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 | 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
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: firstname.lastname@example.org
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.comby 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).
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.
Please circulate in your networks! How to apply? Please scroll down.
About the courseGender and Sustainability:Introducing Feminist Environmental Humanities
This online PhD course combines critical and creative perspectives on gender and sustainability from the emerging field of environmental humanities as it overlaps with science, technology, humanities, art and feminist theory-practices. It explores postdisciplinary directions in sustainability from a set of positions in environmental humanities and feminist posthumanities.
The course provides an introduction into the conceptual landscape of feminist environmental humanities, and an orientation into its methodological trajectories across the fields of science, technology, art and design. Notions of different scientific traditions in the past and present, and of inter- and transdisciplinary research are presented and framed in ways that are particularly useful for PhD researchers pursuing environmental humanities/postdisciplinary studies and practice-oriented research in art, technology and design. PhD researchers are provided with an understanding of key concepts – and the relationship between research questions, methods, objectives and outcomes – through lectures, literature seminars, workshops and collaborative project work. The course introduces participants to thinking on situated knowledge practices and ethics amidst a plethora of critical methodologies, qualitative and innovative methods, and performative research practices. On completion of the course, PhD researchers will be provided with tools to critically reflect over the epistemological and ethical challenges inherent to their own research practices and doctoral work, but also in relationship to other actors involved in the very social business of scholarship.
This new electable course (FAD3115) at KTH Royal Institute of Tecnology, in the doctoral program, Art, Technology and Design (7,5 credits), is an educational effort, supported by the KTH Equality Office for the integration of knowledge on gender equity in sustainable development research, provided by the KTH School of Architecture and the Built Environment.
To be eligible for the course, PhD researchers must have completed a masters’ degree or have an equivalent level of education in STS, history of science, technology and environment studies, gender studies, technology, art or design (such as architecture, planning, civil engineering, arts, crafts, and design) or affiliated subjects within the humanities and social sciences.
Module 1 – Re-inventing nature, re-inventing methodology, November 30 + December 1 Module 2 – Doing gender and sustainability: Practice-oriented research, December 14-15 Module 3 – Speculative ethics, 4-5 February Module 4 – Gender and sustainability in new registers: Knowledge communication, Suggested for March 2021
The course will be coordinated and taught by prof. Cecilia Åsberg, dr Janna Holmstedt, Dept. of History of Science, Technology and Environment, associate prof. Meike Schalk, School of Architecture, at KTH, and dr Marietta Radomska, Gender Studies, Linköping University.
Guest teachers are associate prof. Charlotte Holgersson, Organisation and Management at the Department of Industrial Economics and Management, associate prof. Jennifer Mack and dr Tijana Stevanovic, School of Architecture, at KTH, associate prof. Christina Fredengren, Stockholm University, prof. Isabelle Doucet, Chalmers Technical University, Dr Heidi Kajita Svenningsen, Copenhagen University and prof. Elke Krasny, Academy of Fine Arts Vienna.
The course is an open collaboration with the InterGender University Consortium and Research School in Interdisciplinary Gender Studies www.intergender.net and The Posthumanities Hub, a nonconventional research group and platform for feminist posthumanities www.posthumanities.net
Application for this Doctoral Course
Deadline for application is 2nd November 2020.
We are grateful to have received a lot of interest for this course, so we ask PhD students to formally register for this course to be accepted in the following manner:
Please apply FORMALLY to the PhD course Gender & Sustainability by submitting an APPLICATION to dr Janna Holmstedt, jannaho[at]kth.se.
Include this application in your email:
CV (short bio), one page
Letter of motivation, half a page (why you would benefit from this course in your PhD-work)
Description of PhD project, one page, with aim and research question, material and practice-oriented/methodological approaches and challenges
In a combined lecture performance and reading, Janna revisits neurophysiologist John C. Lilly’s interspecies communication experiments, carried out in the 1950s and 60s and partly funded by NASA, where dolphins were supposed to learn to speak English with their blowholes. At the centre of her session are tape recordings from language lessons with the dolphins, and a woman whom during 75 days tried to live under equal conditions with the dolphin Peter in a flooded house. She will also talk about touching the matter of language, points of listening, and snuggle technologies.
The event is hosted within the framework of the independent course “Sound as Critical practice” at the Department of Film and Media at Uniarts/StDH.