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58,105 Irish-style double jigs
- 2021
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Konstnärligt arbete (swepub:mat_score_t)abstract
- These 58,105 tunes come from a collection of 100,001 generated by the folk-rnn (v2) model trained on tens of thousands of transcriptions of Irish traditional dance music. This subset are tunes approved by an artificial critic according to how well they exemplify characteristics of the 365 double jigs in O’Neill’s “1001” (1907) – in reference to a few rough measures. Each tune is numbered in the order of its generation by folk-rnn (v2). Two values accompanying each tune denote its “distance” from the double jigs in O’Neill’s “1001”, and the greatest number of quavers of 24 matching the double jigs in O’Neill’s “1001”. More information about this critic and these tunes can be found in: B.L.T. Sturm, “An Artificial Critic of Irish Double Jigs”, in Proc. AI Music Creativity Conference, Graz, 2021.
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A Bird is Not a Stone : An Anthology of Contemporary Palestinian Poetry translated into the Languages of Scotland
- 2014
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Samlingsverk (redaktörskap) (populärvet., debatt m.m.)abstract
- A major collection of contemporary Palestinian poetry translated by 24 of Scotland's very best writers including Alasdair Gray, Liz Lochhead, James Robertson, Jackie Kay, William Letford, Aonghas MacNeacail, DM Black, Tom Pow, Ron Butlin and John Glenday. A Bird is not a Stone is a unique cultural exchange, giving both English and Arabic readers a unique insight into the political, social and emotional landscape of today's Palestine. Includes both established and emerging Palestinian poets. Foreword by Scotland's Mackar (Poet Laureate) Liz Lochhead.
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A Chest in the Attic
- 2019
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Konstnärligt arbeteabstract
- When the attic of the Huseby estate house was cleaned in 2008, a large wooden chest was found. It had not been opened since being sealed in India and shipped to Sweden in 1869. Its contents reveal a world of knowledge that changes how we understand the history of colonial India and of Småland 150 years ago, and how these histories intertwine. Joseph Stephens grows up in a British family shaped by the global transformations of the nineteenth century. Joseph was born in Stockholm and, when he is 11 years old, moved to Copenhagen where his father George, folklorist and runologist, had taken up a position at the university. In 1859, at the age of 19, Joseph leaves for Bombay. This is an important port city and a world-leading metropole of trade and finance. Here, Joseph is trained to become a civil engineer under his brother-in-law, an engineer working on one of the world’s largest infrastructure projects: the railways. In the 1860s the Great Indian Peninsula Railway Company (G.I.P.R.) was constructing the trunk lines between India’s trade metropoles, Bombay and Calcutta. The large railway network will eventually interconnect the colonial economy, transporting passengers, goods and troops across the continent. Joseph soon becomes a subcontractor and mobilises labourers and material for smaller projects. After some time he set up his own firm: Joseph Stephens & Company.
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A Place in Europe : Proposed project description peered by Project Anywhere
- 2017
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Konstnärligt arbete (refereegranskat)abstract
- This is not conceived as an exclusive work but rather a demonstrably inclusive one (albeit resistant to the logic of circular reproduction). Within the process of artistic research and a developing practice, new methods might constitute another form of art. The project has been centered upon the idea of a round table at which a number of people with different competences have collaborated productively to build the project. The divergent competences that make up the project team have all contributed to the development of A Place in Europe, and moreover worked to challenge conventional practices and forms of knowledge belonging to the various fields of expertise in order to foster a spirit of experimentation and novelty. The key point of departure for all collaborators has been the value of approaching the topic from a creative base, and in doing so striving to exchange ideas in a productive manner with others, both at the site and within the process of developing the project and presentation. We have also been collectively mindful of the potentially asymmetrical power relations at play in any process during which “we” film and interact with “them”. We do not seek to speak for ”them” but rather use our collective desire to explore a more inclusive society.
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A Slip of the Machinic Tongue
- 2022
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Konstnärligt arbete (refereegranskat)abstract
- The title of the book, The Computer as Seen at the End of the Human Age, is a reference to the exhibition “The Machine as Seen at the End of the Mechanical Age”, curated by Pontus Hultén for MoMA in 1968, highlighting how technology was influencing art at a time when mechanical machines were increasingly replaced by electronic and chemical devices. Through its selection of contemporary art works the exhibition thus came to function as a recording of technological history.I never got to see the exhibition since I wasn’t born at the time, but a couple of years ago I came across a curious book with a tin cover. The book was published in connection to the exhibition, and the history recorded between its covers ends at approximately the same time that early computers start to make their way into the art world. In the fifty years that followed, art came to be marked by a digital presence. It was that book, along with an interest in dead media, and a curiosity for art aided by algorithms, that sparked the idea for The Computer as Seen at the End of the Human Age.Here you will encounter new works by a selection of artists, specifically invited to use algorithms/AI to contribute to a continuous, self-reproducing, anachronistic, machine aided recording of history. A way to preserve, revise and/or comment upon digital history from the vantage point of present-day technology or through the lens of imagined future media, perspectives and technologies.The works have been created specifically for the book. Some are based on works by other artists, made in another era, repurposed for our time and technologies. Others are based on redundant technologies, revived and given new functions. Some adopt a critical or political approach to the algorithm and its impact on society. Several utilize it as an opportunity to create unique works for each separate copy of the edition. Thousands of files eventually compiled into 200 unique books, each with a different cover and different contents – generated, aided or influenced by algorithms. Participating artists: Geraldine Juárez, Cornelia Sollfrank/Winnie Soon, Mishka Henner, Shane Hope, !Mediengruppe Bitnik, Rosa Menkman, Rosemary Lee, Olle Essvik, Evan Roth, Jonas Lund, Darsha Hewitt, Carl-Johan Rosén, Linda Hilfling Ritasdatter and Jacek Smolicki.Editor: Olle Essvik
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A Slip of the Machinic Tongue : Performative Soundscape Installation
- 2022
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Konstnärligt arbete (refereegranskat)abstract
- The performance was premiered at 'Digital Existence III: Living with Automation' an international conference at Sigtuna Foundation in Sweden, organized by BioMe project led by prof. Amanda Lagerkvist at Uppsala University and featuring Joanna Zylinska, Katherine Hayles, Nick Couldry, Sarah Pink and others. The performance is based on an essay written for a book 'The Computer as Seen at the End of the Human Age', edited by Olle Essvik (Rojal Förlag, Göteborg 2022). A dialog between several repurposed 'smart' speakers is accompanied by a spontaneously evolving soundscape generated by those devices' electromagnetic fields and micro-currents that make them operational. The piece is a component of an artistic inquiry into other, imperceptible voices and sonic realms that underlie and sustain contemporary technologies of voice recognition, synthesis and biometric capture. The project is part of BioMe: Existential Challenges and Ethical Imperatives of Bio-metric AI in Everyday Lifeworlds led by professor Amanda Lagerkvist at the Informatics and Media Department of Uppsala University.
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