Research Catalogue

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 dessutom 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". Historik: 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.

O Núcleo de Práticas Artísticas Autobiográficas (NuPAA) é um grupo de pesquisa da Faculdade de Artes Visuais (FAV), da Universidade Federal de Goiás (UFG), cadastrado em 5 de dezembro de 2018 no Diretório dos Grupos de Pesquisa no Brasil (DGP), do Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq). Atualmente conta com três linhas de pesquisa: Materialidades e Imaterialidades Auto/Biográficas nas Poéticas Artísticas e Processos de Criação; Processos Artísticos do Corpo e da Intimidade; Práticas Artísticas Autoficcionais e Dissidências nas Estruturas de Gênero e Colonialidade. Esta exposição é resultado de uma curadoria coletiva realizada por membros e membras do NuPAA com o objetivo de reunir fontes teóricas e artísticas disponíveis gratuitamente on-line, que possam contribuir para pesquisas em arte que se dão em diálogo com o campo dos estudos auto/biográficos. Esta exposição tem origem dos anseios do NuPAA por maior profundidade nos debates acerca das relações críticas e artísticas entre arte e autobiografia. Espera-se, assim, contribuir para as experimentações artísticas e aprofundamento teórico-crítico sobre a relevância do fazer artístico que engendra atos autobiográficos e decoloniais em tempos de abissais transformações tecnológicas, ambientais e políticas que nos atravessam no presente. --- The Autobiographical Artistic Practices Research Group (NuPAA) is based on the Faculty of Visual Arts (FAV), at the Federal University of Goiás (UFG), registered on December 5, 2018, in the Directory of Research Groups in Brazil (DGP), of the National Council for Scientific and Technological Development (CNPq). It currently has three research paths: Auto/Biographic Materialities and Immaterialities in Artistic Poetics and Creation Processes; Artistic Processes of the Body and Intimacy; Autofictional Artistic Practices and Dissidence in the Structures of Gender and Coloniality. This exposition results from a collective curatorship carried out by NuPAA members to bring together theoretical and artistic sources freely available online, which can contribute to arts research in dialogue with the field of auto/biographical studies. The exposition stems from NuPAA's yearnings for greater depth in the debates about the critical and artistic relationships between art and autobiography. We expected, therefore, to contribute to creating experiments and theoretical-critical deepening on the relevance of the art practice that engenders autobiographical and decolonial acts in times of abysmal technological, environmental and political transformations that permeate us in the present.

Assuming Asymmetries. Conversations on Curating Public Art Projects of the 1980s and 1990s is a volume based on the dialogues between the curators and participants from some of the most complex and yet underresearched European and US public art exhibitions of the 1980s and 1990s. The discussions include and unpack such influential projects as “Culture in Action” curated by Mary Jane Jacob in 1993; “Sonsbeek 93” curated by Valerie Smith; “Endlichkeit der Freiheit,” an exhibition initiated by Heiner Müller and Rebecca Horn, on both sides of the former Berlin wall in 1990; “Construction in Process,” an artist-initiated site-specific exhibition in early 1980s Łódz, Poland; “Five Gardens” curated by Carlos Capelán in 1996 in Simrishamn and Ystad, Sweden, and “U-media” in 1987 Umeå, Sweden. The dialogues focus on such questions as: How does one ethically and culturally deal with asymmetries? How have the notions of situated or embedded knowledge changed over the last decades? How can artworks actually create meaning from the place where they're produced? What were the early attempts of de-monumentalizing art outside of the museums; and, finally, what actually is non-extractive curating. Both books are edited by CuratorLab at Konstfack University of Arts 2020/2021: Anna Mikaela Ekstrand, Giulia Floris, Vasco Forconi, Edy Fung, Julius Lehmann, Maria Lind, Marc Navarro, Simina Neagu, Hanna Nordell, Tomek Pawłowski Jarmołajew, Marja Rautaharju, Erik Sandberg, Joanna Warsza The process was led by Joanna Warsza and Maria Lind

Home page of the Journal of Sonic Studies

The article investigates the mediation of homey ambiences or domestic atmospheres and their relation to the outdoors in film and media productions. The article examines how human mediation impacts the perception of site-specific ambient sounds of the home that are aesthetically deployed as auditory backdrops in films and media artworks. The focus is on examining the processes of reconstructing the site of the home through the reproduction, mediation, and rendering of the relatively closed and private indoor sonic environment and its complex relationship to the public outdoors.

Somatiikka kehittää kykyä tunnistaa totunnaisia liikkumisen tapoja, ja mahdollisuutta murtautua kohti uusia liikemuotoja. Aistiva tutkimus mahdollistaa uudenlaisia yhteyksiä kehon käyttöön sosiaalisen tilan tutkimuksessa.Kutsun ruumiinsosiologian teoriasta ammennettuja harjoituksia sosiaaliseksi somatiikaksi seuraten tutkija Jill Greeniä (2015). Sosiaalisen somatiikan keskeinen kohde on yhteiskunnan säätämät ruumiilliset sijoittumiset tilaan ja somaattisia harjoitusmuodot, jotka kasvattavat kehon sosiaaliseen tiedostamiseen. Kehon pienistä eleistä ja kokemuksesta nouseva muutos voidaan nähdä sosiaalisen tai poliittisen muutoksen mahdollistajana (Manning 2016; Kortelainen 2020). Tarkastelen artikkelissani tätä kehotietoisuudesta nousevaa, ja jokaisen meidän kehoon kytkeytyvää mahdollisuutta sosiaaliselle muutokselle. Sosiaalisen muutoksen kohteena kulttuurisesti luodut kehon kuvat vaikuttavat merkittävästi ihmisten jokapäiväiseen elämään yhteiskunnassa. Sara Ahmedin queer fenomenologian tapaan tarkastelen, kuinka kehon tilallisuus ja kehon suhde objekteihin ja esineisiin vaikuttaa korporeaalisella tasolla siihen, mitä keholta odotetaan.