Research Catalogue

Digital overview of artistic works by musician Jordan Sand

"My Public Stage" is not merely an artistic practice; it is a dynamic fusion of performance art and civic engagement that transcends conventional boundaries. At its core, this practice navigates the intricate relationship between the artist and the public sphere, offering an unconventional perspective on how art can reshape our understanding of the world. The essential aspect of this artistic journey lies in the intentional placement of artistic interventions and performances within public spaces, where the encounter with viewers is not a predetermined spectacle but a meeting. This deliberate approach seeks to dissolve the traditional separation between the artist and the individual, fostering a unique connection that is spontaneous and genuine. I view public space as not only a material but also a social environment that is produced, reshaped and restructured by the citizens through their experiences, their intentions for action and the relations they develop in it. My project draws on Lefebvre’s (2019) approach to urban public space not as a neutral container of social life, but as a fluid entity, both constructed and produced by social practices. Lefebvre’s approach confirms and expands my view that public space is not fixed, yet it requires a conscious effort to intervene in its production. The philosophy driving "My Public Stage" aligns with the concept of civic engagement. By presenting long durational performances in the heart of everyday life, the artist consciously assumes the role of a creator, using performance art as a medium to unveil the interconnected elements that bridge art with life. This philosophy echoes the sentiment of Joseph Beuys, who believed that everyone is an artist, actively sculpting the intricate sculpture we call life. In embracing the public sphere as its canvas, this practice transcends the conventional boundaries of art and daily reality. It becomes a catalyst for a different perspective on how individuals perceive and engage with their surroundings. The transformative power of performance art is harnessed to reveal the latent artistic potential within each person, emphasizing the symbiotic relationship between art and life.

Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

Mot bakgrund av utomhuspedagogikens positiva effekt på kreativitet så har jag i den här studien undersökt bildundervisning i skogen. I studien använder jag arbetsmetoden A/R/tography och den post-kvalitativa metodologin för att främja ett rhizomatiskt förhållningssätt till undersökandet och lärandet. Studiens fokus är att förändra mål, kravfyllda tankar och ramar för att ge plats åt mer undersökande, experimenterande och fantasifullt förhållningssätt till bildlektionen. Syftet är också att skapa händelser som kan stärka idéprocesser och öka närvaron med omvärlden under bildlektionen genom ett inkluderande och holistiskt tillvägagångssätt. Jag har arbetat med detta genom ett teoretiskt perspektiv som belyser mänskliga och icke-mänskliga aktörers roll i lärandet. Centralt i undersökandet av konstnärliga metoder och material har Jane Bennets begrepp “Thing-power” varit plattformen för att öppna upp en stark närvaro med material och omvärlden. Frågeställningarna som bearbetats är: Hur skapar skogen ett “lärandets rum” som främjar sättet att undersöka material i en bildpedagogisk process? Och: Hur stimulerar perspektivet "Thing-power" en utveckling av bildpedagogiska arbetsmetoder? Frågorna har jag utforskat genom en konstnärlig process med olika händelser som jag i arbetet satt ihop till ett lektionsupplägg i skogen. Två utforskande händelser bearbetas och analyseras utifrån begreppen thing-power, konst-som-görande, ännu-icke-sedda, släta rum och lerbaserad språklighet. Studien har visat hur en större närvaro och uppmärksamhet till de icke mänskliga krafterna hjälper till i konstnärliga processer och att skogen är en plats som gör det enklare att undersöka och experimentera med material på nya sätt.

'Latency Records: The Delay, an Inhabitable Field' analyses a fictional mediated environment by studying the lapses of time involved in its diffusion. Approaching media as a source for new habits of perception over a landscape, it is concerned with the electronic tools used for the representation of nature; in particular those applied for near-real-time broadcast from sensory meteorological tools, webcams or satellites. Introduced with seven images from audiovisual references, punctuated by fourteen quotes from various sources and interwoven to three poems written exclusively for the essay, 'Latency Records: The Delay, an Inhabitable Field' is inspired by humans’ incomprehension of the artificial structures in which they blindly place their hopes for representing the unrepresentable: a living image of the exterior world. In doing so, it delves into humans’ attempts to portray themselves in order to comprehend who they are. Therefore, 'Latency Records: The Delay, an Inhabitable Field' interrogates the instantaneity of these naturalistic archives, ultimately shaping our cognitive engagement with our environment—which acts both as a mirror and a departure from it.

Water covers more than 70% of the earth’s surface, and thus constitutes a major section of the ecosystem on Earth. It is a vital element on earth, all life (as we know it) depends on water to be able to thrive. The climate has always changed a bit, but in recent years, due to greenhouse gases, the climate has experienced extreme changes which have also strongly impacted the global water cycle. From melting glaciers to ocean acidifications, flash floods, and prolonged droughts, disruptions in ecosystems now happens faster than most species can adapt to. Because of global warming, the atmosphere can hold and transport more moisture. Water doesn’t have the opportunity to fully infiltrate the soil. This accelerates the hydrological cycle. While it is still important to decelerate this process as much as we can, it is also important to look into strategies of adaptation and think ahead to a future with water that will be compromised. In this book, we explore water futures through the speculative design approach. This design practice aims to challenge preconceptions, raise questions, and provoke debates. It opened the doors for designers to imagine and explore possible water futures globally. We start with the water spring in India where the Ganga river starts, then travel further down the river stream. We end up in the Netherlands where different rivers connect to the sea. We continue where the river meets the sea and travel to the salterns in France and Croatia. Here water changes form, turning into gas and flowing through the air as evaporating steam in the geothermal region of Iceland. Eventually this book will end up with the condensation of the fog net in the Namib Desert.