KHIODA
Not a member yet
1540 research outputs found
Sort by
In the shadow of materiality memory and soul
Get PDFResearch portfolioTHE PROBLEM:
The collection of items available as uploads (left) are broadly concerned with a class of rhythmic events that that contain disturbing elements, or “hiccups”. Example:
Firstly, secondly, weirdly and thirdly…
Hiccups can occur in sequences that are either logical, procedural or both (editorial). They are e.g. relevant in connection with photogravure editions. Featuring elements that are unexplainable/irrelevant in the sequence.
1, 2, X and 3…
(See Didi-Huberman for an in depth analysis of the question. Didi-Huberman, Georges. (2008). La ressemblance par contact—Archaeologie et modernité de l’empreinte. Minuit.)
I am broadly scouting for ways of taking stock such odd elements to see if it is possible to intercept the weft of the passage from image- to object perception. This is done by asking a question, showing an image, and providing an answer. The images are the ones contained in the slide-show (featuring the Q&A at the end).
Together, the sequence of 26 Q&As with an image, feature a matrix of the type that Christopher Alexander called a pattern (with the interception X added here). The argument for making an account and finding uses for hiccups is: if unattended they leave a long tail, a growing shadow discussed here in Goethe’s and Jung’s terms.
If hiccups are understood as elements occurring in a sequence/edition for which there is no rule, nor any currently existing learning algorithm, then they will tend to aggregate. If left unaccounted and unattended they will grow on par with the power and multiplication of computers in human exchange (i.e., a long entropic tail).
Hence we here have a candidate model to explain how human and environmental relations could escalate to states of exception in a variety of un/related areas. And alternatives of how to deal with them are within reach of research. A solution that eliminates the problem—or, an answer that eliminates the question—contains no knowledge.
SYNOPSIS
From the exhibition element shown in Gallery ROM61 at KMD, for the seminar Tracing Rhythm, a carousel of slides were slung in a spiral out of the Lineup called La Kahina. Her journey around the world as the wife of a diplomat called K, features a variety of homes: domestic interiors adapted to a variety of local circumstances and the job.
On the backdrop of this adaptive enclosure the life and work of her husband: the Norwegian political positions in the global oil and gas-trade. Between them a middle zone dedicated to mundane and cultural events: La Kahina’s home is never quite private, and K’s diplomatic errands are never quite public.
The middle zone is fringe-space between the private and public domains. It is compared with Goethe’s studio and Arne Næss cabin at Tvergastein (Hallingskarvet). From this an idea of a proximal space—smaller than the world but wider than the body—is connected to the come-and-go between studio-work and fieldwork.
In this setting, three art works are compared in terms of how they differently combine field- and studio-work: William Kentridge, Geir Harald Samuelsen, Dragoş Gheorghiu. It is suggested that the vectorial sum of field- and studio-work are organised according to 3 material tropes (Karen Barad): entanglement, superposition and intra-action.
From this it is further anticipated that complex phenomena will be composite in terms of these 3 tropes. Providing a ground work for understanding current critical turns. The two chief conversation partners are here Bruno Latour’s titles: Down to Earth (2018) and After lockdown (2021). The idea of the long-tail model above came from there.
The essay (attached) was written in preparation to the seminar Tracing Rhythm to reach a ground zero from where the images could be at the forefront. The result was a hiccup: that is, it produced a phenomenological equivalent—or, the event—of Shannon’s definition of information as entropy.
On account of the multiplication of images perceived owing to the many instrumental shifts in the production of a photogravure, the techniques becomes an experimental laboratory to explore image collapse into object perception. The Kahina lineup attempts to transpose the production of this transition into an exhibition space, in making the image to object perception available to the viewer in the form of a debatable proposition.
However, the photogravure process also features an artistic proposition (exposition) as an active model of similar types of problem (outlined above): notably types of processes where object perception is indeterminately anticipated and proposed. Calling on a hammerbolt, or featuring a counter-beat.
As an entry/exit device in working with diary materials—as is the case in the National Library residency in which the project is currently hatching—photgravure has a similar function as the wind-rose on maps. One that steers towards the hatching of an object. Most probably a book.
The hosting PKU project—Matter Gesture and Soul—is one of the unique arenas where academic pursuits and research can combine with workshop premises of the art field.Matter Gesture and Soul (DIKU/KMD
If i could wish for something: A book of visual and text essays
No full textIn 1930, German film composer Friedrich Hollaender wrote “Wenn ich mir was wünschen dürfte”, famously performed by Marlene Dietrich. It inspired the foundation of Dora García’s exhibition ‘If I Could Wish for Something’ and this accompanying publication. The song serves as a powerful expression of a complex concept: sadness as political strength. García in turn connects this concept with women’s struggles for emancipation. Disappointed in the promise made to them by revolutionary movements, which for now remains unfulfilled, women are seeking to transform this feeling to overcome the temptation of victimhood and open up the possibility of an ethical encounter.If i could wish for something: A book of visual and text essayspublishedVersio
Zoom-ARW 2021
No full textSet: 1) attempt; 2) try again; 3) do something else; 4) return; 5) unlearn; 6) cross over.[WALKABOUT—click NAVIGATION EXHIBIT]
The collection features a stepwise processing of situations and their theoretical potential written i real time, during ARW 21 (artistic research week) at KHiO 25th-28th January.draf
Disputas: Nils Harald Sødal
No full textVideoopptakNils Harald Sødal forsvarer sitt doktorgradsarbeid Kairos-koden - en utforskning av mental styrke, øyeblikks-kreativitet og skaperkraft.
Med utgangspunkt i et samarbeid mellom Olympiatoppen og Den Norske Opera & Ballett har Sødal i dette doktorgradsprosjektet utforsket sammenhengen mellom mental styrke og skaperkraft. Hovedproblemstillingen har vært hva som hemmer og hva som fremmer utnyttelsen av kreative ressurser hos personer som ønsker å få ut sitt beste, og for å komme nærmere et svar på dette har Sødal intervjuet flere av Norges fremste kunstnere og toppidrettsutøvere.
Ved å kombinere kunstnerisk dybdetenkning med toppidrettens jordnærhet og krav til resultater har Sødal forsøkt å åpne opp feltet og sette nye spørsmål på dagsorden innenfor mestring og kreativitetsforskning. Resultatet er en alternativ prestasjonspsykologisk metode som har blitt møtt med stor interesse i ulike fagmiljø. Metoden har fått navnet Kairos-koden og retter seg mot høypresterende miljø spesielt og mot livsmestring generelt.
Arbeidet er forankret i to teoretiske posisjoner som ikke tidligere er anvendt innenfor prestasjonspsykologisk forskning, nemlig filosofien til Martin Heidegger og tenkning knyttet til kairos-begrepet, et begrep som har røtter i den greske antikken og som i 2500 år har representert en innflytelsesrik idé og en praksis knyttet til det ekstraordinære og overskridende.
Bedømmelseskomitéen skriver i sin rapport:
"Avhandlingen er engasjerende lesning skrevet av en skapende kunstner på et høyt internasjonalt nivå."
"Sødal er en kunstner som klarer mesterstykket å iscenesette en kunstnerisk spørsmålsstilling både som et kunstprodukt og som en akademisk avhandling."
"Her formilder Sødals doktorgradsprosjekt som helhet et forbilledlig eksempel på det mulighetsrommet den kunstneriske doktorgraden åpner for."
Bedømmelseskomité:
Toril Carlsen komiteleder, Kunsthøgskolen i Oslo.
Henrik Holm, Steinerhøyskolen.
Wilhelm Carlsson, Uniarts.
Veiledere:
Anne Grete Eriksen, professor ved Kunsthøgskolen i Oslo
Arne Carlsen, professor ved Handelshøyskolen BI
Sted: Kunsthøgskolen i Oslo/ Zoom
Tidspunkt: 3. mars 202
LIVE-RE-MAKE (2017-2021)
Get PDFRapport fra LIVE-RE-MAKE (2017-2021). Kunstnerisk utviklings- og forskningsprosjekt, Kunsthøgskolen i Oslo
Upcycling the role of clothing in female aging - fashion, styling and the "under-represented"
No full textSkriftlig del av masterprosjekt. Avdeling Design, 202
WUAD
No full textData-set: theory development log in 6 flyers (1HEX).This flyer-series is part of the QUAD-quadrilogy from the summer 2021. QUAD contains a double reference: 1) Samuel Beckett’s choreography named QUAD; 2) A set of positions posited by Bruno Latour to explore and map a territory of the terrestrial, as opposite to global, conditions that we may currently have to determine/invent.
QUAD is composed of 4 flyer-sets of 6—4HEX—with each their different positions cast as roles: I) someone makes a statement based on assumption: II) someone else forwards knowledge in support of the assumption; III) a third role lies in coming up with a critique of that knowledge; IV) a fourth instance has/claims to have the know-how.
This flyer-series homes in on the X-factor that evolves in the interstitial space between our position and situation. Concomitantly, establishing our position and situation—beyond establishing (Haraway) that all knowledge is positioned and situated—constitutes an opportunity to intercept the workings and evolution of the X-factor. The state of the mesh: matters, messages, movements.
What strategies apply, if what we can know about the world is based on our location—explored and mapped in the above terms—what can we know about economics, mercantile culture (today vs. past) and relate to cultural diversity, as a mirrored replica of biodiversity? Can we find through the mesh of dark ontology, with a new trade?
Can we think of commerce in the future without expanding our notions of wealth and value, to e.g. semiotic wealth and a sense of use-value expanded by 3rd party readability (to pasts, presents and futures)? Can we deepen our notion of communication by taking care to always include our situation and position?
In the last flyer #06 there is a hyperlink, at the bottom, allowing you to return to QUAD IIIdraf
Categories
Get PDFFlyer-series: data-set developed in 6 steps: #01 attempt; #02 try again; #03 do something else; #04 return; #05 unlearn; #06 Crossover.This flyer-series (1HEX) takes on the conceptual challenge of formulating and proposing some insights on categories, as affectively intercepted but non-embodied agents: joining the antinomic modalities of necessity and contingency. Categories are infinite in the sense of being on the verge of existence in space and time.
Some core ideas for the series are reaped from—and referenced to—Jørund Blikstad’s ongoing PhD-work on furniture (design). In his queries on congregation and constituencies as ornamental principles in his wood-carving, he formulated the Peacock dilemma, which he also emulated in a text mirroring his making-process.
The reference to the wood-carving process will be useful/propaedeutic for the reader. Indeed: what is on the horizon of the carver, whose immersion in spatiotemporal process is on the verge of comprehending what is (within and) beyond that horizon? As painter, feminist and Lacanian psychoanalyst Bracha Ettinger writes within/for her work:
“The visible draws into its invisible kernell(s), at the centre and in the margins, to emerge different. Here, revelation is. […] —off-space as depth—borderspace as subject of depth— […]. In Hebrew, wound (petza) and emergence (haphtza’a) share the same root.”
(Carriance, Copoiesis and the Subreal, in SALTWATER catalogue from the Istanbul Biennale in 2015).
If interfering as the arcs on the peacock’s tail, will afford the same elements to be true and false depending on which arc they appear: if one arc is the congregation and the other is the constituency. Staying with the trouble (Haraway), however, allows the aporia to journey, and by doing so will summon a range/variety of different disciplines.
From these of ripples of different modes, we are no longer looking to the stars (Galileo), but are looking unto the earth. The transposition from one discipline to the other, is at the same time the movement of transduction (Simondon) which is physical in nature.
At the one end, anthroponomy (the full range from mathematics to philosophy). At the other end geognostics (featuring a dialect of new materialism). And from the vectorial sum between the two, the horizon of a first science (Laruelle). Theory picking up on the Diapason of Artistic Research. A job description for the Anthropocene.publishedVersio
Précis from Theodor Barth’s doctoral process with Fredrik Barth
No full textThe flyers feature a data-set processing and modelling its contents in 6 steps: 1) attempt; 2) try again; 3) do something else; 4) return; 5) unlearn; 6) crossover.This flyer series (1 HEX) is a précis from a tutorial process with Prof. Fredrik Barth. It also develops a view of the main concerns and arguments in the resulting thesis (title: Travelogue—Theodor Barth) available on KHiODA (and is available for readers who wish to go more thickly into that subject matter).
The flyers constitute an attempt to portray a tutorial process which was partly motivated by the research fellow’s desire to penetrate Fredrik Barth’s wealth of experience and ideas, from many years as a fieldworker, a writer of ethnography, and an international player on the stage of post-war anthropology.
The flyer-format is used because they operate at two levels: a) as a field diary; b) as a model. Pertaining to the argument on immersive and active models which is made in the set.
This is deemed relevant to the discussions in artistic research, over the last years, referring e.g. to Bruno Latour and Hans Jörg Rheinberger. And also to Prof. George Marcus’ having encouraged, on many occasions, the flyers as a form of diary.
The series has been followed up with a series on Tiling (search on KHiODA: #01-#06 Tiling). Expanding the application to fit and pattern—characteristic of Tiling—detailing certain points that were left pending in the above mentioned thesis.updatedVersio
some critical observations on changes in the place of natural horizons in drawing and environmental portraits
Get PDF32 sides, manuscript, provenance letterContribution to seminar-series Snow- and Ice-Covered Alps, at the Norwegian National Library. The contribution discusses the relation between drawing and the site, where e.g. altitude-differences play a role. There are three variables in vertical perspective drawing: the sinking valley, the rising mountains and the vantage point. That is, not two but three variables.
The vantage point varies with high and low situations under hiking conditions, the retrospective framing and contact metaphors, both determining what we can know.
When the environment changes (e.g. the climate) the conditions for what we can know also change. The natural environment today therefore sets a set of different conditions than those prevailing at B.M. Keilhau & C.P.B. Boeck’s time: two young researchers who, along with the reindeer huntsman Ole Urden, embarked on a walk from Mount Mugna by Valdres to Falketind (in what was later to become Jotunheimen).
The question is whether the technological development can compensate for environmental change, or much is simply lost, on account of changes in an environment that we are part of. Maybe attempts of the type made here, with views of a mountain trip in 1820 can be of some avail. The intention is to contribute to the development of environmental humanities: practically, theoretically and methodologically.
The version is somewhat expanded from the one presented at the National Library during the 1-day seminar 24th March 2021: a) the slide-set includes an appendix; b) the manuscript includes a postface.
THE MATERIAL IS TRANSLATED FROM THE ORIGINAL PRESENTATION IN NORWEGIAN.
_______________
RELEVANT LINKS:
MIRRORS #01-#06
https://khioda.khio.no/khio-xmlui/handle/11250/2737649
VERTICALITY #01-#06
https://khioda.khio.no/khio-xmlui/handle/11250/2737542
_______________
SEMINAR PROGRAMMET:
Snø og isdekte alper—Oppmåling, opptegning og kartlegging av fjellet
10.00 Snø og isdekte alper 1820-2021: Oppmåling, opptegning og kartlegging: Arthur Tennøe/Harald Østgaard Lund, Nasjonalbiblioteket
10.30 Is, tid og temporalisering: Jotunheimen som historie: Sverker Sörlin, Kungliga tekniska høgskolan.
11.00 Jens Esmark og naturens grenselinjer: Geir Hestmark, Universitetet i Oslo.
11.30 Christopher Hansteens reise i 1821 og studiet av jordas magnetisme: Vidar Enebakk.
12.00 Pause
12.30 Wilhelm Maximilian Carpelan. Det vitenskapelige og det kunstneriske blikket: Ingrid F. Danbolt
13.00 Periferiens kunnskapshistorie ved to av dem: Hertzberg og Kølle: Kristina Skåden, Maihaugen.
13.30 Kartlegging av Jotunheimen: Fra fantasi til satellitter: Anders Kvernberg, Nasjonalbiblioteket
14.00 Breens makt – Fotodokumentasjon mellom vitenskap og naturopplevelse: Stig Storheil, Norges vassdrags- og energidirektorat
14.30 Den vikende «geognostiske» horisonten: Noen kritiske observasjoner omkring endringer i naturhorisonters plass i tegning og miljøportretter (m/basis i B.M. Keilhaus Erindring af fjeldreisen i 1820): Theodor Barth, Kunsthøgskolen i Oslo.publishedVersio