“A new cartography of the world” : Of participatory sense-making within ecological sound art and interdisciplinary collaboration
Stefansdottir, Halla Steinunn LU
(2019)
Who is the ‘I’ that performs?
- Abstract
- This presentation discusses two examples of participatory sense-making, that fall within the ecological-enactive trajectory of my artistic research. The first work is Tapeshavet, a collaboration between composer Anders Hultqvist, poet Gunnar D. Hansson and ecological sound artist Stefan Östersjö and I, with the first output premiered at GAS festival in Sweden in autumn 2018 and a larger work set for premiere in 2019-20. The second is The cartographer; a staged performance created with actress Liv Kaastrup Vesterskov at Lund University‘s Inter Arts Center, Sweden. The work falls under my PhD research which draws on exploration of agency, and the dynamics between the practices of performer, composer and curator in the field of contemporary... (More)
- This presentation discusses two examples of participatory sense-making, that fall within the ecological-enactive trajectory of my artistic research. The first work is Tapeshavet, a collaboration between composer Anders Hultqvist, poet Gunnar D. Hansson and ecological sound artist Stefan Östersjö and I, with the first output premiered at GAS festival in Sweden in autumn 2018 and a larger work set for premiere in 2019-20. The second is The cartographer; a staged performance created with actress Liv Kaastrup Vesterskov at Lund University‘s Inter Arts Center, Sweden. The work falls under my PhD research which draws on exploration of agency, and the dynamics between the practices of performer, composer and curator in the field of contemporary music and sound art. Through various case studies I look at how an ecological-enactive perspective on musical practice can challenge current understandings of the aforementioned agencies and what artistic methods can be employed to explore a fluid understanding of these roles. The collaborations draw on field-recording as a methodological tool, as well as activation as a method. I have developed the latter since winter 2016-2017, through which “a musician's multi-modal listening is employed in a fleshy listening” (Stefánsdóttir & Östersjö, forthcoming). Through analysis this presentation is set to unpack the processes of such participatory sense-making. Based on this I put forth and argue for the concept of multi-entity performance (Rawlings 2019, Stefánsdóttir 2019) as a technique as well as analytical and conceptual stance. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/bfa02996-a4b2-420c-a9db-c5ce18381162
- author
- Stefansdottir, Halla Steinunn
LU
- organization
- publishing date
- 2019-11-28
- type
- Contribution to conference
- publication status
- published
- subject
- conference name
- Who is the ‘I’ that performs?
- conference location
- Ghent, Belgium
- conference dates
- 2019-11-28 - 2019-11-29
- language
- English
- LU publication?
- yes
- additional info
- Paper presented at Orpheus Institute’s festival and symposium ‘Who is the ‘I’ that performs?’, Ghent, Belgium.
- id
- bfa02996-a4b2-420c-a9db-c5ce18381162
- date added to LUP
- 2021-04-08 23:12:20
- date last changed
- 2021-04-18 02:20:27
@misc{bfa02996-a4b2-420c-a9db-c5ce18381162,
abstract = {{This presentation discusses two examples of participatory sense-making, that fall within the ecological-enactive trajectory of my artistic research. The first work is Tapeshavet, a collaboration between composer Anders Hultqvist, poet Gunnar D. Hansson and ecological sound artist Stefan Östersjö and I, with the first output premiered at GAS festival in Sweden in autumn 2018 and a larger work set for premiere in 2019-20. The second is The cartographer; a staged performance created with actress Liv Kaastrup Vesterskov at Lund University‘s Inter Arts Center, Sweden. The work falls under my PhD research which draws on exploration of agency, and the dynamics between the practices of performer, composer and curator in the field of contemporary music and sound art. Through various case studies I look at how an ecological-enactive perspective on musical practice can challenge current understandings of the aforementioned agencies and what artistic methods can be employed to explore a fluid understanding of these roles. The collaborations draw on field-recording as a methodological tool, as well as activation as a method. I have developed the latter since winter 2016-2017, through which “a musician's multi-modal listening is employed in a fleshy listening” (Stefánsdóttir & Östersjö, forthcoming). Through analysis this presentation is set to unpack the processes of such participatory sense-making. Based on this I put forth and argue for the concept of multi-entity performance (Rawlings 2019, Stefánsdóttir 2019) as a technique as well as analytical and conceptual stance.}},
author = {{Stefansdottir, Halla Steinunn}},
language = {{eng}},
month = {{11}},
title = {{“A new cartography of the world” : Of participatory sense-making within ecological sound art and interdisciplinary collaboration}},
url = {{https://lup.lub.lu.se/search/files/96436100/Orpheus_Instituut_Who_is_the_22I_22_that_performs_Festival_Symposium_28_29_Nov._2019_.pdf}},
year = {{2019}},
}