Zö Kramers 1978-1983
Zö Kramers var en orkester i en blandning av punk, reggae, ska, marschmusik, blues, pop, rock men inte jazz.
Medverkande i olika roller:
Calle Ottestam / bas, sång, text, musik
Per Sommarström / gitarr, sång, text, musik
Martin Fälthammar / trummor, text
Olof Halldin gitarr, klaviatur, musik, röst, slagverk, mixning
Mikael Södersten / klaviatur, sång, text, musik
Peter Söderblom / synt
Persa Jacobson / text
Katte Salomon / sång
Joakim Pirinen har tecknat och skrivit texter
För individuella insatser - klicka på "Vilka Vem När Var Hur Vad".
Zö Kramers originalsättning var Calle Ottestam, Per Sommarström, Olle Halldin, Martin Fälthammar och till en början Peter Söderblom. Tillkom efter ca ett år gjorde Mikael Södersten. Först på trummor var Jolly Bod men ersattes snart av Martin. På inspelningarna från 1983 sjöng dessutom Katte Salomon. Musik och text skrevs av bandmedlemmarna men texter skrevs även av Joakim Pirinen och Persa Jacobson.
Bandets första namn var "Arne & his anabola steroider". Namnet "Zö Kramers" kommer från Kramer-Pollnows hyperkinetiska syndrom - (danssjuka) ett psykotiskt tillstånd kännetecknande för bandets dansinspirerande stil. Mellan 1978-1983 skrevs ett fyrtiotal låtar. Ett tjugotal konserter hölls mestadels på Lidingö. Bandets största "hit" var Tyska marionetter.
Liveinspelningar finns sedan begynnelsen och ca 25 konserter genomfördes men mer studiomässiga mixningar gjorde i fyra omgångar där den första gjordes 1979. Inspelning gjordes med en fyrkanalig TEAC rullbandspelare samt TEAC mixerbord. Ljudförbättringar gjordes 2002 samtidigt som digitalisering samt 2020 inför lanseringen av denna webbsida.
"No Self Can Tell"
Elisabeth Laasonen Belgrano, Mark Douglas Edmund Price
The research explores 'ornamenting' as a transferable method in inter-disciplinary studies, inter-faith dialogues and artistic/therapeutic practices. Adapting techniques of Renaissance musicology, the processes we have developed de-create and re-create vital connections. It is a communica-tions strategy for times of crisis. Starting with simple sonic relations we extend the method far be-yond its traditional musical setting. The practice utilises 'Nothingness' as a component of creativity, providing a novel response to figurations of nothingness as mere negation. Preliminary results sug-gest its potential as a counter force to nihilism and social dislocation.
The work divides into four areas. 1. Primary research on relationships between sound, meaning, and the sense(s) of self, exploring how sense is made of Otherness via processes akin to musical praxis: consonance, dissonance, 'pure voice' and ornamentation. 2. To apply this new perspective to a range of exile experiences – mourning, social disconnection, ex-communication and aggres-sive 'Othering'. 3. To investigate the cancelling of normal time-conditions in crisis situations such as trauma, dementia, and mystical experience, relating non-linear temporality to creative practice and healing. 4. To widely disseminate our results and methods as contributions to the methodology of artistic research via journal articles, live workshops and performances, and a book of original, praxical, testable, and teach-able interventions.
Fast- and Stop- frame, and Real- time: video's comment on matters of observation of perception considered through drawing
Mike Croft, Safa Tharib
The exposition is a presentation of work in progress, also involving reflective commentary, by two collaborators in a research project titled 'The Observation of Perception: considered through drawing', hosted by i2ADS Research Unit of the Fine Art Faculty of Porto University. The collaborators, a digital visual artist and an analogue-focused fine artist, are respectively involved in the research through visual story-telling and video, and drawing and its audio-visual recording. In the present circumstances, each of the works is considered through its video element specifically in relation to several manifestations of time. In the digital visual artist's case, time is formatted through and as fast-frame and stop-frame, and in the fine artist's case, real-time and a psychoanalytical inflection on real, often appearing in the literature capitalised as Real. The first author, who provides the written reflection, is the fine artist, while substantial visual work, a published paper, and some critical intervention is provided by the digital visual artist as a second author. The first author takes as a directive, aspects of the second author's paper, and reflectively critiques both his and his research collaborator's time-based work in their video manifestations. Theoretical references are to the digital visual artist collaborator Safa Tharib, the philosopher Henri Bergson and the psychoanalyst Jacques Lacan. The exposition ends with a question that emerges from the commentary, as to the applicability of the indexical signifier to consideration of digital as well as analogue practice.
This artistic research is a contribution to a larger research project titled ‘The Observation of Perception, considered through drawing’, hosted by i2ADS. The research begins with the hypothesis that perception can be diagrammed, in this case through and as a form of drawing that indicates how perception is for this investigator conceived and works in action. One of the two visual motifs of the work is also a meta-motif, in that as an action-camera placed over the eyes, it is the means by which the investigator records himself at work on the second main motif, which is his image as viewed in a circular hand-held mirror. The investigator approaches the initiative as a question of diagramming the self-same initiative, accepting whatever are its developed implications as the aesthetic of the work. Peirce's division of the diagram into elements of firstness and secondness, with the elusive recognition of diagram as an abstract entity before any communicative purpose, keys into a working practice that in any case veers towards the diagrammatic. The investigator's tendency to audio-visually record his working process has led him to a position where the logistics of the purpose paradoxically reveal the subjectivity – if not absurdity – of the self-same process. In this case, little by little, a contingent factor of a wart takes centre-stage as blind spot; at-once a torn hole within the drawing's material surface, the action camera as an illusory obstruction, and a factor that oscillates with and as the circular self-portrait. The presentation takes the viewer/reader through the process, largely perceptual, that is diagrammed on and as the artifactual outcome, the drawing.
Archived presentations from SAR 2021 - Vienna
Jonas Howden Sjøvaag
The 12th SAR Conference on Artistic Research of the Society for Artistic Research in 2021 was hosted by mdw – University of Music and Performing Arts Vienna in cooperation with the Academy of Fine Arts Vienna and the University of Applied Arts Vienna. It was oriented on the three attractors "care", "dare" and "share" and was the first SAR conference to be organized as a live online event. The online format also reached out in order to facilitate participation by individuals from new geographical regions and invited artistic researchers to share their work, processes, methods, discoveries, knowledge interventions, new insights, and understandings and to engage in exchange—in actions and words, and in ways complex and simple, conventional and unconventional, robust and fragile.
A selection of conference contributions has been assembled for documentation in this roof exposition managed by Jonas Howden Sjøvaag.