| 1. |
|
|
| 2. |
- Bowman, Jason E., 1967
(författare)
-
PARSE Journal Issue #2 The Value of Contemporary Art
- 2015
-
Ingår i: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- With Professor Andrea Phillips (University of Gothenburg) and Dr. Suhail Malik (Goldsmiths, University of London) , I co-edited the second edition of the peer-reviewed PARSE (Platform for Artistic Research Sweden) Journal. This edition dealt specifically with questions of value in contemporary art and included a total of 11 peer reviewed contributions.
|
|
| 3. |
|
|
| 4. |
- Orru, Anna Maria, 1976, et al.
(författare)
-
AHA! festival 2016
- 2016
-
Annan publikation (övrigt vetenskapligt/konstnärligt)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.
|
|
| 5. |
|
|
| 6. |
- Gunve, Fredric, et al.
(författare)
-
Madness and The Bastard in Motion: Learning/Teaching through Performance Studies (in Tilburg)
- 2015
-
Ingår i: 7th Teachers' Academy 2015 ENACT: learning in/through the Arts Tilburg, The Netherlands.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This paper performs a dialogue/an encounter between Madness (or the false mad Demidamia from the opera La Finta Pazza performed in Venice in 1641) and the Bastard (the illegitimate love child of arts, performance and education). Entangled they move through time, talking, confronting, shaping and diffracting a non‐existing form. Their method is about diffracting every inch of their journey. Meeting obstacles, facing resistance, walking into bubbles of flair and comfort, stepping into dilemmas and borderlands. Continuously asking themselves: What happens in the microscopic moment? When no/thing could even be imagined. On their way they challenge both time and existence. Learning through teaching through learning. Their journey is an ornamenting becoming in itself. It is an example of mattering as in meaning-‐making and knowledge processing, based on a performance of the indeterminable and affinity. The outcome in the performative encounter in itself – a potential model for teaching and learning in higher arts education.
|
|
| 7. |
- Orru, Anna Maria, 1976, et al.
(författare)
-
AHA! festival 2014
- 2014
-
Annan publikation (övrigt vetenskapligt/konstnärligt)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.
|
|
| 8. |
- Orru, Anna Maria, 1976, et al.
(författare)
-
AHA! festival 2015
- 2015
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The AHA festival investigates the borders between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about the space between art and science. We invite scientists (physicists, historians, mathematicians, medical students), artists (dancers, musicians, painters, poets, chefs) and not least architects, 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.
|
|
| 9. |
- Åshede, Linnea, 1987, et al.
(författare)
-
Cassandra's Plight: Gender, Genre, and Historical Concepts of Femininity in Goth and Power Metal
- 2019
-
Ingår i: Classical Antiquity in Heavy Metal Music / edited by K. F. B. Fletcher and Osman Umurhan.. - London : Bloomsbury Academic. - 9781350075351 ; , s. 97-114
-
Bokkapitel (refereegranskat)abstract
- The authors focus on the trope of powerful historical feminities in two subgenres of heavy metal: goth and power metal. Through the case study of Cassandra - cursed by Apollo with perfect prophecies that nobody believes - the authors discuss how 20th century metal bands employ classical imagery to critique heterosexual power-relations, or look beyond gender to access the universal human conditions.
|
|
| 10. |
- Bowman, Jason E., 1967
(författare)
-
What is at Stake in Community Practice? What Have We Learned?
- 2016
-
Ingår i: Stages: Journal of the Liverpool Biennial. - 2399-9675. ; :5, s. 2-9
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- In this writing I seek to detect a few precursory concerns that may inform an initial response to the question, ‘What is at Stake in Community Practice? What Have We Learned? In doing so I consider issues of legacy and obfuscation; the delimiting of education as a public good, and indicate the potential for artist-organisation to be considered in determining organisational practices.
|
|
