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The Posthumanities Hub Webinars and Workshops Spring 2023 : Creative with Concepts
- 2023
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The Posthumanities Hub round-table workshop On "Creative with concepts"Speakers: Prof. Nanna Verhoeff (Utrecht University), Prof. Iris van der Tuin (Utrecht University), Dr Janna Holmstedt (Sweden’s Historical Museums), Prof. Christina Fredengren (Uppsala University), Prof. Paola Ruiz Moltó (Universitat Jaume) & Prof. Cecilia Åsberg (LiU) with friends.11th May, 2023 on-location workshop at Linköping UniversityEngaging with what concepts can do, we explore in this experimental round-table workshop what happens in the arts and creative humanities when "theory words" (concepts) work across different research practices. We move through a set of concepts, like, "assembling", "cartography", "curation", "dirt", "following", "micrology", "unlearning" and "wonder" (all from Iris van der Tuin & Nanna Verhoeff's (2022) Critical Concepts for the Creative Humanities, see below how to download it!). Such concepts are put to work differently across the invited speakers' various research projects. Come meet artistic research on soil and sustainability; museum ecologies and heritage research on past and future waste sites of the present Antropocene; imaginative teacher education with art, science and tiny, tiny critters, as well as other forms of blue/ environmental/ feminist/ more-than-human and creative humanities.
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| 2. |
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Number fascination : A reflection on data and measuring
- 2022
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Konstnärligt arbeteabstract
- Number fascinationA reflection on data and measuringAn exhibition is open from 3rd of May until 2nd of October 2022.Our lives are full of numbers and metrics. The minutes you need to boil an egg, the temperature outside, the hours until the end of the workday, the hourly pay rate of your job, the recommended amount of salt in your daily diet, the number of likes on your latest social media post. Numbers help to make sense of what we think, feel and know. Everything can be measured, once we learn how to count.Since the 16th century, Europeans have become increasingly obsessed with collecting data. The ability to describe the world quantitatively gave way to modern science and the hope that we could understand how things are.When you count things, you probably feel achievement and success: the number of followers you have on social media, the clicks on your latest post, the number of steps you have taken this day. But to know what decisions you need to make, good metrics and a clear understanding of what is being measured are needed. If you can’t measure it, you can’t manage it. Or can you?This exhibition is part of Me-Mind, a Creative Europe project that aims to measure and visualise the effect of culture. Throughout the process, we’ve come up with great questions about what measuring and counting mean, their challenges and the effect they can have on people. We’re sharing these thoughts in the form of an exhibition.Please ask yourself about your relationship with data as you are going through the sections of the exhibition. And when you reach the last one, where we present the results of our investigation, please ask questions and be critical of what we have developed. All data sets should be questioned by as many minds as possible.
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| 3. |
- Smolicki, Jacek, 1982-
(författare)
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Acoustethics: Careful Approaches to Recorded Sounds and Their Second Life
- 2022
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Ingår i: Prace Kulturoznawcze. - : Wydawnictwo Uniwersytetu Wroclawskiego. - 0860-6668. ; 26:1, s. 11-33
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Tidskriftsartikel (refereegranskat)abstract
- This article attempts to rethink some problematic ways and motivations for engaging in (field) recording and working with recorded sounds. Interweaving reflections from my long-term soundscape archiving initiative undertaken in Stockholm, with projects of others aiming at preserving cultures through sound, I reflect upon ethical challenges that emerge against the prospect of second and following lives and deaths of recordings. Does the second life of a recorded event risk replicating power relationships that the original recording was enmeshed in? What can be gained and, more importantly, lost while conceiving a second life of a recorded sound? This article intends to open up an array of such questions which, as I suggest, need to be taken into consideration already before and during the recording process. As a discursive tool that does not resolve those concerns but instead creates space for critical reflection, I propose a concept of acoustethics. In a nutshell, acoustethics, as this portmanteau of acoustics and ethics suggests, is an ethically informed approach to the world’s soundscapes. I argue that any kind of engagement with the auditory world through recording technologies requires careful consideration of multiple agencies contributing to the recorded sound. As a reflective attitude to the sonic realm, acoustethics acknowledges that any recording takes place within already existing fields of relations and simultaneously generates new links between subjects, histories, worldviews, technologies, and other forces. In other words, any recording is intrinsically field recording.
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| 4. |
- Holloway-Attaway, Lissa, et al.
(författare)
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Trans-Missions and Resonant Encounters : composing the non-human body
- 2020
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Konferensbidrag (refereegranskat)abstract
- In Insect Media, Jussi Parikka frames his discussion of ‘media as insect’ as a way to foreground media as more-than-technology and more-than-mediation. Insect media do not exist as a site between the natural world and the constructed, built, or human world. They do not negotiate duality. Instead such ill-conceived binary spaces converge in embodied forms of bestial, non-human, interconnectedness within living/lived spaces. Insect media do not interpret, describe, or represent realities for us (that is us humans). For Parikka, insect media are “a contraction of forces of the world, specific resonating milieus: internal milieus with their resonation, external milieus affording their rhythms as part of that resonation. ”What does it mean then to inhabit, discover, and become such an insect media body? How might such intensive states of being be revealed in the act of encountering, resonating with, and moving through embodied spaces? How might one be both inside and outside bodies, subject and other? In an age where transmission and infection bring fear of the ‘foreign body ’and its impacts, and where human bodies inscribe their devastating impact on the geological and atmospheric forces of the earth, what can we learn from becoming with such non-human, inhumane, bodies? What are their fluid, multimodal methods of cross-disciplinary trans-mission and how might we receive them? In our audio paper/audio walk, we explore what it is to inhabit these resonant spaces. Reflecting on theoretical models from posthuman, non-human, and more-than-human perspectives, we design a narrated audio experience that incorporates psychoacoustic phenomena such as auditory brainwave entrainment, binaural beats, and fragmentation/granulation of sound materials that de-centralize and deconstruct the sounding world. The boundaries between music, field recording, sound art and sound assembly are blurred and reinterpreted in the listening/explorative space. Spaces convolve, disperse and digitally re-order through patterns and rules evolving simultaneously through the sounding expanse, developed and mediated by the sounding, resonating space that emerges.
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| 5. |
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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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| 6. |
- Lagerström, Cecilia, 1968
(författare)
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Etyder om tystnad
- 2011
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Ingår i: Schildknechtteatern, Högskolan för scen och musik, Göteborg, 13 december 2011.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Etyder om tystnad är en delredovisning inom KU-projektet ”Postdramatisk teater som metod och praktisk teori innanför respektive utanför akademien” som bedrivs av Cecilia Lagerström och Pia Muchin 2010-12. Projektet Etyder om tystnad undersöker temat tystnad från olika håll. Tematiken skapar en resonansbotten för frågor om regi, identitet och konstens plats. Här finns berättelser om den tystnad som vill få röst, men också om tystnaden som en strategi för en teatersyn och ett sätt att vara i världen.
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| 7. |
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“Letter to a Grain of Wheat”
- 2021
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Konstnärligt arbete (refereegranskat)abstract
- The piece is a contribution to the art project Seeding Stories: A Guide to the Interior of a Salt Water Crocodile (2019) by Migrant Ecologies Project, placed in The Svalbard Seed Cultures Ark, Svalbard, Norway in 2019: https://seeding-stories.org/Marietta-Radomska . The project, including Radomska's piece, has been published in Antennae: The Journal of Nature in Visual Culture, issue 54 / summer 2021, pp. 202-203
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| 9. |
- Pruulmann-Vengerfeldt, Pille
(författare)
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Illustrated guideline #2 : Data collection methods for CCIs
- 2022
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Rapport (populärvet., debatt m.m.)abstract
- Illustrated guideline #2:Data collection methods for CCIs. The one-page visual overview will give a basic introduction to cultural and creative industries to the following questions:1. How to collect data? What are the advantages of the various techniques?2. Data is everywhere, even where we don’t expect it!
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