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Vodou vibrations sounds of memories of fields and burdens living in translations and broken bows balancing on plateaus while speaking to one self and scratching the surface of the raft while drifting away

Tacit or Loud: where is the knowledge in art?
Symposium and festival for artistic research
Nov 16-Dec 3
 


Dec 3
Action, situation, performativity and intention

Venue:
Inter Arts Center

Keynote: Situated knowledges and celebrations of
difference
9.30
Red Room

25% seminar
För den som i
hemlighet lyssnar
10.00-12.00
Seminar Room 1

Face
10.30-21.00
Seminar Room 2

The Art of
Enactment
11.00
Red Room

Arrival Cities Hanoi: framing the concept
11.30
Red Room

Through
Composition as Explanation
13.30
Black Room

Possible Worlds
14.30
Red Room

Discussion of Face
16.00
Seminar Room 2

Facet II: open lab
16.30
Red Room

On My Way to Hawaii
17.30
Red Room

Violence and
Pedagogy
20.00
White Room

Abstracts and program notes

Situated knowledges and celebrations of difference

Sally Jane Norman

Donna Haraway’s defense of “situated knowledges” (1988) offers a framework for trying to understand how art can move so many of us, despite and because of its fiercely idiosyncratic qualities. Live performance, which is uniquely situated as an embodied, physically instantiated art form, is a specific kind of stronghold of “situated knowledge”. Acts of performance, like the places their expression requires, must be demarcated from everyday situations, to allow the celebration of difference which distinguishes aesthetic experience.

Francisca Skoogh: 25% seminar
Opponent: Henrik Frisk

Face
Alessandro Perini

Screens are borders which divide us from another world. That parallel world is even less linear than ours: time is compressed, expanded, reordered, reversed; places and spaces are superimposed, manipulated, independently resized. This “processed” reality creates a sort of counterpoint to our actual world, and our life is often played in the middle.
“Face” is a sculptural multimedia installation at the borderline between the real, the fake and the virtual realms, and it tries to isolate and analyze the loss of time-consciousness of social-media users.
A human being is staring at a computer, but the interaction between the user and the machine is subverted: the monitor is not the carrier of information, instead it projects a continuously updated Facebook profile on the face of the user – transforming the user himself into a screen. Even the audio doesn’t come out from the machine, but it’s the user who mechanically and compulsively reads the information. This suspended situation poses a question about the machine-like nature of modern man.
The projected Facebook feed is actually part of the Facebook profile of the author of the installation. In real life, both imagery and sound raise problems of privacy. The author will previously announce the installation publicly on Facebook, so that possibly involved people can avoid posting during the installation hours if they like, or drastically exclude the author from their Facebook contacts.
“Face” is dedicated to Facebook as a celebration of its 10th year of life.

The Art of Enactment

Erik Rynell

What is knowledge in the arts? And how does it relate to situation? Informed by the ideas of John Dewey philosopher Mark Johnson argues that art “presents or enacts the qualities, meanings, and values of a situation.” In his book The meaning of the body, Johnson expands on this idea, and highlights it with examples from different art forms. His claim is also very resonant with hands-on experience in acting methodology, where the concept of “situation”, or “given circumstances”, is central. One theme in the artistic research project I am involved in together with Teatr Weimar is how this idea about situation in the actor’s work also sheds light on situatedness in music and in applications of spatial and visual aesthetic means in theatre performances. Situatedness is also a grounding concept in contemporary cognitive science when it comes to describing how meaning occurs in human environmental interaction. As the quote from Johnson demonstrates, there is a kinship between the concept of “situatedness” and that of “enaction”, and “enactive theory”, which in Cognitive science has been developed by writers such as Evan Thompson, Francisco Varela, Eleanor Rosch, and Daniel Hutto. Like the works of Mark Johnson, enactive theory affords interesting approaches to knowledge in the arts that are still largely unknown within the practical field. In my speech, I will present a brief survey of such theories. Not least, attention will be paid to the “radical enactivism” Daniel Hutto presents in the work Radicalizing Enactivism. Basic Minds without Content.


Arrival cities: Hanoi – Framing the concept
Kent Olofsson / Jörgen Dahlqvist / The Six Tones


The Canadian Journalist Doug Saunders discusses migration in his book Arrival City as “the great and final shift of human populations out of rural, agricultural life into cities” and points towards the “need to devote far more attention to these places, for they are not just the sites of potential conflict and violence but also the neighbourhoods where the transition from poverty occurs, where the next middle class is forged, where the next generation´s dreams, movements and governments are created.” (Saunders 2011). This raises political issues of identity, colonialism, nation states and borders but an arrival city is also characterized by individual experiences of homesickness, insecurity, aspiration and dreams. The question we have explored in a series of staged works is how these different experiences can be expressed artistically and projected to an audience. Rather than creating a representation of the work’s theme, we want to create a joint exploration where several different situations interact. 
Arrival Cities: Hanoi examines the experience of Hanoi as a point of migration by actualising the musicians’ memories and experiences as several independent layers of narrative. Other layers are drawn from interviews with street monglers, actors and other people in the turbulent soundscape of Hanoi. This presentation outlines the theory and the artistic practice behind the project but also draws on accounts from all the participating artists, again triggering a series of individual embodiments of an arrival city.


Through Composition as Explanation
Liv Strand / Marcus Doverud


The staged performance art work Through Composition as Explanation is composed as a visual and spatial performance featuring some of the concepts thoroughly discussed in a year of reading practice. The knowledge and understanding accumulated is (in)forming a composition where objects, the space in question, human bodies and duration both comprise, and simultaneously, become subject to composition. Through Composition as Explanation premiered at the Auditorium of the Moderna Museet in 2011. We considered the Moderna Museet in Stockholm to be a suitable institution for this initial presentation because of how they own and take care of many classical art pieces. Included in the performance is a poster of one of the artworks by Picasso, owned by the museum, as well as a custom made copy of the artwork.

Possible Worlds
Robert Willim

Possible Worlds is an audiovisual performance and an experiment in worldmaking and rendition. It is based on surreal juxtapositions and layerings of sound and images collected on field trips to various sites in different parts of the world. This material is combined with sounds and images from the archives and collections at The Museum of Ethnography in Stockholm. 
The result is an attempt to explore notions of ethnographic surrealism and the interplay between undefined worlds and situated rendition of culture. Surrealism is used in an expanded sense, and draws on James Clifford’s (1981) statement about ethnographic surrealism as a utopian construct. According to Clifford: “The boundaries of art and science (especially the human sciences) are ideological and shifting, and intellectual history is itself enmeshed in these shifts-its genres do not remain firmly anchored. Changing definitions of art or science must provoke new retrospective unities, new ideal types for historical description. In this sense, ‘ethnographic surrealism’ is a utopian construct, a statement at once about past and future possibilities for cultural analysis.”(Clifford, 1981). 
“Possible Worlds” is positioned in the borderland next to Willim’s practices as a cultural analyst and ethnographer, and it can be deployed to explore the interplay between representation and evocation. Possible Worlds, like several of Willim’s other artworks have emanated from research questions, and are subsequently used as something he calls art probes. These are used to engender inspiration and material for further research. Possible Worlds is produced and performed by Robert Willim, with support by The Museum of Ethnography, Stockholm.

Discussion of Face
Alessandro Perini


Facet II: open lab
Sara Wilén / Conny Antonov / Kristofer Langerbeck

This open lab session aims to investigate how experimental research on collaborative creative processes of improvisation can be experienced, problematized and communicated. Facet II: open lab is part of the project PRISM: facets of Impromans in my PhD project. In PRISM the duo Impromans (pianist Conny Antonov and me) together with improvising light designer Kristofer Langerbeck and me investigate how discourses of visual bodily representation in traditional Lied performance settings can be problematized by the integration of music and light in improvised performances in various contexts. It is carried out as a series of musico-visual improvisatory events during 2014/15, such as Facet I: open lab at the Inter Arts Center in June (where this concept was created), and Facet III: Suellska Salongen at Suellska Villan in Malmö in November (where we will create a new concept as a paraphrase on a 19th century salon). In Facet I we used a white ‘fourth wall’ between musicians and audience, where the performing bodies are projected in coloured facets, created and transformed by the light designer with a software that reacts to the musical dynamics. This format can be described as a collaborative, imaginary and audiovisual playground, or performative space, for our improvisatory interaction, where audial and visual intentions intertwine and transform in a multitude of layers of situated presences. In the open lab, we aim to invite the audience to take part in a joint investigation on (i) audial and visual aspects of experiences and strategies of the situated musical, imagery and narrative interactions, and, (ii) how insights on and through creative processes could be communicated to a wider audience.

On My Way to Hawaii

VONTRAPP: Sandra Boss / Astrid Hansen Holm

This lecture performance, with the title On My Way to Hawaii, is a site specific installation taking
place in the setting surrounding a traditional academic presentation. Using the conventions and
aesthetics of the “lecture setting”, the conflict between body and mind is questioned through the
use of intermedia tools such as 3D-­sound and visual projections. In a room with rows of chairs and a rostrum, the audience are asked to find a seat and wait for a presenter to begin a talk about the work in the artist collective VONTRAPP. But no presenter ever appears -­ instead the audience experiences a sound scape evolving in 3D headphones. The performance sets out to investigate that precise point where the belief in authority disappears. When will the audience give up their faith in authority and instead give in to the new set of rules, that the sound is communicating? The aim of the performance is to activate the audience and give them an awareness of themselves as present in the room, and as people who are responsible for their own sensing. For us the common experience with the audience has to be the point of departure from where a beneficial academic discussion about the knowledge production in art can emerge.

Violence and Pedagogy - Test Session nr 2

John Hanse / Henrik Bromander

This is an ongoing project which aims to develop a form of pedagogical performance method inspired by Bertolt Brecht’s early theories about the Lehrstück and a theatre that is rather to be played than watched. The project is inspired by die Maßnahme, a play about politics and radicalism which still today is considered to be one of the most controversial texts in the German post-war era. Our take is to examine the current militant social movements in Europe in scenarios which are loosely based on real events reenacted with actors and a live audience. The test session at Tacit or Loud will be a scenario where we move from micro to macro, moral to intellectual, personal to collective points of view in a try to get beyond the current discussion about violence as a part of political movements.





 

 

 







Tacit or Loud

Festival program

– Inside/outside
– Post human computation
Arrival Cities: Hanoi
– The Fourth Dimension
– Vodou [...] 
– Il Se Tourna
Possible Worlds
– Face
– Inde
– Choreo Graphia
– Facet II
– Portraits

– Voices-of-No(i)sense
– [choreo] logy ⏐ carto [graphy]
– Reiterations of Dissent
– Body on street
– För den som i hemlighet lyssnar
– Gynoides project
– Violence and Pedagogy
– Knowing "I"?
– That’s all we shall no for truth
- Through Composition as Explanation
– Synsmaskinen

Symposium Nov 28-Dec 3
– Nov 28
– Nov 29
– Nov 30
– Dec 1
– Dec 2
– Dec 3

– Keynote speakers
– Presenters

Participation


Organization