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Materiality of Ink
Get PDFIn this one-day seminar at KHiO, international leading experts in their academic, artistic, manufacturing, and scientific fields of research responded to Barbara Balfour’s Inkling, Thinking About Ink (2022).
An exhibition of material artefacts embodying guest speakers' presentations, was located in KHiO's library and reception, and will be accessible for attendees during the seminar.
"Something about the visual apprehension of ink, something about the haptic nature of ink, something about ink as a substance in and of itself, something about how printmakers are drawn to ink, it’s an inkling I have.'’ Barbara Balfour (2022).
Artists are drawn to the haptic and visual presence of ink in the workshop, but now also question the socio-political and environmental impact of sourcing materials within a global distribution. For example, what are the ethical considerations when mining lapis lazuli in Afghanistan, to be ground into blue pigment?
In addition, with a reduction in craft making of artists’ colours, and an increase in mass manufacturing of inorganic and synthetic pigments, there is now an ‘inkling’ amongst printmakers to suggest that the materiality of ink has also transformed, perhaps even diminished.
SCHEDULE
10.00 - Introduction
10.15 - Barbara Balfour
11.00 - Michael Craine
11.45 - Lunch
12.30 - Carinna Parraman
13.15 - Marte Johnslien
14.00 - Break
14.15 - Q&A with speakers
14.45 - Finish (with 15 minute leeway)
Links about the project:
KHiO events: https://khio.no/events/1801
Grafikk:
https://www.grafikk.khio.no/post/730782456619352064/making-pigment-with-thomas-iversen
https://www.grafikk.khio.no/post/730782845846667264/making-ink-with-thomas-iversen
https://www.grafikk.khio.no/post/733804540493709312/materiality-of-ink-seminar-at-
khio-library-with
https://www.grafikk.khio.no/post/730782077453254656/mixing-ink-with-katherine-jone
3 små krysskraveringer
No full textTegnet animasjon laget i Photoshop.
Drawn animation made in Photoshop
Sjuende far i huset: En eventyropera i to akter
No full textSjuende far i huset er et kjent og kjært eventyr, som handler om en ferdamann som søker husly for natten og må spørre syv fedre i huset før han endelig innvilges overnatting.
I denne operaen har Vigdis Hjorth gjort ferdamannen om til en ungdom fra vår tid, som er pepret av krav og inntrykk, reklame, politikerfraser, foreldrepress, og en usikker fremtid. Han vakler mellom alle inntrykk, er forvirret, prøver forgjeves å kommunisere i kakofonien av lyder og synger ut sin håpløshet og lengsel.
Medvirkende
Årsstudium opera:
Emilie Nicoline Almaas, sopran
Magnus Fremstad, tenor
Mathilda Goike, mezzosopran
Eric Korsnes, baryton
Cristina Sparre Sole, sopran
Einar Stefánsson, baryton
Ulrik Stensrød, bass
Komponist: Lars Erik Gudim
Libretto: Vigdis Hjorth
Regi: Ronald Rørvik
Dirigent: Kjell Seim
Koreograf: Toni Herlofson
Kostymer: Alan Andersen, Ingaler Borg, Jana Dahlke – alle studenter på bachelorprogrammet i klesdesign og kostymedesign.
Scenografi: Mira Genevieve Dagbo Landa, Laura Dosch, Johanne Hektoen Hjort-Larsen, Louise Hessling, Haldis Hognestad Hasler, Doina Kvalvik, Jonas Oppedal, Fabio Jose Ruiz Perdomo – alle studenter på bachelorprogrammet i interiørarkitektur og møbeldesign.
Veileder kostyme: Fredrik Floen
Veileder scenografi: Bård Lie Thorbjørnsen
Emneansvarlig interiørarkitektur og møbeldesign: Vigdis Ruud
Lysdesign: Eirik Lie Hegre
Teknisk produksjon: Anders Hamre
Rekvisitør: Kikki Norén Løvgre
Reality Playlists—Loads of Text: Hives, Dens, Expanses
No full textKOLOFON -
Editor: Theodor Barth. Design: Julia Jayko Fossland,
Herman Breda Enkerud. Print: Printshop KHiO. Papir: Munken Pure Cream 90 g. Fonts: Optima Regular, Adobe Caslon Pro, Helvetica Neue, Univers.
Print: A2 folded A3 for main body. A4 on pink paper for insert.In this volume—laid out and riso-printed by Herman Breda Enkerud & Julia Jayko Fossland—the MA1 students feature with each their 1000 word essays, which they write and public from their second term at the master program in Design at KHiO (Oslo National Academy of the Arts).
This anthology contains the harvest from 2023. It results from the work during the spring term—within the framework of Theory 2 Theory development—devoted to developing logbooks (BlackBook 2) as public matter, and a backdrop for the students to dream up each their essay.
For a number of the students this is a first step to appropriate writing in a setting set for collective learning, group work and individual maturing with an expanded field of media that are important for them as designers. Under the motto of involving writing in artistic practice.
In the present MA program the Theory curriculum has 3 phases:
1) first term—the students develop tools adapted to their reflective style, talents and personality;
2) second term—the students apply these tools with a specialised focus;
3) third term—the students are in the “driver’s seat” and use the tools [now tested and tried up to a point] to develop their MA projects, with a final theory exam in mid-December.
The students who have contributed to the present anthology are:
ZOLA /YUZHUO WANG, ANNIKKEN WILHELMSEN, ALEJANDRO REBOLLAR HERES, NICOLAS VITTORI, NILS PETTER TORP BIE, LLOYD ACHIM WINTER, CHARLOTTE MATHILDE FRIIS, JULIA JAYKO FOSSLAND, ÅSTA SPARR, MATHIAS BRASK-NILSEN MALM, MAGDALENA MIKALSEN, KJETIL SMEDAL, JANE/CHONLADA PANPAKDEEDISKUL, SANDRA HOLDAL HANSEN, JOSEPHINE SASSU, JAV/ZHENGWEI WU, EVA/CHIEH-SHAN CHEN.
The anthology also features an introductory editorial in which the course leader (Theodor Barth) pitches some of the topics that have been up in class (e.g. artificial intelligence), applies them in the context of the publication, and explains the categories HIVES, DENS and EXPANSES.
The second file adjoined to the electronic copy of the anthology, contains so-called media references: it features an experimental attempt at referring to media that have been up for presentation and discussion in class, in the APA 7th reference style (AI assisted process in Bing)
Tre søstre, tre soldater, to skuespillere, to forfattere, en måke og hel del trær
No full textAndreårsstudentene på bachelor skuespillerfag presenterer utdrag fra Måken og Tre søstre av Anton Tsjekhov.
Oversettelse av Kjell Helgheim i bearbeiding av Mari Kjenstadli.
Andreårsstudentene på bachelor skuespillerfag:
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, Idun Aasheim Mykland
Læringsmål
Under 2. året jobber studentene med dramatiske tekster der den sceniske skikkelsen går gjennom en utvikling. Transformasjon i forhold til språk, kropp og omstendigheter er et viktig læringsmål for perioden. Studenten arbeider med flere partnere.
Ansvarlige Pedagoger: Petra Barbro Sofia Fransson og Miriam Sogn
Innstudering av sang: Sarah Mcdonald Berge
Takk til Sylvi Fredriksen
Kostyme: Hedda Simonsen Lund
Rekvisitt: Ida Lome Brevik
Sceneteknisk ved Are Skaanes Engebretsen og Ronnie Tunglan
Rotation is your motivation: Phase 1
No full textThe project deals with the relationship between anatomical structure and aesthetic values in dance. The project's title refers to the work of William Forsythe, using the rotation of the hip as motivation for improvised movement material. The extreme external rotation of the hip joint is an essential movement in ballet technique. However, is this tradition relevant to contemporary dance techniques? The project investigates if the hip joint's pure function can be a valuable choreographic concept.
THE TEAM
Dr. Irina Kalabiska, sports physiology researcher; Zsuzsa Rózsavölgyi, choreographer, movement researcher; Laura Tóth, dancer, choreographer; Boglárka Simon-Hatala, physiotherapist.
THE CORE QUESTIONS
What are the advantages and disadvantages of extreme external or extreme internal rotation? Which are the noticeable movements that make the differences visible? Is it possible to perform a unison with such an anatomical difference? Can the concept indicate an interesting movement material and exciting performance?
METHOD
During the artistic research phase, we used the results of the scientific research phase to ensure that the rotation capacity of the hip joint between two dancers can be significant. We choose two dancers with opposite capabilities. Then, we went through many hip joint movements to see where the different capabilities were the most impressive. We created improvised and fixed movement material, one with more external hip rotation and one with more internal hip rotation. We saw significant differences in how the movements looked on different bodies. Then, we created a movement material that tried to dance the material in unison, but we failed because of the anatomical advantages and disadvantages. After the movement research phase, we created a lecture performance about the traditional and contemporary points of view on the hip joint's ability for artistic expression.
RESULTS
First, we conducted a scientific inquiry into the anatomy of the hip joint. We wanted to find scientific evidence to prove that the geometry of the hip joint determines the range of movement in the hip joint. We measured the rotation of the hip joint, took x-ray pictures of the hip joint, and measured the geometrical angles of the femur. The measurements of external and internal hip rotations showed no significant correlation between the length of the neck of the femur and the angle of the neck of the femur. There is no relation between the geometry of the femur and the ability to rotate the hip joint. It is good news for dance teachers because the shape of the bone does not affect the movement. However, our data shows a correlation between starting ballet training early, before puberty, and external rotation. The ligaments are more supple and adaptable during childhood. The second part of the project was the artistic exploration of the functionality of hip rotation in movement and how it affects artistic expression. We needed two dancers with opposite hip rotational abilities - one with extreme external rotation capacity and one with extreme internal rotation capacity. The material we found during the movement research phase has a much more significant potential than we thought. The anatomical differences are apparent and easily detected. It is impossible to dance in true unison with two different rotation abilities. The movement material can show students, teachers, and choreographers that external rotation is overrated and that there is a great need to explore internal rotation
Farger som historieforteller: Prosess dokumentasjon
No full textKan farger fortelle historie? Hypotesen er om fargesetting kan fortelle noe om husets fortid, uten å tilbakeføre «direkte» til det opprinnelige? Med utgangspunkt i et hus og et rom fra 1840, bruker jeg dette som situasjon for undersøkelser. Historiske farger og palett er valgt, men satt sammen på ulike måter. Ulike metoder og verktøy for valg av fargesetting er en del av prosessen