Are you ready for a wet live-in?: explorations into listening

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Holmstedt, Janna,1972-Lund University,Lunds universitet,Umeå universitet,Institutionen Konsthögskolan,Malmö Faculty of Fine and Performing Arts,Konstnärliga fakulteten i Malmö (författare)

Are you ready for a wet live-in? : explorations into listening

BokEngelska2017

Förlag, utgivningsår, omfång ...

Umeå; Lund :Umeå University; Lund University,2017
218 s.
electronicrdacarrier

Nummerbeteckningar

LIBRIS-ID:oai:DiVA.org:umu-139510
ISBN:9789177534068
ISBN:9789177534044
ISBN:9789177534051
https://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-139510URI
https://lup.lub.lu.se/record/19ab6e88-5844-4625-a118-10d49697692aURI

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Språk:engelska
Sammanfattning på:engelska

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Ämneskategori:vet swepub-contenttype
Ämneskategori:kfu swepub-publicationtype
Ämneskategori:dok swepub-publicationtype

Serie

Dissertations from Academy of Fine Arts at Umeå University ;2
Doctoral studies and research in fine and performing arts,1653-8617

Anmärkningar

Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: DoctoralStudies and Research in Fine and Performing Arts, 16. ISSN: 1653-8617
Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations?This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet).The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them.

Ämnesord och genrebeteckningar

HUMANIORA Konst Bildkonst hsv//swe
HUMANITIES Arts Visual Arts hsv//eng
HUMANIORA Konst Scenkonst hsv//swe
HUMANITIES Arts Performing Arts hsv//eng
artistic research
listening
situated practices
sound in art
expanded art
expanded scenography
media ecology
acousmatic orality
a/orality
storytelling
interspecies communication
more-than-human relations
co-habitation
sensorial estrangement
posthumanism
parasites
play
technology
dolphins
sonic sensibility
transliteracy
voice
performativity
new materialism
Michel Serres
Karen Barad
John Lilly
oceans
wet live-in
Artistic research
Listening
Situated practices
Sound in art
Expanded art
Expanded scenography
Media ecology
Acousmatic orality
A/orality
Storytelling
Interspecies communication
More-than-human relations
Co-habitation
Sensorial estrangement
Posthumanism
Parasites
Play
Technology
Dolphins
Sonic sensibility
Transliteracy
Voice
Performativity
New materialism
Michel Serres
Karen Barad
John Lilly
Oceans
Wet live-in

Biuppslag (personer, institutioner, konferenser, titlar ...)

Gislén, Ylva,Docent i konstnärlig gestaltningLunds universitet (preses)
Nilsson, Per,Docent i filosofi och universitetslektor i konstUmeå universitet,Institutionen Konsthögskolan(Swepub:umu)peni0003 (preses)
Dahlqvist, Jörgen,UniversitetsadjunktTeaterhögskolan i Malmö, Lund universitet (preses)
Olsson, Jesper,Docent och universitetslektor i litteraturvetenskap och mediehistoriaLinköpings universitet (preses)
Lindström, Kristina,Lektor i designMalmö högskola (opponent)
Ståhl, Åsa,Lektor i designLinnéuniversitetet (opponent)
Umeå universitetInstitutionen Konsthögskolan (creator_code:org_t)

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Om ämnet

HUMANIORA: HUMANIORA; och Konst; och Bildkonst

HUMANIORA: HUMANIORA; och Konst; och Scenkonst

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Av lärosätet: Umeå universitet; Lunds universitet

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