| 1. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Walking in Suriashi as a Radical and Critical Art of Inquiry
- 2023
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Ingår i: Walking as Critical Inquiry. - Cham : Springer. - 9783031299902 - 9783031299919 ; , s. 151-173
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Bokkapitel (refereegranskat)abstract
- This chapter contributes to the discussion on moving in and through site-specific and urban space; at the cusp between higher dance education and everyday life, creating a post-Certauian tear through space and time as a call for agency. It draws from my Ph.D. research Suriashi as Experimental Pilgrimage in Urban and Other Spaces, where I propose an experience of society from within a Japanese practice called suriashi, which translates as sliding foot. Suriashi is a specific gender codified walking technique in classical Japanese dance and theatre, and an important method for acting on stage. Gender is constructed physically through the positioning and moulding of the body. The original practice is performed in the dance studio or on stage. My research asks whether suriashi also could be a method for agency to act, as being active, or to activate, and temporally alter spaces outside the theatre; i.e. the practical application of this artistic practice outside the theatrical context. This relocation brings a traditional form into new configurations, connecting to everyday practices and sites of resistance and performance. It also contributes to the burgeoning field of walking arts practice, bringing a Japanese dance-based practice into a dialogue with debates and practices of Western dancing and walking. Suriashi performed in urban spaces was able to unfold and identify new relations between aesthetic practice and politics, between movements and monuments in the city as a way to critique the unequal distribution of power, and by looking for new ways to protest/resist peacefully. I assess this from three of my many experiments with slow suriashi walkings. The first one is Suriashi Intervention, performed at Gothenburg Culture Festival in August 2016. This experiment did two things: it engendered the city’s unacknowledged dance archive, while performing critique of the unequal distribution of funding of the arts. The second experiment is an ‘invisible’ suriashi performed by the then Hong Kong-based scholar Ching-yuen Cheung during the violent protests at Yuen Long Station in Hong Kong in July 2019. It showed how artistic methods are necessary when democracy collapses. The third experiment regards introducing suriashi as methodology to master students of Contemporary Performative Arts at University of Gothenburg. Here, suriashi unveiled important issues regarding art in urban spaces, necessary for the art student. To further contextualize, I interlace my arguments through positionings by sociologist Doreen Massey.
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| 2. |
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Maskätna ord / Maskäten oro
- 2020
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Documentary poem deploying language from the Swedish Migration Board, different iterations of the Swedish Aliens Act (“Utlänningslagen”), as well as personal memory work regarding xenophobic and racist social geographies in Sweden in the 1980s and -90s. Contribution to Imri Sandström's artistic research project Återskall / Again Bark, an anthology with texts and images that respond to, or go into dialogue with Sandström's Det kommande skallet / The Coming Shall from 2017, serving as a critical examination of the research from within the artistic field, as well as a sprawling continuation.
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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. |
- Smolicki, Jacek, 1982-
(författare)
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Minuting. Rethinking the Ordinary Through the Ritual of Transversal Listening
- 2021
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Ingår i: VIS. - : Society for Artistic Research. - 2003-024X. ; :5
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Tidskriftsartikel (refereegranskat)abstract
- This exploratory essay introduces selected sound recordings along with notes and observations from Minuting – a practice of sonic journaling I have performed daily since July 2010 in numerous locations and settings. I weave these observations together in a way that resonates closely with the idea of repetition, in multiple forms: protest, automation, cycle, and ritual, as well as the repetition inherent to my acts of recording. While introducing sounds from the archive of Minuting, I reflect on how this constrained and systematically enacted form of listening, recording, and re-listening leads to a transversal type of sonic reflexivity. It is a form of alertness to sound that stretches beyond the immediate resonance of the 'now' – towards spatially and temporarily distant, yet to some extent intertwined, objects, subjects, events, and environments. The text evolves across three interrelated layers: annotated recordings from the project's archive, a set of thoughts and associations triggered by re-listening to the material, and a discursive analysis that opens up the project to a dialogue with other thematically resonant debates and practices. Drawing on perspectives from media studies, the philosophy of technology, sound studies and durational art, I discuss Minuting as an art work, a creative constraint and a transversal listening practice. Lastly, I propose it as an existential media technique for composing critical and reflective positions towards one's surrounding space, experience of time, and use of sound technologies.
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| 5. |
- Carlsson, Anders, 1972, et al.
(författare)
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Garden of Earthly Delights
- 2022
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Ingår i: At the festival "There is a crack in everything", organized by Theatre group Institutet, curated by Markus Öhrn, performance date 22.7.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Garden of Earthly Delights is a performative installation invading today's holy grail of delight: the club. It is a place for pollination, for reflection, for social interaction, for celebration, for life - growth, decay, composting, death, rebirth, intertanglement and interweaving. For the unknown and for play. We have created a way of working, a way of play that welcomes and interrogates lusts and perversions. This play works as a hospice or container for different dualities and contradictions; naturalness and artificiality, utopia and dystopia, pleasure and decay, harmony and chaos, eros and perversion. It is a play where the rules are constantly emerging, breaking, re-imagining, shuttering, reshaping and dissolving. It is a prolonged threshold swinging in ambiguity and disorientation. It is rigid dissolution, fluidness and malleability. It is the intersection between heaven and hell. We warmly welcome you to take part of this paradise of pleasures, of earthly delights. The piece is a collaboration between 4 FLOORS OF WHORES and the Swedish artist Anders Carlsson. It is a sisterwork to the coming piece V - eller när barnen tar makten, which premieres at Teater Viirus spring 2023. The project is funded by Svenska Kulturfonden, Konstsamfundet & Eugène, Elisabeth och Birgit Nygréns stiftelse. Special thanks to Teater Institutet & Markus Öhrn, Oxi Koskelainen, the staff of Post Bar and Kuutti.
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| 6. |
- Esperi, Benedikte, 1969
(författare)
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Det okända – en intellektuell performance
- 2022
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Ingår i: Atalante Göteborg, Vetenskapsfestivalen Jonsereds herrgård och Konstnärliga fakulteten, 2022-05-08.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Vad är det okända? Mångvetenskaplig och multikonstnärlig iscensatt pop up-akademi. 18 författare, forskare, konstnärer och musiker talar och samtalar, ense och oense om det oupptäckta, outforskade. Från hemligheter till improvisation, från psykets skrymslen, djurögon och artificiell intelligens till förborgad historia, nya virus, oanade konsekvenser av krig och utopier inför framtiden. Performance, framträdande, mingel. Ledamöter: PETRA ANDERSSON forskare praktisk filosofi, Institutionen för filosofi, lingvistik och vetenskapsteori CAMILLA BRUDIN BORG fil.dr litteraturvetenskap, Institutionen för litteratur, idéhistoria och religion DELIANG CHEN professor i fysikalisk meteorologi, Institutionen för geovetenskap PER CRAMÉR professor i internationell rätt, rektor Handelshögskolan BENEDIKTE ESPERI performanceartist, koreograf, filmare ANJA FRANCK dr i ekonomisk geografi, lektor i freds- och utvecklingsforskning ELISABETH HJORTH författare, programansvarig masterprogrammet i Litterär gestaltning, HDK-Valand ANDERS HULTQVIST professor i musikalisk gestaltning, Högskolan för scen och musik HEDVIG JALHED operasångare och dr i scenisk gestaltning, Mälardalens universitet PER MAGNUS JOHANSSON docent idéhistoria, psykoanalytiker, universitetsadjunkt Psykologiska institutionen, tidskriften Arche BERIT LARSSON folkbildare, gästlärare vid Linköpings universitet och Örebro universitet, Kvinnofolkhögskolan PER ANDERS NILSSON professor Högskolan för scen och musik, musiker och tonsättare ULF KARL OLOV NILSSON författare, leg. psykolog, psykoanalytiker, tidskriften Glänta ELENA RAVIOLA professor i Design Management, HDK-Valand JESPER SÖDERBLOM skådespelare, Göteborgs Stadsteater AGNES WOLD professor i mikrobiologi, Institutionen för biomedicin IDA ÖSTENBERG professor i antikens kultur- och samhällsliv, Institutionen för historiska studier LENA ULRIKA RUDEKE program- och verksamhetsansvarig, Jonsereds herrgård Göteborgs universitet FRITT INTRÄDE - INGEN FÖRBOKNING Efter programmet fortsatt mingel till klockan 21.30. Arrangörer: Jonsereds herrgård och Konstnärliga fakulteten, båda vid Göteborgs universitet, i samverkan med Atalante. Mycket välkomna! www.gu.se/jonsereds-herrgard www.gu.se/konst
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| 7. |
- Wikström, Josefine, 1983-
(författare)
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Konst, samhälle och teknologi hos Adorno
- 2020
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Ingår i: Paletten: tidskrift för konst. - Göteborg : Stiftelsen Paletten. - 0031-0352. ; 320, s. 18-22
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 8. |
- Jonasson, Kalle, 1976-
(författare)
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‘What [I] talk about when [I] am running’ : Revetment Running, Ethnography and Econarratological Poetry
- 2018
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Ingår i: The Ethnographic Edge - Contemporary Ethnography Across the Disciplines. - Hamilton : University of Waikato. - 2537-7426. ; 2:1, s. 9-20
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Tidskriftsartikel (refereegranskat)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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| 10. |
- Wilson, Mick, 1964
(författare)
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They tell me often, that we deny death.
- 2021
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Ingår i: Btatislava, Slovakia Open Studio/Studio IN – Academy of Fine Arts and Design in Bratislava; BAK (basis voor actuele kunst) in Utrecht; APART Collective in Bratislava. Summer school series initiated by Kristína Országhová..
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- It is claimed that the subject about to die will begin in denial as a step along the path of dying. It is further claimed that death is also the object of collective disavowal. Mortality, some will say, is treated as a social embarrassment to be discreetly managed and politely put away. And yet, the giddy tally of the dead jostles for screen-time with all its graphic matter-of-fact-ness. The repetition of the body count courts a daily renewal of attention. What then is denied and avowed in these rhetorical forms? What death is spoken, what death evaded, in the claim that death is denied? If not subject to a disavowal, who or what shall come to speak for death, the dying and the dead?
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