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Fabulation for future: artistic research in film & philosophy

Check out this, dear friends of artistic research!

ANIMA MUNDI – requiem for a vanishing

Invitation, dears.

ANIMA MUNDI is a 4-channel video installation and performance by gustaf broms BENHUSET (The Bone House), Stockholm March 11–27, 2022 12:00–20:00 daily. 

“Being in a time and place, where identification with the thin membrane of skin, as container of self, is slowly dissolving, as borders between beings evaporate, the environment disintegrates into a myriad of sentient beings.” ~gustaf broms  

The project ANIMA MUNDI grew out of a series of actions in the forest in Vendel, Sweden. These meetings of organic bodies create a dialogue between species that weaves a story without words. These filmed interactions become the material for a 4-channel video in a room somewhere between installation, sound, performance and video, in which the artist makes an 18-day action as a dialogue with moving image.   The working title ANIMA MUNDI usually translates as ‘world soul.’ In Timaeus, Plato wrote “Therefore, we may consequently state that: this world is indeed a living being endowed with a soul and intelligence……a single visible living entity containing all other living entities, which by their nature are all related.”

Seminarium och workshop: Humus economicus och Curating Time – miljöhumaniora, konst och forskning i tider av omställning, 16 februari (online)

Välkomna till seminarium och workshops kring hur miljöhumaniora som nytt ämne kan bidra till omställning och samhällsförändring. På förmiddagen ger vi en bred introduktion till ämnet med inriktning på natur/kulturarv, stadsutveckling, museer och konst. Vi kommer att exemplifiera med internationella utblickar, samt forskning i pågående projekt som tar sig an klimatfrågor på olika sätt. På eftermiddagen träffas vi igen för smakprov på kreativa workshopsövningar, de kretsar kring teman som markkänning, relationer till tid, klimatsorg, samt mellangenerationell etik.

Forskningsprojekten har anknytning till Statens historiska museer (SHM), Stockholms universitet (SU), Uppsala universitet (UU), Kungliga Tekniska högskolan (KTH) och Linköpings universitet (LiU). Seminariet arrangeras gemensamt av de båda Formas-finansierade projekten Humus economicus (SHM/LiU/KTH) och Curating Time/Seedbox (SU/UU).

Medverkande: Christina Fredengren, Janna Holmstedt, Jenny Lindblad, Malin Lobell, Caroline Owman och Karin Wegsjö.

Program: Dagen är uppdelad i moduler, så du kan vara med på allt, eller valda delar.
10.30-12.00 – Seminarium samt samtal.
12.00-13.00 – Lunch
13.00-15.30 – Tre workshops, inklusive kaffepaus.
15.30-16.00 – Gemensam avslutning.

Mer information och fullständigt program kommer inom kort!

När: 16 februari, 10.30-16.00 (CET – Stockholm).
Var: Online (Zoom-länkar kommer att offentliggöras på denna sida senare).
Kontakt: För frågor, skriv till christina.fredengren[at]arklab.su.se eller janna.holmstedt[at]shm.se
OBS: Seminariet kommer att spelas in och sannolikt offentliggöras online, genom att medverka godkänner du detta

Invitation to Defense of Hanna Husberg, Ph.D.-in-Practice, October 19, 2021, 4-6pm |

Hanna Husberg defends her PhD project “TROUBLED ATMOSPHERE – ON NOTICING AIR”


Academy of Fine Arts Vienna

Invitation to Defense of Hanna Husberg, Ph.D.-in-Practice, October 19, 2021, 4-6pm | Academy of Fine Arts Vienna


Dear All, The Ph.D. in Practice Program of the Academy of Fine Arts Vienna kindly invites you to the Defense of Hanna Husberg’s dissertation project Troubled Atmosphere – On Noticing Air. The Committee is made up of: Axel Stockburger (chair), Anette Baldauf and Renate Lorenz (1st and 2nd supervisor), and Cecilia Åsberg (external appraiser, Linköping University).
Date: Tuesday, October 19, 2021; 4 – 6pm (UTC+2)

Through the lense of four different art projects, Troubled Atmosphere – On Noticing Air looks at hybrid, layered, inconsistent, muddled, unruly, contaminated gatherings of air, inquiring how air has been conceptualised and perceived, and how the construction of aerial imaginaries enables specific ways of engaging with the world and excludes others. Paying attention to the materiality, relationality and performativity of air, noticing air is explored as a methodology to consider how air, approached as a naturalcultural and technoecological phenomenon, is made perceptible and knowable under historically specific circumstances, perceptual systems, and politics of representation

Please join us for the defense presentation. The event will take place online. Please see the Zoom link below. Join Zoom Meeting https://zoom.us/j/97647792773?pwd=WkI3SnVwNDd1YWFsbzhGUXpxbG9MZz09 Meeting-ID: 976 4779 2773 Passcode: 40T42g Please arrive until five minutes in advance.

You will find yourself in the waiting room and will only be admitted if you arrive before the defense starts.

Hanna Husberg is a visual artist, whose research has developed through several art projects that, through a focus on air, inquire into how humans perceive, relate to, and imagine their immediate, and expanded, surrounding. Bringing theory, criticism and scientific research together with art and poetics she often collaborates across disciplines. She is currently, jointly with Agata Marzecova, developing the long term research project Towards Atmospheric Care, which explores air and the atmosphere as naturalcultural and technoecological phenomena, asking how to care about something that is not perceptible to human senses, yet significantly structures our existence. She is assistant professor for the Collective Practices post master course at KKH, Stockholm and regularly co-teaches Urban Ethnography at EKA, Tallinn with Marzecova. contact: phd-in-practice@akbild.ac.at

The Posthumanities Hub Seminar “Re:Sound – Sound as Evidential Medium in an Age of Crisis”, ONLINE 28th January at 13:15 (CET)

The Stars Beneath Our Feet (2015), video still. (© Louise Mackenzie)

Welcome to the first session in The Posthumanities Hub Seminar Series 2021!

When: 28 Jan 2021, 13:15-15:00 (CET)
Where: Zoom (link will be sent out after registration). Please, have your name visible upon entering.
Registration: In order to take part in the seminar, please register by sending an email to the.posthumanities.hub[at]gmail.com by 26th January 2021 at noon (CET) the latest.
Recording: The session will be recorded, and possibly also made available online at a later stage. By attending the seminar, you accept these conditions (and can of course choose to keep your camera switched off).

Facebook event

ABSTRACT
This session, moderated by Morten Søndergaard and Janna Holmstedt, will focus on sound as evidence and sonic explorations in the hybrid field between scientific and artistic practices. It seeks to look beyond the visual, attend to sonically mediated phenomena, and explore how sound and listening might offer ways to navigate fields and areas on the borders of uncertainty and imagination in an age of crisis.

The seminar gathers the contributors to the recently released Special Section (ed. Morten Søndergaard) of Leonardo Music Journal (LMJ) Vol. 30, December 2020 (all the articles are available online). The artist-researchers who have contributed to this Special Section, follow a line of inquiry into the construction of evidence and its ethical implications. Søndergaard suggests that geopolitical situations of crisis force us to look at the politics of evidence – and how it is being practiced. In doing so, it operates between scientific and aesthetic modes of approximation. It is this intricate relation between world, data, sound, representation and causality the Special Section is investigating. The main claim running through all the articles is that this relation is as intricate as it is challenging, and that we need to reimagine what evidence is, reclaim its politics, through sound.

Here, listening emerges as a shared orientation and critical mode of inquiry in technological layered and mediated environs, a strategy even, for moving the taken for granted – the unnoticed or oppressed background – to the affective foreground, as well as a form of activism and resistance. In different ways, the artist-researchers explore the potential of a sonic sensibility that can reorient the politics of visibility.

In the LMJ Special Section, Tullis Rennie investigates sociosonic interventions in the context of social engaged art, and the role of disruption and distributed authorship. Laura Beloff, in her contribution on human-plant relations, asks: What does it mean to hear through technological mediation? Louise Mackenzie further investigates technologically embodied and layered forms of looking and listening to nonhuman entities such as microorganisms, while Marie Højlund and Morten Riis invite us to consider processes of transduction and atmospheres as relational attunements in their sonic interventions with wind mills. Janna Holmstedt suggests that “the transformative role of sound and listening troubles Western knowledge systems in fruitful ways”, and Stephanie Loveless proposes the flaneuserie sonore, feminist soundwalking, as a way to recontextualize the practice of walking in literature and art, arguing for listening as a feminist and ecologically oriented mode of engaging with the world. Freya Zinovieff and Gabriela Aceves Sepúlveda further demonstrate that “to listen attentively to the sonic is to situate oneself at the intersection of geopolitics and sensory perception” in what they, with Pratt and Haraway, term Anthropocene Contact Zones.

BIOGRAPHIES
Laura Beloff is an active artist and accidental academic working in the intersection of art, science and technology. She currently works at Aalto University, Finland.
Marie Højlund is a sound artist, composer and assistant professor in sound studies at Aarhus University, Denmark. She received her PhD in 2017 with her thesis on sound, noise and atmospheres in Danish hospitals: “Overhearing—An Attuning Approach to Noise in Danish Hospitals.”
Morten Riis is a sound artist and composer and holds a PhD degree in electronic music from Aarhus University. He has written articles and books on artistic research and music technology, conducted workshops over most of Europe and has received commissions from leading festivals and ensembles in Denmark, Germany and Poland.
Janna Holmstedt is an artist and researcher investigating listening as a situated practice, composition in the expanded field and the cultivation of care and environmental attention. She is part of the research group The Posthumanities Hub, and received her PhD in 2017 with her thesis “Are You Ready for a Wet Live-In? Explorations into Listening”. She currently works at KTH Royal Institute of Technology and National Historical Museums, Sweden.
Stephanie Loveless is a sound artist and a lecturer at Rensselaer Polytechnic Institute, where she directs and the Center for Deep Listening at Rensselaer. She holds MFAs from Bard College and Rensselaer Polytechnic Institute.
Louise Mackenzie is an artist and researcher based in the U.K., affiliated with the Cultural Negotiation of Science research group, Northumbria University.
Tullis Rennie is a composer, improvising trombonist, electronic musician and field recordist. He is cofounder of Walls on Walls and senior lecturer in music at City, University of London.
Freya Zinovieff is a sound artist and theorist who uses emerging technologies to research the geopolitics of sound in borderlands. 
Gabriela Aceves Sepúlveda researches the histories of media arts from a feminist perspective and produces interactive installations. She has degrees in graphic design, visual arts and cultural history.
Morten Søndergaard is an active curator, exhibition designer and academic working in the intersection of art, science and technology. He is currently working at Aalborg University, Denmark.

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