MA: digital demons
(2024)
author(s): Johannes Rydinger
published in: Stockholm University of the Arts (SKH)
Digital Demons deals with themes of religion, shamanism and spirituality.
These are some traces of media matter that surfaced during the two year masters program The Art of Impact at Stockholm University of the Arts.
Among them are videographic essays, video sketches and a recorded performance that all have worked as research tools for finding an aesthetic language and narration structure that can be used in documentary and hybrid filmmaking.
Co-poiesis: redefining our relationship with the world through filmmaking
(2024)
author(s): Yasmin Henra van Dorp
published in: Stockholm University of the Arts (SKH)
The research question that motivates this study is: what insights can be drawn from collaborative filmmaking that can illuminate new pathways for interacting with the world around us?
Against the backdrop of contemporary societal and environmental divisions, this artistic research explores ways for redefining relationships, both human and nonhuman, through the lens of the philosophical framework of co-poiesis. Using a practice-led research methodology based on the collaborative process of the short documentary "The Spectacle" this study explores how collaborative practice and sensory engagement can serve as a reflective tool, illuminating our relational dynamics and perceptual interactions with each other and our environment.
Hennes naglar är Svens, alltid något
(2023)
author(s): Emilie Löfgren
published in: Stockholm University of the Arts (SKH)
En exposition med fyra videoverk i ETC Solpark, Katrineholm.
"Hennes naglar är Svens, alltid något."
"Drömmen"
"Mary var här"
"Tystnaden"
The Anonymous – A Documentary Memory and Transformation Project
(2023)
author(s): Bengt Bok
published in: VIS - Nordic Journal for Artistic Research
De anonyma (The Anonymous) is a research project on memory and transformation that is divided into three parts: a book, a audio work, and a film. Over the past twenty years, Bengt Bok has returned several times to a former Nazi concentration camp north of Berlin. The first time he visited the site, he was shocked by the former death camp’s immediate proximity to a surrounding village. A community. Not only today but when the camp was still in use by the Nazis. How could people carry on living so nearby? He subsequently transformed the memories of his personal encounters, experiences and observations both in the camp and in the village into a book, which he, in turn, transformed into a sound work and, finally, into a film. In this exposition, Bok explores what became specific to, and distinctive about, each of the three different expressions or works — in other words, which narrative components remained, which disappeared, and which were added.
Find Me: Self-portraiture as a tool
(2022)
author(s): Silvia Diveky
published in: Research Catalogue
What kind of artistic research practices would enable us to reflect and respond effectively to the urgencies of our moment?
In my artistic research, I test my own limits as a documentary film-maker. Very often I feel unqualified to be the one to write about the documentary practices and so rather than write, I shoot. By creating a documentary self-portrat, I test the limits of my own capabilities to respond to the situations around me, to capture the essence of my own being as a human. I do not strive to capture "myself" but rather to explore the process itself. We tend to forget that although we consider ourselves "artists", we very often feel insecure, and this insecurity limits us from reaching beyond the safe margins of our abilities. But it is never to late to go further, never too early to find a new way of expression.
Naturfilm
(2021)
author(s): Elisa Rossholm, Anna Sofia Rossholm
published in: VIS - Nordic Journal for Artistic Research
’Naturfilm’ (nature film) consist of three image based essays that reflect on the relation between mankind and nature in Swedish classical nature documentaries, and also on modernity’s negotiation of the separation of nature and human culture by large. The essays include reflections on landscape, natural resources, species and gender relations, indigenous cultures and media materiality. The essays combine images and voice-over, more specifically a series of drawings of still images from existing film footage combined with fragmentary reflections on the images as media inscription and representation.
The essays are media transformations of existing Swedish documentary films from the peak of the classical era, namely from the late 1930s until the early 1950s. In an ecological context, this period represents what is labeled ‘the great acceleration’, an increased exploitation of natural resources, and to some extent an intensified separation of nature and human activities.
From culture to nature and back. A personal journey through the soundscapes of Colombia
(2020)
author(s): Lamberto Coccioli
published in: Journal of Sonic Studies, Birmingham City University: Faculty of Arts, Design and Media
The purpose of this essay is twofold: to celebrate the astonishing richness and diversity of Colombia’s natural and human soundscapes, and to reconstruct the process through which my direct experience of those soundscapes has influenced my own creative work as a composer. Reflecting on a long personal and intellectual journey of discovery that plays out on many levels – musical, anthropological, aesthetical – helps bring to the fore important questions on music composition as the locus of cultural appropriation and reinterpretation. How far can the belief system of a distant culture travel before it loses its meaning? From a post-colonial perspective, can a European composer justify the use and repurposing of ideas, sounds and songs from marginalised indigenous communities? In trying to give an answer to these questions through the lens of my own experience I keep unravelling layer upon layer of complexity, in a fascinating game of mirrors where my own identity as a "Western" composer starts crumbling away.
The Document as Music. Exploring the musicality of verbatim material in performance
(2018)
author(s): David Roesner, Bella Merlin
published in: Journal for Artistic Research
During a four-week fellowship at the LMU Munich in 2016, Bella Merlin (UC Riverside, USA) and David Roesner (Theatre Studies, LMU Munich) investigated the relationship between original interview material and its (musical) staging. In particular, they explored the ethics and aesthetics that musicalisation might present in relation to the speech patterns, vocal inflections and rhythms of their interview partners from across three generations in three different countries. In this article they will draw conclusions from their working process, which address questions about verbatim theatre and musicality beyond their particular study.
The sounds of Hanoi and the after-image of the homeland
(2016)
author(s): Stefan Östersjö, Nguyen Thanh Thuy
published in: Journal of Sonic Studies
This paper discusses the soundscape of Hanoi and of the countryside north of Hanoi in the Bac Ninh province with the experience of the two authors as artists in two collaborative projects, Arrival Cities: Hanoi and Que/Homelands. The content is structured in three layers, a conversation between the two authors on their individual experience of the projects, a jointly written text which takes a more distant perspective to the topic and a series of video and audio files taken from the two artistic projects. While the two projects were completely independent, this paper identifies ways in which they complement each other and, taken together, the sound art collected within the projects may have a further political meaning. The authors suggest that the shifting soundscapes of Vietnam are a direct reflection of social and political change in the country.
Futurity by Documentary Means – Reimagining Labour in the Climate Crisis
(last edited: 2024)
author(s): prerna bishnoi
This exposition is in progress and its share status is: visible to all.
For Artistic Research Forum, October 2023
Den emotionellt hållbara filmprocessen
(last edited: 2023)
author(s): Emilie Löfgren
This exposition is in progress and its share status is: visible to all.
Hur skapar och utvecklar jag metoder för en filmprocess som värnar mitt eget och mina medarbetares mentala och känslomässiga välbefinnande när vi gör film om svåra frågor? Hur tar jag hand om mina medverkande? Hur ser min film ut som är sprungen ur en sådan arbetsprocess? Hur har arbetet med terapeuten Cilla Holm, tidigare filmproducent, bidragit till en hållbar filmprocess? Filmbranschen präglas av högt tempo och utmattningssyndrom är inte ovanligt. För fyra år sedan blev jag utmattad och efter att ha sörjt mitt gamla jag och min nya stresskänslighet kom jag fram till att jag inte tänker acceptera att jag inte ska kunna arbeta med det jag älskar, film och skrivande. Jag tänkte att det måste finnas andra sätt att arbeta med film och fortfarande få må bra.
En exposition om skapandet av min dokumentärfilm Om sorg (2022) och metoden som jag kallar för den emotionellt hållbara filmprocessen.
English abstract:
How do I create healthy working methods that benefit my own and my team members mental and emotional wellbeing while making film about difficult subjects? What does a documentary sprung out of these methods look like? How has the collaboration with Cilla Holm, film therapist and former film producer, contributed to make the process emotionally sustainable? The film industry is fast paced and burnout is not uncommon. Four years ago it happened to me and I had a total identity crisis. After grieving my old self, my ability to multi-task and my newfound stress intolerance, I came to the conclusion that I will not accept that I have to leave the film industry. I wanted to keep working, I just had to find another way to do it.
An exposition about the creation of my documentary About Grief (2022) and the method that I call The emotionally sustainable film process.
Tools of Vulnerability
(last edited: 2020)
author(s): Maria Walczuk
This exposition is in progress and its share status is: visible to all.
My film work has revolved around a hypothesis of vulnerability with my artistic research question:
in the context of interviews and the larger scope of cinematic storytelling, how can tools to access vulnerability be a symbolic key to unlocking the transformative power of resilience in a narrative?
Proposed Methodology:
I. The Privilege of Listening
II. The Power of Silence
III. Trust & Intuition
IV. The Light of Vulnerability
V. Discovery of Resilience
Moving Stills
(last edited: 2015)
author(s): Belen Cerezo
This exposition is in progress and its share status is: visible to all.
The exposition 'Moving Stills' addressees the issue of still photographs that move, in other words, that contain movement through expounding and scrutinising the images that emerge from re-filming a still image. These images could be defined as still and moving image at the same time and here I will call them still-moving. This interrogation draws on the discursive notion of the rostrum camera — a film-making technique based on re-filming still images usually employed in animation and in documentary films and it is composed by a performance-lecture 'Moving Stills' and the artwork 'Moving Stills, Moving Stones'.
The performance-lecture explores certain images that are still and also moving images. The first part of this performance-lecture reflects upon genealogies of the so-called still and so-called moving image. The second one brings to the fore the images that challenge this distinction and introduces the specific case of the ‘rostrum camera’. Finally, the last part presents three excerpts of documentary films in which the technique of the rostrum camera has been employed ‘to move’, in the sense of to set into motion, still images.
The artwork 'Moving Stills, Moving Stones' is composed by two videos, one in a titled monitor on the floor and the other on a flat screen. The monitor shows a ‘sequence’ of a stone-lifting from the film Ama Lur, 1973, also included in the performance-lecture Moving Stills, that. Next, the flat tv displays a video that begins with the technique of the ‘rostrum camera’ applied on still photographs that depict hands (extended palms with outspread fingers, clenched fist…) and later these same images are activated through the tactic ‘performing documents’. The work draws an explicit parallel between lifting stones and the artistic endeavour ‘to move’ images and it acknowledges that the haptic is located between the so-called still and so-called moving image.
This exposition is part of the submission for the PhD study "What is it ‘to move’ a photograph?
Artistic tactics for destabilizing and transforming images".
Digital Demons deals with themes of religion, shamanism and spirituality. These are some traces of media matter that surfaced during the two year masters program The Art of Impact at Stockholm University of the Arts. Among them are videographic essays, video sketches and a recorded performance that all have worked as research tools for finding an aesthetic language and narration structure that can be used in documentary and hybrid filmmaking.open exposition comments (0)
The research question that motivates this study is: what insights can be drawn from collaborative filmmaking that can illuminate new pathways for interacting with the world around us? Against the backdrop of contemporary societal and environmental divisions, this artistic research explores ways for redefining relationships, both human and nonhuman, through the lens of the philosophical framework of co-poiesis. Using a practice-led research methodology based on the collaborative process of the short documentary "The Spectacle" this study explores how collaborative practice and sensory engagement can serve as a reflective tool, illuminating our relational dynamics and perceptual interactions with each other and our environment.open exposition comments (0)
En exposition med fyra videoverk i ETC Solpark, Katrineholm. "Hennes naglar är Svens, alltid något." "Drömmen" "Mary var här" "Tystnaden"open exposition comments (0)
What kind of artistic research practices would enable us to reflect and respond effectively to the urgencies of our moment? In my artistic research, I test my own limits as a documentary film-maker. Very often I feel unqualified to be the one to write about the documentary practices and so rather than write, I shoot. By creating a documentary self-portrat, I test the limits of my own capabilities to respond to the situations around me, to capture the essence of my own being as a human. I do not strive to capture "myself" but rather to explore the process itself. We tend to forget that although we consider ourselves "artists", we very often feel insecure, and this insecurity limits us from reaching beyond the safe margins of our abilities. But it is never to late to go further, never too early to find a new way of expression.open exposition comments (0)
During a four-week fellowship at the LMU Munich in 2016, Bella Merlin (UC Riverside, USA) and David Roesner (Theatre Studies, LMU Munich) investigated the relationship between original interview material and its (musical) staging. In particular, they explored the ethics and aesthetics that musicalisation might present in relation to the speech patterns, vocal inflections and rhythms of their interview partners from across three generations in three different countries. In this article they will draw conclusions from their working process, which address questions about verbatim theatre and musicality beyond their particular study.open exposition comments (0)