Stockholm University of the Arts
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Lethe : On Forgetfulness as a Guiding Principle in Artistic Processes
No full textWith the artistic research project Lethe, musicians and researchers Andreas Hiroui Larsson [percussion], Johan Jutterström [saxophone], and Anna Lindal [violin], investigated forgetfulness as a method and guiding principle for an artistic process, by using the ancient Greek mythological river Lethe as their point of departure. The Lethe was considered to possess the property of forgetfulness, and the research group met—metaphorically—over the course of three years, at its riverbanks. The name Lethe means concealment, and is related to the Greek word for truth: alētheia (that contains the word lēthē), which literally means un-concealment. As such, forgetfulness may both cause concealment and be part of constructing un-concealment. From their campsite at the riverbank of the Lethe, the research group intended to research forgetfulness in relation to their respective personal artistic practices, within the field of western art and improvised music. They also attempted at constructing coherent theoretical standpoints, to help them, and possibly others, navigate the river’s currents and—in the end—present an example of what their research could lead to artistically and discursively. The Roman poet Virgil wrote in his epic poem Aeneid that it is only after we have had our memory erased by the Lethe that we can become reborn. What are we willing to forget when we meet at the riverbanks of the Lethe, and gaze at the waters that can wash away our previous musical lives? I det konstnärliga forskningsprojektet Lethe—med utgångspunkt i den antika grekiska mytologiska floden Lethe—undersökte forskarna och musikerna Andreas Hiroui Larsson [trummor], Johan Jutterström [saxofon], och Anna Lindal [fiol], glömska som metod för en konstnärlig process. I den grekiska mytologin ansågs floden Lethe besitta glömskans kraft, och forskargruppen möttes—metaforiskt—över tre års tid vid flodens strand. På grekiska betyder Lethe glömska, men också döljande, täckande och namnet är besläktat med ordet för sanning: alētheia (som innehåller ordet lēthē), vilket bokstavligen betyder avtäckande. Därmed kan glömska både orsaka ett döljande, täckande och vara en konstruktiv del i ett avtäckande. Utifrån sitt läger vid Lethes strand avsåg forskargruppen att utforska glömska i relation till deras respektive konstnärliga praktiker inom västerländsk improviserad musik och konstmusik. De avsåg också att formulera och konstruera sammanhängande teoretiska utsagor—i syfte att hjälpa sig själva och andra att navigera Lethes strömmar—, och slutligen presentera exempel på vad deras forskning lett till såväl diskursivt som konstnärligt. Den romerske poeten Vergilius skrev i sin episka dikt Aeneiden att det är först efter att vi har fått vårt minne utsuddat av Lethe som vi kan födas på nytt. Vad kommer vi vara villiga att skiljas från när vi möts vid Lethes strand och ser ut över vatten som kan tvätta bort våra tidigare musikaliska liv? Leth
Towards a Cripping of Research Practices – Peeling off Ableist Structures in an Arts, Culture and Disability Researcher and Commissioner Collaboration in Norway
No full textThis chapter offers a critical look at how five disabled and non-disabledresearchers, and two commissioners experienced working with the project Artist– an accessible profession? A research project about artists with disabilities inNorway. Understanding the project as a collaborative learning process, they generatedresearch material for a post-project study through writing reflective notesprompted by the two questions: What surprised me? Were there specific learningmoments in the project? Dialoguing with theory from co-design research in criticaldisability studies, they scrutinize their own narrated experience and arrive atinsights about: how embodied knowing and nuances of crip time – articulated asslow time and timing, sustainable time, and time as a site of care – could challengeableist structures of theoretical knowing, efficient time and timing, competitivetime, and time as something to control. Without conscious action, such ableiststructures risk reproducing themselves not only in arts, culture, and society, butalso in research projects that critically examine precisely these ableist structures.Article publishing charge är finansierad av publikationsfonden vid NTNU Norges teknisk-naturvitenskapelige universitet.</p
The Art Of The Walk Cycle : Animating Emotions with Artistic Expression
No full textThis exploration delves into the potential of emotional storytelling through walk cycles. Moving beyond traditional animation, it utilizes the expressive power of modern tools to explore how line, shape, stroke weight, color, texture, and sound can be manipulated to create abstract narratives that evoke deeper emotional experience for the viewer. Drawing on a foundation of psychological principles, scientific research, and relevant articles, the walk cycles become abstract narratives, provoking introspection and emotional connection. The subjective nature of this artistic language is acknowledged, with cultural backgrounds and personal experiences influencing interpretation. The exploration raises questions about the potential for a universal language of emotion in animation, one that speaks not just to the mind, but to the heart. This ongoing journey of discovery aims to observe how viewers connect with these abstract representations and explore the potential for this approach to elevate the art of animation
Protecting the spark: The process of making an animated short film
No full textThe creative process has its highs and lows. Even for people whose passion is creating, often the journey of actually realizing one's ideas can turn into a grueling thing. In the worst case scenario it gets to a point where the artist ends up burning out, losing faith in the project or simply not wanting anything to do with the idea anymore after a long, frustrating artistic process. Animation in particular is a medium that requires an incredible amount of work, where realizing even a short idea takes a huge amount of time and effort. How do you find a balance between the spark of creativity versus being practical and productive, so that you can realize your ideas without burning out? Through examining the insights learned during the process of making an animated short film, this paper explores how to protect the creative spark and tackle some practicalities though a creative process in order to make it manageable
A Theory of Applied Circus Creativity and its Development Within a Bachelor of Circus Arts Programme in Sweden.
No full textThis research investigates whether, and how, students in a circus bachelor programme learned creativity during their studies, and how they use creativity in their profession. Twelve participants were interviewed, representing six different cohorts from the University of Dance and Circus (DOCH) in Stockholm, Sweden between 2008-2018 (now Stockholm University of the Arts). Constructivist grounded theory methodology (CGT) guided the analytical process of uncovering themes described by participants. Narrative vignettes were used to represent the experiences recounted by multiple participants influencing the apprenticeship of creativity and creative methods. Curriculum theory was used as a lens to understand the relationships between programmed content and the lived experiences which created the learning environment wherein these participants developed the knowledge to enter the circus field. With consideration of the individualized pressures of the realities of contemporary circus creation and performance, creativity is here theorized within a Western cultural perspective, where creative contributions are often seen through the lens of social innovation. Three themes emerged from the analysis. In “learning creativity,” participants describe learning an iterative method of the creative process with regard to the performance of their circus discipline. “Creative identity” collects definitions and beliefs about creativity. The “creative practices” theme includes participant descriptions of using the creative process in their profession to navigate challenges beyond disciplinary work, and when approaching problem identification and problem solving during the COVID pandemic. Together, these themes demonstrate that apprenticeship of domain-specific creative practices provides a methodological foundation for domain general creative approaches. I name this method of using domain-specific approaches to domain-general professional challenges in circus “applied circus creativity.” These findings have implications for circus education, and other arts programs, which aim to preparing professional artist
Artists and machine intelligence : An archaeology of an autoregressive language modelthat uses deep learning to produce human-like texts and images.
No full textIn the dynamic interplay between art and technology, the integration of artificial intelligence (AI) has opened new frontiers of exploration and expression. Our research project, initiated in 2021, ventured into this evolving landscape with a mission to examine the relationship between AI and contemporary artistic practices. Focusing primarily on text and image synthesis using AI technologies, our project embarked on an in-depth exploration of the creative potentials and limitations of Large Language Models (LLM).This journey was far more than a technical exercise; it represented a deep dive into the fusion of creativity and technology, examine traditional workflows, especially related to pre-production in filmmaking. The project revealed AI's capacity to both emulate and stimulate human creativity, offering insights into the capabilities and boundaries of LLM inartistic creation. These reflections are not just a recount of past achievements but a lens through which one can view the potential and future intersections of art and machine intelligence. Leading the research project are Linda Janson, a production designer with over 30 years of experience in the art departments of films, TV series, and commercials, currently serving as a senior lecturer in production design at Stockholm University of the Arts, and Mirko Lempert, founder of the company Monocular. Monocular specializes in integrating AI with traditional 2D/3D techniques for practical applications in visual content creation. This project is driven by their collective goal to investigate the practical applications of AIin visual arts, combining Linda’s extensive industry experience and academic background with Mirko’s expertise in applying AI technologies. Their joint effort focuses on enhancing the methodologies of visual arts and design education to align with the ongoing advancements in digital technology. We would also like to recognize and express our gratitude to PhD candidate Marc Johnson, whose significant contributions were instrumental in initiating this research endeavor and who has continuously supported the process with valuable advice and expertise. Lastly, we wish to emphasize that Chat-GPT served as an editorial assistant in the composition of this report. This involvement was twofold: as an integral part of our research methodology and as a proficient contributor, aiding in the summarization, formalization, and articulation of arguments to deepen the discourse on the topic of Artificial Intelligence in the visual arts
To Scenograph
No full textIn this essay I examine scenography as a verb, to scenograph, and what it means to consider scenography as a process of development rather than an artifact placed on stage. Based on Deleuze and Guattari's ideas about rhizomatic structures and becomings, carnal aesthetics and phenomenology, I weave together tactile knowledge, the agency of the materials themselves and collective processes in a text about finding the inherent is of a scenography.I den här essän undersöker jag scenografi som ett verb, att scenografa, och vad det innebär att betrakta scenografi som en process istället för en artefakt placerad på scen. Utifrån Deleuze och Guattaris idéer om rhizomatiska strukturer och blivande, carnal aesthetics och fenomenologi väver jag samman taktil kunskap, materials egen agens och kollektiva processer i en text om att hitta scenografins inneboende själv
I gränsen mellan repetition och praktik : En praktiknära studie av verket Suit of Dances (1994)
No full textThe purpose of this study is to, within an artistic process, investigate a dance practice and how the process is enriched by the interaction with three experts within the field of dance pedagogy. Furthermore, it discusses aspects from the process that can be applied in dance education. Methods that are used is autoethnographic perspectives and self-reflective writing in the studio before inviting experts to three unique practical interviews. The results are an intense movement analysis from the work in the studio and deep interaction on the work with three interviews that highlight things such as bodily exploration, musicality and reflection on practice. The study’s conclusion is that a method for ballet class inspired by Creative movement can enrich dance education with reflexivity, but the study also highlights the importance of repetition of movement.En praktisk föreläsning av arbetet hölls 16 maj i studio 16 på Brinellvägen 58.</p
Heartquake and the clouds along the way : Written outlets through & within the process of making
No full textThis thesis is produced with the texts that are the outlets of the artistic research on a writing practice influenced by the dance-making process for the SKH Choreography Master’s graduation performance “heartquake”. The writing practice is a tryout to translate the studio practice that was present in the process into a different medium, into a text. Even though this practice started as an accompaniment to the dance-making process as a translation, it became like a mirror that helped to try to figure things out and also ended up as documentation because of the nature of the text. There are two main subgroups of the texts, the ones that are produced before the premiere and after the premiere. Different approaches have appeared throughout the process, some of them could keep their presence till the end, some of them have transformed, and some of them disappeared just as it happened in the dance-making, which can be observed just like watching clouds. And these clouds were there up in my making-world's sky