Stockholm University of the Arts
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KOMPASS : Ellen Røed / Signe Lidén
No full textProjektet KOMPASS är sprunget ur det konstnärliga forskningsprojektet Image as Site vid Stockholms konstnärliga högskola, där Ellen Røed och Signe Lidén har utvecklat en metod för fältupptak som förenar ljud och bild i en särpräglad form av uppmärksamhets(est)etik. I detta forskningsprojekt undersöker Røed och Lidén hur instrument, tid och rörelse ingår i och påverkar relationerna mellan kroppar, bilder och platser, mellan erfarenhet och representation, i olika former av kamerabaserade fältinspelningar. Undersökningarna presenteras nu på Trafo Kunsthall, där de har utvecklat en installation med ljud, video och skulpturala element.2017-01454 Den rörliga bilden som plats och verklighe
Gesternas klichéer : - en essä om machojournalistik
No full textEssän Gesternas klichéer - ett möte med machojournalistiken är en undersökning av machokulturen inom grävande journalistik, och villa formulera nya förhållningssätt. Hur kan jag hitta nya vägar bortom de stereotypa sätten att spela på manlighet och kvinnlighet som präglat min yrkesverksamhet som journalist? Hur ser ett kvinnligt respektive manligt sätt ut att spela på stereotyper. I essän vill jag undersöka hur stereotyper påverkar arbetet och undersöka hur jag kan frigöra mig från könsrollerna. Hur ser en motbild till den stereotypa machorollen som grävande journalist ut? I essän använder jag den feministiska teoretikern Sarah Ahmed och filosofen Hans-Georg Gadamer som ingång till ny perspektiv och synsätt.)The essay is an investigation into the machoculture within investigative journalism, and strives to articulate another approach. How can I find a mode beyond the stereotypical play on masculine and feminine that has informed my professional work as a journalist? How can a typical feminine versus masculine ”working style” be characterized? I search to put into words how stereotypes affects the profession and look into ways to liberate myself from stereotypical gender roles. In the essay I use Sarah Ahmeds feministic theory as well as Hans-Georg Gadamers philosophy to find new perspectives
Walks in an absent city : a diy guide
No full text"Walks in an absent city" invites participants to go for a walk in a city of their choice following poetic directions given by a handmade guidebook. It is an experience that can only happen in physical contact with both the city and the guidebook. There is no digital option. This DIY guide was made to allow people in different parts of the world to take part in the walks. A homemade guidebook can be made by following simple instructions. "Walks in an absent city: a diy guide" is part of the PHD project "Staging Absence".Staging Absenc
Abstract Narration : Am I Human?
No full textNarration is a cluster funded research project conducted by four SKH film and media professors. Each artist/teacher pursued a specific topic within the concept of abstract storytelling. Abstract narratives have been underutilized and underappreciated. Our intention is to continue this debate with our unique approach and research questions. Am I Human?, was my contribution to the Abstract Narration project. Am I Human? looks at the abstract nature of our identity construction, revelation, and transformation within a performative frame. Through the literature review, I discovered fertile ground where performance art studies, disability studies, and identity studies overlapped. The question emerged, “How is the role and power of abstraction, in the performance of a disabled identity, accomplished”? I intend to provoke reflection about one’s self image and the transformative powers we possess concerning our identity. Another aim is to perform the body as a location for abstraction, creating narrative lines across multiple scenes. In collaborative workshops with an opera professor/singer and an electronic composer, the performative and transformative nature of disability was studied and expressed as one scene of a one act opera in dress rehearsal. Methods were discovered for future pedagogic techniques in character development for both mediated and live stage performance
Cinquevalli Triptych
No full textPDF with three mounted images. Excerpts of three newspaper articles, related to Paul Cinquevalli (1859-1918)
Storytelling and the possibility to dramatize a personal experience.
No full textThis paper outlines the artistic research process I followed as I made a short fiction film. It defines the stages that I’ve undertaken as I tried to learn more about filmmaking during my master’s studies in Film and Media at Stockholm University of the Arts. How to write a screenplay? How to dramatize a personal experience? What making a movie entails? How to write a moving story and the impact of storytelling on human beings. Here I share my learning about – and I try to investigate the interplay between – craftmanship, art, theory, conception, industry, and the neuroscience of storytelling. Filmmakin
THE BLOD METHOD : CASE STUDY OF AN ARTISTIC RESEARCH PROJECT IN FILM
No full textThe BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation-building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks, how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD method is articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The method is non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. Through this paper, different aspects of the BLOD method are tossed around in relation to BLOD research activities; making cinematic building blocks that allow and induce multiplicity, improvisation, and fluidity of form; sharing personal experiences through fictionalized documentary processes; dealing with ethics in interpersonal and ecological relations. The paper proposes that critical reflection and vulnerability are integral to film production and offers this case study as an example for method development in other research projects or films – especially ones that sprawl, tangle, and defy categorization by field or disciplin
Moving through Choreography – Curating Choreography as an Artistic Practice
No full textThe purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other. Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’ Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process. The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies. The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.Examensbenämning: Konstnärlig doktorsexamen i performativa och mediala praktiker Engelsk examensbenämning: Degree of Doctor of Philosophy in Fine Arts in Performative and Media Based Practices. The Documented Artistic Research Project (Doctoral Thesis) - Moving through Choreography – Curating Choreography as an Artistic Practice - consists of five interrelated parts: To be made public in DiVA February 13th 2021o Centauring - A curated and choreographed exhibition including video documentation of the live performance ONE – I leave the skin dead and dry shining light behind meo appendix - Printed publicationo 7 riddikter - Textartobject (included as part of the exhibition)To be made public in DiVA March 31st 2021o Centauring – The Book - Printed publicationo Moving through Choreography – Curating Choreography as an Artistic Practice - The dissertation's documented materials published in Research Catalogue</p
Det som bär : en essä i samtalsform
No full textEssän handlar framför allt om tre teman, förutom själva sakfrågan om huruvida jag ska läsa till präst eller inte. Det första jag tänker på är att den har handlat om att vi alla är berättelser och att även Bibeln är berättelser och att det finns lika många ingångar att läsa dessa texter som det finns vinklar att närma sig vad en människa är. Det andra är tilliten och känslan av att vara buren och där tänker jag att det handlar om att lita på att vi i grunden är goda, att världen vill oss väl, när vi låter livet hända oss och när vi känner oss älskade och trygga. När vi kan säga nej kan vi säga ja. Och att vi behöver vara i den sortens trygghet för att kunna älska. Och det tredje jag tänker att det har handlat om är mitt möte med mig själv. Hannah Arendt talar om att vara två-i-en. Och det har givit mig otroligt mycket att möta mig själv på det här sättet. Som att jag förstått att jag kan leda mig själv, att jag kan ha en verklig dialog med mig själv.Det har framför allt handlat om vikten av process, om att få tvivla och få reflektera och att i det uppstår något som är lugnt. Lugnare.”Ibland måste man dra ut ett uttryck ur språket, lämna in det till rengöring, - och sedan kan man igen sätta det i omlopp.” Och ett sådant uttryck är ”reflektion”.
TO BE, BECOME AND BEHAVEOr : or my relationship with theory, creative process or taking refuge
No full textThese pages include parts of the process diary, notes on process, reading, as well as photos from my research process. These are abstracts of my research and therefore curated in their own right to show not only my somewhat sprawling process but also my honest attempt to share how I document and research in my process. These “written expositions” mirrors how I gather material when I work as a performer and performance maker. This document is as much about me finding out what I did in the project as you are attempting to understand the project´s content, methods and results. It is me looking at the produced material from the outside, curating it to try out words on the method, content and material. I have written about the work reflectively at the same time as I invite you into this action. It´s speculative and intimate. During my master studies in Performing Arts, I have reflected on what it means to be a performer beyond the symbolic meaning of it- such, as being material or representation for someone else work. I have investigated what the performer spends time doing and reflecting on beyond what is seen “on stage”, and present that, whatever it is and looks like. I have then, in my final degree project, looked at how I can use my gained knowledge as a mainly interactive performer in relation to performance arts and black feminism theory to create my own artistic practice. My aim has been to do this by being, meaning to exist with, breathing with, becoming part of, attending to and situating myself in relation to performance arts and black feminism theory in a mindful manner.