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  • 1.
    Bergsmark, Ester Martin
    Stockholms konstnärliga högskola, Institutionen för film och media.
    voice under2023Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    If voice over is the superior voice that dictates truth, I examine voice under, the other truths that take place simultaneously. In my doctoral thesis voice under, I explore all the parallel voices beyond the dominating all-knowing voice over. The intention of the project and concept voice under is to open up a wider sensory register in both the creation and the experience of film. By looking closely at, challenging, and playing with different cinematic conventions, I explore how we can recreate seemingly dominant expressions and find spaces for resistance, although temporary. This document outlines the different modes of publication of the doctoral thesis voice under. voice under consists of two branches: film and text.

    The Documented Artistic Research Project (Doctoral Thesis) voice under will be made public and archived on September 1, 2023, through the following three materials:

    1. Welcome to voice under folder

    2. Performative contemplative film screening

    3. The book voice under, consisting of a collection of texts

    Fulltekst (pdf)
    Registration sheet (Spikblad)
    Fulltekst (pdf)
    Instructions for performative film screening
    Fulltekst (pdf)
    Folder - Invitation to voice under
    Fulltekst tilgjengelig fra 2025-02-01 16:37
  • 2.
    Bertling Wiik, Siri
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Whispering Bodies: The Textual Brain2021Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    During this project I’ve been exploring how we can work with things within art to change our way of relating to ourselves, other humans and our surrounding. I want to see if finding inner spaces within us can make us feel more connected to our external surrounding. I want to share the feeling of being connected with things through incorporating them inside our own bodies. I have therefore been leading participants on introspective journeys where they found rooms inside of their bodies. After that I have been translating these inner spaces into immersive performative Scenography, where visitors have been invited to engage with the things in the space with all their senses. All the bodies, things as well as visitors, have been given the possibility to interact on their own terms. I wanted to see what kind of relating this room of Whispering Bodies; the Immersive Scenography inspired and invited to, and I wished for it to be a tactile bonding with a sense of heightened empathy and listening. 

    This text-based piece, called Whispering Bodies: The Textual Brain, is created out of a curiosity in how a reflection based in the written language can exist as a complementary work for a physical and tactile space, in this case Whispering Bodies: The Immersive Scenography. I wanted to create an experience that would have traces of the room filled with different bodies. I have been experimenting with how to use different mediums to make this happen, and this piece will be a combination of meditation, video, drawings, audio and text, and the text itself will be jumping in between genres. I want to invite you to take part in this journey with me. It will be dry, it will be poetic, it will be telling you what happened, both the factual and the fictional. 

    If you have any questions, feel free to contact me about the work.

    Fulltekst (pdf)
    fulltext
  • 3.
    Bohman, Anders
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Hur formen påverkar oss: en reflektion över ett konstnärligt utvecklingsprojekt2017 (oppl. 1)Bok (Annet vitenskapelig)
    Abstract [sv]

    Detta konstnärliga utvecklingsprojekt är sprunget ur mina erfarenheter som praktiserande filmfotograf och den del av processen som handlar om ”grading” (färdigställandet av färgsättningen). Ibland uppstår en frustration av att ett arbete inte får det utrymme som krävs för att uppnå ett bra resultat. Processen att skapa en långfilm /TV-serie är relativt lång och inte sällan kan det ta upp till ett och halvt år från en idé till en färdig film. Besluten om den slutgiltiga ”looken” (det visuella uttrycket) på filmen görs ofta i all hast när klippning och ljudläggning är klar. Producenten behöver snabbt ha klart en färdig kopia (eller DCP/Digital Cinema Package) till den utsatta deadlinen för distribution, säljmaterial eller en festival. Det är ofta då man som fotograf upptäcker de små misstagen som har gjorts i val av tagningar under klippningen. Det kan handla om små störande rörelser i ett klipp, statister som ser in i kameran, skuggor och ljusförändringar, klaffmisstag och misstag i mask och kostym. Detta har inte uppmärksammats i klipprummets ogradade, lilla monitorbild därför att misstagen inte är synliga förrän graden är gjord.

    En annan komplexitet är när regissör och klippare inte har sett eller vågat använda det bildberättande som finns i materialet därför att de inte har upplevt bildens hela potential. Det kan bero på att att de har arbetat med blaskiga, ogradade och lågupplösta klippversioner av exempelvis mörka scener eller stora bilder. I dessa versioner är de svåra att läsa av och sammantaget kan det resultera i att man inte ser potentialen för gestaltande scenerier eller större bilder. Det leder i sin tur till fler konventionella val än vad ett utforskande filmiskt val kan uttrycka och berätta.

    Mot bakgrund av detta har jag formulerat fyra frågor att undersöka i mitt projekt:

    1. Vilka visuella målsättningar definieras i början av en produktion?

    2. Hur kan alla i en produktion bli delaktiga de visuella riktlinjerna?

    3. Hur kommunicerar vi den visuella strukturen under den skapande processen?

    4. Kan det finnas ett samförstånd om vilket visuellt uttryck som är att föredra?

     

    Projektet har fått titeln Hur formen påverkar oss. Jag har i projektet klippt ihop en fristående två minuters sekvens ur långfilmen Sophelikoptern, i vilken jag var filmfotograf. Sekvensen är inte en hel berättelse utan vald för sitt konstnärliga uttryck. Den har därefter färgkorrigerats i fem varianter av olika kolorister. Mitt syfte har varit att se hur de skilda uttrycken i koloreringen kan upplevas. Forskningsfrågorna har varit min utgångspunkt i det praktiska arbetet med färgkorrigeringen av bilderna. Det har resulterat i fem olika lookar med unika visuella uttryck, skapade av koloristerna i samarbete med mig. Jag har presenterat resultaten dels i min undervisning på

    Stockholms Dramatiska Högskola (StDH), dels vid filmfestivalen i Nordkap och dels på föreläsningar för Föreningen för Svenska Filmfotografer (fsf). I samband med mina presentationer framställde jag en enkät riktad till yrkesverksamma filmfotografer. Frågorna handlade om vilka erfarenheter de hade av att arbeta med färgkollorering. Enkätens syfte var att få en så tydlig översikt som möjligt av hur arbetssituationen med färgkorrigering ser ut för svensk TV och film idag. Min analys av enkätsvaren och resultaten av projektet i sin helhet har jag sammanställt i ett utbildningsmaterial. I materialet fokuserar jag på hur färger kan upplevas och om de skillnader i upplevelser som kan uppstå i olika kulturella kontexter. Jag skriver om hur vissa visuella uttryck kan bli förborgade i en generation eller i olika sociala grupper. Bild- och färgspråk kan variera såväl mellan grupper som mellan generationer. Dessa olika språk förändras fortare än vad vi är medvetna om genom det dagliga rika flödet av bildberättande. Jag lyfter också frågor om vad habituering gör med vårt berättande vilket handlar om hur snabbt vi vänjer oss vid en ett speciellt visuellt uttryck? Det kan ofta räcka med ett par minuter för oss som åskådare att vänja oss vid en viss stil av filmiskt berättande. Det leder till frågan om vilken påverkan färger har på det filmiska berättandet? Och hur vi kan använda kunskapen om detta för att rytmisera ett berättande? I mitt resonemang om färger hänvisar jag bland annat till boken Goethe färglära 1 och Newtons första experiment 2 med prismat. I Pehr Sällströms Goethes färglära (2014) finns ett tankeväckande citat av konstnären Vasilij Kandinsky:

    Vi måste lyssna till den klang som färgen väcker i vår själ. Och vi måste göra detta öppet, så hängiven, så osjälviskt, att vi med övertygelse kan konstatera, att det är färgen som talar till oss, att vi fått erfara något av dess väsen.P E R S Ä L L S T R Ö M , G O E T H E S F Ä R G L Ä R A , 2 0 1 4

    Fulltekst (pdf)
    Hur formen påverkar oss
  • 4.
    Claesson, Nils
    Stockholms konstnärliga högskola, Institutionen för film och media.
    När fotografi var bild och inte konst / When photographs were pictures, not art2014Inngår i: Mellan verkligheter fotografi i Sverige 1970-2000 / [ed] Kristoffer Arvidsson, Louise Wolthers, Niclas Östlind, Lund: Bokförlaget Arena , 2014, s. 100-105Kapittel i bok, del av antologi (Fagfellevurdert)
    Fulltekst (pdf)
    fulltext
  • 5.
    Daneshfar, Shauheen
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Scented Rooms2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    In 1979, during and after the Islamic Revolution of Iran, a vast number of cinema and theatre halls were set on fire by extremist revolutionaries or closed forever. Consequently, many artists and workers were forced to give up their professions. The phenomenon in question can be considered an effort of the government to further change the country's cultural identity. One of the closed-down theatres was Tamashakhaneh Tehran, the country’s oldest modern theatre built in 1915. This particular theatre can be considered as a symbol of a hindered way of living. By revisiting the theatre, the film aims to draw attention to a suffocated social culture. Through patient observations and metaphoric statements, the filmmaker brings this omitted subject to the centre of attention.

    Besides referencing history and factual events through the use of archive materials, the artist utilises poetic text and imagery to uncover the abstract memory of the building. The intention is to invite the audience to have an experience of decaying beauty and to witness something that has been silent for a long time gain expression again.

    Scented Rooms narrates the story utilising a poetic and metaphoric language, revisiting the theatre’s interior architecture, and skims through archive materials and historical events. The film observes ruined objects that have remained in the building. The film shows original recordings from the past besides choreographed pieces. Choreographed re-enactments are filmed in a theatrical space in Stockholm, representing the actors who had been oppressed and banned from working. Additionally, leaning into interviews with people, past events are being reviewed.

    The film avoids being merely descriptive and elevates factual references through its dedication to metaphoric language.

    By using 35mm film which has expired, I aim to reach the abstract memory of the place. as the celluloid film on which the footage is captured has gone through a decay process, it can be considered an agent in the creation of image and in reaching the memory of the theatre thereof.

    I have come to work with poetic documentary film through a phenomenological insight into the components of cinema, photography and literature. The imagery itself for me is a way of poetic expression.

    As an artist who grew up in a culture melted with poetry and metaphoric expressions, I am trying to implement poetic elements to communicate in a social context.

    In the making of the film poetic materiality is considered a social instrument. Historically in Iran, poetry is used as an expression when facing exhaustion or when overwhelmed by the system of power. The longing for the poetic depiction of a silent social culture has roots in both culturally sensitive and emotionally descriptive views on social history. 

     

    For me as a young Iranian artist who grew up under the circumstances of the Islamic government, this particular theatre has always been a symbol of a hindered way of living. I witnessed how the power institution strives to change or destroy any kind of icon that refers to a specific social culture from the public space and changes the appearances of the city, media or even the language. 

    In the film, separated elements enter into a readable context: a ground for emphasizing the quality of interpretation over the quality of reportage.

     

    35mm celluloid film has an important role in the film as it will act as an agent to evoke the memory of the space and the era. It will give me the ability to go further than reproducing a copy of the objects but allows me to uncover what has been untold.

  • 6.
    Eisenhauer, Lukas
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Jag fotograferar för att ta reda på vad jag skulle fotografera om jag fotograferade2017Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Den här texten är ett personligt utforskande kring temana identitet, kreativitet samt närvaro i och genom den fotografiska handlingen. Den har sitt ursprung i anteckningar, samtal, tankefragment, fotografier, minnen, dikter, citat och referenser till personer och tänkare som ägnat tid åt att reflektera över människan, livet, fotografi och bildens betydelse i allt detta. Grunden för mitt utforskande kommer ur ett behov av förståelse och förändring. Förståelse för hur jag identifierar mig i min roll som fotograf och i relationen till mitt yrkesutövande. Förändring i min syn på mitt egna skapande och för att hitta ett personligt förhållningssätt till detta snarare än ett förväntat. Jag har en lång relation till den fotografiska bilden och ibland har det varit ett trasslig förhållande till identiteten som fotograf. I takt med en utveckling som gjort det möjligt för snart sagt alla människor att genom enkla knapptryck låta avancerade, men tillgängliga, tekniska processer skapa fotografiska bilder som med ytterligare knapptryck kan distribueras över snart sagt hela vårt jordklot, har jag funnit mig mer och mer vilsen trotts att jag trot att jag borde känna mig hemma. Jag vill därför även försöka gestalta en problematik som uppstår ur att den fotografiska bilden mer än någonsin utgör det huvudsakliga språk med vilket vi kommunicerar vårt förhållande till världen med. Har något i relationen till den fotografiska bilden gått förlorat häri? Uppstår det ett glapp i förståelse när det finns obalans i kunskapen om bildens tolkning? Eller formas det nya användandet av en direkt och omedveten förståelse för den fotografiska bildens subjektiva laddning? Dessa frågor, som så många andra, förblir kanske obesvarade. Men min förhoppning är att jag med min text ändå kan bidra till en utökad diskussion kring dessa.

    Fulltekst (pdf)
    fulltext
  • 7.
    Grunditz Brennan, Kersti
    et al.
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms Konstnärliga Högskola/Department of film and media.
    Boholm, Annika
    THE BLOD METHOD: CASE STUDY OF AN ARTISTIC RESEARCH PROJECT IN FILM2022Inngår i: International Journal of Film and Media Arts, ISSN 2183-9271, Vol. 7, nr 1, s. 48-74, artikkel-id 03Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The 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 discipline

    Fulltekst (pdf)
    The Blod Method: Case Study of an Artistic Research Project in Film
  • 8.
    Johnson, Marc
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Dear Beloved Reader: 30% seminar lecture2022Annet (Fagfellevurdert)
    Abstract [en]

    My 30% seminar is divided in 7 chapters.

    1. Labour of access

    2. Restricted by law

    3. Genealogical imagination

    4. We are cyborgs

    5. Plur1verse of genres

    6. Disclosure

    7. Future plans

    I have been conducting a series of experiments that all relate to finding ways to re-enact and re-enable an experience of the past in the present and into the future; excavating methods to repeat fragments of history whose importance might not have been fully understood or acknowledged.

    The seminar goes along the politics of access to the archive(s), artistic research strategies used, and the proposed ongoing works.

    I will be discussing with Jyoti Mistry (Professor of Film, Photography and Literary Composition Unit at the HDK-Valand - Academy of Art and Design, Gothenburg).

    Fulltekst (pdf)
    text delivered at the 30% seminar
  • 9.
    Johnson, Marc
    Stockholms konstnärliga högskola, Institutionen för film och media.
    In the archival multiverse, the blubber decays but the fever increases.: A contribution to VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. by Marc Johnson with the contribution of Hitomi Ohki 大木瞳2021Inngår i: VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden / [ed] PARSE, Göteborg: Parse , 2021Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The presented work is composed by Marc Johnson — a memory worker — who is currently a Ph.D. candidate in performative and media-based practices at the Stockholm University of the Arts. The shared perspectives are engaging issues of violence from the center of an artistic practice-based research focused on archival practices and concerned with how a documentary heritage circulates, is formed, debated, shared, and re-interpreted.

    The lecture-performance starts by considering the “Rights of Nature” — from recent environmental litigations in Aotearoa (New Zealand), Bolivia, and Ecuador — which focus on the idea of legal standing. What does it take to enforce the legal personhood of a river or other natural entities?

    Marc Johnson investigates and reflects on some ways to deal with representations of murdered bodies — human and more-than-human (cellular life forms) — without replicating historical patterns of abuse? Under what conditions shall these documents, artifacts or, images be seen?

    Marc Johnson collaborates with Hitomi Ohki 大木瞳 — Soprano singer — to expose how polyphony[1] and counterpoint[2] applied to cinema can be used practically to navigate the uncertain archive(s) of violence studies.

    Marc Johnson addresses the dynamics of archival silences[3] and archival amnesty[4] as an important reminder of the ways in which violence — despite its presence in the everyday life of most people mainly through paper-based, and online news media (including social networks) — can also be deeply buried and invisible through institutional and corporate powers and other means; nonetheless impacting the lives of ordinary people (as opposed to powerful people, military, political and business leaders).

    The proposal does not intend to resolve; but rather to expose and to put oneself in the presence of using the means of montage.

    Skepsis is the deployed strategy throughout the duration of the time-based work as defined by Jacques Derrida as a “vigilance, and attention of the gaze during an examination. […] One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion.”[5]

     [1] A process of combining two or more voices so that they harmonize with each other but maintain their individuality.[2] A process of adding one or more melodies as an accompaniment to a given melody according to certain fixed rules; a composition in which melodies are thus combined.[3] Rodney G. S. Carter, “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence,” Archivaria, September 25, 2006, 215–33.[4] Tonia Sutherland, “Archival Amnesty: In Search of Black American Transitional and Restorative Justice,” ed. Michelle Caswell, Ricardo Punzalan, and T-Kay Sangwand, Journal of Critical Library and Information Studies, Critical Archival Studies, 1, no. 2 (2017): 1–23, https://doi.org/10.24242/jclis.v1i2.42.[5] Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993).

    Fulltekst (pdf)
    Parse research conference lecture performance script
  • 10.
    Moe, Jon Refsdal
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Curating Time-Based Art in Oslo2017Inngår i: International journal of aesthetics and philosophy of culture, ISSN 2501-9929, Vol. 2, nr 2, s. 55-60Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article reflects some experiences of being a curator of live art in a black box theatre,like the Black Box Teater in Oslo. It touches upon the question of curating as such andhow it influences the notion of what theatre is when it is applied to such a context. Therelational aspect of theatre is being examined, using references to Michael Fried andAntonin Artaud.

    Fulltekst (pdf)
    fulltext
  • 11.
    Persson, Lina
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Animated Ecology2017Inngår i: Visual Languages –and Questions of Representation, Stockholm: Kungl. Konsthögskolan , 2017Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this project I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I began the project by improvising lectures for various audiences I wanted to have input from. I have lectured toall possible entities in the ecosystem I am a part of,from blueberries to colleagues to films. In the process I further explored how power structures are contested or confirmed in different kinds of imagemaking. How the relationship between human and environment is transformed and how animation practices offer me a wide variety when exploring and expanding that relationship.

  • 12.
    Persson, Lina
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Being Animated: A fan-fiction video essay on the artistic and ecological possibilities in animation practices, from the mushroomcloud in Barefoot gen via the animation-stand to the ecosexual relationships in Asparagus.2018Inngår i: : Screening Programme with presentation by the artists and concluding conversations, Växjö, 2018Konferansepaper (Fagfellevurdert)
    Abstract [en]

    A fan-fiction essay on the artistic and ecological possibilities in animation practices, from the mushroomcloud in Barefoot gen via the animation-stand to the ecosexual relationships in Asparagus.

    Download (jpg)
    bild
  • 13.
    Persson, Lina
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    KONSEKVENSANALYS - NEDSTÄNGNING AV SKH OKTOBER 20202020Annet (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Inför förslaget att genomföra ett strömavbrott, som ett led i Lina Perssons konstnärliga forskning vid Stockholms konstnärliga högskola, sammanställde fastighetschefen en konsekvensanalys från samtliga av högskolans avdelningar. Här är en sammanställning av den dessa konsekvensanalyser.

    Fulltekst (pdf)
    fulltext
  • 14.
    Persson, Lina
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Redigerad fredag!: Andra publiceringsvägar, andra publiceringsvärldar2018Inngår i: OEI, ISSN 1404-5095, nr 79Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [sv]

    Redigerad fredag! Fem kvällar om undersökande publicering i OEI #79: redigera/publicera/distribuera!

    Andra publiceringsvägar, andra publiceringsvärldar En kväll med undersökande svenska förlag och publiceringsstrukturer.

    Utifrån skilda perspektiv och praktiker kommer gästerna att belysa och diskutera redaktionella strategier samt publiceringens kritiska potentialer, innovativa former och produktiva gemenskaper.

    Redigerad fredag! lyfter fram en ekologi av konstnärliga publiceringsalternativ i Danmark, Sverige, Portugal och Frankrike för att lyssna till några av de samtida initiativ som alstrar ny energi inom redigering, publicering och distribuering.

    Programmet gräver sig också bakåt i den alternativa publiceringens historier. Där finns bland annat Ernesto de Sousas genreutmanande arbete som kritiker, konstnär, filmare och curator under de portugisiska 1960-, 70- och 80-talen, och det svenska Kulturmagasinet Vargen (1974–1975) med dess egensinniga mix av dada, pop och anarkism.''

    En kväll med ett fyrverkeri av 7 undersökande svenska förlag och publiceringsstrukturer: Art Distribution (Percival), BILAGA (Mari Lagerquist och Lina Persson), Chateaux (Beata Berggren, Martin Högström och Peter Thörneby), Firework Edition (Leif Elggren och Thomas Liljenberg), Mount Analogue (Diana Kaur och Tris Vonna-Michell), tillexempel förlag (Kristian Carlsson) och Rönnells förlag (Pekka Särkiniemi).

    Presentationer, performancer, releaser, samtal, möten.

    Programserien ingår i nummer 79 av tidskriften OEI som publiceras som en rumslig presentation på museet.

    OEI #79: Redigera/publicera/distribuera! 

  • 15.
    Persson, Lina
    et al.
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Kristensen, Lars
    University of Skövde.
    Holloway-Attaway, Lissa
    University of Skövde.
    Perceiving non-human subjectivity: between theory and practice: Presented by A Researching Bastard2018Inngår i: Multispecies Storytelling in an Intermedial Perspectives, Växjö, 2018Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This panel will present different ways of conceptualizing multispecies and storytelling. It aims at investigating the rhetoric of nonhuman subjectivity and thereby highlighting a specific form of interaction that takes place while detecting organic multitude. We hold that through assenting a nonhuman subjectivity, we are able to identify, recognize and reify multitude. While human subjectivity is created through inter-human actions, such as communication, narration and storytelling, we cannot assume that nonhuman subjectivity is formed in the same way. In order not to see only our human-selves in nonhuman interaction, we will propose an investigative, dialectic and inclusive platform for perceiving nonhuman subjectivity. Understanding any form of discourse as a process of dialectics, we can only reach an understanding for nonhuman subjectivity by merging different artistic as well as academic practices. We believe this process to be interdisciplinary, reaching over into activism, politics and ideology, and thus forcing a future-orientated discourse into being that includes nonhuman subjecthoods. Our theoretical base is founded on thinkers such as Judith Butler, Louis Althusser and Donna Haraway, while our practices include fine art, still photography, digital video and computer games. The presentation will be performed as one organic body comprised of three researching organs producing a two limbs and appendage creature.   

  • 16.
    Persson, Lina
    et al.
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Lagercrantz, Karin
    Stockholms konstnärliga högskola, Forskningscentrum. KTH.
    Björklund, Anna
    KTH.
    Appendix C. Utsläppsaktiviteter och utsläpp för projekt inom Climate-Just Worldings.2021Dataset
    Abstract [sv]

    Livscykelanalys (LCA) av Lina Perssons konstnärliga praktik utförd av Karin Lagercrantz. I denna LCA har sex projekt som Persson skapat inom ramen för Climate-Just Worldings (C-J W) mellan 2019-2020 utvärderats. Syftet med denna LCA är att mäta och beräkna vilket klimatavtryck Perssons forskningsprojekt C-J W har.  

    Fulltekst (xlsx)
    data set
  • 17.
    Persson, Lina
    et al.
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Sunesson, Jenny
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Return of the silurians: an improvisation between sound practice and animation practice2020Inngår i: SKH Forskningsvecka 2020, Stockholm: Stockholm konstnärliga högskola , 2020Konferansepaper (Fagfellevurdert)
    Abstract [sv]

    Return of the silurians – en improvisation mellan en ljudpraktik och en rörlig bildpraktik av Lina Persson, Forskare i film och Jenny Sunesson, Lektor i audiell mediaV

    I installationen Return of the Silurians gestaltas olika steg av återupplivande, re-animation. Under en fem timmar lång improvisation experimenterar Persson och Sunesson med en berättelsevärld med höjda havsnivåer och ökade temperaturer, där människa och natur är en odelbar helhet. Genom att tillsammans analysera lager av ljud och lager avsediment/berggrund improviserar de fram en gestaltning.

    Download (jpg)
    bild
  • 18.
    Rönkkö, Anne
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Tybell, Veronika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Bild som score: en metod för eget kreativt skapande i dans med utgångspunkti surrealismens estetik och dialogpedagogiken som undervisningsmodell2014Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    ”The visual as score” is a workshopmodel for supporting dancers own creative work by using dialogue as

    a pedagogical tool and working with material inspired from the aesthetics of the surrealisms’ art direction.

    Our question is in what way dialogue, surrealistic pantings and dreams as score can be used to support

    dancers’ own creative work. For this we have created a workshop consisting of both individual and group

    tasks. The material we have worked with is surrealistic paintings by artist Joan Miró and a dream diary

    written by the participants of the workshop. The work we do in the studio includes dialogue with analysis

    of the paintings, reflection, and discussion before and after tasks as well as after a presentation of the

    process in working with the material. After reading the participants comments we realize we have

    succeeded in creating an environment for own creative and evocative work where the participants have

    stated that they have been able to use their creative selves. In the future, however, we want to develop the

    workshop by splitting up working with paintings and dreams in two different workshops as well as trying out the workshop with different groups of dancers and other participants.

  • 19.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Image as Site2020Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    By appropriating the concept of site from the discourses of site-specific art and the concept of field from sound art, and applying them to the moving image, the project Image as Site explore the potential of video art for enabling certain elements of performance that appear in these discourses. The research originates from an understanding of video as a particular mode of inquiry that activates relationships between bodies, images, and places. The project expands this understanding and engages it to create meetings between visual arts and film and media practices. The practice of visual artist and professor in Film and Media Ellen J Røed is at the centre of the project, which is developed in an interdisciplinary research environment at Stockholm University of Arts and funded by the Swedish Research Council. 

  • 20.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Image as Site2019Konferansepaper (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    By appropriating the concept of site from the discourses of site-specific art and the concept of field from sound art, and applying them to the moving image, the project Image as Site explore the potential of video art for enabling certain elements of performance that appear in these discourses. The research originates from an understanding of video as a particular mode of inquiry that activates relationships between bodies, images, and places. The project expands this understanding and engages it to create meetings between visual arts and film and media practices. The practice of visual artist and professor in Film and Media Ellen J Røed is at the centre of the project, which is developed in an interdisciplinary research environment at Stockholm University of Arts and funded by the Swedish Research Council. 

  • 21.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Image as Site2020Konferansepaper (Fagfellevurdert)
    Abstract [en]

    By appropriating the concept of site from the discourses of site-specific art and the concept of field from sound art, and applying them to the moving image, the project Image as Site explore the potential of video art for enabling certain elements of performance that appear in these discourses. The research originates from an understanding of video as a particular mode of inquiry that activates relationships between bodies, images, and places. The project expands this understanding and engages it to create meetings between visual arts and film and media practices. The practice of visual artist and professor in Film and Media Ellen J Røed is at the centre of the project, which is developed in an interdisciplinary research environment at Stockholm University of Arts and funded by the Swedish Research Council.

  • 22.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Image as Site: The forest2020Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This artistic research project considers the potential of the moving image as a tool for developing situated knowledge and of its material conditions in terms of experience. It takes as its starting point how devices that produce images, such as cameras and microphones, invite their users to engage with their surroundings by enabling a network of relationships (Røed, 2014). I develop that idea and explore the capacity of video based art for enabling audio-visual ecologies through movement, transience and body, in other words elements of performance characteristic to site (Kwon 2004, Kaye 2000).

    By considering how the moving image might be engaged as a form of listening, specific environments are explored in order to create artworks that might operate across any dialectic opposition between experience, mediation and representation as a form of ecology of particular sensitivities, presence and place-making. By combining certain practices of site-specific art (performance), sound art (field recording, transposing the field), early video art (performance, materiality, inquiry), and cinematography (movement, gesture), I experiment with the conditions of field recording as methods of inquiry, and approach the recording situation as gestures of listening and tuning, transient temporalities, and relationships between sound, image, body, (custom made) devices, and ethics.

  • 23.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Entian, Patrik ()
    Liden, Signe ()
    Image as Site: THE RIG2024 (oppl. 100)Bok (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    By appropriating the concept of site from the discourses of site-specific art and the concept of field from sound art, and applying them to the moving image, the project Image as Site explore the potential of video art for enabling certain elements of performance that appear in these discourses. The research originates from an understanding of video as a particular mode of inquiry that activates relationships between bodies, images, and places. The project expands this understanding and engages it to create meetings between visual arts and film and media practices. 

    Over a period of four years these aspects of the moving image has been approached through artistic processes, means and methods involving fieldwork, studio work, discursive activities as well as the development and dissemination of artworks and reflection. At the centre of the project, has been the continuous development of a camera rig, extended and developed through the artistic practice of visual artist and professor in Film and Media Ellen J Røed and in close dialogue and collaboration with research assistant and cinematographer Ashley Briggs and co-researcher and artist Signe Lidén. This rig is presented, and its development traced, through this publication. 

  • 24.
    Røed, Ellen Johanne
    et al.
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Gandini, Erik
    Stockholms konstnärliga högskola, Institutionen för film och media.
    The Imaginative, the Material and the Ethical: SKH Stockholm University of the Arts2022Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    Imagining a sustainable future -  moving images as a research 

    This session focuses on the moving image as a mode of research which is particularly relevant in a contemporary situation through its capacity for visual, performative and speculative modes of engagement. It will explore how moving images can be employed to generate understanding through imagination and ethics through two research projects based at the department of Film and Media at Stockholm University of the Art, activating video art and documentary film making through interdisciplinary and collaborative practices. 

    The Future through the Present, coordinated by professor Erik Gandini explores a documentary narrative that manages to create a projection into the future and to develop a cinematic documentary aesthetic that releases documentary film from the constraints of it's traditional role of dealing either with the present or the past. We also want to experiment with an aesthetics that reflects existential issues that are connected our near future. The project's thematic point of departure is our relation to wage labour in a time when Artificial Intelligence, Big Data and algorithms outweigh our physical and cognitive properties and automation is expected to replace us on a large scale within most professional fields. From an existential perspective this poses the question: what will we do when we don’t have to work? And challenges us to formulate a new idea about work. Beyond the role it had so far, especially in a Western context, as one of the most central activity in our lives. Can documentary film contribute with material that offers a canvas for reflection about the meaning of labour in the near future?

    Image as Site, coordinated by professor Ellen Røed, is an exploration of the epistemological foundations of video as a particular mode of inquiry that activates relations between bodies, images, and places. Devices that produce images, such as cameras and microphones, invite their users to engage with the world by enabling a network of relationships. By appropriating the concept of field from certain discourses of sound art and applying it to the moving image, the project explores the capacity of video based art for enabling movement, transience, and body, in other words elements of performance characteristic to site. By considering how the moving image might be seen as a form of site in itself, the moving image manifests as a form of place on its own terms rather than as a mode of representing reality. 

  • 25.
    Røed, Ellen Johanne
    et al.
    Stockholms konstnärliga högskola, Institutionen för film och media. Vetenskapsrådet.
    Lidén, Signe
    Image as Site: KOMPASS2024 (oppl. 100)Bok (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    KOMPASS, an artistic collaboration between Ellen J Røed and Signe Lidén, emerged as a separate project strand in the artistic research project Image as Site at Stockholm University of the Arts. 

    In the project Ellen Røed and Signe Lidén have developed a method for field recording that combines sound and image in a distinct form of attentional (aesth)ethics. They explore how instruments, time and movement are included in and affect the relationships between bodies, images and places, between experience and representation, in various forms of field recordings. Their collaboration resulted in an exhibition at Trafo Kunsthall in Asker, Norway, March 12th- April 24, 2022 which is presented and reflected upon in this publication.

    This publication includes a text which was originally written for a pamphlet distributed by Trafo Kunsthall in 2022, edited by Peter Dean. It was rewritten and extended for this publication which includes photos by Peter Dean, Ellen Røed and Signe Lidén. Editor Rune Søchting was a conversation partner throughout the project.

  • 26.
    Røed, Ellen Johanne
    et al.
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Lidén, Signe
    Røed, Ellen Johanne ()
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    KOMPASS: Ellen Røed / Signe Lidén2022Annet (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Projektet 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.

  • 27.
    Veloz, Franco
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Embodied narratives: Embodied experiences as a call for action2020Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Things, spaces and people collaborate in order to create an immersive experience. This project investigates this collaboration in order to combine them for an embodied way of tell and perceive stories.  Can a immersive experience help to close the gap between information and the person, the event and the story?

    In the following essay I am going to analyze the components that are part of the experience. I am interested in the connection between perception, memory, atmosphere and objects. Inquire how they are related and what they represent in order to tell stories with them. I try to question the way we perceive and expand the function of telling and receiving stories to the whole body and everything around us. With these new questions, create my project – Johan’s Room – and experiment with them, trying to connect the audience with the story.

    Fulltekst (pdf)
    Embodied narratives : Embodied experiences as a call for action
  • 28.
    Wikström, Josefine
    Stockholms konstnärliga högskola, Institutionen för dans.
    Get Rid of Capitalism: On Bernadette Corporation2013Inngår i: MAY Revue, ISSN 21037051, nr 11, s. 220-224Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 29.
    Røed, Ellen Johanne ()
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Briggs, Ashley ()
    Habbestad, Bjørnar ()
    Grenager, Lene ()
    Duch, Michael Francis ()
    Tafjord, Hild Sofie ()
    Røed, Ellen Johanne ()
    Stockholms konstnärliga högskola, Forskningscentrum.
    Apartment Portraits2018Kunstnerisk output (Ogranskad)
    Abstract [en]

    With Apartment Portraits contemporary music ensemble Lemur and artist Ellen J Røed investigates the rooms we live in through a series of sound and video works for living environments, musicians, microphones, cameras and videographer. 

    Through a form of field work - or an ethnographic investigation, they explored three apartments in Oslo: The oldest of them is a 1970s apartment at Hovseter, the other two are more recent. One is located on Teaterplassen in Grønland, and was built in the early 2000s, while the last one is in Sørenga, built in 2016.

    In the resulting portraits of apartments, Røed’s subtle and slow panoramic strokes through the apartments portrays the relationship between performed sound and living environments. It tells the story both of the rooms, their owners, the performers’ actions as well the videographer.  As a combination of image, sound, action and concept, Leilighetsportretter is part concert, part video art, part site specific intervention and part ethnographic field trip in Oslo apartments.

    The project is one of four elements in Samtaler om rom – Spatial conversations, where Lemur works in and around the at The National Museum – Architecture´s exhibitions on Norwegian housing architecture. As such the work is  part of an interdisciplinary effort to explore new strategies for the presentation of architecture.  It is developed within the overlapping research framework Image as Site at Stockholm University of the Arts. Project is supported by The Swedish Research Council, Stockholm University of the Arts, and Norwegian Art Council.

    The project was presented at The National Museum – Architecture, Oslo as an installation and as a concert in the framework of Ultima festival of contemporary music and Kulturnatt Oslo. 

    It was also presented at Bomuldsfabrikken Kunsthall and at SKH Research Week 2021.

  • 30.
    Røed, Ellen Johanne (, , , )
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Briggs, Ashley ()
    Habbestad, Bjørnar ()
    Grenager, Lene ()
    Duch, Michael Francis ()
    Tafjord, Hild Sofie ()
    Apartment Portraits: Hovseterveien 982018Kunstnerisk output (Ogranskad)
    Abstract [en]

    With Apartment Portraits contemporary music ensemble Lemur and artist Ellen J Røed investigate the rooms we live in through a series of sound and video works for living environments, musicians, microphones, cameras and videographer.

    Through a form of field work - based on video art and contemporary music -  they explored three apartments in Oslo: This one is the oldest of them, a 1970s apartment at Hovseter. The other two are more recent. One is located on Teaterplassen in Grønland, and was built in the early 2000s, while the last one is in Sørenga, built in 2016.

    In the resulting portraits of apartments, subtle and slow panoramic camera strokes through the apartments portrays the relationship between performed sound and living environments. It tells the story both of the rooms, their owners, the performers’ actions as well the videographer.  As a combination of image, sound, action and concept, Leilighetsportretter is part concert, part video art, part site specific intervention and part ethnographic field trip in Oslo apartments.

    Apartment Portraits is one of four elements in Samtaler om rom – Spatial conversations, where Lemur works in and around the at The National Museum – Architecture´s exhibitions on Norwegian housing architecture. As such the work is  part of an interdisciplinary effort to explore new strategies for the presentation of architecture. It is developed within the research project Image as Site at Stockholm University of the Arts. 

  • 31.
    Røed, Ellen Johanne (, , )
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Briggs, Ashley ()
    Habbestad, Bjørnar ()
    Grenager, Lene ()
    Duch, Michael Francis ()
    Tafjord, Hild Sofie ()
    Apartment Portraits: Mandallsgata 162018Kunstnerisk output (Ogranskad)
    Abstract [en]

    With Apartment Portraits contemporary music ensemble Lemur and artist Ellen J Røed investigate the rooms we live in through a series of sound and video works for living environments, musicians, microphones, cameras and videographer.

    Through a form of field work - based om video art and contemporary music, they explored three apartments in Oslo: This one is located on Teaterplassen in Grønland, in Mandallsgata 16 and was built in the early 2000s.

    In the resulting portraits of apartments, subtle and slow panoramic camera strokes through the apartments portrays the relationship between performed sound and living environments. It tells the story both of the rooms, their owners, the performers’ actions as well the videographer.  As a combination of image, sound, action and concept, Leilighetsportretter is part concert, part video art, part site specific intervention and part ethnographic field trip in Oslo apartments.

    Apartment Portraits is one of four elements in Samtaler om rom – Spatial conversations, where Lemur works in and around the at The National Museum – Architecture´s exhibitions on Norwegian housing architecture. As such the work is part of an interdisciplinary effort to explore new strategies for the presentation of architecture.

    It is developed within the research project Image as Site at Stockholm University of the Arts. 

  • 32.
    Røed, Ellen Johanne (, , , )
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Briggs, Ashley ()
    Habbestad, Bjørnar ()
    Grenager, Lene ()
    Duch, Michael Francis ()
    Tafjord, Hild Sofie ()
    Apartment Portraits: Sørengkaia 682018Kunstnerisk output (Ogranskad)
    Abstract [en]

    With Apartment Portraits contemporary music ensemble Lemur and artist Ellen J Røed investigate the rooms we live in through a series of sound and video works for living environments, musicians, microphones, cameras and videographer.

    Through a form of field work - based on video art and contemporary music, they explored three apartments in Oslo: This one is located in Sørenga, at Sørengkaia 61 and was built in 2016. The oldest of them is a1970s apartment at Hovseter, the other is more recent and is located on Teaterplassen in Grønland, and was built in the early 2000s.

    In the resulting portraits of apartments, subtle and slow panoramic camera strokes through the apartments portrays the relationship between performed sound and living environments. It tells the story both of the rooms, their owners, the performers’ actions as well the videographer.  As a combination of image, sound, action and concept, Leilighetsportretter is part concert, part video art, part site specific intervention and part ethnographic field trip in Oslo apartments.

    Apartment Portraits is one of four elements in Samtaler om rom – Spatial conversations, where Lemur works in and around the at The National Museum – Architecture´s exhibitions on Norwegian housing architecture. As such the work is  part of an interdisciplinary effort to explore new strategies for the presentation of architecture. It is developed within the research project Image as Site at Stockholm University of the Arts. 

  • 33.
    Sonderkamp, Martin ()
    Stockholms konstnärliga högskola, Institutionen för dans.
    Dragičević, Darko ()
    Krasnahorkai, Kata ()
    Approximations: Approximations #1-42015Kunstnerisk output (Granskad)
    Abstract [en]

    In Approximations, Visual and performance artist Darko Dragičević and dancer and choreographer Martin Sonderkamp investigate the simultaneity of two processes: the unfolding of existing and absent space into a bodily interior and the expansion and drawing of an inner space into a spatial exterior. Space and body are situated as equal-ranking actors, and movement and visual language are disassembled into elementary, choreographic particles. Via reciprocal inscriptions, the performers negotiate their potential scope of action. Affective-sensory feedback loops generate the concrete form of their visceral and visual dialogue. Each performance leaves its distinct marks in space; each consecutive performance uses the preceding one as a starting point and superimposes new layers of marks and traces.

  • 34.
    Johnson, Marc (, , )
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Karlik, Berlay ()
    DeepPrivacy within command-line processor: Command-line implementation of "DeepPrivacy: A Generative Adversarial Network for Face Anonymization" using Open Broadcaster Software (OBS) as a virtual camera."2022Kunstnerisk output (Ogranskad)
    Abstract [en]

    Command-line implementation of "DeepPrivacy: A Generative Adversarial Network for Face Anonymization" using Open Broadcaster Software (OBS) as a virtual camera."

    Download (zip)
    DeepPrivacy
  • 35.
    Røed, Ellen Johanne (, , )
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Briggs, Ashley ()
    Dramatiska Institutet: Image as Site2020Kunstnerisk output (Granskad)
    Abstract [en]

    Dramatiska Institutet (2020) portrays a TV studio using a camera crane (scanner) that is standard equipment in TV productions. The crane, which has a motorized tripod head that can rotate around its own axis, forms the basis for a visual language we know well, namely TV studio productions. 

    When applied as a scanner and used to scan the appearance of the room that surrounds it, the system’s capacity for registration is explored as an alternative to its more dramaturgical affordances. A different sense of space arises and we move into a different experience, perhaps one in which the human body's relation to gravity is no longer the norm. The work results from a series of artistic investigations of camera movement and of how different mechanisms for camera movement affords different experiences of space and place, conducted by artist Ellen Røed and cinematographer and research assistant Ashley Briggs as part of artistic research project Image as Site. 

  • 36.
    Persson, Lina (, )
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Elsa- New Reactive Earth2011Kunstnerisk output (Granskad)
    Abstract [en]

    A speculative story-world that drives transformation of stories and future realities. Through existing technologies and research, it proposes how future generations could hypothetically confront the present with its overdraft of resources and push back this current colonisation of the future and open up for possible transformations of the present. In this story-world, future generations has, thanks to Mallets time technology, hacked the present so that the earth system updated herself into a New Reactive Earth, a cyborg gaia.

    A conscious reactive earth that monitors and regulate how all inhabitants use resources & life-space. The motivation behind this fiction story-world came out of a general longing for a more sustainable life and art practice and was concreticized through the collaboration with professor in physics Ronald Mallet. It was then further developed through methods of speculation, embodied worldbuilding and rule based frameworks limiting access to energy and resources. The project crosses genre with documentary in how it experiments with ways for acting out the story-world premises in real life situations, drafting sustainable transitions in all kinds of situations and contexts.

    Fulltekst (pdf)
    fulltext
  • 37.
    Johnson, Marc (, , , , , )
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Frankenstein re-mix fragment (after Whale)2022Kunstnerisk output (Ogranskad)
    Abstract [en]

    A narrative film using a Generative Adversarial Network for Face Anonymization that reinforces the uncanny of a 1931 movie — where an obsessed scientist creates a living being from body parts, not realizing it has a madman's brain. Who is the madman here?

    Download (mp4)
    Frankenstein-re-mix-fragment
  • 38.
    Persson, Lina ()
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Guided Hibernation2022Kunstnerisk output (Granskad)
    Abstract [en]

    In relation to specific contexts, Elsa - The new reactive Earth, register specific amounts of outlets of carbon dioxide equivalents. (according to calculations by www.elsa.com). To balance this account participants are guided to go into hibernation for a specific time period.

    Fulltekst (pdf)
    fulltext
  • 39.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Image as Site2020Kunstnerisk output (Granskad)
    Abstract [en]

    By appropriating the concept of site from the discourses of site-specific art and the concept of field from sound art, and applying them to the moving image, the project Image as Site explore the potential of video art for enabling certain elements of performance that appear in these discourses. The research originates from an understanding of video as a particular mode of inquiry that activates relationships between bodies, images, and places. The project expands this understanding and engages it to create meetings between visual arts and film and media practices. The practice of visual artist and professor in Film and Media Ellen J Røed is at the centre of the project, which is developed in an interdisciplinary research environment at Stockholm University of Arts and funded by the Swedish Research Council. At AR@K20: Artistic Research at Kristiania, the project is presented as an exhibition as well as an ordinary conference talk. 

  • 40.
    Røed, Ellen Johanne (, )
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Image as Site2023Kunstnerisk output (Ogranskad)
    Abstract [en]

    By appropriating the concept of site from the discourses of site-specific art and the concept of field from sound art, and applying them to the moving image, the project Image as Site explores the potential of video art for enabling certain elements of performance that appear in these discourses. The project aims creating artworks that present themselves as specific realities rather than mere representations of place. The research originates from an understanding of video as a particular mode of inquiry that activates relationships between bodies, images, and places. The project expands this understanding and engages it to create meetings between visual arts and film and media practices where new questions are triggered.

    Over a period of four years this aspect of the moving image is approached through artistic processes, means and methods involving fieldwork, studio work, discursive activities as well as the development and dissemination of artworks and reflection. The practice of visual artist and professor in Film and Media Ellen J Røed is at the centre of the project, which is developed in an interdisciplinary research environment at Stockholm University of Arts.

  • 41.
    Røed, Ellen Johanne (, , )
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Sveen, Hans Knut (, )
    Gundersen, Jostein (, )
    Image as Site: Skjærgård2021Kunstnerisk output (Ogranskad)
    Abstract [en]

    By appropriating the concept of site from the discourses of site-specific art and the concept of field from sound art, and applying them to the moving image, the project Image as Site explores the potential of video art for enabling certain elements of performance that appear in these discourses. The project aims at creating artworks that present themselves as specific realities rather than mere representations of place. The research originates from an understanding of video as a particular mode of inquiry that activates relationships between bodies, images, and places. The project expands this understanding and engages it to create meetings between visual arts and film and media practices where new questions are be triggered.

    As part of Image as Site, Ellen Røed collaborated in 2021 with researchers Hans Knut Sveen and Jostein Gundersen in an audiovisual exploration, through video, flutes and keyboards in which moving images were treated as a form of site, a place that informed musical improvisation and response. The collaboration culminated in a concert at Kulturhuset WRAP in Bergen in November 2021. 

  • 42.
    Johnson, Marc ()
    Stockholms konstnärliga högskola, Institutionen för film och media.
    Ohki, Hitomi 大木瞳 ()
    Stockholms konstnärliga högskola, Institutionen för opera.
    In the archival multiverse, the blubber decays but the fever increases.: A contribution to VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. Under the "Archives and Witnessing" section of the conference. Moderated by Åsa Sonjasdotter2021Kunstnerisk output (Granskad)
    Abstract [en]

    The presented work is composed by Marc Johnson — a memory worker — who is currently a Ph.D. candidate in performative and media-based practices at the Stockholm University of the Arts. The shared perspectives are engaging issues of violence from the center of an artistic practice-based research focused on archival practices and concerned with how a documentary heritage circulates, is formed, debated, shared, and re-interpreted.

    The lecture-performance starts by considering the “Rights of Nature” — from recent environmental litigations in Aotearoa (New Zealand), Bolivia, and Ecuador — which focus on the idea of legal standing. What does it take to enforce the legal personhood of a river or other natural entities?

    Marc Johnson investigates and reflects on some ways to deal with representations of murdered bodies — human and more-than-human (cellular life forms) — without replicating historical patterns of abuse? Under what conditions shall these documents, artifacts, or, images be seen?

    Marc Johnson collaborates with Hitomi Ohki 大木瞳 — Soprano singer — to expose how polyphony[1] and counterpoint[2] applied to cinema can be used practically to navigate the uncertain archive(s) of violence studies.

    Marc Johnson addresses the dynamics of archival silences[3] and archival amnesty[4] as an important reminder of the ways in which violence — despite its presence in the everyday life of most people mainly through paper-based, and online news media (including social networks) — can also be deeply buried and invisible through institutional and corporate powers and other means; nonetheless impacting the lives of ordinary people (as opposed to powerful people, military, political and business leaders).

    The proposal does not intend to resolve; but rather to expose and to put oneself in the presence of using the means of montage.

    Skepsis is the deployed strategy throughout the duration of the time-based work as defined by Jacques Derrida as a “vigilance, and attention of the gaze during an examination. […] One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion.”[5]

     [1] A process of combining two or more voices so that they harmonize with each other but maintain their individuality.[2] A process of adding one or more melodies as an accompaniment to a given melody according to certain fixed rules; a composition in which melodies are thus combined.[3] Rodney G. S. Carter, “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence,” Archivaria, September 25, 2006, 215–33.[4] Tonia Sutherland, “Archival Amnesty: In Search of Black American Transitional and Restorative Justice,” ed. Michelle Caswell, Ricardo Punzalan, and T-Kay Sangwand, Journal of Critical Library and Information Studies, Critical Archival Studies, 1, no. 2 (2017): 1–23, https://doi.org/10.24242/jclis.v1i2.42.[5] Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993).

    Fulltekst (mp4)
    In the archival multiverse, the blubber decays but the fever increases
  • 43.
    Persson, Lina
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Jurisprudence after the precedent case of the Tribunal for Lake Vättern2020Kunstnerisk output (Granskad)
    Fulltekst (pdf)
    VATTENMARKNADEN 16 AUGUSTI KL.12-17, STRÖMPARTERREN
  • 44.
    Persson, Lina ()
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Björklund, Anna ()
    KTH .
    Lagercrantz, Karin ()
    KTH.
    Klimatkalkylator för Lina Persson2020Kunstnerisk output (Granskad)
    Abstract [en]

    Custom made carbon calculator for the artistic practice of Lina Persson. The calculator is based on the life cycle assessment of six artistic projects carried out between 2019-2021, as part of the artistic research project Climate-Just Worldings.

    Fulltekst (zip)
    Klmatkalkylator
  • 45.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    KOMPASS: Ellen Røed / Signe Lidén2020Kunstnerisk output (Ogranskad)
    Abstract [sv]

    Projektet 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.

  • 46.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Lidén, Signe (, )
    Søchting, Rune (, , , , )
    Menke, Timo ()
    Dean, Peter
    Kompass: Image as Site2023Kunstnerisk output (Ogranskad)
    Abstract [en]

    KOMPASS, an artistic collaboration between Ellen J Røed and Signe Lidén, emerged as a separate project strand in the artistic research project Image as Site at Stockholm University of the Arts. It built on an earlier phase of the research project where Ellen Røed together with cinematographer and research assistant Ashley Briggs developed a dual camera rig for internal and external studies of sites. In KOMPASS, Lidén re-developed the rig for sound recording. Their collaboration resulted in an exhibition at Trafo Kunsthall in Asker, Norway, March 12th- April 24, 2022. 

    This exposition on Research Catalogue serves to share and mediate the outcomes of the project through text, sound, moving images and photographs. 

  • 47.
    Lossius, Trond (, )
    Hinn.
    Kvarteret Plankan2024Kunstnerisk output (Ogranskad)
  • 48.
    Røed, Ellen Johanne
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Lossius, Trond (, )
    French, Jez riley ()
    Briggs, Ashley ()
    Hernandez, Katt ()
    Menke, Timo ()
    Habbestad, Bjørnar ()
    Lidén, Signe (, )
    Kvarteret Plankan: Image as Site2023Kunstnerisk output (Ogranskad)
    Abstract [en]

    Kvarteret Plankan is a 25.000 m2 residential quarter in Stockholm built in 1966. It contains 341 apartments and has a large, rectangular courtyard. In this courtyard, a second, round building is now under construction.  

    For a period between spring 2018 and until access to the area was denied because of the start of construction, Ellen Røed, through the artistic research project Image as Site, explored the courtyard of Kvarteret Plankan through a series of iterative field-recordings relating to the idea of a circle versus a rectangle. 

    The investigations were triggered by the fact that, after years of battle against the municipality of Stockholm, the residents of Kvarteret Plankan lost their final appeal and the awaiting investors could start the construction of their long planned circular building situated on pillars inside the large rectangular court. The new building, two stories taller than the existing ones, will contain 119 apartments. The existing building will also be expanded vertically with two full floors. 

    The process has been filled with conflict and, due to inflation and increased building costs, the building is delayed and partly cancelled. After several visits during this research period, Trond Lossius created a electroacoustic composition for Plankan. This will be performed at Plankan when the court has openend again. 

    The studies of Plankan, resulting films and compositions are shared on the Research Catalogue in a continously developing exposition. 

  • 49.
    Persson, Lina (, )
    Stockholms konstnärliga högskola, Institutionen för film och media. Stockholms konstnärliga högskola, Forskningscentrum.
    Lecturing with blueberries: improvised lecture to non-human audiences2013Kunstnerisk output (Granskad)
  • 50.
    Røed, Ellen Johanne ()
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Briggs, Ashley ()
    Habbestad, Bjørnar ()
    Grenager, Lene ()
    Duch, Michael Francis ()
    NTNU.
    Tafjord, Hild Sofie ()
    Røed, Ellen Johanne ()
    Stockholms konstnärliga högskola, Forskningscentrum. Stockholms konstnärliga högskola, Institutionen för film och media.
    Leilighetsportretter2018Kunstnerisk output (Ogranskad)
    Abstract [en]

     

    With Apartment Portraits contemporary music ensemble Lemur and artist Ellen Røed investigates the rooms we live in through a series of sound and video works for living environments, musicians, microphones, cameras and videographer.

    In a form of field work - or an ethnographic investigation, they explored three apartments in Oslo: The oldest of them is a 1970s apartment at Hovseter, the other two are more recent. One is located on Teaterplassen in Grønland, and was built in the early 2000s, while the last one is in Sørenga, built in 2016.

    In the resulting portraits of apartments, Røed’s subtle and slow panoramic strokes through the apartments portrays the relationship between performed sound and living environments. It tells the story both of the rooms, their owners, the performers’ actions as well the videographer.  As a combination of image, sound, action and concept, Leilighetsportretter is part concert, part video art, part site specific intervention and part ethnographic field trip in Oslo apartments.

    The project is one of four elements in Samtaler om rom – Spatial conversations, where Lemur works in and around the at The National Museum – Architecture´s exhibitions on Norwegian housing architecture. As such the work is  part of an interdisciplinary effort to explore new strategies for the presentation of architecture.  It is developed within the overlapping research framework Image as Site at Stockholm University of the Arts.

    Project is supported by The Swedish Research Council, Stockholm University of the Arts, and Norwegian Art Council.

     

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