ARTISTS AND MACHINE INTELLIGENCE
(2024)
author(s): Linda Janson, Mirko Lempert
published in: Stockholm University of the Arts (SKH)
In the dynamic interplay between art and technology, the integration of artificialintelligence (AI) has opened new frontiers of exploration and expression. Our researchproject, initiated in 2021, ventured into this evolving landscape with a mission to examinethe relationship between AI and contemporary artistic practices. Focusing primarily ontext and image synthesis using AI technologies, our project embarked on an in-depthexploration of the creative potentials and limitations of Large Language Models (LLM).This journey was far more than a technical exercise; it represented a deep dive into thefusion of creativity and technology, examine traditional workflows, especially related topre-production in filmmaking. The project revealed AI's capacity to both emulate andstimulate human creativity, offering insights into the capabilities and boundaries of LLM inartistic creation. These reflections are not just a recount of past achievements but a lensthrough which one can view the potential and future intersections of art and machineintelligence.Leading the research project are Linda Janson, a production designer with over 30 yearsof experience in the art departments of films, TV series, and commercials, currentlyserving as a senior lecturer in production design at Stockholm University of the Arts, andMirko Lempert, founder of the company Monocular. Monocular specializes in integratingAI with traditional 2D/3D techniques for practical applications in visual content creation.This project is driven by their collective goal to investigate the practical applications of AIin visual arts, combining Linda’s extensive industry experience and academic backgroundwith Mirko’s expertise in applying AI technologies. Their joint effort focuses on enhancingthe methodologies of visual arts and design education to align with the ongoingadvancements in digital technology.We would also like to recognize and express our gratitude to PhD candidate Marc Johnson, whose significant contributions were instrumental in initiating this researchendeavor and who has continuously supported the process with valuable advice andexpertise.Lastly, we wish to emphasize that Chat-GPT served as an editorial assistant in thecomposition of this report. This involvement was twofold: as an integral part of ourresearch methodology and as a proficient contributor, aiding in the summarization,formalization, and articulation of arguments to deepen the discourse on the topic ofArtificial Intelligence in the visual arts.
Staged Conversations Using dialogue as both method and form when staging documentary material for theater and film
(2024)
author(s): Marcus Lindeen
published in: Stockholm University of the Arts (SKH)
Between 2017 and 2024, I have conducted an artistic research PhD project at Stockholm University of the Arts resulting in a feature length documentary film (The Raft, 2018), a documentary based theater play (The Invisible Adventure, 2020) and a book with his work diaries documenting the process of creating the two works (Staged conversations, 2024). The research project focuses on using the conversation as both method and form for staging documentary material for theater and film.
The Raft reunites seven people who were all part of a social experiment crossing the Atlantic on a raft in 1973. The film mixes archive footage from the original journey with scenes shot in a studio, where participants share memories onboard a scenographic replica of the real raft.
In The Invisible Adventure three characters – a scientist, a video artist and a transplantation patient – meet for an intimate conversation on identity and transformation. The performers who interpret the characters through repeating dialogue from a sound script in hidden ear-pieces, sit together with the audience members in a circular scenography, where there is no separation between stage and audience seats.
Both the film and the play are using the staged conversation as a shape for the storytelling and share similarities in their visual expression with wooden scenographies set in a black box studio environment. In the film it is the real people from the raft journey who reunite 43 years later in the studio. In the play the script is based on three separate interviews with people who have never met, but who are interpreted by performers.
The research project will be finished and presented publicly in January 2024. The film and play will be presented together with the release of the book at Gothenburg International Film Festival in collaboration with Gothenburg City Theater.
Improvisation Three: Another Shifting Landscape
(2024)
author(s): Tor Einar Bekken
published in: Research Catalogue
A short film by Tor Einar Bekken from the Ila/Skansen harbour, Trondheim, Norway.
Music improvised by Tor Einar Bekken, acoustic guitar.
voice under
(2023)
author(s): Ester Martin Bergsmark
published in: Stockholm University of the Arts (SKH)
If voice over is the superior voice that dictates truth, I examine voice under, the other truths that take place simultaneously. In my doctoral thesis voice under, I explore all the parallel voices beyond the dominating all-knowing voice over. The intention of the project and concept voice under is to open up a wider sensory register in both the creation and the experience of film. By looking closely at, challenging, and playing with different cinematic conventions, I explore how we can recreate seemingly dominant expressions and find spaces for resistance, although temporary.
This document outlines the different modes of publication of the doctoral thesis voice under. voice under consists of two branches: film and text. The Documented Artistic Research Project (Doctoral Thesis) voice under will be made public and archived on September 1, 2023, through the following three materials:
1. Welcome to voice under folder
2. Performative contemplative film screening
3. The book voice under, consisting of a collection of texts
Love of God - Group Exhibition: A Retrospective Virtual Gallery
(2022)
author(s): Jeffrey Cobbold
published in: Research Catalogue
Love of God - Group Exhibition
Curated by Jeffrey Cobbold
September 14 - October 19, 2019
Artworks Trenton, Trenton, New Jersey (U.S.A)
2019 Curatorial Statement:
“…I will find you. I will always find you……A loving heart is the truest wisdom……To believe and be satisfied with just the way things are……No one has ever seen God……Jesus……Love is a circle……And what comes around goes around…”
The words above come from Love of God (L.O.G) Audio Quotation Database, a DIY online database and digital humanities project I started in 2015 when I was working as an intern within the Love of God Retreat Program in Lawrenceville, NJ. In order to create the database I asked the program’s high school student participants to find quotes about love and God that would help them reflect on the meaning of these words within their retreat program. These quotes are now the heart and inspiration for Love of God – Group Exhibition, which presents works from a selection of artists exploring issues of love and God revealed through artistic practice.
The artists featured in this volume are:
Jessica Browne-White (sculpture)
Jeffrey Cobbold (sound, video, text)
Devonte Roach (film)
Marina de Bernado Sanchis (drawing)
Together they create multiple entry points for one to consider the character of love, God and the intersections of both in our ever changing world.
Love of God – Group Exhibition takes on the spirit of the Love of God Retreat Program in Lawrenceville, NJ with its necessity for inclusive understandings about love and God. While Jesus was a central topic of discussion within the retreat program, there was no mandated opinion one was expected to have about him. Rather, the unifying aspect of this program was an affinity for music and the arts within the expression of community. Their community was intersectional, dealing with the differences of varied socio-economic statuses, sexual identities and divergent relationships with the organized Christian church amongst so many other forms of diversity.
The retreat program no longer exists as it did in 2015 due the disbursement of its high school participants and changes in adult leadership. The online database is now a relic of the digital humanities project that occurred at that time. Yet, this exhibition is an initial step toward sharing a glimpse of the spirit of this retreat program with others. I sincerely hope that the spirit of this exhibition will connect with you as you search for love and God in your personal life and within the communities you serve everyday.
Love of God Community Conversation (Luke 1:5-45)
October 12, 2019
Artworks Trenton, Trenton, New Jersey (U.S.A)
Featured presentation:
"Love, God, and Community" by Simone Oliver
2019 Community Conversation Statement:
This community conversation seeks to provide a space for theological and artistic reflection within the Love of God – Group Exhibition. A team of presenters will offer their individual reflections on love, God and community through engagement with Luke 1:5-45. Presenters will also consider the works of contemporary art and case study materials within the Love of God – Group Exhibition to aide their presentations. A time for discussion will be had between presenters and the audience for better articulation and understanding of divergent pathways toward love, God and community that can be useful for work in Christian ministry and contemporary art & culture.
Back to Present
(2022)
author(s): Thalia Hoffman
published in: VIS - Nordic Journal for Artistic Research
Back to Present discusses the themes, filming structure, and editing process of the short film A Day Becomes (2018). The film is part of Guava, a platform for art-actions that promotes the idea of free movement and the removal of borders east of the Mediterranean. In this exposition and in making the film, I explore the possibilities of political imagination regarding regional movement across borders in relation to the phenomenon of Time.
The exposition has two parts. The first, entitled Here, unfolds around discussion about the landscape; the second, called Now, suggests that how time is experienced can affect how one experiences one’s surroundings. The form of the texts correlates to the content, form, and making of the film. The film making text is set in the center of the exposition, and the other discussions push themselves in and spread over the page. Like the text, the film’s continuous timeline is dense and loaded with plural repetitions and conversations. The interlaced reflections and commentaries that characterize the text echo Yousef’s layered performance of time in the film.
With its layout and content, the exposition explores the film’s structure and embodied experience of the landscape through time: it is a way to rethink and re-feel the Here of this region through the lingering Now of the film.
This exposition was developed from my PhD thesis at the PhDArts program, Leiden University
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.
Do we create enough space for mistakes within the film system?
(2022)
author(s): Carina Randloev
published in: International Center for Knowledge in the Arts (Denmark)
Do we need to make more mistakes to keep the film language alive as cinema window no 1, in a time of high performance streaming platforms? Can we use the open process approach from visual art to do so?
In this exposition I will unfold thematic aspects related to: the audience, the film funding system, open processes, the production value, the space in between (art and film, documentary and fiction), something about language, the mistake, experiments, the ugly, and expectations on format.
The exposition is the result of six months of preliminary Artistic Research conducted at The National Film School of Denmark.
HONEYMOON IN POMPEII - work in progress
(2021)
author(s): Sven Vinge
published in: International Center for Knowledge in the Arts (Denmark)
“HONEYMOON IN POMPEII – work-in-progress” is an artistic research project conducted at the National Film School of Denmark. In it, I explore transmediality through the production of a prototype artwork spanning film, literary text, sculpture, and virtual reality all loosely inspired by the archeological technique used to cast the Pompeian victims of the Vesuvius eruption in 79 ad.
I describe my initial inspiration and how I changed my intentions of exploring a consistent storyworld to more abstract associations and themes and the different collaborative efforts in producing the four parts of the prototype (a test not meant for public exhibition). The prototype ended up consisting of:
1) A film representing a foot specialist helping a costumer try running shoes in a sports store but showing an obsessive interest in her feet and crossing her personal boundaries.
2) A literary text consisting of selected passages of Wilhelm Jensen’s short novel “Gradiva” (1902) translated to Danish in which we meet the young archeologist Norbert Hanold and notice his obsession with an ancient bas-relief portraying a young woman walking.
3) A sculpture consisting of four transparent plastic reliefs depicting a walking woman (copies of the bas-relief described in the novel) suspended in a 1x2x2 meter aluminum frame.
4) An erotic virtual reality experience in which the perceiver’s bodily movements affects the virtual world. When moving, the represented scene freezes and vice versa.
We conducted a test of the joint transmedia artwork with a small group of respondents who answered a questionnaire reflecting on their experience. I reflect on the respondent’s answers and propose further questions and themes that may be interesting to explore through artistic research: How does one explore transmediality not necessarily in relation to a consistent storyworld but also relying on abstract characteristics? What are the limits (if any) between mixed media art, transmedia art, and installation art? How can transmediality be explored as either a goal in itself or as a development tool for artists working with particular media in mind? Could it be beneficial to explore transmediality through the metaphor of archeology and how?
Storyworld 2.0
(2020)
author(s): Simon Jon Andreasen
published in: National Film School of Denmark
In this project we are exploring how you can use gaming technology to create digital STORYWORLDS (transmedial universes) as a basis for creating film, theater, games, television, comics, books, VR and formats we do not yet know.
The exposition contains:
- a personal artistic and practical journey through familiar yet unknown story territory where we build an actual world
- a series of interviews with professional storytellers about their artistic ways and how they use and can use storyworld thinking
- three excercises which can be used in teaching of students as well as professionals in the art of creating storyworlds.
Finaly the exposition propose a new UNIVERSE DEVISING model blending game and theater methods to create transmedial universes.
MEMORY AS A METHOD FOR FILMMAKING
(2019)
author(s): Emilio Angel Reyes Bassail
published in: Journal for Artistic Research
This research develops a method for filmmaking that uses autobiographical memory as a guiding principle for the production of images. The proposed method comes as the result of a double gesture in which I wanted to a) acquire a subjective understanding of memory that came from artistic practice; and b) materialize the process of memory through film.
I used the filmmaking apparatus as a technique to give visibility to the process of remembering and forgetting: I worked with strategies such as the elaboration of a “memory diary”; the drawing of spoken portraits and locations based on memories; casting techniques which involved a dialectical approach towards memory; scouting trips to find places from my memory; hypnosis sessions as a technique to recover lost memories; reenactments of memories; a method to direct actors that relied on memory as a guiding mechanism; and the editing of the footage through a process of memory associations.
While doing this research, I inadvertently found that the techniques I used led to a process in which memories were rewritten through experimentation. Thus, the method produced a conceptualization of "memory" that frames it as a creative process. In the process of working on this project, I developed a very subjective approach to the craft of filmmaking that was informed by my particular relationship with memory. Thus, the proposed method of using personal memory as a core mechanism for the production of audio-visual products can be utilized as a tool for film education, promoting the creation of personal film languages based on an individual's memory, and as device to reflect on the subjective process behind an individual's artistic practice.
Frozen Moments in Motion – An Artistic Research on Digital Comics
(2019)
author(s): Fredrik Rysjedal
connected to: Norwegian Artistic Research Programme
published in: Faculty of Fine Art, Music and Design, University of Bergen
What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer?
This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
The slippery trail: The mollusc as a metaphor for creative practice
(2015)
author(s): Karen Savage
published in: Journal for Artistic Research
This exposition documents several years of process-driven practice-as-research. The work explores themes of womanhood, embodiment, and autobiography.
Throughout the exposition I argue that the embodiment of process is key to understanding practice-as-research. I propose that practice-as-research projects don't always begin with a ‘final output’ in mind. Instead, the practice of practice-as-research should be reconsidered throughout its development; it should use its potential for liminality. It is the demonstration of a ‘living process’ – living in process. However, what becomes key within the practice is a clear articulation of process, and how the research is recorded as part of that process. In this work, 'writing about practice' and performative practices are integrated, enabling a dialogue between various creative responses as well as offering access points to the research in a variety of forms.
This exposition explores ways in which we live in process through a presentation of text, visual essays, and short film and video pieces.
The work develops from creative artefacts and critical text into a piece of responsive writing, 'A Play of Characters'. This playtext reconsiders some of the influences in the work and explores the imagery of the whole project in a performative context.
The notion of embodiment and a 'living body of work' is developed further through the use of metaphor, in particular the metaphor of the mollusc. I use this to consider how practice evolves alongside process, 'housing' both the work and the process in both material form (the shell) and trace (the snail trail).
Different combinations of this work have been presented as performance installations, both at the University of Portsmouth, as part of my PhD examination in 2010, and at the University of Lincoln, as part of the Gnarlfest in 2014. However, by the very nature of 'living in process' this is a work that continues to evolve and 'live' in different forms. The purpose of this exposition is to explore the work in an accessible online form – one that offers alternative platforms and sequences, creating different possibilities and readings of the practice.
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.
ArtNews
(last edited: 2021)
author(s): My Häggbom
connected to: Stockholm University of the Arts (SKH)
This exposition is in progress and its share status is: visible to all.
Konst möter journalistik.
ArtNews re-gestaltar nyhetsberättelser i konstnärlig form i samarbete med olika konstnärer. Vi undersöker vad som uppstår i mellanrummet och mötet mellan konst och journalistiken.
Konstnärligt forskningsprojekt inom Stockholm University of the Arts
Art meets journalism. ArtNews re-designs news stories in artistic form in collaboration with various artists. We investigate the space between art and journalism. Artistic research project at Stockholm University of the Arts
Translating Atmospheres
(last edited: 2021)
author(s): Cecilia Berghäll
This exposition is in progress and its share status is: visible to all.
An ongoing research and exploration of what it means to think and feel through mediums.
Kelp Spillages
(last edited: 2021)
author(s): Francisco Trento
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.
*** This is a work in progress, not spell-checked and far for deployment.***
In this multimodal essay, I discuss some of the practices and experiences from the first Kelp Congress, part of the Lofoten International Arts Festival (LIAF, 2019). In the context of the festival, I participated in a workshop navigated by Dr Sabine Popp, Kelp Diagramming Collective. Transversally I touch issues regarding non-human agency, intra-action (Barad, 2003), and especially the understanding of the vegetable and algae life as the paradigm for thinking and developing new subjectivities and art (or not) practices, guided by the work of the Italian philosopher Emanuele Coccia.
This essay was supposed to be presented in a video/online 30-min format during the 11th SAR International Conference on Artistic Research 2020 is organized by the Society for Artistic Research (SAR), Bergen.
FilmMediaExpo2020
(last edited: 2020)
author(s): Heidi Möller, Katarina Eismann
connected to: Stockholm University of the Arts (SKH)
This exposition is in progress and its share status is: visible to all.
Welcome! We invite you to take part in an artistic exploration into Film and Media marking our Master Cohort’s graduation in June 2020. We are proud to present 17 gifted, brave and research ready students – all set to encounter the world!
A short film by Tor Einar Bekken from the Ila/Skansen harbour, Trondheim, Norway. Music improvised by Tor Einar Bekken, acoustic guitar.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)
Do we need to make more mistakes to keep the film language alive as cinema window no 1, in a time of high performance streaming platforms? Can we use the open process approach from visual art to do so? In this exposition I will unfold thematic aspects related to: the audience, the film funding system, open processes, the production value, the space in between (art and film, documentary and fiction), something about language, the mistake, experiments, the ugly, and expectations on format. The exposition is the result of six months of preliminary Artistic Research conducted at The National Film School of Denmark.open exposition comments (0)
In this project we are exploring how you can use gaming technology to create digital STORYWORLDS (transmedial universes) as a basis for creating film, theater, games, television, comics, books, VR and formats we do not yet know. The exposition contains: - a personal artistic and practical journey through familiar yet unknown story territory where we build an actual world - a series of interviews with professional storytellers about their artistic ways and how they use and can use storyworld thinking - three excercises which can be used in teaching of students as well as professionals in the art of creating storyworlds. Finaly the exposition propose a new UNIVERSE DEVISING model blending game and theater methods to create transmedial universes.open exposition comments (0)
What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.open exposition comments (0)
Konst möter journalistik. ArtNews re-gestaltar nyhetsberättelser i konstnärlig form i samarbete med olika konstnärer. Vi undersöker vad som uppstår i mellanrummet och mötet mellan konst och journalistiken. Konstnärligt forskningsprojekt inom Stockholm University of the Arts Art meets journalism. ArtNews re-designs news stories in artistic form in collaboration with various artists. We investigate the space between art and journalism. Artistic research project at Stockholm University of the Artsopen exposition comments (0)
An ongoing research and exploration of what it means to think and feel through mediums.open exposition comments (0)
Welcome! We invite you to take part in an artistic exploration into Film and Media marking our Master Cohort’s graduation in June 2020. We are proud to present 17 gifted, brave and research ready students – all set to encounter the world!open exposition comments (0)