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Public defences

Before Sound: Transversal Processes in Site-Specific Sonic Practice

Åsa Stjerna, Musical Performance and Interpretation, Academy of Music and Drama
 

Time and place
Tuesday 20th November, 2018

10:00 Presentation of the permanent sound installation Himlen nedtagen by Åsa Stjerna in Bild- och interventionscentrums ljusgård/inomhus atrium, Blå Stråket 5, Sahlgrenska universitetssjukhuset
13:00 Public defence at Artisten, Fågelsången 1, room A505 (Lingsalen), Göteborg

Opponent
Gascia Ouzounian professor, University of Oxford, Brasenose College

Examining Committee

  • Robin Nelson, professor, Central School of Speech and Drama, University of London
  • Ellen Røed, professor, Stockholm Universty of the Arts
  • Golo Föllmer, PD Doktor, Inst. für Musik, Medien und Sprechwissensch. IMMS, Martin Luther Univ. Halle-Wittenberg
  • Reserv: Daniel Jewesbury, lektor, Akademin Valand, Göteborgs universitet

 

Abstract
This doctoral research explores the capacity of site-specific practices of sound installation to bring about transformation. It claims that in order to understand this capacity, we need to address the complexity of the transversal processes that make up artistic practices in this field, and understand that these transversal processes in fact precede sound. This includes understanding site-specificity as a complex, affective practice spanning across and connecting the material, social, discursive, artistic, and technical realms at the same time in a given situation in public space. Based on experiences from the author’s site-specific practice of sound installation, the thesis explores three approaches, and a series of related conceptual tools, in order to articulate the nuances of such transversal processes. These approaches, informed by a philosophy of immanence, are: mapping the affective lines, establishing new connections, and becoming non-autonomous. These three approaches look to re-negotiate some of the traditions, tendencies, and assumptions that dominate existing artistic sonic strategies. By exploring these three approaches, the dissertation suggests that it is possible to emphasize and practice transversality. This in its turn, has the potential to affect site-specific sonic practice artistically and in terms of research and education. Further, the dissertation shows how such an approach activates the ethical dimension of site-specific sonic practice. In particular, it involves dismantling the established separation between artist-subject, site, and work, in order to acknowledge the transversal affective relations between specific and diverse “bodies” with agencies—human as well as non-human. Beyond making visible the transversal nature of site-specific sonic practice, the explorations also open up future perspectives in thinking about the field. Not least, the research points towards the importance of overcoming hierarchical models of thought that dominate within a range of discourses and institutions central to art practice. Such a shift has the potential to radically transform the power structures that exist between commissioners of art, artists, a site’s own inherent agencies, and the visitor. Further, a change in our thinking of the type described in this work is also needed if we are to broaden existing dialogues on the artistic work, representation, material, and process.

Keywords
sound installation
site specific
site specificity
sound art
artistic research
philosophy of immanence
assemblage
affect
ethics
public space
transversality
transversal
Gilles Deleuze
Félix Guattari
sonification
sound design
sonic practice
transformation

Download the dissertation HERE

 


Images: Annica Karlsson Rixon from Valand Academy defending her dissertation 'Queer Community through Photographic Acts. Three Entrances to an Artistic Research Project Approaching LGBTQIA Russia' at the Museum of World Culture in Gothenburg, 2016. Photographs by Hendrik Zeitler.

Page Manager: Anna Frisk|Last update: 11/29/2018
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