FACT stage one
(2024)
author(s): Jenny Sunesson
published in: Stockholm University of the Arts (SKH)
The research project FACT stage one aims to test the sonic capacity of fragmenturgy (developed by Sunesson 2014–19) as a method to unsettle polarised positions of areas and sites existing outside of the visual power structures and political strongholds.
The long-term purpose is to develop a Fragmenturgy ACtion Tool (FACT); a transitory toolbox for cultivating fragmenturgy methods and actions.
FACT stage one consists of a comprehensive case study carried out in collaboration with a group of students aged 18–23 based at Uppsala Community College in Sweden, which was explored as a site during 2021.
Image copyright: Christina Hillheim
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
Investigating new forms of content creation, storytelling and audience engagement to reveal the Genius Loci of heritage sites (The Workhouse, Southwell)
(2022)
author(s): Andrea Moneta
published in: Research Catalogue
Heritage Project at The Workhouse, Southwell, is a 5-year long collaboration partly funded by National Trust with Nottingham Trent University; it was enabled by National Trust’s Research Strategy aimed at ‘fulfilling the role of heritage in the modern world, realising experiences that move, teach and inspire’. The project was focused on The Workhouse, Southwell to reveal its Genius Loci (distinct character), to unearth its forgotten, denied and unexpressed stories; and to unveil them through Scenarchitecture, Moneta’s performative methodology that utilises architecture and performance to provoke visitors to think differently about history, identity and today’s world.
Scenarchitecture blends Imagination with Memory using a given architectural site; it works with the complex overlay of historical and contemporary fragments embedded in the host building, and it combines them with the stories, memories and meanings of the people that lived there. The aim of this process is to unveil feelings, to reveal invisible links between places and people, using perception and sensibility.
Moneta’s project was developed through research-led teaching: since 2015, a number of Theatre Design students had been involved as active researcher for content creation; they had been paired with Workhouse’s volunteers to engage with the building and its archive material; together, they devised different 'stories' inspired by The Workhouse’s archive; in the first two years of development the project inspired students’ installations; from 2017, after gaining interest from National Trust, the ‘stories’ evolved into a collective, costumed promenade performance open to public around The Workhouse, with the volunteers as storytellers and Moneta as project manager and director.
The project is now a regular and popular feature of The Workhouse’s Public Programme inspired by a specific year’s theme. Outputs included photos and video, website and blog, newspaper article, exhibition; in 2019, a documentary captured the development of the project and final performance.
Catch and Release: Field Recordings as Source for Instrumental Composition
(2016)
author(s): Yvonne Freckmann
published in: KC Research Portal
The richness and variety of sound in field recordings has inspired numerous electro-acoustic and soundscape compositions, but what about the traditional composition realm? Is there a way to translate for and combine soundscapes with another medium? “How can field recordings be used as a source for instrumental compositions?” is the main research question under investigation here, which developed out of my creative pursuits in composing for instruments and field recordings. The first method I personally applied was to transcribe a field recording by ear for a mixed ensemble for Train, which simultaneously played the transcription with the original audio. The process and results of this piece prompted me to think and read more about mimesis in music, and how the two worlds of electro-acoustic/soundscape and instrumental music can combine. This research paper contains a short introduction to the historical context of mimesis in music (vocal/instrumental and electro-acoustic) to provide the connection of current trends to the past. To investigate the main approaches I proceeded to analyze and categorize music of field recordings with instruments. Using these analysis tools and categories, I investigated examples within roughly the past sixty years of pieces that use field recordings as source for instrumental music, be it for transcription, score, background, or for live interaction. The research results are detailed in four chapters, “Analysis Tools”, “Five Categories”, and two chapters on original compositions. The concepts of place and live versus pre-recorded sound were interesting to investigate as well.
JENNY SUNESSON
(last edited: 2024)
author(s): Jenny Sunesson
This exposition is in progress and its share status is: visible to all.
Jenny Sunesson (b. 1973) is a Swedish artist predominantly
working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and
derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.
it will be fine
(last edited: 2024)
author(s): Johan Sandborg, Duncan Higgins
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
It Will Be Fine, is engaging in the language of visual representation through the combined mediums of painting, photography and artificial intelligence (Ai) together with images held in the Special Collection picture archive in Bergen. To reflect on the ways in which meaning and memory is constructed and conveyed through visual forms and knowledge systems.
The Many and the Form - reflection and reference materials
(last edited: 2023)
author(s): Edit Kaldor
This exposition is in progress and its share status is: visible to all.
Reflection text and reference materials of the research project The Many and the Form
by Edit Kaldor
An account and reflection of the processes, phases and outcomes of the research project The Many and the Form, which explored in different contexts how lived experiences can be articulated in and through live performance. The text brings together the various strands within the research and some of the underlying connections between the different components. It aims to communicate about practices and provide insights that can be useful for those who are interested in contemporary theatre making, participation and social imaginaries, as well as for those who have or are curious about immigrant experiences and knowledges.
Reference and documentation materials created as part of the research:
- Digital online archive Inventory of Powerlessness
To accesss, click on http://inventoryofpowerlessness.org/
Interactive digital online archive that was made as part of the research, processing the accounts of lived experiences of 300 participants in the long-term theatre work that preceded and prompted this research project. As part of the preparation for the workshops I wanted to gather and organize these stories in a sharable format which reflected the processes within the performance project. It was important for the current research because it gave me a chance to touch base with its core motivation for creating working methods that allow people to translate lived experiences into live performative situations. Revisiting and reworking the range of experiences that were articulated during the Inventory not only recalled the particular context and the sense of purpose that the research originated in, but also the kinds of procedures I was working with in the Inventory, some of which served as basis for the working methods I have been developing during this research, which were shared in a range of workshops.
I collaborated on the archive with dramaturg intern Joseph Anderson, theatre maker Jurrien van Rheenen and computer programmer Joris Favie. The work consisted of bringing together recorded materials, transcribing them, translating them from one of the five original languages (Dutch, German, Polish, Czech, Greek), making a single version that most closely reflected the different oral versions, and placing them into the digital archive with the connections and categories.
The online archive is an important reference for the research project, as it situates the research in terms of the kinds of lived knowledges that it aims to bring into performance-making.
- Edited video documentation of workshop Ghost in the Machine, December 2020. https://www.youtube.com/watch?v=qAxdAD4kEv4&t=1429s
The video gives an idea of the new strand of the research within the project after Covid made physical presence workshops impossible and the focus of my investigation shifted to exploring situations of digital intimacy and presence through moblie devices. This strand of the research led to the development of the site-specific interactive performance Parallel Life, one of the practical outcomes of The Many and the Form.
Although it’s a short, edited version of a longer series of workshops, the video gives a glimpse of the practice-oriented working processes typical for my workshops.
The Many and the Form - Video Documentation of Practical Components
(last edited: 2023)
author(s): Edit Kaldor
This exposition is in progress and its share status is: visible to all.
Video documentation of the practical components of the artistic research project The Many and the Form by Edit Kaldor, including:
- The video registration of Strangers (2022), a lecture performance that brings together an array of materials from various phases of the artistic research; investigations in different contexts into how lived experiences can be articulated in and through live performance.
- A video documentation of Parallel Life (2021), an interactive performance played for and by individual spectators on the streets of the city, using their mobile phones. The paradoxical situation of social distancing and digital intimacy between strangers formed the starting point of the performance.
–Video fragments of rehearsal experiments and performative works made by participants during the workshops held throughout 2019 at Pleintheater in Amsterdam as part of the artistic research project The Many and the Form. The final outcomes were presented publicly at the Vrije Vloer Festival in November 2019.
Stolen Voices
(last edited: 2022)
author(s): Rebecca Collins
This exposition is in progress and its share status is: visible to all.
Stolen Voices is a multi-component output consisting of four performances, an album, a peer-reviewed journal article and a book publication. The output is a collaboration between Rebecca Collins (University of Edinburgh) and Johanna Linsley (University of Dundee). Stolen Voices forms part of their five-year (2014–2019) project which invests eavesdropping as a method, combining this with a semi-fictional detective story. An ‘event’ has taken place in 4 sites on the UK coast (Bournemouth, Felixstowe, Seaham in County Durham and Aberdeen) and Collins & Linsley have been tasked to investigate. Eavesdropping is both subject and methodology of the research. Fieldwork in the form of site explorations and the practise of eavesdropping is combined with research into social, political and economic dynamics at the borders and margins of the UK, such as immigration and the impact of climate change on coastal landscapes.
The research project FACT stage one aims to test the sonic capacity of fragmenturgy (developed by Sunesson 2014–19) as a method to unsettle polarised positions of areas and sites existing outside of the visual power structures and political strongholds. The long-term purpose is to develop a Fragmenturgy ACtion Tool (FACT); a transitory toolbox for cultivating fragmenturgy methods and actions. FACT stage one consists of a comprehensive case study carried out in collaboration with a group of students aged 18–23 based at Uppsala Community College in Sweden, which was explored as a site during 2021. Image copyright: Christina Hillheimopen exposition comments (0)
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)
Jenny Sunesson (b. 1973) is a Swedish artist predominantly working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.open exposition comments (0)
It Will Be Fine, is engaging in the language of visual representation through the combined mediums of painting, photography and artificial intelligence (Ai) together with images held in the Special Collection picture archive in Bergen. To reflect on the ways in which meaning and memory is constructed and conveyed through visual forms and knowledge systems.open exposition comments (0)