| 1. |
- Fuchs, Helen, 1966-
(author)
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The Reception of the Halmstad Group in the 1930s
- 2019
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In: A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950. - Leiden : Brill Academic Publishers. - 9789004366794 - 9789004388291 ; , s. 241-256
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Book chapter (peer-reviewed)abstract
- Early on, influential art historians and critics identified the Halmstad Group as an interesting Swedish example of international surrealism. Others made fun of a supposedly odd combination of international avant-garde trends and manifestations of such an off-centre locality as the city of Halmstad. Individually the artists were both identified and denied as surrealists, depending on how strictly they were compared to preconceived notions about international surrealism. The artists themselves tried to balance this with independence in order to claim a type of surrealism of their own.
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| 2. |
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| 3. |
- Jonasson, Kalle, 1976-
(author)
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‘What [I] talk about when [I] am running’ : Revetment Running, Ethnography and Econarratological Poetry
- 2018
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In: The Ethnographic Edge - Contemporary Ethnography Across the Disciplines. - Hamilton : University of Waikato. - 2537-7426. ; 2:1, s. 9-20
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Journal article (peer-reviewed)abstract
- In this article, nonhuman poetry is explored. Departing from an autoethnographic project based on audio recordings made while running on revetments, and which discussed how to give voice to nonhuman actors the possibilities of nonhuman poetry, this text aims at taking it one step further by extracting poetry from the material. Ethnographically, this is discussed in terms of affect, and an 'ethnography to be'. Theoretically, the study has a posthumanist approach, with a specific focus on the econarratology of philosopher Michel Serres. The method and theory are are discussed in tandem in relation to what philospher Peter Sloterdijk has coined 'amphibian anthropology'. By stacking the bracketed words in my transcriptions, four poems emerge in which background sounds, contextual descriptions, corrections and bodily sounds form the content. Each poem is accompanied by a map made from smartphone screenshots. The prose is found to be evocative of the surroundings of the recording, and also resonating with the ideas of human language as derivative of what Serres calls the Great narrative, the story of universe and nature themselves. The proximity to water and rocks discernible in the experiment is seen as a result stemming from practicing the hope-oriented 'ethnography to be'.
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| 4. |
- Holmberg, Kristina, et al.
(author)
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Snacking on Knowledge and Feel Good : Challenging discourses on arts in education
- 2016
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In: European Journal of Philosophy in Arts Education. - 2002-4665. ; 1:1, s. 38-67
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Journal article (peer-reviewed)abstract
- The aim of this article is to re-think the results of four larger studies conducted by the authors during the last decade, all with a discourse analytical approach. The studies are empirical and concern the Swedish field of arts in education and deal with a comprehensive material consisting of interviews, observations and field notes. In the results of these studies three prominent discourses emerges. A Curriculum discourse, where content knowledge is connected to traditions, norms and values of educational institutions, a Feel-good discourse that deals with content knowledge where social and personal aspects are essential, and a Snacking on knowledge discourse where content knowledge is portrayed as something students are able to pick and choose according to their own preference. Ideas of late modern society and arts in education are then used as a basis to carry out a critical discussion about the emerging discourses. Also different teacher and student positions are problematized.
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| 5. |
- Björkén-Nyberg, Cecilia, 1962-
(author)
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From Carl Czerny's Miss Cecilia to the Cecilian : Engineering, Aesthetics, and Gendered Piano Instruction
- 2019
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In: Journal of Historical Research in Music Education. - Thousand Oaks, CA : Sage Publications. - 1536-6006 .- 2328-2525. ; 40:2, s. 125-142
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Journal article (peer-reviewed)abstract
- In this article, Carl Czerny’s Letters to a Young Lady on the Art of Playing the Pianoforte (1837) is studied as a machine manual within the cybernetic economy of James Watt’s governor. It is argued that while the young pupil is encouraged to subject herself to a strict discipline of physical deportment at the piano, this activity is in conflict with her own desire to become a self-regulated learner. The key claim made is that although Czerny’s surveillance strategy prevents Miss Cecilia from breaking with the cybernetic ideal and appropriating the pianistic technology for purposes of virtuosic self-expression, she becomes aware of her latent agency and its potentially subversive implications for gendered music making. As such, Czerny’s piano manual addressed to the stereotypical nineteenth-century piano girl anticipates the pianistic discourse associated with the invention of the player piano at the turn of the twentieth century. © The Author(s) 2018.
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| 6. |
- Björkén-Nyberg, Cecilia, 1962-
(author)
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Running the Script through the Machine : The Player Piano as a Gender-Political Instrument
- 2015
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Conference paper (peer-reviewed)abstract
- Launched at the turn of the twentieth century, the semi-mechanical player piano opened up canonical music to new audiences by sidestepping musical literacy. In contrast to other more or less contemporary technical appliances for recording and reproducing sound, the player piano granted its operator the freedom of individual expression. While the machine produced the notes, the performer was at liberty to modify the tempo and the expression. Due to this manipulation of the original score, it became a gender-political instrument. As such, it had a significant effect on the perception, performance and appreciation of music, and thus implicitly on the fictional treatment of these phenomena.The argument in this paper is built on the notion that the composer’s script as encapsulated in the piano roll could be subjected to such a highly individual treatment that almost a new composition emerged in the process. My first fictional example is from E. M. Forster’s posthumously published Maurice (1971) in which the potential for new gender perspectives that the player piano could provide is glimpsed but rejected. It is argued that it was as great an anomaly to break against heteronormativity as to distort sonata form in Edwardian society. My next two examples demonstrate how the player piano facilitated self-expression and individuality for women performers. Both Lucy Honeychurch in Forster’s A Room with a View (1908) and Miriam Henderson in Dorothy Richardson’s Pointed Roofs (1915) challenge Beethoven’s iconic status and musical form by manipulating the male script and exploring a new pianistic behaviour informed by the mechanical discourse. In my concluding discussion, I will illustrate how the player piano was also a tool for a masculinisation of Chopin’s music. Here I will be referring to Henry Handel Richardson’s Maurice Guest (1908) and James Huneker’s Melomaniacs (1902).
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| 7. |
- Eriksson, Jonnie, 1978-
(author)
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Diffractions of the Digital : Godard and the Kinetics of the History-Image
- 2015
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In: In the flow – People, Media, Materialities. - Norrköping : ACSIS, Linköpings universitet. ; , s. 127-128
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Conference paper (peer-reviewed)abstract
- As exemplified by Eloge de l'amour (2001), Jean-Luc Godard's work after Histoire(s) du cinéma (1988–98) – which critiqued cinema's treatment of its contemporary cultural and oplitical history, – has made use of digital technology in order to explore the remaining potential of the medium after its purported demise and ethical failure. By drawing on concepts from Gilles Deleuze and Karen Barad, this paper aims to elucidate the techno-aesthetic conditions of Godard's implied method of imaging the dual flux of temporality: becoming history and becoming future. In this diffracting process, Godard's late films embody the present condition of visual culture as it splits between past and future from the point of a present crisis of its material conditions of representation. Neither virtual reality nor classical realism, a diffractive method of digital filmmaking explores the new materiality of motion pictures.
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| 8. |
- Eriksson, Jonnie, 1978-
(author)
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Filming a New Earth : Ecopolitical Imagination in Cinema and Deleuze's Geophilosophy of Utopia
- 2017
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In: ACSIS 2017. ; , s. 7-7
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Conference paper (other academic/artistic)abstract
- This paper explores the concept of utopia in Gilles Deleuze’s philosophy and its significance for cinema, placing his and Félix Guattari’s “geophilosophy” in the context of posthumanist ecocriticism. It relocates the notion of utopia from out of a paradigm of political fiction and speculations of a possible social progress, towards Deleuze & Guattari’s ideas of a geography and topology of time as conditions for creative thought. Considering the importance of the concepts of becoming and virtuality in this philosophy, a utopian image is no mere speculation or representation, but a force of creation. Deleuze’s notion that philosophers and artists share the task of resisting the present in creatively thinking “a new people” and “a new earth” can be developed to view film as a medium for re-imagining nature, creating a new set of earth-images or geosigns for future thought.
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| 9. |
- Fuchs, Helen, 1966-
(author)
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Bröstbilder och verklighet
- 2016
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In: Kulturen: en årsbok till medlemmarna av Kulturhistoriska föreningen för södra Sverige. - Lund. - 0454-5915. ; , s. 2-4
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Journal article (pop. science, debate, etc.)
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| 10. |
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