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- Björgvinsson, Erling, 1969, et al.
(författare)
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A Dialogue on Absence Between Aleksander Motturi, Kitso Lelliott, Martina Tazzioli and William Walters, based on questions provided by Erling Björgvinsson and Nicholas De Genova
- 2020
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Ingår i: PARSE Journal. - 2002-0953. ; :10
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The dialogue engages with the challenge of materialising absence related to the theme of migration, be it the absence of voices, documentary evidence, historical accounts, archives, investigative access, and so forth—including the absence of access to the conditions of possibility for knowing or evaluating the truth.
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- Björgvinsson, Erling, 1969, et al.
(författare)
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Migration: Editorial Introduction
- 2020
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Ingår i: PARSE Journal. - 2002-0953. ; :10
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The PARSE journal issue on Migration inquires into the embodied, affective, performative, material, visual, and spatial politics of cross-border human mobilities, through arts/design as well as migration scholars. The journal issue is an encounter between artist and migration scholars as we believe that both address and struggle with a crisis of representation when it comes to migration, which should not be confused with over-simplified discourse regarding a “crisis” of borders and migration.
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- Bowman, Jason E., 1967
(författare)
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PARSE Journal Issue #2 The Value of Contemporary Art
- 2015
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Ingår i: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2
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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.
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- Bröndum, Lars, et al.
(författare)
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Work in Improvised Music : Playbour, Improvisation and Neo-liberalism
- 2019
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Ingår i: PARSE Journal. - Göteborg : University of Gothenburg & Platform for Artistic Research Sweden. - 2002-0953. ; :9
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Tidskriftsartikel (refereegranskat)abstract
- This paper is based on a combination of theoretical and practical research. The purpose of this paper is to discuss digitalisation and its effect on music in relation to the concept of “playbour”. It combines theories of games and labour with the practices of improvisation in live electronic music and economy. We observe similarities between these two research fields, one of which is rooted in the social sciences and philosophy and the other in artistic composition and creative methodologies. Although we make no assessment on a possible causality in the chain of events between theory and practice, we do want to investigate a cross-disciplinary field that combines improvisation, game studies and the organisation of labour. These three fields all use the notion of play to convey different outcomes, which are valorised differently according to the concepts of labour applied. The world of fine art and music composition has in the past been associated with that of game and play,1 and both have been seen as socially formative and educational for the participants. But, as we will argue, it is in our current digital economy that computer games, music production and organisation of work have converged as part of the neo-liberal economy. We will argue that the neo-liberal digital economy flattens the spectrum of musical performance so that it resembles modern play in computer games or in work life. As a consequence of this, improvised music in particular is devalued and the players degraded to immaterial labourers without wage compensation. Our aim is to question how improvisation is valued according to the digital economy, which does not duly compensate musicians for their labour. How can we see musical improvisation as a form of labour that is reduced to modern forms of play? What is it that produces wealth and value in improvised music?
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Citations
- 2023
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Ingår i: PARSE Journal. - 2002-0953. ; :17
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Annan publikation (övrigt vetenskapligt/konstnärligt)
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| 7. |
- Critchley, Simon, et al.
(författare)
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Opening to a Discussion on Judgement
- 2015
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Ingår i: PARSE Journal. - Göteborg : University of Gothenburg. - 2002-0953. ; :1, s. 13-26
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Editors’ note: This text is derived from the transcript of the opening statements from Simon Critchley, Mick Wilson and Andrea Phillips at a public discussion on the theme of “Judgement” held in Gothenburg in April 2014 and marking the initiation of the Platform fort Artistic Research Sweden. The format of the event was an open dialogue, during which each of the three speakers was asked to open with a short statement that would frame the issues and concerns that the question of judgement currently sets in play in the context of contemporary artistic practice, education and research. The purpose of this exchange between three members of the PARSE Journal editorial committee was to frame the theme of judgement as a point of departure for the new publication. While retaining the relatively informal mode of address of the original context of presentation, the transcript has been edited and modified for publication.
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- Hagström-Ståhl, Kristina, 1974, et al.
(författare)
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Intersections Editorial
- 2020
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Ingår i: PARSE. - 2002-0953. ; summer:11
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE journal concludes the theme of “Intersectional Engagements in Politics and Art”, first initiated as a research arc within PARSE in 2018. Under this theme, artists, scholars and students, as well as a wider public have gathered to share a critical exploration of the nexus of race, coloniality, gender and sexuality in contemporary art-making, scholarship and artistic research. Focusing on socially engaged practices related to memory, history, embodiment and alterity, the journal issue offers yet another set of considerations that brings together research by practitioners and scholars from a wide range of fields, disciplines and contexts. The theme began as a way to address and explore interest within arts research about the notion of intersectionality as a mode of creative practice, as well as a form of critical analysis. This interest, arguably following a turn towards the intersectional in feminist artistic practice and pedagogy, came as scholars in the humanities and social sciences were already debating the various appropriations and reifications that had seemingly made intersectionality into “a grand theory of everything”, to use Kimberlé Crenshaw’s words, with the effect of positioning intersectionality as a deeply contested, seemingly overdetermined concept.
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