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71	Le projet MissTake : entre composition et improvisation ; entre abstraction et matière sensible Jean, Monique 07 1900 (has links) Thèse en recherche-création Cette version de la thèse a été tronquée des éléments de composition originale. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Cette recherche-création est issue de ce questionnement : qu’est-ce qui est en jeu dès lors qu’il s’agit d’intégrer et d’imbriquer l’improvisation (l’écoute active, corps agissant et réagissant au son en devenir) et la composition (écoute répétée, traitements fins, auscultation de la matière) dans une pratique électroacoustique ? Pour y répondre, j’ai développé un dispositif d’improvisation multipiste — intitulé le projet MissTake — axé sur des technologies hybrides (analogiques et numériques), l’instabilité et la non-linéarité dans une approche morphologique et ondulatoire des flux sonores. Trois compositions sont issues de ce questionnement. Mes pièces Volt_#1, Volt_#3 et Dancing on the Edge of Darkness, créées avec les matériaux sonores du dispositif, ont généré un processus de délestage dans les gestes compositionnels et les mouvements de spatialisation. L’analyse de ces œuvres utilise les concepts puisés dans le nouveau matérialisme et la philosophie de Deleuze et Guattari. Le projet MissTake, conçu autour d’un magnétophone à cassettes quatre pistes configurées en sans-entrée, est l’aboutissement de cette recherche-création. Le choix du multipiste, des sonorités bruiteuses et de l’improvisation libre a apporté un changement de visée fondamental dans ma pratique et donné lieu à un processus de décélération sur le plan temporel. En me concentrant sur le matériau sonore évacué du signifié, dans la perception et l’abstraction, j’ai pu développer une pensée de la musique comme ouverture sur l’indéfini, dans le sensible et l’inachèvement de la forme. / This research-creation begins with this questioning : what is at stake when it comes to integrating and coalescing improvisation (active listening, embodied gestures, acting and reacting to the sound in the making) and composition (repeated listening, refine and detailed treatments, auscultation of the material) to an electroacoustic practice? To answer this, I developed a multichannel improvisation device – called the MissTake project – focused on hybrid technologies (analogue and digital), instability and non-linearity in a morphological and undulatory approach to sound flows. Three compositions come from this questioning and device. My pieces Volt_#1, Volt_#3 and Dancing on the Edge of Darkness have generated a process of step-down compositional gestures and spatialization movements. The analysis of the works is based on concepts drawn from the new materialism and philosophy of Deleuze and Guattari. The MissTake performance, designed around a four-track cassette recorder configured in no-input is the culmination of this research-creation. The choice of the multichannel, noise aesthetics and free improvisation brought a fundamental change of focus in my practice and gave rise to a deceleration process at the temporal level of sound. By focusing on the sound material evacuated from any meaning, in perception and abstraction, I was able to develop a thought of music as an opening on the indefinite, in the sensible and the incompleteness of the form. improvisation composition no-input noise spatialisation spatialization electroacoustic électroacoustique flux sonores Deleuze-Guattari nouveau matérialisme sonic flux new materialism bruit
72	Posthuman Art Conservation Curriculum Peck, Scott Joseph 12 1900 (has links) At least half of the art objects in the public trust are currently in need of conservation today. In consideration of this crisis, a posthuman version of art conservation curriculum is proposed to transgress current limitations of the field. Through applying Michel Foucault's genealogy and archaeology to art conservation and its education, Anthropocentric motivations undergirding conservation are revealed. Foucault's death meditation inspires my narrativization of a fire event that incites a re-visioning of my over 25 years of conservation and teaching experience. By re-contextualizing theorist Ted Aoki's works, art conservation curriculum becomes a reflective and affective site for reciprocal healing of self and other, incorporating the lives of conservation students and art objects. Reconsidering art conservation curriculum in light of Aokian notions of curriculum as plan and curriculum as lived, provokes the curricular potentialities of new materialism, along with quantum physics' entanglement, intra-agency and intra-activity for the field. Art conservation and its curriculum are radically reimagined as indwelling between humanist priorities of the Anthropocene and posthumanist possibilities towards more caring, ethical and sustainable futures for both human and nonhumans' coexistence on this planet. Education, Art Education, Curriculum and Instruction Physics, Theory
73	Breathing Matters : Feminist Intersectional Politics of Vulnerability / Breathing Matters : En feministisk intersektionell sårbarhetens politik Górska, Magdalena January 2016 (has links) Breathing is not a common subject in feminist studies. Breathing Matters introduces this phenomenon as a forceful potentiality for feminist intersectional theories, politics, and social and environmental justice. By analyzing the material and discursive as well as the natural and cultural enactments of breath in black lung disease, phone sex work, and anxieties and panic attacks, Breathing Matters proposes a nonuniversalizing and politicized understanding of embodiment. In this approach, human bodies are onceptualized as agential actors of intersectional politics. Magdalena Górska argues that struggles for breath and for breathable lives are matters of differential forms of political practices in which vulnerable and quotidian corpomaterial and corpo-affective actions are constitutive of politics. Set in the context of feminist poststructuralist and new materialist and postconstructionist debates, Breathing Matters offers a discussion of human embodiment and agency reconfigured in a posthumanist manner. Its interdisciplinary analytical practice demonstrates that breathing is a phenomenon that is important to study from scientific, medical, political, environmental and social perspectives. / Andning är inte ett vanligt förekommande ämne inom feministiska studier. Breathing Matters introducerar detta fenomen som har en potential för feministiska intersektionella teorier, politik, social rättvisa och klimaträttvisa. Genom analyser av materiella, diskursiva, naturliga och kulturella dimensioner av andningens formationer, i sjukdomen pneumokonios, telefonsexarbete samt ångest och panikattacker, föreslår Breathing Matters en icke-universialiserande och politiserad förståelse av förkroppsligande. Genom denna ansats konceptualiseras mänskliga kroppar som agentiella aktörer i en intersektionell politik. Magdalena Górska argumenterar att kampen för att andas och för andningsbara liv är ett angeläget ämne för differentiella former av politisk praktik. Denna sårbara och vardagliga praktik som både består av kroppsmateriella och kroppsaffektiva handlingar konstituerar politik. Placerad i en kontext av feminist poststrukturalistisk, nymaterialistisk och postkonstruktivistisk debatt erbjuder Breathing Matters en diskussion kring mänskligt förkroppsligande och agentskap som är omkonfigurerad på ett posthumanistiskt sätt. Den tvärvetenskapliga analytiska praktiken visar att andning är ett fenomen som är viktigt att studera från vetenskapliga, medicinska, politiska, miljömässiga och sociala perspektiv. Breath breathing intersectionality vulnerability social and environmental justice black lung phone sex work anxieties panic attacks matterwork embodiment affect agential realism posthumanities postconstructionism new materialism environmental humanities cultural studies feminism gender Andning intersektionalitet sårbarhet social rättvisa och klimaträttvisa pneumokonios telefonsex postkonstruktionism ångest panikattacker materiaarbete förkroppsligande affekt agentiell realism posthumanism nymaterialism miljöhumanism kulturstudier feminism genus
74	Catch \| Bounce : towards a relational ontology of the digital in art practice Charlton, James January 2017 (has links) How might ‘the digital’ be conceived of in an ‘expanded field’ of art practice, where ontology is flattened such that it is not defined by a particular media? This text, together with an installation of art work at the Exhibition Research Lab, Liverpool John Moores University (13-24 March), constitutes the thesis submission as a whole, such that in the practice of ‘reading’ the thesis, each element remains differentiated from the other and makes no attempt to ‘represent’ the other. In negating representation, such practices present a ‘radical’ rethinking of the digital as a differentiated in-itself, one that is not defined solely by entrenched computational narratives derived from set theory. Rather, following Nelson Goodman’s nominalistic rejection of class constructs, ‘the digital’ is thus understood in onto-epistemic terms as being syntactically and semantically differentiated (Languages of Art 161). In the context of New Zealand Post-object Art practices of the late 1960s, as read through Jack Burnham’s systems thinking, such a digitally differentiated ontology is conceived of in terms of the how of practice, rather than what of objects (“Systems Aesthetics”). After Heidegger, such a practice is seen as an event of becoming realised by the method of formal indication, such that what is concealed is brought forth as a thing-in-itself (The Event; Phenomenological Interpretations 26). As articulated through the researcher’s own sculptural practice – itself indebted to Post-object Art – indication is developed as an intersubjective method applicable to both artists and audience. However, the constraints imposed on the thing-in-itself by the Husserlian phenomenological tradition are also taken as imposing correlational limitations on the ‘digital’, such that it is inherently an in-itself for-us and thus not differentiated in-itself. To resolve such Kantian dialectics, the thesis draws on metaphysical arguments put forward by contemporary speculative ontologies – in particular the work of Quentin Meillassoux and Tristan Garcia (After Finitude; Form and Object). Where these contemporary continental philosophies provide a means of releasing events from the contingency of human ‘reason’, the thesis argues for a practice of ‘un-reason’ in which indication is recognized as being contingent on speculation. Practice, it is argued, was never reason’s alone to determine. Instead, through the ‘radical’ method of speculative indication, practice is asserted as the event through which the differentiated digital is revealed as a thing-in-itself of itself and not for us.
75	Are you ready for a wet live-in? : explorations into listening Holmstedt, Janna January 2017 (has links) Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations? This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet). The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them. / <p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: DoctoralStudies and Research in Fine and Performing Arts, 16. ISSN: 1653-8617</p> artistic research listening situated practices sound in art expanded art expanded scenography media ecology acousmatic orality a/orality storytelling interspecies communication more-than-human relations co-habitation sensorial estrangement posthumanism parasites play technology dolphins sonic sensibility transliteracy voice performativity new materialism Michel Serres Karen Barad John Lilly oceans wet live-in Visual Arts Bildkonst Performing Arts Scenkonst
76	Block och skärvig sten. En arkeologi av det abiotiska : Ett symmetriskt perspektiv på blockanläggningar från yngre bronsålder - äldre järnålder med utgångspunkt i Kättsta i Uppland. Bergström, Philip January 2016 (has links) This dissertation investigates how a symmetrical approach to archaeology can be applied to identify the properties and effects of the non-living, abiotic materials. And to reconfigure the relationship between humans and non-human objects, bridging the divide between what has been termed ‘cultural’ and ‘natural’ and thus placed in different ontological realms. This is examined by studying the practices surrounding “boulder graves”, from the Late Bronze Age - Early Iron Age (approx. 1000 – 0 BC) in Kättsta, Ärentuna parish in Uppland, Sweden. The boulders tend to be studied from an anthropocentric point of view, in which they are seen primarily as passive objects, interpreted only for what they represent. The objective of this research, however, is to gain new insights into the agency of boulders, and how they contributed to the practices carried out adjacent to them. The dissertation is based on a case study where a thematic analysis is performed, focusing on the properties and characteristics of boulders, their affordances, the distribution of finds and their interrelations, and the effects their relations generated. The results show that the boulders themselves contributed in human-stone relations and were vital in the formation of the grave-like features they became part of. It is argued that a symmetrical, non-anthropocentric approach to these features will broaden our view on materialities in the past, affording ontological as well as ecological implications. New-materialism Symmetrical archaeology Materiality Late Bronze-Age Early Iron-Age Boulders Stone Fire-cracked stones Non-anthropocentrism Non-representationalism Boulder graves Uppland Kättsta nymaterialism symmetrisk arkeologi materialitet yngre bronsålder äldre järnålder block sten skärvig sten icke-antropocentrism icke-representationalism blockgravar Uppland Kättsta
77	"The earth is a tomb and man a fleeting vapour": The Roots of Climate Change in Early American Literature Keeler, Kyle B. 10 April 2018 (has links) No description available. Environmental Studies Literature Ecology Climate Change American Literature Native Americans Native American Studies Native Studies Climate Change Anthropocene American Indians King Philips War Metacomet Lydia Maria Child Hobomok James Fenimore Cooper The Last of the Mohicans Native Americans Settler Colonialism Ecocriticism French and Indian War New Materialism
78	Performative Resistance as Ecofeminist Praxis? Johnson, Benjamin D 05 1900 (has links) Erika Cudworth's Developing Ecofeminist Theory provides a helpful foundation for a non-essentialist, properly intersectional ecofeminist account of oppression, marginalization, and domination, but her rejection of what she refers to as "postmodernism" appears to be based on a misreading of Judith Butler. I attempt to provide a synthesis of Cudworth's framework with Butler, particularly through the use of Karen Barad's agential realism, in order to provide possibility for new alliances between ecofeminism and other anti-oppressive frameworks. I then examine what it might look like to do ecofeminist praxis, given the complex view of agency, ontology, and intersectionality rendered by such a synthesis. I draw from bicycling as an example from which to extrapolate what it means to resist oppression, and then draw from the Philosophy for Children movement to consider what such resistance might look like within the classroom. This dissertation thus attempts to move from theory to practice, recognizing that "the real world" is both always at hand and also subject to performative deconstruction. environmental philosophy environmental ethics ecofeminism feminism new materialism performativity agential realism postmodernism Judith Butler Erika Cudworth Karen Barad bell hooks bicycle rhizome radical permaculture praxis resistance oppression pedagogy p4c philosophy for children philosophy with children children undergraduate teaching education real material humility dialogue listening relationality indeterminacy certainty deconstruction intersectionality solidarity
79	Ring Out Your Dead : Distribution, form, and function of iron amulets in the late Iron Age grave fields of Lovö Mattsson McGinnis, Meghan January 2016 (has links) The purpose of this study is to analyze the distribution, forms, and function(s) of iron amulets deposited in the late Iron Age gravefields of Lovö, with the goal of ascertaining how (and so far as possible why) these objects were utilized in rituals carried out during and after burials. Particular emphasis is given to re-interpreting the largest group of iron amulets, the iron amulet rings, in a more relational and practice-focused way than has heretofore been attempted. By framing burial analyses, questions of typology, and evidence of ritualized actions in comparison with what is known of other cult sites in Mälardalen specifically– and theorized about the cognitive landscape(s) of late Iron Age Scandinavia generally– a picture of iron amulets as inscribed objects made to act as catalytic, protective, and mediating agents is brought to light. archaeology Iron Age Late Iron Age Viking Age Viking Studies Vendel period practice theory cognitive archaeology grave goods New Materialism neo-materialism Thor's hammer rings burial analysis post-structuralism Early Medieval medieval studies Scandinavian archaeology Scandinavia Sweden Swedish archaeology Mälardalen cultural history ritual theory ritual rituals studies burial rituals ritualization deviant burial history of religions Old Norse religion Viking Age religion cult places material culture rites of passage amulets magic ancient magic medieval magic pratice praxis
80	Rytmen bor i mina steg : En rytmanalytisk studie om kropp, stad och kunskap / The rhythm lives in my steps : A rhythm-analytical study of body, city and knowledge Johansson, Sara January 2013 (has links) This thesis brings together a fascination with the city and a keen interest in the knowledge process. The point of departure is the bodily, sensory and emotional experience. That the author uses her own perceptions and experiences and is preoccupied with her own knowledge process means that she writes herself into an autoethnographic context. She also experiments with the writing and allows it to take on a more literary form as she writes about her own sensory impressions and feelings. The term rhythmanalysis is employed as a way of assessing, exploring, interpreting and understanding the world that embraces the embodied experience. Human beings are embodied beings, a claim we can make by referring to our own experiences as well as how we perceive, communicate and interact. The study delves into two aspects of rhythmanalysis, first as a way of describing the knowledge process as rhythm-analytical, which implies that bodily experiences are equally important as intellectual ones, and secondly as a way of talking about the city as polyrhythmic. It follows upon the latter that embodied rhythmanalysis of the city is possible. The rhythmanalysis may ultimately be seen as a project aimed at overthrowing the Cartesian dualism between body and mind. That we are embodied has a methodological consequence that is as simple as it is essential: the scholar exists in the world she studies. The researcher is not a neutral observer. She is a co-creator. She is a body, placed in time, space and history. She is situated, which means that her knowledge is also situated. Thus, the rhythmanalysis encompasses the body, the senses and feelings, and can be described with one key word: movement. It finds support in theories that acknowledge the fluid, the becoming, the situated, the performative, the relational, the dynamic, the material. It seeks methods that experiment, that focus on practices rather than discourses, that are preoccupied with a movable world rather than a static one. rhythmanalysis rhythm methodology method knowledge process movement city walking body mind embodiment Cartesian dualism affect emotion feeling senses touch sensory ethnography non-representational theory phenomenology new materialism/material feminism situated knowledge autoethnography memory rytmanalys rytm metodologi metod kunskap rörelse stad promenad kropp medvetande förkroppsligande cartesiansk dualism affekt emotion känsla sinnen känsel sinnlig/sensorisk etnografi icke-representationell teori fenomenologi ny materialism/materiell feminism situerad kunskap autoetnografi minne

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