Stockholm University of the Arts
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Dokumentation och reflexion från en kunskapsinsamling i Flandern : [del1]
No full textSlutligen: Mitt bidrag här är att problematisera hur man kan arbeta som bibliotekarie på ett konstnärligt lärosäta för, som jag ser det, behöver en del nytänkande genomföras. Hur man bygger en samling när forskningen och utbildningen sker inom det konstnärliga området blir därmed enavgörande fråga (och kanske en egen artikel). Vad ska med andra ord stå på hyllorna när det primärt inte handlar om historisk vetenskaplig forskning utan om ett utforskande av konstens väsen. Vad kan användas för inspiration i denna process är den fråga jag försöker få svar på. Ett sätt är att studera den konstnärliga processen på plats och därför har bildningsresan till Flandern gett en hel del insikter som jag menar bör sätta spår i biblioteket vid Stockholms dramatiska högskola.Del 1</p
“Authoring Experience” : A Dialogue on the Dancer’s Practice
No full textIn the spring of 2011, I posed a few questions to Chrysa Parkinson, upon reading some of her earlier writings. The discussion between us developed into an email conversation that was revised with the help of Anna Petronella Foultier, resulting in the following text. Cecilia Roo
In real life (or elsewhere) : essays om creative processes and paralell realities in documentary film
No full textDel i avhandling</p
Introduktion till den animerade rörliga bilden
No full textInför samtal på Konstlab i Göteborg, på Atalante under Nationella Forskarskolans workshop tillsammans med formgivaren Elisabet Yanagisawa Avén den 19-‐22 mars 2012 och doktorandseminariet på STDH den 23 mars 2012.</p
Practice Comes Before Labour : An attempt to read performance through Marx's notion of practice
No full textWhat is the relationship between the critical categories 'performance' and 'labour'? Both terms are historically produced concepts, existing within certain philosophical, cultural and theoretical discourses. Within the context of art 'performance' is a broad category, which has come to mean anything from staged dance pieces, sculptural installations and mass demonstrations. Labour, also a compound term has broad connotations and can simply mean both paid an unpaid physical work. But as is well known, labour also appears in various forms and meanings in Karl Marx writings where it takes centre stage. My aim, on a broad scale, is to interrogate the historical formation and manifestation of the category of performance and its immanent relationship to forms of labour as they appear in the history of Western thinking and in particular in a Marxist discourse. More specifically – within this essay – is my intention to analyse performance as a generic category within the field of art as it established itself in the post-war period and its immanent affinity with a specific category of labour which appears in Marx's early writings. I will do this, firstly by examining the historical construction of performance as it took shape from the 1950s and onwards in the field of art. I will demonstrate that this category of 'performance' is generic, is constructed relationally to other categories and concepts within art. I will then investigate, not the concept 'labour' but the much broader term 'practice', which appears in Marx's early text “Theses on Feuerbach” from 1845. 'Practice' lays the ground for both 'labour' and 'production', which are developed in Marx's more mature writings such as Das Kapital. My point is that any philosophical and conceptual inquiry into 'labour' must begin with 'practice' in order to understand the former's depth
Non-diegetic sound effects
No full textMost films tell a story. This story takes place in a constructed world that only exists in each specific film. It makes no difference if the story is set in a fantasy world, a historical or a future world, or even if it’s a documentary that depicts reality. Every film still creates it’s own filmic world, its diegesis.. Everything which happens inside this world is called diegetic and what happens (in the movie) outside this world is called non-diegetic. Traditional film music and voice-over narration are typical examples of non-diegetic sounds. The characters in the film are unaware of them, because they don’t exist in the same world. These sounds are messages from the filmmaker directly to his/her audience. Music played inside the film’s world, for example by visible musicians or from a radio seen on screen, is diegetic, as is dialogue and sound effects. The characters in the film are meant to be aware of these sounds. Whether the actors heard these sounds while shooting the scenes or if they where added during sound editing, they influence the audience’s interpretation of the characters, the situation and the narrative
