Transtopian Worldbuilding
- Sensorimotor attunement as a way to percieve, process and become with.
This practice draws from several different art traditions like worldbuilding, formal pattern explorations, repetitative and meditative practices like weaving or animating, conceptual withdrawals and opting-outs. The immateriality of fluxus experiences.
This practice channels a certain kind of realating and interacting with environments. It is not media specific, It applies whatever new techniques and materials that are available or suitable to attune to environments. However animation has a special place in this ever expanding toolbox. Though anything that facilitates a iterative interchange between sensory input from the environment with my motor outputs I can use. It is this tuning that is the central aspect of the practice.
I call the practice “trans”- because it moves me between things , and as I occilate, bounce between, everything becomes a bit unstable, it starts to shift, sometimes when I have a strong core I might shift the other things a lot, but other times it is mostly me that transforms.
I call the practice “topian” because it is dependent on place, the contexts and the environments I find myself in. And also the thing that is continuing when I shift environment (myself) is experienced as place, as inner world.
And I call it “worldbuilding” because that is what my agency feels like, this is what any creative act I carry out ammounts to – a piecing together of the different topias that collide, interact, attract each other
Here you find a collection of works & text that tries to convey how this works. They are organized in three categories. You can start reading anywhere, from the top, from the middle or from under, depending on your impulse. At the end of each work you will be pointed towards continuations. The same things will be deliberated in the different parts, but from different points of departures. No text is very important in itself, it is in how they connect and interweave that is the point, I am trying to make.
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Name Name, 1900
Short reflections portals (bottom-up approach)
These short essays on themes dealing with environmental phenomena or the body and its movements & practices, offer entrypoints into this DARP that are concrete and grounded in everyday experiences. If longer theorizing texts appear inaccessible, start here with an essay about something intressting to you, approaching the central themes of this DARP bottom-up.
The learning journey in these phd studies has emerged from a multitude of different separate intrests. As I have deepened my investigation in these topics they begun to connect and intertwine, gradually developing a bigger picture. This bigger picture emerged thanks to shared reflections with others that I have met through these intrest. So if any of these themes are relevant to you, you can start reading there, to see if you may also be interested in investing further into how this theme is intervowen in the assemblages/agencements of the practice-threads or in the more abstract, "bigger pictures" attempted at in the theorizing texts.
- biking
- natur painting
- pose to pose animation
- sauna
- pedagogy
- straight ahead animation
- writing
- Teeth and nails
- looping
- footprint
- inbetweening
- isolation
- standing walking
- lying down
- refusal
- shutdown
- pines
- curves
- marigolds
- mist and fog
- mushrooms
- Co2
- rocks
- subatomic particles
- water
Inbetweening practice-threads, research-weaves
(frame by frame cronological approach)
Art practicing in itself is a valid knowledgeform and should be able to stand on its own as such. But here I'v choosen to share descriptions of practice processes because I want to discuss something that often seems to be rendered invisible, in the final works, through the frameworks through which art is presented and in the conversations we have about art in educational settings or public debate.
Due to my artistic desire to reduce the climate footprint of my practice I have come to increasingly reduce the substantial, material outputs. What is left is its embodied knowledge of sensing, processing and navigating specific situations.
This led me to realize that it is these assemblages/agencements that are the fundamental part of art worth saving, in the reprioritazation nessecary in a shrinking world.
- marigold resonance
- voice of LCA
- University shutdown
- book withdral
- pended seminar
- dramaturgical ultimatum
- pended seminar
- tribunal for lake vättern
- water has rights
- worklog 30% seminar
Theory-building of bigger pictures (top-down approach)
These texts present some theories about the practice I have developed throughout my life. One text explores my curiosity about the specific, ecologically aware knowledge that animation generate. I wrote it out of a desire to bring together three communities that have meant a great deal to me: Animation, Environmentalist, and Neurodiverse.
Another text examines a foundational aspect of my practice—the inner world-making I call Transtopian Worldbuilding. It focuses on this practice as a personal knowledge-form developed to affirm a particular set of cognitive needs and affordances.
It is not in my nature to write in this way, and I apologize for both the limitations of the language and the rigidity of the form. But I felt a need to share these conclusions as a contribution to the broader conversation about how we might change things.
- Animation, Environment & Neurodiversity
- Transtopian Worldbuilding
- Unknown unknowns
