Doctoral thesis/Doktorsavhandlingar/Konstnärliga fakulteten

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Browsing Doctoral thesis/Doktorsavhandlingar/Konstnärliga fakulteten by Subject "affect"

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    Before Sound: Transversal Processes in Site-Specific Sonic Practice
    (2018-10-24) Stjerna, Åsa
    This doctoral research explores the capacity of site-specific practices of sound installation to bring about transformation. It claims that in order to understand this capacity, we need to address the complexity of the transversal processes that make up artistic practices in this field, and understand that these transversal processes in fact precede sound. This includes understanding site-specificity as a complex, affective practice spanning across and connecting the material, social, discursive, artistic, and technical realms at the same time in a given situation in public space. Based on experiences from the author’s site-specific practice of sound installation, the thesis explores three approaches, and a series of related conceptual tools, in order to articulate the nuances of such transversal processes. These approaches, informed by a philosophy of immanence, are: mapping the affective lines, establishing new connections, and becoming non-autonomous. These three approaches look to re-negotiate some of the traditions, tendencies, and assumptions that dominate existing artistic sonic strategies. By exploring these three approaches, the dissertation suggests that it is possible to emphasize and practice transversality. This in its turn, has the potential to affect site-specific sonic practice artistically and in terms of research and education. Further, the dissertation shows how such an approach activates the ethical dimension of site-specific sonic practice. In particular, it involves dismantling the established separation between artist-subject, site, and work, in order to acknowledge the transversal affective relations between specific and diverse “bodies” with agencies—human as well as non-human. Beyond making visible the transversal nature of site-specific sonic practice, the explorations also open up future perspectives in thinking about the field. Not least, the research points towards the importance of overcoming hierarchical models of thought that dominate within a range of discourses and institutions central to art practice. Such a shift has the potential to radically transform the power structures that exist between commissioners of art, artists, a site’s own inherent agencies, and the visitor. Further, a change in our thinking of the type described in this work is also needed if we are to broaden existing dialogues on the artistic work, representation, material, and process.
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    For every word has its own shadow: Sunsets, Notes From Underground, Waves
    (2015-11-26) Tan, Lisa
    Liminality permeates this doctoral project's questions: how can an experience of the liminal exist as an artwork? What things and experiences can orient us towards affectivity and states of becoming? Lisa Tan relates such concerns to Clarice Lispector whose writing renders becoming(s) visible. Coupled with Maurice Blanchot and his literary discourse on dispossession and the outside (analogous to becoming), Tan's inquiry is critically engaged inside a moving image practice. A suite of videos: Sunsets, 2012; Notes From Underground 2013; and Waves 2014-15, stand as the primary output of this dissertation. Drifting between day and night, above and below ground, land and sea, they exist as movements towards the fulfillment of the promise of the liminal: transformation. In Sunsets, the sun converses with the force that is Clarice Lispector. The video documents the audio of a casual translation of an interview with Lispector from 1977. This recording forms the video's soundtrack. The visual footage is comprised of scenes that were filmed at 3 o’clock in the morning during the summer or 3 o’clock in the afternoon during the winter in Sweden. Notes from Underground connects the Stockholm metro and Susan Sontag’s sojourn in Sweden with a cavern system 5,000 miles away in New Mexico. The video suggestively links this journey to experiences of liminality, narrating varied intensities of geological time and strata of personal and cultural history. Departing from Virginia Woolf’s novel The Waves, Tan’s video Waves imagines how consciousness forms in relation to society and its technologies, but also to expressions of geological and hydrological processes. Filmed at the threshold of land and sea, a conversation forms between disparate hydro-relations, such as Woolf’s prose, Courbet’s paintings of waves, Google’s data centers cooled by the Baltic Sea, invisible jellyfish, and transoceanic cables. The dissertation includes the videos, a doctoral thesis, and an artist's book, containing: illustrated transcriptions of each video; a documented solo exhibition; texts by Mara Lee, Lauren O’Neill-Butler, Natascha Sadr Haghighian, and Lisa Tan. The artist's book both documents and reflects on the research performed and involves the voices of others, providing a critical, intersubjective understanding of liminality.
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    Händelser på ytan – shibori som kunskapande rörelse
    (2016-05-11) Laurien, Thomas
    In present times, shibori, though originally a Japanese word, is an international umbrella term for craft techniques related to the dyeing of textiles. In an artistic context, shibori signifies the act of (e)laborating by way of compressions – in order to create patterning and/or three dimensionality. In and through a practice-based artistic research project, the question: What is shibori, and what does shibori do? acts as my guide, where the initial focus is on the introduction and development of shibori as an artistic practice in a Swedish context. Here, Japan takes on a main role, albeit in the form of a backdrop – subtly but noticeably influencing the events being staged. Shibori comes to take the shape of a vehicle, and I, the researcher, have set the vehicle and myself in a knowledge-forming motion, where interviews are conducted with artists in Sweden, courses in shibori are observed and taken part in, group shows are performed in Japan and Sweden, as well as addressed through the written work that comes into being. Curatorial experiences are also reflected upon in a number of closely-connected essays. A space, in the format of an essay, is created as part of the final stage – where shibori meets concepts such as wonder, affect and sensation, and where questions on the role and impact of discursive language in art-making and art experience are raised. Answers to the research question “What is shibori, and what does shibori do?” gradually surface and highlight an abundance of aspects and insights. These include: discovering that artists approach shibori in independent ways, whilst still safeguarding Japanese material and immaterial cultural heritage; shibori becoming a space of possibles, characterised by the presence of strong intention and the appreciation of chance, side-by-side, in mutual interaction; and curatorial experience acting to highlight shibori in its role to enhance the experience of plenitude. Shibori thus comes to signify the forming, as well as the experiencing, of knowledge – in motion between theory and practice – where broader issues, such as the construction of identity, the creation of acting spaces through performative negotiations, as well as curating as both an artistic research method and an artistic act of making, are also revealed. Beholding and reflecting, I perceive that the envisioning and staging of Events on the Surface have enabled, and continue to enable me, in my quest to find a way into the conceptual, bodily and material constituents of shibori-making, in particular, and artistic practice, in general.