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(side 5-6)
av Sara Brinch & Nina Lager Vestberg
(side 7-9)
av Jørgen Bruhn
Vitenskapelig publikasjon
(side 10-20)
av Christian Danielewitz & Peter Ole Pedersen
Engelsk sammendrag

Documenting the Invisible is a polemical text by curator and art historian Peter Ole Pedersen and visual artist Christian Danielewitz that examines the potential of documentary-based art to create useful aesthetic representations of ‘the Anthropocene’. The article is a result of the practice-based collaboration between Peter Ole Pedersen, Christian Danielewitz and fellow artist Anu Ramdas. Thus, it is both a description and reflection of their project Against the Grain – an artistic documentation and exhibition of the environmental crisis at Weikuang Dam in Inner Mongolia – and a more general discussion of the term ‘the Anthropocene’ with the challenges of representing it in art and photography, as well as visually representing phenomena like deep time and radioactivity. The article discusses Bruno Latour’s reflections on agency and the Anthropocene and, in relation, the affinity between documentary and fiction put forth by Jacques Rancière, in addition to Timothy Morton’s notion of the Hyperobject.

Vitenskapelig publikasjon
(side 21-35)
av Torr Cumming & Anne Gjelsvik
Engelsk sammendrag

When summing up the current state of affairs when it comes climate change awareness, author Eugene Linden stated that climate warnings are ‘heard, but not listened to’ (Linden 2015). In this article we discuss how, and to what extent, cinematic depictions of climate change can help remedy this issue. We base our discussion on the two documentaries, La glace et le ciel (2015) and Chasing Ice (2012). These films focus the lives of their respective protagonists, a glaciologist and a photographer, and the efforts they have gone to in researching and documenting climate change in the worlds polar regions.

Our aim is to discuss how the scientific discourse can be «translated» into film, and the consequences of such transmediations. In particular, our discussions are centred upon the role visualization plays as scientific proof in these films, and the phenomenological influence such documentation can have on viewers.

Vitenskapelig publikasjon
(side 38-47)
av Heidi Hart
Engelsk sammendrag

In the Danish environmental documentary Ekspeditionen til verdens ende (Expedition to the End of the World, 2013), music from Mozart’s Requiem sounds several times as Greenland’s melting ice and swelling ocean fill the screen. This recording is not mere Anthropocene ambience, however; the performance, captured in a church in Copenhagen, sounds surprisingly provisional and fragile. Unlike the rhapsodic-atmospheric use of music in Werner Herzog’s environmental films, recent climate-science documentaries like Chasing Ice and Ice and the Sky, or sentimental viral videos of Arctic piano playing, the Mozart fragments in Daniel Dencik’s film sound as contingent material artifacts of human presence in a rapidly dissolving visual landscape. Apparently clumsy interruption and closed caption-style paratext amplify this critical distance, a refreshing disturbance in a sea of smoothly mediated elegiac nature films. Ultimately, Expedition to the End of the World illuminates global warming as the «hyperobject» that Timothy Morton argues is difficult to reduce to cognitively manageable dimensions; roundabout commentary and the music’s own slippery codes mirror this difficulty, further complicating a film that refuses reduction to an activist or aesthetic-philosophical position.

Vitenskapelig publikasjon
(side 49-59)
av Johan Blomberg & John Haglund
SammendragEngelsk sammendrag

Antropocen markerar jordens inträde in i en ny geologisk tid. Övergången antas vara resultatet av hur den storskaliga implementeringen av teknologi orsakat massiva förändringar för jordens miljö och ekosystem. Även om den geologiska användningen är begreppets ursprungliga betydelse har det erövrat nya innebörder inom såväl humaniora som konst. Eftersom det mänskliga inflytande som antas föranleda övergången till en antropocen tidsålder är ett teknologiskt inflytande kräver förståelsen av antropocen ett klargörande av vad teknologi är. Vi söker svaret i Heideggers teknologifilosofi, enligt vilken teknologin är ett specifikt sätt som jorden framträder på i vår tid, nämligen som bestånd ställt till förfogande för mänskliga intressen. Detta ses som en anledning till utarmandet av jordens naturtillgångar, men även något som leder till att människan på samma gång upphöjs och detroniseras. Att detta infaller beror på att den teknologiska tidsålderns expanderande objektivism förstärker subjektet i skymundan. Indikationer på detta motsägelsefulla förhållande går att skönja inom samtidskonsten. För att fråga om dess roll i antropocen diskuterar vi Heideggers analys, enligt vilken konsten kan sätta sanningen i verket genom att konstverket ställer upp en strid mellan jord och värld. Detta låter oss skilja mellan tre olika positioner för den «antropocena» konsten: den som bejakar antropocenbegreppet, den som förhåller sig kritisk till det och den som går utanför själva denna dikotomi.

The World as Bestand and Representation: The Anthropocene, Technology and Art through Heidegger’s Philosophy

The Anthropocene marks the earth’s entrance into a new geological time. The transition is assumed to be caused by the implementation of man-made technologies resulting in massive changes for environment and ecosystems. Even if the concept of Anthropocene originates from the natural sciences, its influence within both art and the humanities has been considerable. Since the human influence in Anthropocene is specifically a technological influence, understanding Anthropocene entails clarifying what technology is. We propose that a conceptual elucidation is found in Heidegger’s philosophy of technology. According to Heidegger, technology involves that the world is framed as a «standing-reserve» (Bestand) for human interests. In such an «enframing» (Gestell), the position of the human is simultaneously yet paradoxically elevated and dethroned. The indications of this contradictory relation can be found in contemporary discussion of the Anthropocene in the arts. To further inquire into the role of art in Anthropocene, we turn to Heidegger’s analysis of how the work of art sets off truth in the work as a conflict between earth and world. This allows us to differentiate between three different positions for «Anthropocene» art: an affirming, a critical, and one that attempts to go beyond this dichotomy.

Vitenskapelig publikasjon
(side 82-96)
av Synne Skjulstad
Engelsk sammendrag

The paper discusses the work of Instagram artist Douglas Abraham as a techno-cultural construct, and how the intersections between fashion and art photography in his work reveal some of the conditions for image practices embedded in Instagram. His profile name on Instagram is bessnyc4, having been expelled from the platform four times. A close study of Abraham’s work informs our understanding of how cultural practices relating to fashion photography, brand management and censorship are performed on the platform. Close attention is given to artistic approaches to the mediation of fashion, as this is central to Abrahams» artistic practice. The article analyzes a selection of Abraham’s works published on Instagram. The analysis is rooted in a media aesthetics approach to mediation. In such a perspective, attention is given to mediation as processes involving the perception and sense-making activities of a situated subject, and encounters between the spectator, the work and its cultural and meditational references. The very materiality of the media involved – in this case, Instagram – is central to the analysis. The article also draws on design theorist Anne Balsamo’s notion of techno-culture, as she predominantly conceives communication technology as cultural artefacts. Instagram as such a cultural artefact is thus central in providing the conditions within which fashion photography is negotiated.

(side 99-107)
av Åsne Ø. Høgetveit

Årets utgåve av den årlege opne, russiske filmfestivalen Kinotavr var nummer 27 i rekka, og festivalen er ein ypparleg stad for å ta tempen på Russisk film. Konkurranseprogrammet inneheldt 14 langfilmar og 26 kortfilmar, der eit høgt tal var regissert av debutantar og kvinner. Fleste parten av filmane tok føre seg samtidas Russland, og personlege historier om familieliv, oppvekst, kjærleik og så bortetter. Likevel var det ei breidde i korleis forteljingane om samtida vart presentert. Eg merkte meg særleg korleis fedrar og farskap vart presentert, rolla kvinnelege regissørar spelar i russisk film, og det ofte nytta temaet om overnaturlege, mystiske kvinner.

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