Stockholm University of the Arts (SKH)
About this portal
Stockholm University of the Arts (SKH) was established in 2014 and have about 500 students and 250 employees. With our unique composition of education and artistic research, we want to create new opportunities for societal development and knowledge of tomorrow.
On 1 June 2016 SKH was authorised to award artistic third-cycle degrees in artistic practices. Exposition is an integrated part of artistic work at SKH. Each research project must present (stage, narrate, sing, choreograph and so on) its results in a way that is both rigorous and consistent. This requires research to be critically reviewed by peers in a combination of different exposition formats. By developing different formats in which peer review can be carried out, research within the area also addresses the challenges that arise when research is formulated and presented in forms that communicate through an artistically performed experience and thereby contribute to pushing the boundaries that existing forms of publication and dissemination of research set for the ambitions of artistic research.
Stockholm University of the Arts enables its researchers, PhD Candidates and staff to present their projects and findings on SKH’s RC portal in order to publish, archive, and internationally connect their artistic research.
SKH organizes private lessons and workshops aimed at our students, researchers, and employees. For bookings, please contact: heidi.paateremoller@uniarts.se.
contact person(s):
Heidi Möller url:
https://www.researchcatalogue.net/view/2225914/2551399
Recent Issues
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0. X-position
Stockholm University of the Arts publication series: X-Position, ISSN 2002-603X;3
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0. Published expositions
Published expositions by Stockholm University of the Arts.
Recent Activities
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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.
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Att uttala det kroppsliga - på spaning att överbrygga skådespelarens arbete med kroppen som instrument, rörelsegestaltning och dramatisk text
(2024)
author(s): Olof Halldin
published in: Stockholm University of the Arts (SKH)
Teater Västernorrlands Dödsdansen utgår från en ny bearbetning. I Aleksandra Czarnecki Plaudes regi är kroppen, rörelsen och musiken tre starka medspelare till August Strindbergs klassiska verk.
I rollerna ser vi Teater Västernorrlands skådespelare Gisela Nilsson, Åke Arvidsson och Kaj Ahlgren.
August Strindbergs klassiska verk från år 1900 utspelar sig i en tid av förberedelse inför en karantän. De äkta makarna artillerikaptenen Edgar och den före detta skådespelerskan Alice är isolerade på en skärgårdsö. Inför sin silverbröllopsdag får de ett oväntat besök av nära vännen Kurt och ett osande triangeldrama tar sin början.
Projektet avser dels fånga och kommunicera mina arbetsmetoder, dels generera ny kunskap i frågan om skådespelarens fördjupade gestaltningsarbete av dramatisk text med och via kroppen som instrument och rörelsegestaltning. Syftet är att genom praktiskt arbete och i samarbete med professionella skådespelare samla, artikulera och kommunicera det specifika i övergången mellan kropp- och textarbete, tvärs genom hela processen, det vill säga från förberedelsefas via repetition till publikmöte. Dödsdansen är resultatet av själva metoden?
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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
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Ett osynligt stycke tyg
(2024)
author(s): Jenny Sunesson
published in: Stockholm University of the Arts (SKH)
Ett osynligt stycke tyg
essä
av Jenny Sunesson, 2022
redigerad 2023
Förord (2023)
Ett osynligt stycke tyg är en essä som utgår från två olika, men ändå överlappande, konstnärliga processer; forskningsprojektet FACT stage one, och det soldrivna, ljudkonstprojektet UNDER.
Essän utforskar ljudets och lyssnandets specifika kapaciteter utifrån min konstnärliga fältinspelningspraktik, vilket är den “ljudmodalitet” som jag har arbetat med i över 20 år.
Texten diskuterar ljudets och lyssnandets platsrelaterade, politiska och dolda förmågor när det gäller att utmana det “vi tror vi vet” om mänskliga och mer-än-mänskliga organismer – och som ett möjligt verktyg för att hitta öppningar och uppenbarelser bortom stereotypiskt vetande.
Bild copyright: Ida Lindgren
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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
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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.