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Tiltak rettet mot motorisk læring og utvikling i danseundervisningen
Get PDFAvsluttende eksamensoppgave. Årsenhet, praktisk pedagogisk utdanning i scenekunst (dans) ved Avdeling Dans, 202
Liminal
No full textAvgangsstudentene på skuespillerfag har i perioden flerkunstnerisk jobbet med bevegelse, lyd, stemmereiser og undersøkt ulike tilnærminger til det kreative uttrykket i kroppen og stemmen.
Medvirkende
Idun Aasheim Mykland, Sebastian Sergio Tao Fogh, Eline Torsdatter Karijord, Randin Mikael Kummeneje, Conrad James McLean, Nora Moseid, Hibba Najeeb, Jonas Skjelde , Ken-Philippe Tete, Sofia Tjelta Sydness
Musiker: Olaf Stangeland
Regi: Sylvi Fredriksen
Utarbeidet i samarbeid med studentene
Kunstnerisk og teknisk stab
Lyddesign og musikk: Olaf Stangeland og Marius Holth
Lys: Inger Johanne Byhring
Rekvisitt: Tormod Fuglestad og Kikki Løwgren
Scenemester: Marius Larsen
Kostyme: Hedda Simonsen Lund
Prosjektering: Jan Petter Hansen
Maler: Olivier Marcouiller
Teknisk produsent: Kjetil Skåre
environment embodiment - towards poetic narratives
No full textThe artistic research project environment embodiment - towards poetic narratives explores the concept of agency in the context of encounters between body and environment. Proposing the body as an environment, the project draws from uncanny, poetic, and embodied perspectives. Throughout the research, a single action is practised cyclically: walking backwards.
Situating itself in the performance field, the artistic works form a series, exploring performance in a hybrid dialogue with films and installations. As narratives, the research inhabits spaces between genres by weaving poetry, facts, fiction, speculative narrative and theory. As a method, poetics is present in every aspect, such as the imaginary, language, aesthetics and approach.
The developed embodied practice of movement-voice-environment is based on regenerative modes of working. It approaches states of wonder, attentiveness, evocation, observation, listening, sensory awareness and perspectives of becoming with these experiences.
The approach to artistic research is informal and playful. It explores the capacity of works to self-generate through cyclical or long-lasting processes guided by embodied states of persistence, endurance, and transformation. The research is developed in co-creation with places and matters while also collaboratively with other artists, primarily in dialogue with the epistemologies and cosmologies of the Global South.
The documentation processes are taken as artistic practices focused on activating the imagination in relation to the loss of the experiential during the process of documenting live artworks and embodied practices. This project has engaged with exploratory forms of documentation through drawings, poetic descriptions, and testimonies that are transformed into other artistic works or artist books in fanzine formats.
The Dragonfly constellation is the visual representation of this artistic research project, and each work composing its result is one of the seven star-creatures forming this constellation.
PhD Supervisors:
Rebecca Hilton - Stockholm University of the Arts (2021-2024)
Gunhild Mathea Olaussen - KHiO (2021-2022)
Dora Garcia - KHiO (2023-2024
Spaces for Making - Graham Oram
No full textRecorded presentation of Graham Oram made by Victoria Browne. Location: Royal Academy of Arts. Link: https://www.royalacademy.org.uk/event/summer-exhibition-architecture-afternoon-24NO:
Royal Academy of Arts' Architecture Room , kuratert av Assemble RA, utforsker ideer rundt «rom for å skape». I løpet av ettermiddagen vil arkitekter og kunsthåndverkere, både etablerte og nye, diskutere skapende rom og betydningen av atelierer i design- og produksjonsprosesser.
ENG:
Royal Academy of Arts' Architecture Room, as curated by Assemble RA, explores ideas around "spaces for making". Throughout the afternoon, architects and crafts people, both established and emerging, discuss making spaces and the importance of studios in the design and production processes
Skjelettet er ikke alltid inne i kroppene våre
Get PDFoai:khioda.khio.no:11250/3129300MFA thesis, Kaia Weiss
Blind-spots, rhythm and integration
Get PDFOpplastingen inneholder materiell til intervensjon ved pedagogisk forum ved KHiO, arrangert av Heidi Haraldsen. Intervensjonen diskuterer en transformasjon av kursinnhold basert på 12 års erfaring med teori undervisning innenfor en gitt struktur, og endring til ny høsten 2024. Den diskuterte formen for elevevaluering som kan være til hjelp for a) å legge til rette for overgangen ut fra nåværende læringsutbytte, og b) gi studentene mulighet til å forberede seg til sine avsluttende presentasjoner i vårsemesteret, ved å svare på kursets pågående evaluering. Intervensjonene spenner fra et eksperiment med AI og papirmodeller, DASart-tilbakemeldingsmetoden, til implementering i Learning Theatre av Lacans semiotikk (psykoanalyse).
The upload contains materials for an intervention at pedagogic forum at KHiO, hosted by Heidi Haraldsen. The intervention discusses a transformation of course contents based on a 12-year experience in teaching theory within a given structure, and a change for new one in the autumn 2024. It discussed the form of student evaluation that can be helpful in a) facilitating the transition based on current learning outcomes, and b) allowing the students to prepare to their final presentations in the spring term, by responding to the course’s in progress evaluation. The interventions ranges from an experiment with AI and paper-models, the DASart feedback method, to the implementation in the Learning Theatre of Lacan’s semiotics (psychoanalysis)
Å forme fjell, å forme kropp
Get PDFNorsk:
Mitt masterprosjekt Å forme fjell, å forme kropp dreier seg om tynne membranar mellom kropp og land, og dei store, usynlege nettverka av materie som flyt mellom menneske og det vi kallar natur, i fleire lag av tid. I denne teksten skriv eg om korleis eg jobbar med keramiske flater og relieff. Eg beskriv keramiske måtar eg brukar stein og sand frå gruvedeponi på, og korleis eg let vatn vere «markmaker» på flak av fryst leire. Til slutt skriv eg om korleis eg jobbar med små keramiske krukker.
English:
My master prosject Å forme fjell, å forme kropp (trans.: To shape mountain, to shape body) deals with thin membranes across body and land, and the vast, incomprehensive networks of matter flowing through human and so-called nature, in layers of time. In this text, I write about how I work with ceramic surfaces and reliefs. I describe ceramic uses for sand and rocks from mining waste deposits, and how I let water be the mark maker on sheets of frozen clay. Finally I write about how I work with small ceramic pots
Notes to Lady Lodestone
Get PDFEnglish: The focus of my thesis is magnetism, through this text I will consider why I was drawn to it and its relation to my ceramic practice. I will look towards New Materialism, Ecological Thought and Object-Orientated Ontology, and critically reflect on these tools for thinking, can they help us to really depict reality? Or is this just an attempt to further pin down an understanding of the world? I will consider ancient magnetic technologies to explore these questions, relating these magnetic landscapes to alchemical modes of perceiving magnetism, and how this has inspired my own work.
Norwegian: Fokuset i oppgaven min er magnetisme, gjennom denne teksten vil jeg vurdere hvorfor jeg ble tiltrukket av den og dens forhold til min keramiske praksis. Jeg vil se mot New Materialism, Ecological Thought og Object Orientated Ontology, og kritisk reflektere over disse verktøyene for å tenke, kan de hjelpe oss til å virkelig skildre virkeligheten? Eller er dette bare et forsøk på å finne en forståelse av verden ytterligere? Jeg vil vurdere eldgamle magnetiske teknologier for å utforske disse spørsmålene, relatere disse magnetiske landskapene til alkymiske moduser for å oppfatte magnetisme, og hvordan dette har inspirert mitt eget arbeid
Choreography as a meaning-generating aggregate
Get PDFThe focus of my research project has been to examine choreography as an aggregate of meaning production specific to dance, where habits of perceiving and understanding the body are probed, and an incentive is provided for seeking out words and concepts. By placing the body at the center of my research, I want to highlight its capacity for producing meaning through processes belonging to sensation that are sometimes enacted prior to cognition—where movements and sensations appear faster than words, in a different mode of expression. My research has found support and resonance within the interdisciplinary field of New Materialism, in which the concepts of materiality, the flesh- iness of the body, and discourse/language are thought immanently together. Drawing on the principles of New Materialist theory for my choreographic work, I have explored how meaning is something to be sensed, something that resists reduction to linguistic meaning alone. A feeling of coherency can provide an experience of meaning before any attempt to adequately render this meaning in words. There is an increasing tendency under late capitalism to reduce the use of language to efficient and functional communication. Meaning is then often relegated to the status of information conveyed by performative language. Against this, I want to stress that meaning-production in dance requires that we take into account how the corporeal, the material, and the discursive are entangled with one another—a condition that, through the sensorial dimension of dancing movement, distinguishes meaning-production in dance from meaning as it is produced under a regime of efficient labeling.
This research project entails the creation of choreographic methods and choreographic work in which corporeal expression by way of movements and sensations is expanded in order to probe and then challenge the dancers’ habits of sensing and perceiving dance. Thus, my choreographic method takes the sensorial input as directional and specifically focuses on the intensity of sensations that overflow and confuse the intelligibility of movement for both the dancer and the audience. This approach is broadly based on the premise that choreography is capable of expanding our perception in ways that inspire us to search for words to describe our sensorial experience. By staying with the materiality of the body and how intricated its fleshiness and the discursive-linguistic dimensions are, I am approaching meaning production in contemporary dance through this New Materialist perspective, in the process hoping to contribute to the manifold of knowledges about the body within the field