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| 2. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2016
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- For the third year, the AHA festival investigates the meeting between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture and the Department of Physics. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about exploring the world through art and science. We invite scientists (physicists, historians, astronomers, engineers), artists (dancers, musicians, painters, poets, acrobats) who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.The first year’s theme ’Embodiment’ (2014) explored the body as our anchor in the world, followed by the 2015 theme on ’Numbers’, a delightful net we cast over the world. This year's theme is ’Uni-verse,’ again a natural consequence of our interest in the relation between art and science. The elemental force that drives science as well as art is curiosity. Come be curious with us! During the festival we have chosen to divide the word universe into three: uni and "-" and verse. Uni means that something is combined into a whole. Verse means that we are turned in a direction, the origin of the word tells us that it is the plow that turns at the end of the field. And the dash "-" is all the spaces and cracks where new discoveries can grow. Art and science unfolds in the gap between what we know and what we want to know.
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| 3. |
- Kular, Onkar, et al.
(författare)
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Allmänningen/The Common Room
- 2023
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Allmänningen/The Common Room was a Vinnova-funded project at the Faculty of Fine, Applied and Performing Arts, Gothenburg University (2018–2021). The aim of the project was to begin to develop and pilot a new public model for collaboration and usership between the university and society. Referring directly to the Swedish commons concept of Allmänningen and illustrated through terms such as Allmän (general), Allemansrätten (right of public access), Allmänheten (the general public), the commons can be viewed as not only a right to public access, but a relation between societal institutions and the individual citizen. A relation which within the context of Sweden, could and should naturally be applied and extended to the publicly funded university as a common societal resource. Although there are differences between the natural commons studied by influential figures such as Elinor Ostrom and the university as ‘commons’, the analogy stresses the relational dimensions between viable and sustainable institutions, and the public trust in the commons & its resources. Through a series of residencies in 2021, Allmänningen (The Common Room) began by inviting practitioners, collectives and organisations to help think through questions of what kind of common resources are produced within the university? How can these resources be developed as public commons? In what sense are these resources enclosed, vulnerable and at risk of exploitation? And what is needed today to produce a socially sustainable institution? By addressing these questions, the residencies through scholarship and practice piloted and began to suggest alternative modes and models for university collaboration and usership. Allmänningen/The Common Room prototyped residencies with Sandi Hilal (DAAR), Post Workers Theatre, Kulturhuset Blå Stället and Åbäke. Through four posters with edited interviews, transcriptions and commissioned texts the overall publication provides a comprehensive overview of the residency outputs and intentions.
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| 4. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2014
- 2014
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- ”Science and art” is the typical motto of a polytechnic, with the Royal Institute of Technology in Stockholm as a Swedish example. Only too seldom do we have occasion to ask ourselves what the words are meant to imply.The Royal Institute of Technology received its emblem in 1827. At that time, ”science” referred to theoretical knowledge, and ”art” to practical ability. Our understanding of the world around us on the one hand, our capacity to change it on the other – in both cases in a systematic or methodical fashion, and in both cases in broad generality. Today, we would rather speak of theory and practice, but the question is essentially the same: how do we go from thought to action, and how do we get back again?But the meaning of the two words was soon to change. Today, ”science” no longer refers to systematic knowledge, but rather to a highly professionalised, specialised and often technically advanced activity intended for the production of empirically secure facts. Similarly, ”art” is no longer a methodical ability, but rather a complex and autonomous activity comparable to science: the creation of images, sounds, and other forms of sensuous experience with a most immediate effect. Forms that grab hold, shake up, leave us at a loss. Experiences that make us question ourselves and the world around us.The relation between science and art has become more complex, but is just as important to attend to. Their meeting is still that of theory and practice, but also something more: a meeting of causal connections and meaningful coherences, of given conditions and unsuspected possibilities, of the order of things and our own place within it.By bringing together science and art, architecture provides an ideal playing field for such a confrontation. This is why the Department of Architecture at the Chalmers University of Technology has initiated the AHA! Festival, October 21–23, 2014 that, during three days of lectures, workshops, conversations, exhibitions, concerts, performances, and mingles, will offer thought-provoking experiences, hands-on surprises, itinerant perspectives, and savoury ideas. In this way the festival welcomes students and researches at Chalmers and the University of Gothenburg to turn the searchlight onto the relation between two different– but equally important – human activities.
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- van Toorn, Roemer, 1960-
(författare)
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The power of gentleness in architecture : towards an aesthetics of hospitality
- 2022
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Ingår i: Transformations 2022 in artistic research. - : Luleå University; Swedish Research council. ; , s. 24-25
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The Power of Gentleness in Architecture. Towards an Aesthetics of HospitalityThe last decades the discourse of sustainability has expanded towardsother related approaches on the built environment in architecture theory and practice. These relational perspectives can be characterized by a move away from the architectural object itself towards a focus on the processes through which the architectural object is materialized, produced, con- structed, maintained, demolished, recycled, renovated, and experienced. Reconsidering architecture from these relational sustainable perspectives (of social - and ecological care), is of extreme and urgent importancegiven the multifaceted crisis of care today, but unfortunately the question of aesthetics has disappeared by reducing architecture to a by-product of processes, materials, and technologies. By neglecting the question of the aesthetics, it is underestimated how essential the visual, experiential, haptic and bodily engagement are for its users, architects and alike. The inevita- ble questions of affection, perception, beauty, joy and happiness need to be considered as intrinsically linked with sustainable issues for society and its different cultures as a whole.With my new research “The power of Gentleness in Architecture. The Aesthetics of Hospitality,” I aim to document, explore, define, and theo- rize how a particular aesthetics of hospitality can emerge and be devel- oped towards a sustainable future of social and ecological care by looked at exemplary contemporary and historical architecture practices and the different lifeworld’s that are created under influence of migration. Such sustainable practices of architecture are effective through both their in- novate material and technical solutions as well as their aesthetic regime, enabling the configurating of new experiences that create new modes of sense perception while inducing novel forms of social and political sub- jectivity beneficial for both the individual, society as a whole. It is about an approach and aesthetics how you can dance with enmeshment within the constraints of a particular time, in other words can enable provisional freedom by means of an aesthetic regime.In simple terms it comes down to an open architecture; one incorporating multiple voices, backgrounds, and ethnicities empowered through its sus- tainable aesthetic regime redistributing the sensible. It is about a research wishing to make a case for an architecture that accommodates and fosters diversity, liveliness, and unpredictability, in stark opposition to over-deter- mination, exclusion. Its gentleness is about a power that is also soft, a nobil- ity that is also humble, a sweetness that is also intelligent, a subtlety that is nevertheless striking. Gentleness is about a fragility and complexity that has the potential to subvert and change the status quo, a micro-politics of specu- lative construction towards an open, ecological, and socially just future.
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- Wilson, Mick, 1964
(författare)
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White Mythologies and Epistemic Refusals: Teaching Artistic Research Through Institutional Conflict
- 2020
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Ingår i: Teaching Artistic Research: Conversations Across Cultures. - Berlin : De Gruyter. - 3110662396
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Bokkapitel (refereegranskat)abstract
- This essay outlines a heuristic model of a teaching practice that attempts to operate within the fundamentally contested field of artistic research by exploring the terms and processes of conflicted institutional practices and rhetorics. Taking account of the different ways in which artistic research has become a highly visible moment of institutional conflict, this paper outlines an approach to teaching early-stage researchers through active processes of knowledge conflict. The model outlined here proposes a group process by which fault-lines of conflict and disagreement may be thematized and operationalized within a teaching praxis. The provisional model being proposed is based upon concrete experiment and application over the last decade in a range of formal and informal educational settings.
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| 8. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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Artistic Research: Being There, Explorations into the Local
- 2017
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Ingår i: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- How does artistic research engage with the concept of local? In what ways can art practice be an intervention into traditional notions of history and culture? How does it engage with local and global identities? This book raises questions about transient art practices and site-specific works within communities, as well as art and research based experiences localized in urban and rural spaces, within the body and memory. Being There is a wide-ranging anthology that demonstrates the field of artistic research has never been stronger. The essays and meditations are by visual artists, writers, performers, filmmakers, historians, sound artists, and activists who have worked together in the Nordic Summer University and who share a desire to unite their creative practices with critical enquiry. Their contributions were generated within twice-yearly symposia that moved between Nordic and Baltic countries over a three year cycle of practice-based research. Some contributions are enigmatic meditations on place, whilst others, paradoxically, address the question of what is local through the notion of the nomadic. Whether describing quests of individual artists, or relating to collective endeavours, these works are engaged with the spaces in between. Each offers the reader a thoughtful encounter with the aesthetic, and the political, within a myriad of art practices across a rapidly evolving Europe. A part of the series NSU-press and the subject areas Philosophy and Art
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| 9. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2015
- 2015
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The AHA festival investigates the borders between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about the space between art and science. We invite scientists (physicists, historians, mathematicians, medical students), artists (dancers, musicians, painters, poets, chefs) and not least architects, who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.
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| 10. |
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Human Population : Västerås 2020
- 2020
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Konstnärligt arbete (refereegranskat)abstract
- I Human Population tar konstnären med en grupp deltagare på en guidad tur genom stadscentrum. Framför olika byggnader och på gator breder hon ut en stor genomskinlig byggplast på marken.Ett frottage (en gnuggbild) med pastellkrita växer fram och synliggör markens struktur. Samtidigt berättar Torell om tillgänglighet som en mänsklig rättighet. Om rösträtt och inkludering. Om asfalt mot vågiga betongplattor - inte för att de är dekorativa, utan för riktningarna de skapar för den som har nedsatt syn. (Katrin Ingelstedt/Västerås konstmuseum)
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