Epiphanies of an Invisible weave
(2024)
author(s): Jenny Sunesson
published in: Stockholm University of the Arts (SKH)
Epiphanies of an Invisible weave
essay
by Jenny Sunesson, 2022
edited in 2023
Translated by Steven Cuzner
Preface (2023)
Epiphanies of an Invisible weave is an essay written during the processes of two different, yet overlapping, projects; the research project FACT stage one, and the solar driven, sound art project UNDER.
The essay explores the specific capacities and possibilities of sound and listening through the specific mode of field recording, which is the sonic modality that I have exploring for more than 20 years.
The essay aims to shed some light on the site-related, political, and hidden potentials of sound as it examines the possibilities of (re)-learning through listening in relation to both human and more-than-human explorations and possible “epiphanies”, imagining openings beyond stereotypical knowing.
/Jenny Sunesson
Image copyright: Ida Lindgren
Darkness as material - PhD project - 2023
(2023)
author(s): Mia Engberg
published in: Stockholm University of the Arts (SKH)
The doctoral project Darkness as Material, examines darkness as material and its relationship to cinematic storytelling. The study addresses different kinds of darkness: darkness in the image, darkness in the cinema theatre, darkness in the spectator where films are received and the darkness in the filmmaker, where the world is reflected and ideas are born. The project is inspired by Marguerite Duras' idea to kill cinema, and it explores film's potential to approach the place she described as 'the dark room, where we are deaf and blind and passion is possible'.
Piirretty hiljaisuus – Hiljaisuuden merkitys osana piirtämispraktiikkaani
(2021)
author(s): Elisa Alaluusua
published in: RUUKKU - Studies in Artistic Research
Tämä pohdinta hiljaisuudesta, ja sen merkityksestä piirtämispraktiikassani, on tehty tutkivan kuvataiteilijan näkökulmasta. Käyttämäni lähestymistapa on autoetnografinen ja taustalla vaikuttava ajattelumalli nojaa hermeneuttiseen tulkintaan ja fenomenologiseen analyysiin. Kirjoittamiseen olen lainannut työskentelytapoja piirtämispraktiikastani, ja siitä kasvanutta metodia kutsun sisäänpäin kirjoittamiseksi. Tarkastelen hiljaisuutta lähtökohtaisesti lappilaisuuden kontekstissa. Tehdessäni tätä kirjoitettua piirrosta ymmärrykseni hiljaisuudesta on tarkentunut. Minulle hiljaisuus on erityisesti kehollista läsnäoloa, mutta se on myös fyysistä toimintaa, jäljen jättämistä ja rytmiä. Ymmärtämystäni on syventänyt paikkasidonnaisten kokemusten tarkastelu; minulle merkityksellisiä paikkoja ovat Luusuan kylä Lapissa sekä Lontoo. Kirjoittamalla piirtäminen on tapahtunut spiraalimaisesti; tämä prosessi näkyy kirjoituksen rakenteessa sekä tarinamaisessa luonteessa. Sisäänpäin kirjoittamisen kautta paljastuneet ilmiöt, kuten kehollinen ymmärtäminen ja lapsuusmuistot, ovat yhdistyneet suuremmaksi kokonaisuudeksi. Tämän eksposition kaikki elementit – niin tämä kirjoitettu piirros, kuin muutkin teokset – kuuluvat piirtämispraktiikkaani, jonka avulla työskentelen kohti syvempää ymmärrystä itsestäni ja maailmasta ympärilläni. Näkökulmani hiljaisuuteen on paikkasidonnainen ja konteksti ajatuksilleni löytyy nykypiirtämisen kentältä.
The Visual Silence
(2020)
author(s): Mia Engberg
published in: Stockholm University of the Arts (SKH)
The Visual Silence explores a cinematic aesthetic that approaches silence and darkness and challenges the voyeuristic tradition of cinema. It is a cinematic form that is situated in the gap between what is projected and what is perceived, between the impression of the ear and that of the eye. The Visual Silence examines the possibility of new perspectives through the deconstruction of the image and also through a critical examination of patriarchal, excluding and exhausting methods in the traditions of filmmaking. The research project resulted in the feature film Lucky One that premiered 2019.
Music City Excesses: Phenomenological Thresholds and Nashville Noise Regulations
(2018)
author(s): Michael Butera
published in: Journal of Sonic Studies
In this essay I will be exploring phenomenological connections between private and public interpretations of urban sound. First, I will briefly outline a theory of perceptual excess wherein the listener is unable to interpret sounds according to intentional auditory categories. I argue that listeners respond through various acoustic techniques that intentionally change the way spaces sound, reforming acoustic orders. I will explore this in the case of Nashville, Tennessee’s urban noise ordinances. Its constructed identity as ‘Music City’ requires strategic maintenance to ensure that certain sounds are given priority (institutionalize live music) while others are suppressed (pre-recorded music) or marginalized (busking). The specificity of these laws indicates a capitalist cultural nostalgia as well as a fundamental preference for perceptual stability for residents, tourists, and lawmakers alike. A common logic is drawn between the subject as a phenomenological individual and the subject as a listening/governing state. The ability to predict and control which sounds will be heard, to sustain a certain acoustic order, highlights the problem of the listener’s perceptual stability in the context of urban noise and silence.
Post-Natural Sound Arts
(2017)
author(s): Mark Peter Wright
published in: Journal of Sonic Studies
This article argues for a new critical perspective called “Post-Natural Sound Arts” (PNSA). Its focus resides within the context of environmental sound arts and disciplines such as field recording, acoustic ecology and soundscape studies. PNSA questions entanglements of power and agency between recordists and their subjects and produces new epistemological consequences in relation to silence, subjectivity and technology.
By discussing historical and contemporary audio documents, the author demonstrates how sonic representations are part of an interlacing of geographies, media, and time. These recordings harbor trace evidence of anthropogenic incursion and are re-heard in order to question a history of non-impact within the practice of environmental sound arts. PNSA therefore aims to function as both an audial-analytical methodology and instigator for artistic praxis.
Epiphanies of an Invisible weave essay by Jenny Sunesson, 2022 edited in 2023 Translated by Steven Cuzner Preface (2023) Epiphanies of an Invisible weave is an essay written during the processes of two different, yet overlapping, projects; the research project FACT stage one, and the solar driven, sound art project UNDER. The essay explores the specific capacities and possibilities of sound and listening through the specific mode of field recording, which is the sonic modality that I have exploring for more than 20 years. The essay aims to shed some light on the site-related, political, and hidden potentials of sound as it examines the possibilities of (re)-learning through listening in relation to both human and more-than-human explorations and possible “epiphanies”, imagining openings beyond stereotypical knowing. /Jenny Sunesson Image copyright: Ida Lindgrenopen exposition comments (0)
The doctoral project Darkness as Material, examines darkness as material and its relationship to cinematic storytelling. The study addresses different kinds of darkness: darkness in the image, darkness in the cinema theatre, darkness in the spectator where films are received and the darkness in the filmmaker, where the world is reflected and ideas are born. The project is inspired by Marguerite Duras' idea to kill cinema, and it explores film's potential to approach the place she described as 'the dark room, where we are deaf and blind and passion is possible'.open exposition comments (0)
The Visual Silence explores a cinematic aesthetic that approaches silence and darkness and challenges the voyeuristic tradition of cinema. It is a cinematic form that is situated in the gap between what is projected and what is perceived, between the impression of the ear and that of the eye. The Visual Silence examines the possibility of new perspectives through the deconstruction of the image and also through a critical examination of patriarchal, excluding and exhausting methods in the traditions of filmmaking. The research project resulted in the feature film Lucky One that premiered 2019.open exposition comments (0)