights. These are artworks dealing with the traumatic conditions and experiences migrants are exposed to on their way to Europe. Upon arrival refugees face new challenges in terms of how they are being welcomed, the possibilities to be integrated, and exposure to segregation. This is something the inclusive arts intervention River of Light want to address. Located in Gothenburg, created by Behjat Omer Abdulla and Denise Langridge Mellion, River of Light enables meeting points for new arrivals in Sweden. In lantern-making workshops at locations such as the Red Cross, cultural schools and Academy of Design and Crafts, lanterns are built out of bamboo and silk paper, later to be carried in a torch train on the World Day of Social Justice. This is an art intervention created out of the belief that art can be used as a tool to accelerate the process of integration, especially amongst unaccompanied minors. This is also a project that works according to Derrida’s notions on the double law of hospitality, “the unconditional law of unlimited hospitality’ and ‘the laws of hospitality.” (Derrida, 2015) Laws that sums up the ethics of hospitality defined as an unconditional welcome which nonetheless must become conditional in order to function. However, River of Light works only according to pure hospitality “… welcoming whoever arrives before imposing any conditions on him, before knowing and asking anything at all, be it a name or an identity ‘paper’.” (Derrida, 2005)
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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. |
- Bowman, Jason E., 1967
(författare)
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De-Imagining Critical Communities
- 2015
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Ingår i: Community Arts? Learning from the Legacy of Artists' Social Initiatives Conference, Liverpool, 1st of nov.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I contributed a presentation and moderated a session. This daylong event brings together distinguished thinkers and practitioners from the field of community arts, in order to discuss the legacy of such practices in the light of a renewed interest in socially engaged art. This event will re-open conversations and instigate new ones, ensuring that important work undertaken in the 1970s and 1980s continues to resonate. Speakers: Assemble, Ania Bas, Sonia Boyce, Jason E. Bowman, Polly Brannan, Anna Colin, Anna Cutler, Rosie Cooper, Janna Graham, Granby 4 Streets Community Land Trust, Jeanne van Heeswijk, Homebaked, Sophie Hope, Nina Edge, Bill Harpe, Wendy Harpe, Loraine Leeson, Angela McKay, Andrea Phillips, Laura Raicovich, Alan Read, Frances Rifkin, Sally Tallant, Nato Thompson and Ed Webb-Ingall. This event is part of a weekend of programmes in Liverpool and beyond that considers current approaches in socially engaged art
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| 5. |
- Dore, Maitri, 1987
(författare)
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Heritage Compensation in Changing Environments: The Case of the West Link Infrastructure Project, Gothenburg
- 2021
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Ingår i: European Association of Archaeologists (EAA) 27th Annual Meeting: Widening Horizons; Session: Compensation in Architecture and Archaeology - On Compensation as a Concept, Method, and Professional Practice, 6-11 September, 2021, Kiel (online). - Conference location: Kiel (online).
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Major urban infrastructure projects in old cities often encounter material historical features during planning or execution, presenting several challenges for local heritage management. Using the case of the West Link in Gothenburg, Sweden, this paper discusses compensation as an approach to integrating heritage conservation with new urban development. Compensation, in this understanding, denotes a rethinking of heritage values and qualities, and fosters new development directions. While recognised as an important planning instrument (Grahn Danielson, et al, 2013; Rönn, et al, 2017), compensation more broadly, also includes thinking of heritage in terms of the heritage paradigm (Ashworth, 2011), as a vector in spatial planning (Janssen, et al, 2017), and more. The paper analyses how all these approaches reflect in practice in one specific case. The West Link is a railway line currently under construction in Gothenburg. It burrows through the city’s 17th century fortifications, ancient agricultural properties, and historical parks – all of which are ‘national interests’ with architectural historical value. Since the project is deemed to be a threat to the cultural heritage, the Swedish Transport Administration (STA) – responsible for the project – and the City of Gothenburg are in talks on how best to work with the heritage. Their proposals for adapting it reflect their ideas about its values and qualities. The STA seeks to minimise heritage damage, while the City additionally proposes to ‘strengthen’ its value through new urban design programmes and increased accessibility to hidden sites. The paper situates their proposals and positions within the wider discourse on compensation. It further highlights the potential of cultural heritage to not only coexist with new development, but even become a decisive force in shaping future cities in moments of major transformation. This work forms part of a PhD on heritage planning in changing environments resulting from infrastructure projects.
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| 6. |
- Dore, Maitri, 1987
(författare)
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Heritage-making in Changing Environments: The Use of Archaeology in the West Link Infrastructure Project, Gothenburg
- 2021
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Ingår i: Architecture, Archaeology and Contemporary City Planning Symposium: Cities in Evolution, April 26th-May 2nd, 2021, Istanbul (online). - Conference location: Istanbul (online).
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Major urban infrastructure projects in old cities often encounter archaeological remains during planning or execution, presenting several challenges for local heritage management. Using the case of the West Link project in Gothenburg, Sweden, this paper analyses the extent to which heritage-making as an approach was mobilised in using the material finds in the new urban development. Rather than viewing heritage conservation and city planning as conflictual, the paper sets out from the premise that heritage-making in situations of large-scale urban transformation can take different forms, and create new development directions. In the literature, these directions have variously been called compensation for cultural heritage damage (Grahn-Danielson, Rönn, & Swedberg, 2013, August), heritage as a vector in spatial planning (Janssen, Luiten, Renes, & Stegmeijer, 2017), the heritage paradigm (Ashworth, 2011), and more. The paper analyses the ways in which these approaches reflect in one specific case. The West Link is a railway line extension, currently under construction in Gothenburg. It burrows through the city’s 17th century fortifications, ancient agricultural properties, and historical parks – all of which are designated as ‘national interests’. Since the project is deemed to be a threat to the cultural heritage and the readability of the city’s architectural history, the Swedish Transport Administration (STA) – responsible for the project – and the City of Gothenburg are in talks on how best to deal with the heritage. This includes the archaeological finds unearthed in the process of digging, such as remnants of the former city wall, pieces of 18th century Chinese porcelain, and even entire boats. The stakeholders’ proposals for using the finds in the new development are informed by their individual ideas about the value of heritage. The STA’s proposals include exhibiting the objects in the newly built stations and distributing them across the inner city as ‘keys’ or ‘clues’ to history. The City, on the other hand, is less focused on the isolated objects, proposing instead larger urban design programmes encouraging reflection on past-present-future, and increased accessibility to hidden sites. Both parties see the finds as an opportunity to varying degrees. Through document analysis and primary data from interviews with representatives of the STA and the City of Gothenburg, this paper analyses their proposals for cultural heritage with a focus on the archaeological finds. It further situates their approaches within the literature on heritage-making. In doing so, the paper addresses the potential of cultural heritage to not only coexist with or be integrated into city planning, but even become a decisive force in shaping future cities in moments of major transformation. This work forms part of a PhD on heritage planning in changing environments resulting from infrastructure projects.
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| 7. |
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| 8. |
- Synnestvedt, Anita, 1956
(författare)
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“Archaeology as a meeting point for multicultural regeneration”
- 2009
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Ingår i: The Vital Spark 30 September to Wednesday 3 October, 2007. Interpret Scotland and the Association for Heritage Interpretation.
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Konferensbidrag (refereegranskat)abstract
- This article presents a project of an archaeological excavation around a Stone Age chamber grave in a suburban area in Gothenburg, Sweden. Questions raised were how this site has been used during the last 80 years and how it is used today.
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| 9. |
- 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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| 10. |
- 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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