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Sökning: hsv:(SAMHÄLLSVETENSKAP) hsv:(Statsvetenskap) > Konstnärligt arbete

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1.
  • Bucken-Knapp, Gregg (författare)
  • Soundscape Reading Reflection Response (Audio collage: 9 minutes, 28 seconds)
  • 2023
  • Ingår i: Summer School for Sustainability, University of Gothenburg, July 31, 2023.
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • What do migration and integration sound like? Prior to starting the Managing Migration course in June 2023, university students in fifteen different countries were asked to think about this question and to make short audio recordings of the migration and integration soundscapes they discovered around them. Once in Gothenburg, students made additional recordings – reading quotes from research literature that informed their soundscape recordings, and the reflections that emerged while they continued to develop their thoughts. The resulting audio files have been edited and assembled into an audio collage. The collage plays on a loop. It can be listened to from start to finish, or from any one point to any other point, for as short or as long as you would like. Soundscape: The sounds of migration and integration – documented, experienced, imagined. Multicultural neighborhoods, global cities, hallways in municipal offices, telephone queues at migration agencies, passports, passengers at airports, moments in flight, the soothing sounds of birds singing, crickets chirping and the fall of rain, metro announcements while trains hurtle forward or screech to a stop, checkout counters in grocery stores, solitude and street noise far from home. Small sonic patterns, repeated. Reading: Students encountering academic literature. Articles found, quotes identified, words spoken. Moving from first-hand fieldwork to encounters with scholars expressing the conceptual, theoretical, and methodological. Social exclusion. Inclusivity. Migration infrastructure. Social networks. Diaspora. Migrant loneliness. Social locations. Civil crisis management. Identity. First-generation migration. Mobility dynamics. Refugee settlement phases. Reflection: Articles inspire, leave impressions, open up new perspectives and alternative ways of understanding, reveal unexpected opportunities for making sense of data that is collected or generated. Possibilities emerge to refine and pursue research ideas. Moments of analytical insight, increased understanding of the abstract, continued curiosity about settings, processes and dynamics. Learning. Doing. Making things. Response: In 2024, there will be a chance for you to take part. An opportunity for you to record an anonymous voice message. Soundscapes, a sentence from a journal article, the sensemaking process of a student – what are you thinking now and what is your response to what you have heard? More details to follow, and be sure to visit us at Vetenskapsfestivalen 2024.
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2.
  • Tetzlaff, Andrew, et al. (författare)
  • Tintin Wulia: Secrets
  • 2023
  • Ingår i: Melbourne, RMIT Gallery, 5 Dec 2023 - 27 Jan 2024.
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • Tintin Wulia is an Indonesian Australian artist whose work reflects on globalisation and geopolitics and uses personal stories to unpick and lay them bare. For over 20 years she has researched the histories that have been told by the world’s dominant narrators, scrutinising their blindspots and systemic inequities and retelling them from nonconforming perspectives. Wulia’s recounting brings the past powerfully into the present and centres it on the voices of the periphery. Her works decode, reinterpret and represent history, orienting us to the current global situation in an effort to help collectively navigate towards a more socially just future.
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3.
  • Wulia, Tintin, 1972 (författare)
  • Absence in Substantia: Frequency
  • 2023
  • Ingår i: Jakarta, Baik Art, 10 Jan - 24 Feb 2024.
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • Absence in Substantia developed through analyses of data within what I came to call the Protocols of Killings archive. This archive, declassified in 2018, contains the once-classified cables that passed through the US Embassy in Jakarta spanning the years 1964-1968. It’s a wide-ranging record of communications during the critical period surrounding the 1965-66 Indonesian mass killings. When I started analysing the archive, I found 798 documents titled “Withdrawal Notice.” These are placeholders of documents that are considered still sensitive, and so they were retracted during the official evaluation that precedes declassification. So they’re sort of the secrets that are made even more secrets, even more restricted. This is where I extend on Walters’ logic: instead of seeing the closure as a problem, I focus on this disclosure-generated closure as potential. I also bring in my personal experiences of liminal death, and political scientist Oliver Kearns’s work on the absence left by drone strikes. Kearns argues that “A political response to covert strikes must go beyond 'filling in' absences and address how absence gains meaning in implicit ways.” From these withdrawal notices, I extracted dates referring to the original documents, to output frequency and density graphs of these retractions over time. The resulting bird's eye views show a pattern that peaks around the first date of the killings, 1 October 1965, which you can see as the pinkish-red thread cutting vertically on this work. Here I co-opt the act of closure into disclosure. I know this cooptation quite well. My grandfather’s liminal death left an unfilled lacuna, a particular hole right in the heart of my family, so to say. But we knew that there is no point filling this hole with anything else, because without this hole in its heart, my family’s heart is never whole. In other words, this wholeness that fully considers the hole is exactly why absence can be of substance. I think of this as a method of resistance—this Absence in Substantia. Absence in Substantia: Frequency, is showing the frequency graph on one of its two sides. Another work in the pair, showing the density graph, is being displayed in my other solo exhibition at RMIT Gallery in Melbourne, Australia. The other side of these works suggests the magnitude of the documents retracted from the archive, like an eruption of secrets from a document shredder, like the remains of something that’s destroyed with a pronounced presence.
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4.
  • Wulia, Tintin, 1972 (författare)
  • Context—after Kawara's Title, 1965
  • 2024
  • Ingår i: Jakarta, Baik Art, 10 Jan - 24 Feb 2024.
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • Context - after Kawara's Title, 1965 is the second in a series where I develop on one of On Kawara's earliest surviving conceptual works, Title (1965), which decisively marked his entrance to conceptual art, leaving his figurative period behind. Kawara's earlier works depict gory scenes profoundly affected by the US bombings of Hiroshima and Nagasaki. Like Kawara, I am deeply – although distantly – affected by US violence. Contrary to the sudden impactful bombings in Kawara’s case, the violence I experienced was slow, far-reaching, and long-lasting, crossing generations since 1965. This is why my first experience of Title (On Kawara, 1965) was so unsettling: Kawara must have known, I thought, that 1965 was not "ONE THING" (Wulia 2019, p.10). In Subtext - after Kawara's Title, 1965 (2019), the first work of this series, I exploded the three canvases of Title into 65 canvases of various sizes through rigorous research into the techniques and material that Kawara applied into this work as part of the BAIK ART Residency at Davidson College and a Smithsonian Artist Research Fellowship in Washington DC. I also investigated the subdued themes in Kawara's Title, including a text he arguably self-censored, "RED CHINA" (Woo, 2010). Context results from a further investigation in my Swedish Research Council-funded research project, Protocols of Killings: 1965, distance, and the ethics of future warfare (2021-23), bringing in the context of the 30,000-page declassified archives of Jakarta US Embassy, 1964-68, surrounding the Indonesian mass killings of 1965-66. In Context - after Kawara's Title, 1965, I expand on my recent finding, namely the pattern of Withdrawal Notices I found across these 30,000-page archives. My analysis on the withdrawal of these 798 documents from the declassified archives shows the highest density around 1 October 1965, the date of the first killings that became the trigger event. This suggests that these withdrawn documents are the crème-de-la-crème of US's secrets surrounding the Indonesian 1965-66 mass killings. Context - after Kawara's Title, 1965 is an installation of 65 paintings of dates picked by diverse individuals, chosen from a list of dates corresponding to the withdrawn documents, hence linking two events: a personal memory, and a reality withheld for the sake of state-sanctioned history.
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5.
  • Wulia, Tintin, 1972, et al. (författare)
  • Tintin Wulia: Disclosures
  • 2024
  • Ingår i: Jakarta, Baik Art, 10 Jan - 24 Feb 2024.
  • Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
    • “Tintin’s recent projects offers essential context, illuminating the interconnectedness between national happenings and the influence and complicity of external forces. They reveal how these forces have molded Indonesia’s modern history’s socio-political contours. In this way, her work establishes a dialogue between the personal and political, between hidden histories and communal memory, and between the banality of everyday life and the extraordinary events that shape it. This preoccupation can be seen across all of the works within this exhibition.” (Aaron Seeto, December 2023) BAIK ART Jakarta is pleased to present Tintin Wulia: Disclosures. Tintin Wulia is an Indonesian Australian artist whose work reflects on globalisation and geopolitics and uses personal stories to unpick and lay them bare. For over 20 years she has researched the histories that have been told by the world’s dominant narrators, scrutinising their blind spots and systemic inequities and retelling them from nonconforming perspectives. Tintin’s recounting brings the past powerfully into the present and centres it on the voices of the periphery. Her works decode, reinterpret and represent history, orienting us to the current global situation in an effort to help collectively navigate towards a more socially just future.   Tintin Wulia: Disclosures is presented in parallel with Tintin Wulia: Secrets at RMIT Gallery, Melbourne. It is prepared in conjunction with Tintin’s artistic research project at the University of Gothenburg entitled Protocols of Killings: 1965, distance, and the ethics of future warfare, funded by the Swedish Research Council (2020-02828), and is co-supported by various institutions and collaborators.
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6.
  • Andersson, Christoph, 1956- (författare)
  • Operation Norrsken : om Stasi och Sverige under Kalla kriget
  • 2013
  • Bok (populärvet., debatt m.m.)abstract
    • Före Berlinmurens fall var DDR och dess ökända säkerhetstjänst Stasi en maktfaktor i Europa. Journalisten Christoph Andersson har grävt i arkiven och hittat uppgifter om dess svenska kopplingar.På 80-talet ville regeringen Palme exportera svensk kärnvapenteknologi till DDR. Ärendet var kontroversiellt, men den enda som började nysta i frågan var Rapportjournalisten Cats Falck. Hon upp­täckte ett mystiskt östtyskt företag som skulle vara mellanhand. I november 1984 försvann hon spårlöst och hittades senare död.Lika mystiskt dog krigsmaterielinspektören Carl Algernon. Det var under efterdyningarna av Bofors omstridda export av krut och sprängämnen till Iran via DDR. Men också efter att Bofors i hemlighet tillverkat krut till östtyska folkarméns Kalasjnikovgevär. Även här figurerade ett mystiskt östtyskt företag. I båda affärerna hade DDR:s säkerhetstjänst Stasi sina fingrar med i spelet. Stasi gav sig även in i frågan om immunsjukdomen aids. Målet var att få aids att framstå som ett hemligt amerikanskt bio­logiskt vapen. Filmregissören Roy Andersson var snabb att svälja betet och bakade in idéerna i en upplysningsfilm, bekostad av Socialstyrelsen.Men den kanske största Stasioperationen blev en flopp. Den gick under namnet Operation Norrsken och skulle kompromettera det svenska kungahuset för dess gamla förbindelser med Nazityskland. Allt avblåstes i sista stund när Stasi och DDR insåg att det fanns pengar att tjäna. Närmare bestämt genom att göra ljusskygga affärer med svenska Asea, Bofors - och den socialdemokratiska regeringen Palme.
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7.
  • Carpentier, Nico (författare)
  • Iconoclastic controversies exhibition : A visual sociology of statues and commemoration sites in the southern part of Cyprus
  • 2015
  • Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
    • The photographs, taken in the southern regions of Cyprus, investigate the monuments, landmarks and statues that are part of the everyday life of Greek Cypriots. “The statues are vehicles of communication. They are vehicles of ideology, of information. It’s the entire object that also becomes a medium”, explains the professor.These photographs analyse how statues and commemoration sites narrate and frame the Cyprus Problem, and how they in many cases contain references to the “Self” and the “Other” by presenting a heroic “self” to the “own” community, or by showing the suffering of the “self”. But the exhibition also investigates how some (exceptional) statues undermine this presentation of the “self” and offer a different narrative of the conflict, and the identities of the people involved. “The logics of war and conflict often makes us believe that there is a homogenous community that is identical. And that is part of the problem, actually, because it hides the diversity that is so important. Showing these internal differences is very important in dealing with conflicts like in the Cyprus Problem”, notes professor Carpentier. He continues: “the project shows how important and how traumatic the Cyprus Problem is. The Cyprus Problem scratched the Cyprus soul, it really went very deep. The statues are ways of dealing with that”.
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8.
  • Coetzee, Wayne, 1984- (författare)
  • Sweden’s Weapons Exports Paradox
  • 2021
  • Ingår i: Do-Gooders at the End of Aid. - Cambridge : Cambridge University Press. - 9781108488792 - 9781108772129 ; , s. 101-122
  • Bokkapitel (refereegranskat)abstract
    • This chapter explores the paradoxical logics embedded in the Swedish policymaking elites’ rationale for exporting advanced conventional weapons to the so-called developing world. Using the South Africa JAS-39 Gripen fighter jet deal as a case study, the chapter demonstrates how the policymaking elite consciously pursues a dual strategy regarding the production and circulation of weapons – one that is driven both by the Swedish internationalist tradition of “doing good” and “being good” in the world, but also for instrumental purposes. Overall, the investigation illustrates how such processes have become embedded societal symbols of Swedish identity in the post-Cold War era – a phenomenon that serves to conflate the operations of a militarized state with the perceived ideals of Swedish mediation, honest brokership, and overall as a significant contributor to frameworks of promoting ethical and peaceful methods on a global stage. These paradoxes, it is argued, raise important questions about so-called “Swedish exceptionalism.”
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9.
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10.
  • Wasa i Antarktis : trähus i tufft klimat
  • 2022
  • Konstnärligt arbeteabstract
    • Utställningen handlade om den svenska forskningsstationen Wasa som uppfördes i Vestfjella i Dronning Maud Land 120 km från kusten i norra Antarktis under expeditionen SWEDARP 88/89. Det var ett forskningsprojekt finansierat av Energimyndigheten där syftet var att över tid studera hur ett trähus klarar ett tufft klimat likt Antarktis så man kan förbättra byggandet inför potentiella framtida klimatförändringar. Dag Haugum, universitetsadjunkt på Institutionen för teknik och naturvetenskap vid LiU (tidigare anställd vid Luleå tekniska högskola vid tiden för projektets start) var med och byggde stationen. Sen tidigare fanns där en mindre svensk station, Svea. Wasa är en bas för olika svenska forskargrupper men för Dag och hans kolleger är stationen i sig ett forskningsobjekt där och har sedan dess återvänt ett par gånger för att studera husets status. Förutom byggandet och forskningen kring Wasa berättade utställningen om Antarktis-fördraget, ett politiskt fördrag gällande förvaltningen av Antarktis, andra länder som också  är verksamma i Antarktis och det samarbete  som finns med Sveriges granne, den finska stationen Aboa, vilka tillsammans bildar den sk Nordenskjöldbasen. Livet på forskningsstationen, transporter, djur- och naturliv beskrevs i text och framför allt bild genom Dags egna foton och tidningsklipp.
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