Research Catalogue

The dramaturgical ultimatum - staying with open-ended-ness 50% seminar of performative storyworlds a research project by Lina Persson For this seminar we will explore acts/practices as knowledge, the act as art, the university as a place for art making, storymaking together with the present time/place and working with narratives inside dominant story-worlds. In this artistic research project I create and embody imaginary storyworld premises in order to restructure how I perceive and react to my contexts, (within me find ways to resist dominant structures). The core of the project is the dynamic interplay between a growing fiction storyworld called NRE and the everyday life, how to interweave them through worldings*. I will try to demonstrate this in the seminar by interweaving the place/time/act of this seminar with the storyworld. The place is the University. The act is an ultimatum. The time for the 50% seminar is the present, a present that also contains a manifestation of a future, of an assumed endpoint, a "final seminar". But as this research aims to divert from such set manifestations of the future, aims to stay with an open-ended-ness, I have conditioned this assumed endpoint with an ultimatum that I hope could pave way for a more diverse array of narrative trajectories. In the light of this I want to remind you not to see this seminar as an event where results, what has been done up till now, will be disclosed. (that is shared here: https://www.researchcatalogue.net/view/1747846/1747796 ). But as a moment where we can in real-time, together explore how this research works, without the possibility of knowing beforehand what will happen. At the moment this attempted mapping is neither finished nor fully graspable to myself, but I am confident that more pieces of the puzzle will fall in place during the seminar. *WORLDING - A term from material feminist thought about making "cuts" in the world, enacting interventions that produce the world we inhabit. Worlding is acknowledging the relations, how I am entangled in the world, while acting. The concept of worldings resonate with my artistic practice a lot, my main interests are in systems and “wholes”, the full range of things, from material and structural to epistemological and ontological. I prefer to make interactions on all levels simultaneously in order to trace their effects, how they are connected, how they interact and affect each other. I see life and the world as a collective process, an ongoing narration. I tap into these ongoing narratives, make small contributions, deviate things a bit in order to shift the meanings. I use inner imaginary worlds to push my perspective on what actions are possible. Sometimes I refer to it as fanfiction.

- Researching - Instant composition - Choreographical writing - Arms, hands, rhythm - Sign Language Poetry (Spanish and English) - Musicians air playing

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

The exposition Scented Rooms aims to be a form of resistance that finds itself in poetry and politics, poetic imagery, re-thinking censored archives, existential reflections on photography and cinema, and dance. At the very core of the research is an important historic icon in Iran; The country's oldest theater which was burnt down by extremists during the 1979 Islamic Revolution, closed forever and has decayed over time. The burning of this theater, along with many others, was the starting point for imposing restrictions on art and culture. The research departs contextually from the efforts of the Islamic government to control civil society. It is a reaction to a history of imposing a specific language discourse and discarding elements that represent a non-religious view, visual changes in the urban space and limiting access to specific types of information that refer to citizens’ collective memory. Giving agency to this theater, the research aims to revive the collective and public memory of a society, being the voice of those that have been silenced for a long time.

How to document music with non-sonic elements? Or: How to document all the performative qualities of a piece of music that can’t be heard? Beginning with this question our group of researchers, filmmakers and dramaturgs from Birmingham (UK), Frankfurt (Germany) and Fredrikstad (Norway) met between 2019 and 2021 to develop initial ideas and questions, then test them.

BLOD, BLOD(y), BLOD – an exposition of recurring processes, trails and building blocks of the film and research project BLOD through the lens of its methods. The BLOD methods are 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 methods are non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. 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 research shares its outcomes via the mediums of its artistic practice: videos, texts, digital expositions. This exposition is designed to reflect the connections and interactions of the research's building blocks: ideas, places, materials, people, time, experiences, technologies. To enjoy BLOD, BLOD(y), BLOD: move around it with your mouse, follow dotted paths out from the center towards texts, images, and videos. Hover over numbers and words in BOLD to reveal expanding texts. Linger on images and videos for captions, translations, and instructions for further interaction. Along the outer rim of the main page are spiral buttons to take you back to the center with a click. Subpages have links on the main page but are also listed in the Content index in the upper left menu. The exposition is mainly in English. Videos in Swedish have English translation.