| 1. |
|
|
| 2. |
- Orru, Anna Maria, 1976, et al.
(författare)
-
AHA! festival 2014
- 2014
-
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.
|
|
| 3. |
-
The Best of New Urbanism: Selected Articles & Essays 2002-2012 : Celebrating the 20th Anniversary of Congress for New Urbanism
- 2012
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This unique book brings together, for the first time ever, a collection of probably the best papers & essays written on the international phenomena known as new urbanism. The range of articles spans different tenets of the movement, its theories and principles, methods & tools, contributions & critique and much more. The authors originate from variety of disciplines such as, sociology, public policy, human geography, economics, urban planning, urban design, architecture, real estate development and urban studies. It is a unique and timely collection of new and older works, freshly complied for the 20th anniversary of congress of new urbanism and the new urbanism movement. This volume is a limited release printed only for academia, faculty and students
|
|
| 4. |
- Dyrssen, Catharina, 1949, et al.
(författare)
-
Sound and other spaces
- 2014
-
Bok (övrigt vetenskapligt/konstnärligt)abstract
- The book, edited by Catharina Dyrssen, draws on coclusions from two larger artistic research project on urban sound environments, sound art, acoustic space, and spatial aspects of sound. The chapters comprise reflections on sound quality ans sound awareness, sound design and audio editing, technical solutions for artistic problems, and how sound can be composed and used in architectural and urban design. In text and images the four authors discuss a number of investigative projects performed within the artistic and interdisciplinary research group Urban Sound Institute.
|
|
| 5. |
|
|
| 6. |
- Lindborg, PerMagnus, 1968-
(författare)
-
Sound Art Singapore : Conversation with Pete Kellock, Zul Mahmod and Mark Wong
- 2014
-
Ingår i: eContact!. - 1910-4650. ; 16:2
-
Tidskriftsartikel (refereegranskat)abstract
- This paper is a “constructed multilogue” oriented around a set of questions about sound art in Singapore. I have lived here since 2007 and felt that a “community report” should aim to probe recent history deeper than what I could possibly do on my own, in order to give a rich perspective of what is happening here today. I was very happy when Pete Kellock, Zul Mahmod and Mark Wong agreed to be interviewed. Each has a long-time involvement in the Singapore sound scene, in a different capacity. Pete is an electroacoustic music composer who has worked in research and entrepreneurship, and is a founder of muvee technologies. Zul is a multimedia artist and performer who has developed a rich personal expression, mixing sonic electronics, sculpture and robotics in playful ways. Mark is a writer and sound artist who has followed Singapore’s experimental scenes closely since the 1990s.I sent the three of them a letter containing a range of observations I had made (which may or may not be entirely accurate) and questions (admittedly thorny and intended to provoke), including the following:The geographical location and Singapore’s historic reason-to-be as a trading post has instilled a sense of ephemerality — people come and go, ideas and traditions too — as well as a need to develop contacts with the exterior. The arts scene in general seems to be largely a reflection of whatever the current trading priorities demand. In what way does the current local sound art reflect the larger forces within Singaporean society? Since art is mostly orally traded, how are its traditions nurtured and developed?Around 2010, the Government seems to have indicated a new task for cultural workers, including sound artists and musicians: to define — create or discover, stitch-up or steal — a “Singapore identity”. The Singapore Art Festival shut down two years while the think tanks were brewing. Will this funnel taxpayer money and (more importantly) peoples’ attention towards folkloristic or museal music, rather than to radical and/or intellectual sound art? At the same time, there is considerable commercial pressure to subsume music / sound listening into an experiential, multimodal, game-like and socially mediated lifestyle product. Are commercialization and identity-seeking two sides of the same coin — one side inflation-prone, and the other a possible counterfeit? Is there room for a “pure listening experience”, for example to electroacoustic music? Or is the future of sound art ineluctably intertwined with sculptural and visual elements?Different kinds of creative people involved in sound art are entrepreneurs, programmers, academics, educators, curators and journalists. Which institutions nurture talent and bring audiences to meet new experiences? Where are the hothouses for developing ideas, craft, artistry, innovation and business?The interviews, loosely structured around these themes, were made in January and February 2014. Our conversations often took unexpected turns (mostly for the better). I diligently transcribed the recordings, and each interviewee made corrections and additions, before we gently nudged spoken language a little closer to prose. I then brought out a pair of big scissors and a large pot of coffee, and made a cut-out collage, weaving the texts into the multilogue that follows. The idea has been to create an illusion of four people conversing with each other under the same roof. Deceit or not, at the very least, we all live and work on the same small island, somewhere in the deep southeast. I hope you will enjoy reading Sound Art Singapore.
|
|
| 7. |
- Nilsson, Fredrik, 1965, et al.
(författare)
-
Expertgruppens kommentarer till projektrapporterna inom konstnärlig forskning
- 2010
-
Ingår i: Forskning och kritik - granskning och recension av konstnärlig forskning. Årsbok Vetenskapsrådet Konstnärlig FoU 2010. - 9789173071536 ; , s. 159-166
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The Swedish Research Council has supported artistic research since the Council was set up in 2001. Project Research Grants have been awarded in the field since 2003.Five reports on projects that have received financial support from the Research Council are commented and reflected upon in the Yearbook, for the first time, by the Expert Panel for Artistic Research and Development.
|
|
| 8. |
|
|
| 9. |
-
Chinese whispers
- 2011
-
Samlingsverk (redaktörskap) (populärvet., debatt m.m.)abstract
- Chinese Whispers is an edition based on the children’s game with which it shares its name. A voice recording of a whispered word chosen by the editors of the volume was passed on to an initial contributor who was asked to work with the recording, the sound itself as well as its transcription, and produce a sound- and text-based contribution to the volume. Additionally, our initial contributor was asked to pick a subsequent contributor to the series and make another sound recording of the whispered word for this person to work with. We set out to allow this process to continue until we reached a point where we had six confirmed contributors to the volume, each of which had agreed to produce an individual edition containing a CD and various forms of printed matter.The resulting volume is a box-set containing six separate contributions that share the same format and are interlinked by the gradual mutation and disintegration of the original word recorded which remains the undisclosed basis of volume in its entirety.Contributors: Neil Chapman, Jill Magi, Sissu Tarka, Uriel Orlow, Brendan Fernandes and Jaanika Peerna.
|
|
| 10. |
-
Counting Each Step of the Sun
- 2010
-
Samlingsverk (redaktörskap) (populärvet., debatt m.m.)abstract
- Counting Each Step of the Sun explores the diverse set of intersections between the voice of or in a text, the voice during actual reading, vocalization and subvocalization processes, and the recorded voice. It features contributions that in some way problematize, displace and deconstruct any easy set of identifications and distinctions between these different vocal realms as well as those which seek to render possible mutations, hybridizations, points of indiscernability and crossovers between them.The title of the proposed volume derives from an autobiographical story recounted by Allen Ginsberg in a BBC interview with Jeremy Andrews. Spending time in a friend’s New York apartment, Ginsberg tells Andrews how he experienced an aural hallucination in which William Blake recited his poem ‘Ah! Sunflower’ to him in a voice much like Ginsberg’s own yet distinctly different, emanating from his sternum. Ginsberg proceeds to recite the poem himself – ‘Ah! Sunflower, weary of time, who countest the steps of the sun, seeking after that sweet golden clime, where the travelers journey is done, where the youth pined away with desire, and the pale virgin shrouded in snow, arise from their graves and aspire, where my sunflower wishes to go.’ – bringing to mind his 1969 recording of the poem, performed accompanied by a small harmonium on top of the sound of which Ginsberg and others half recites, half sings Blake’s poem.Although this present volume does not engage specifically with the work of Allen Ginsberg, nor that of William Blake, it does draw upon the interplay between voices in this story – that is, the interplay between the voice of or in Blake’s text, the peculiar voices in Ginsberg’s subvocalization-cum-aural hallucination, the voice of Ginsberg reading, the voice we find on the recording of Ginsberg singing, and the voice of Ginsberg recounting his story. On the basis of such interplay, we have been gathering contributions from poets, sound poets, musicians and artists whose current and/or past work we feel have in some way engaged with or intervened in this general field. Contributors have been encouraged to think and work with similar intersections and interstitial spaces in their own poetics, and/or in the work of others, producing text and sound pieces/collages using editing and remixing processes that in some way destabilize, displace and render uncertain any easy and comfortable distinction between these different vocal realms.This volume collects the contributions we received and includes the work of Charles Bernstein, Caroline Bergvall, Christian Bök, Johannes Heldén, Kenneth Goldsmith, Lars-Gunnar Bodin and Danny Snelson.
|
|
