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Architecture, Photography and the Contemporary Past
- 2014
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Editorial collection (other academic/artistic)abstract
- As traces left behind by the last two hundred years of profound historical change, architecture and photography contribute both to our contemporary skyline and to our image of the past. Their common history thus provides an indispensable background to every discussion of what has been called the contemporary past – that is, to modernity considered as an open problem rather than a closed historical period. Architecture can be seen as a kind of “macromodernity,” a social scope where the diverse discourses of modernity have assumed their most large-scale form. In analogy, photographic media constitute a “micromodernity”, where the underside of modern society has been registered, identified, classified, and archived. In both cases, we trace out the irregular borderline between the discursive and its opposite, the “material”. At this point of intersection, an interesting confrontation between traditional academic historiography and an artistic application of historical perspectives might be staged. What contribution can architecture and photography make to the exploration of our contemporary past? In his afterword, Victor Buchli underlines the potential of such confrontations: ”Translation always betrays the original intention, but what might be described as the infelicities of the translation that are inherently treacherous […] are precisely what constitute its productive capacities.” Contributors: Ana Betancour, Peter Christensson, Anders Dahlgren, Patrik Elgström, Katarina Elvén, Klas Grinell, Alyssa Grossman, Cecilia Grönberg, David Kendall, Helena Mattson, Astrid von Rosen, Staffan Schmidt, Hendrik Zeitler.
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- Orru, Anna Maria, 1976, et al.
(author)
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AHA! festival 2014
- 2014
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Other publication (other academic/artistic)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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| 3. |
- Slávik, Andrej, 1981
(author)
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Film, historia: konfrontationer
- 2010
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In: ArtMonitor. - 1653-9958. ; 2010:9, s. 172-231
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Journal article (other academic/artistic)
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| 4. |
- Slávik, Andrej, 1981
(author)
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Film + history
- 2007
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In: Telling the past now: historiographies in the 21st century, Århus, 22-24 november 2007.
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Conference paper (other academic/artistic)abstract
- What is authenticity in the 21st century? – The practice-based research project “Toward a poetics of the documentary” takes the filmmaker’s craft as a point of departure for its thematization of fundamental questions concerning the moving image and its current metamorphosis into a digital medium – a process where our notions of event and memory, of peception and reconstruction, of history, identity and power, will have to prove their continuing significance once more. The image, in all its different forms, has always been seen as double: it is both record and representation, presence as well as absence. Far from invalidating this perennial tension, recent innovations in the production and reproduction of moving images keep us walking the razor’s edge. Admittedly, digitization is often seen as upsetting or even annulling the balance between record and representation in benefit of an exclusive emphasis on the signifier over what it signifies, on expression over content, and on style as an autonomous reality. Yet, the the power of the image as evidence is still very much in evidence – more so, perhaps, than ever. In practice, our point of departure are the so called ‘Vasaplatsen shootings’ on June 15, 2001 – an incident which takes place in connection with the political demonstrations surrounding the EU summit and the American president’s visit to Göteborg, where an activist is seriously injured in a violent confrontation with the Swedish police. Dozens of cameras were there at the time, their images instantly reproduced in the press, on television and over the Internet – and in the ensuing legal process, the prosecutor’s side utilized film as evidence. But how, and with what intention, was the material edited? My role within the project is to let history throw an oblique light on the practical and theoretical issues that this question gives rise to. Thus, the concepts and problems of practice-based research are confronted with the history of film, as well as of film theory, in a historiographic reflection with Siegfried Kracauer, the exiled German film critic, as a key partner in conversation. How does film contribute to our understanding of history and of the past? And which are the possibilities for practice-based research in this regard? The project “Toward a poetics of the documentary” will result in a DVD production which, in its assemblage of text, still image and film, also tries out new forms of presentation for academic research. By mid-2008 on a website close to you!
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| 6. |
- Slávik, Andrej, 1981, et al.
(author)
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Introduction
- 2014
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In: Architecture, Photography and the Contemporary Past. - 9789198157352 ; , s. 10-16
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Book chapter (other academic/artistic)
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| 7. |
- Slavik, Andrej, 1981, et al.
(author)
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Introduction
- 2014
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In: Architecture, Photography and the Contemporary Past. - 9789198157352 ; , s. 10-16
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Book chapter (other academic/artistic)
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