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Memories of a city
- 2017
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Ingår i: Memories of a city. - Göteborg : University of Gothenburg. - 1101-3303. - 9789188101037 ; , s. 8-16
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Presented at the international conference Challenge the past / diversify the future, the contributions collected herein deal with ways of challenging accepted historical representations of the City by offering modes of recollection and perspectives that capture both multi-sensory and multi-layered aspects of urban context. As such, they offer new empirically grounded research on the experiences of the inhabitants, both past and present, whether individually or as a collective. With a focus on the city as a space that is performed by a host of actants reaching across time through both materiality and memory, the authors critically address modes through which visual, audible, and multi-sensory representations can challenge, diversify or uproot conventions of urban representation. Four projects. Four takes on making representations of a city.
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| 2. |
- Velasquez Atehortua, Juan, 1963
(författare)
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NO2LNG in Gothenburg, Sweden
- 2017
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- FILM FROM THE DEMONSTRATION 6 AUGUST 2017 DURING CLIMATE CAMP SWEDEN AGAINST THE CONSTRUCTION OF A LIQUID NATURE GAS TERMINAL IN GOTHENBURG, SWEDEN. NO2LNG MUSIC: VARNING TILL DE RIKA, BY CATS AND DINOSAURS, PERFORMED LIVE IN THE CAMP.
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| 3. |
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| 4. |
- Velasquez Atehortua, Juan, 1963
(författare)
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Juan
- 2017
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Ingår i: Disobedience.live.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Disobedience Live var en direktsänd dokumentär om fyra aktivisterna Sigrid, Kevin, Juan och Sarakka som gav sig av på en resa för att delta i en civil olydnadsaktion för klimatet. Tillsammans med tusentals andra ville de blockera infrastruktur för uppgrävning och förbränning av brunkol i Rhineland, Tyskland. Dokumentären pågick dygnet runt 22-27 augusti 2O17 och visades i realtid. Detta konstprojekt genomfördes av Troja scenkonst, som ville belysa demokratins tillstånd idag samt olika former av engagemang som människor ägnar sig åt – med civil olydnad som utgångspunkt. Mer info om scenkonstkollektivet Troja finns på trojascenkonst.se
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| 5. |
- Yanagisawa Avén, Elisabet, 1966
(författare)
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The Fold, A Physical Model of Abstract Reversibility and Envelopment
- 2017
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Ingår i: The Dark Precursor: Deleuze and Artistic Research. - Leuven : Leuven University Press. - 9462701180 - 9789462701182
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Bokkapitel (refereegranskat)abstract
- For artistic research, the model of the fold is exceptionally interesting because it deals with how form and contents intertwine in a physical model, and how concrete and abstract interrelate on the plane of consistency. In my chapter I focus on chapter two in "The Fold" by Gilles Deleuze, and take up the concept of inflection as an elastic point in the model of the fold that discloses a reality of reversibility. Deleuze states that for Paul Klee the point as a “nonconceptual concept of noncontradiction” (15) moves along an inflection. “It is the point of inflection itself, where the tangent crosses the curve. That is the point-fold” (ibid). Through a simple sketch, Deleuze demonstrates how the point of inflection is the point where the concave turns to be convex. This is the point of inflection. What happens in the point of inflection? Is it a conjunction? A passage? It would seem that this very special point is a point that conceals a profound metaphysical realization. It is a physical point in the attribute of extension that corresponds to an invisible point of abstraction in the attribute of thought. Deleuze wants to draw attention to this point by referring to the thinking of Leibniz, the Neoplatonists, and Whitehead. Because of the existence of concave and convex, there are different point of views, depending on which place we see from. The enfolding reality has multiple points of views; each point of view is a perspective. It appears that we are captured in our point of view. There is always a reversible side of a point of view, and by the power of the imagination we can think the concept of reversibility. A physical model of the fold reveals, in fact, a metaphysical reality of the attributes, and the power of the attributes, according to Deleuze’s references to Spinoza. This thinking of Deleuze encompasses several crucial things: First, we assume that reality has a mirroring construction; in other words, reality corresponds to an abstract reality that the model of the Fold demonstrates. That is to say, physical reality and abstraction are two sides of the same coin. Second, the model of enfolding implies an innate life, the life of a monad, a singularity as a soul. Deleuze writes, “We are moving from inflection to inclusion in a subject, as if from virtual to the real, inflection defining the fold, but inclusion defining the soul or the subject, that is, what envelops the fold, its final cause and its complete act.” (24). Finally, Deleuze asks, “in order that the virtual can be incarnated of effectuated, is something needed other than this actualization in the souls? Is a realization in the matter also required, because the folds of this matter might happen to reduplicate the folds in the soul?” (29). I explore whether the way of creating folds in matter leads to a life of sensibility, by making sculptoral models of folds though a process of autogenesis. The art work consists of a preparation of a material for making folds in matter. By letting them coagulate, I thereby “freeze” the process to a fixed form, in order to let a “nondimensional point between dimensions” (16) be visible. Reference: Gilles Deleuze. The Fold: Leibniz and the Baroque. Trans. with foreword by Tom Conley. Minneapolis: University of Minnesota Press, 1992.
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| 6. |
- Florea, Ioana, 1981
(författare)
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Gazeta de Arta Politica : Political Art Gazette
- 2017
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Ingår i: Gazeta de Arta Politica. - 2559-6446. ; 5:18, 19
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Gazeta de Artă Politică discusses, analyzes and promotes the social and political dimension of the most diverse forms of cultural and artistic projects. G.A.P. aims at: • disclosing the political dimension of artistic objects, including those that do not explicitly assume it; • analyzing the potential impact of major cultural programs and public policies in the cultural sphere; • promoting artistic projects with emancipatory goals and contributing to the consolidation of an Eastern-European left-wing-oriented arts network; • elaborating a revolutionary artistic discourse and practice, from a local perspective.
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| 8. |
- Rosen, Astrid von, 1964
(författare)
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Scenographic approaches: conceptualizing multisensory heritage
- 2017
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Ingår i: GPS400 conference 8-9 November 2017.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- During the last decades the concept of scenography has not only undergone considerable theorization but has also expanded beyond more traditional theatrical settings to include potentially all environments, objects, actors and actions (McKinney & Butterworth 2009, Lotker & Gough 2013, McKinney & Palmer 2017, Aronson 2017). This expansion has to an increasing extent emphasized the critical, transformative potential of embodied, multisensory dimensions of scenographic events emphasizing the roles of participants and performers. In recognition of this the aim of my presentation is to identify productive approaches within scenography research to better conceptualize and examine multisensory heritage. In particular the paper will explore relational, affective and material approaches to multifaceted performative, socially engaged and artistic events. I will for example look into Dr Alda Terracciano’s multisensory digital installation Zelige Door on Golborne Road from the arts and heritage project Mapping Memory Routes of Moroccan Communities.
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| 9. |
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The Face of God - Making Narratives #2
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- The Face of God, an antology of essays about the fictive Czech entomologist and artist Milka Havel's life and works. A partially lost text about the search for order in chaos, forms the basis for a book and an exhibition at the art museum Vandalorum. The artist is made alive by texts, images and artifacts.
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| 10. |
- Persson, Beatrice, 1963
(författare)
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Notions on Norm Critical Image Interpretation – It's not in the Image It's in Me
- 2017
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Ingår i: E17, Research conference in Umeå on the Aesthetic Subjects: Tacit knowing or just plain silence?.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Everyone is aware of the fact that we live in an image society and that it is important to discuss the significance of images in school. But discussing images, and foremost image interpretation, is complicated and multifaceted. Master students at the Art Teacher Program in Gothenburg expressed crucial concerns about this topic – for them, image interpretation triggered a conception of responsibility to reveal the images to the pupils. After further discussion we agreed upon that teachers felt a responsibility to give students good tools to be able to "read" and understand images, and by extension, to view images critically. This is the backdrop for my paper where I, based on the current Swedish curriculum for the compulsory school, preschool class and the recreation centre (Lgr 11), will discuss how to interpret and view images from a norm critical perspective using gender theory and postcolonial theory. My point of departure will be that all of us who interpret images never reveal the images as such, they are just the incentive, what we really reveal is our own preconceptions and prejudices.
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