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Renewable FutuRes, Issue 3 / acoustIc space, Volume 18 Oslofjord Ecologies Oslofjord — “Oslofjord Ecologies” marks the tenth anniversary of the Renewable Network – a Baltic-Nordic collaboration focusing on artistic practices that offer new ideas to overcome the crises of the past and present, working with science and ‘techno-ecolo- gies’, and developing new models for more sustainable and im- aginative ways of life. “Oslofjord Ecologies” is the third issue of “Renewable Futures”, a special Acoustic Space series, presented by guest editor Kristin Bergaust, artist and professor from Oslo Metropolitan University. The articles and visual representations in this book are attempts to communicate our experiences and develop questions and con- cerns following our engagement with Oslofjord Ecologies. The contributors are artists who have presented ideas and developed works in the project exhibitions and activities, as well as authors engaged in transdisciplinary discussions on art and ecology. Authors of the research papers: Venke Aure, Kristin Bergaust, Boel Christensen-Scheel, Tona Gulpinar and Anneke von der Fehr, Helene Illeris, Sabine Popp, Merete Røstad, Elin T. Sørensen, Gunhild Vatn, Nina Vestby. The album visually presents the Oslofjord Ecologies exhibitions, performances and activities by participating artists. Oslofjord Ecologies Artistic Research on Environmental and ISSN 1407-2858 Social Sustainability ISBN 978-9934-8434-8-8 Edited by Kristin Bergaust, Rasa Smite and Daina Silina renewable futures, issue 3 / acoustic space, Volume 18 Oslofjord Ecologies Artistic Research on Environmental and Social Sustainability Edited by Kristin Bergaust, Rasa Smite and Daina Silina Oslofjord Ecologies. Artistic Research on Environmental and Social Sustainability Edited by Kristin Bergaust, Rasa Smite and Daina Silina Renewable Futures, Issue 3 / Acoustic Space, Volume 18 Peer-reviewed journal & book series on art-science research http://acousticspacejournal.com Scientific editorial board Volume editor Rasa Smite – Dr. sc. soc., Prof. Liepaja University / Kristin Bergaust RIXC, Riga, Latvia / Researcher, The Institute of Aesthetic Practices, FHNW, Basel, Switzerland / Acoustic Space series editor Visiting Lecturer, MIT ACT, Boston, USA Rasa Smite Kristin Bergaust – Prof., Faculty of Technology, Art and Oslofjord Design, Oslo Metropolitan University, Norway Scientific and literary editor Gabriela Galati – Ph.D., Prof. NABA Nuova Accademia Daina Siliņa di Belle Arti Milan / Lecturer IED Istituto Europeo di Design, Turin / Co-Founder IPERCUBO.eu Editing and proofreading Raivo Kelomees – Ph.D., Estonian Academy of Arts, Robert Buckmaster Ecologies Tallinn, Estonia Piibe Piirma – Ph.D., Estonian Academy of Arts / Tal- Design linn University, Tallin, Estonia Mārtiņš Ratniks, SIA Re-Lab Oksana Chepelyk – Leading Researcher of New Tech- nologies Department, Modern Art Research Insti- Layout and printing tute of the National Academy of Arts of Ukraine, SIA Re-Lab, Print Group Associate Professor, National Academy of Fine Arts and Architecture, Ukraine Paper Varvara Guljajeva – Ph.D., Estonian Academy of Arts, Maestro Print 80, 120, 300 g Tallinn, Estonia / ELISAVA Barcelona School of Design and Engineering Cover photo Vytautas Michelkevicius – Ph.D., Vilnius Academy of Blue mussels (Mytilus edulis). Photo coturtesy Arts, Department of Photography and Media Art of Tore Strohmeier, Institute of Marine Research and Doctoral School, Vilnius, Lithuania in Norway Lily Diaz-Kommonen – Dr., Prof., Head of Research Department of Media, Aalto University, School of Arts, Design and Architecture, Helsinki, Finland Publisher Address and contacts RIXC Center for New Media Culture (Riga, Latvia) Lenču iela 2-60 and OsloMet – Oslo Metropolitan University Riga, LV-1010, Latvia (Oslo, Norway) [email protected] http://rixc.org Support ISSN 1407-2858 ISBN 978-9934-8434-8-8 RIXC, OsloMet, 2020 Contents PART 2. ALBUM. OSLOFJORD ECOLOGIES EXHIBITIONS, PERFORMANCES AND ACTIVITIES 7 Acknowledgments 176 Oslofjord Ecologies Workshop 9 Foreword by the Series Editors 178 Listening to the Fjord Boat Trip 11 Kristin BERGAUST. Introduction. Oslofjord Ecologies: From Experience 180 Siri AUSTEEN. Ecological Rorschach: Pacific Oysters – Crassostrea Gigas to Extension on a Rock 182 Kristin BERGAUST. Underwater in the Oslofjord PART 1. RESEARCH PAPERS 184 Elin T. SØRENSEN. HAV Exhibition 25 Boel CHRISTENSEN-SCHEEL. ECO-Art and Awareness: Sustainability Through Artistic Research 186 Sabine POPP. Agential Matter (Invisible Landscapes) 37 Elin T. SØRENSEN. The Blue Mussel’s Voice 188 Rasa SMITE and Raitis SMITS. Biotricity. Fluctuations of Micro-Worlds 63 Sabine POPP. pro.vocations (for a not yet fully articulated time) 190 Alexis PARRA PUCHO. Energy Catcher 81 Gunhild VATN. The Ambivalence of Oil Aesthetics 192 Cathrine Constanse GJELSNES. Charging the Batteries in the Tragedy of the Commons 97 Tona GULPINAR and Anneke VON DER FEHR. Be Extended: Oslo 194 Gunhild VATN. Ocean Viking 107 Nina VESTBY. Eutopia – Where the Heart Matters 196 Tona GULPINAR and Anneke von der FEHR. Be Extended: Oslo 121 Merete RØSTAD. Embodied Sound Archive 198 Ingebjørg TORGERSEN. Being Water... 135 Venke AURE. Exploring Eco-social Art Strategies to Expand Onto- epistemological and Methodological Positions in Qualitative Research 200 Nina VESTBY. Eutopia 153 Helene ILLERIS. Intimacy, Solidarity, Fragility. Everyday Objects and 202 Hanan BENAMMAR and Camilla DAHL. Le Remords (The Remorse) Ecological Awareness in Arts and Crafts Education Re-Enacted 169 Kristin BERGAUST. How to Set the Table for Collaborations: 203 Camilla Dahl International. Aalto Amphi Experimental Lab Artistic Sensibilities and Methods 204 Sigi TORINUS, Andrea SUNDER-PLASSMANN, Brent LEE. browsing beauty 206 Exhibitions. Oslofjord Ecologies Experience and Oslofjord Ecologies Extended 4 5 — OslOfjOrd EcOlOgiEs — Acknowledgments I first and foremost want to thank all the contributing authors, artists and other par- ticipants for their collaboration and enthusiasm. I am overwhelmed by your work and hope this publication will support your endeavours further. You are all present- ed or listed elsewhere in the book. Not visible in the book are the contributors who helped with the different stages of the making of Oslofjord Ecologies who I would like to thank and name. Thanks for the inspiration, dear colleagues Arild Berg, Leif Hernes, Trond Lossius and Ellen Røed. You will recognize traces of our conversations and your contribu- tions to the Ecotones pre-project in 2015. Ellen Røed’s photographs from Listening to the Fjord are also highly appreciated. Other photographers I wish to thank for their contributions are friends who offered their photos from the Oslofjord Ecologies events: Kjersti Gürgens Gjærum and Nami Sah. I am also grateful for the use of Pavel Ahkarov’s photos from Aalto University. Thanks to Andrew Patterson of the Pixelache festival, and PAO-Performance Art Oslo presented by Fernanda Branco, and to Andrea Sunder-Plassman for your doc- umentation the Cuban-German artistic research project SENSE-Lab. You have con- tributed interesting documentation and been inspirational as always. Thanks to artist and curator Christel Sverre, my long time friend and colleague, a competent producer of everything from fresh flowers to bio-art chemicals, and all kinds of necessary infrastructure and documentation for the Oslofjord Ecologies workshop. Thanks for your hospitality: former colleague and artistic director Ivar Smedstad of ANX- Atelier Nord for offering Oslofjord Ecologies the wonderful venue in Grüner- løkka in central Oslo for workshops and activities in 2016. A big hug to Anne Beate Hovind, project leader of public art in Bjørvika. and Vibeke Hermanrud for receiving us at the Flatbread Society Bakehouse in Losætra. Not to forget the inspiration from artist Amy Franseschini and the other Futurefarmers who created this special oasis of an alternative Oslo on the outskirts of Fjordbyen. Thanks to curator Madeleine Park of RAM Galleri, who enthusiastically insisted on housing an exhibition and an intense activity program based on the Oslofjord Ecologies in August 2017. Thank you, Lily Kommonen-Diaz for inviting Oslofjord Ecologies to exhibit on the Espoo campus of Aalto University on the spur of a moment after being fascinated by a rock with Pacific Oysters attached to it. And thanks to you, Juhani Tenhunen of Aalto Media Factory, and to the Aalto Department of Scenography and I suspect a couple of other guys for making the Oslofjord Ecologies Extended exhibition happen in 2018 in the event of the Renewable Futures conference and HybridLab Symposium. Thanks to all of you who shared your research and knowledge in seminars and workshop. Eli Rinde, marine biologist and senior research scientist, Ph.D. at the Norwegian Institute for Water Research, has played a special part, both as our guide in the field trip Listening to the Fjord, and in collaborations with the projects of Elin T. Sørensen and Sabine Popp. 7 — OslOfjOrd EcOlOgiEs — Foreword by the Series Editors Without the financing and creative environments from the Creative Europe project This Oslofjord Ecologies book marks the tenth anniversary of the Renewable Net- Renewable Futures led by Rasa Smite, RIXC and the Nordplus Horizontal project work – a Baltic-Nordic collaboration focusing on artistic practices that offer new Hybrid Labs led by Lily Kommonen-Diaz at Aalto University there would have been ideas to overcome the crises of the past and present, working with science and ‘tech-
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  • Namn Og Nemne 28 – 2011

    Namn Og Nemne 28 – 2011

    namn Manuskript til Namn og Nemne Redaksjonen vil helst ha manus elektronisk som vedlegg til e-post. Blir det og brukt spesialteikn, ønskjer vi også ei pdf-fil av artikkelen. nem Artiklar på skandinaviske språk skal ha eit samandrag på engelsk eller tysk. Samandraget skal kort gje innsyn i dei viktigaste momenta i artikkelen. n Sitat som er lengre enn tre maskinskrivne liner, skal skiljast frå teksten ved e 28 – 2011 innrykking. Fotnotar (merknader) bør brukast så lite som råd; dei bør oftast takast namn inn i teksten. Eventuelle fotnotar skal samlast i slutten av artikkelen. Nummertilvisingane i teksten skal ikkje ha parentes kring seg, og dei skal og nemne plasserast etter skiljeteikn. Litteraturtilvisingane skal om mogleg gjerast ved forfattarnamn og Tidsskrift for utgjevingsår. Døme: ... (Indrebø 1924: 98), eller: Gustav Indrebø (1924: 98) norsk meiner ... , eller: Som opplyst i Indrebø 1924: 98, ... Arbeid som er fotografisk oppattprenta, skal siterast etter originalutgava (av forskingshistoriske grunnar), namnegransking altså ikkje Olsen, M. 1978. Torp, A. 1963, Aasen, I. 1918 eller 1977. Allment kjende tidsskrift bør ha forkorta titlar (t.d. ANF, APhS, MM, NoB, SvLm); det same kan gjelde kjende seriar (t.d. DS [Danmarks Stednavne], NG [Norske Gaardnavne], men då med tilvising til forfattar eller utgjevar. Undertitlar og serieopplysningar trengst til vanleg ikkje. Døme: Andersson, T. 1983: Personnamn. Till begreppets avgränsning. NORNA-rapporter 23. 9–23. Hovda, P. 1966: Norske elvenamn. Oslo–Bergen. [Hovda, P.] 1978: Frå hav til hei. Oslo–Bergen–Tromsø. Indrebø, G. (red.) 1920: Sverris Saga etter Cod. AM 327 4°. Kristiania: Den Norske Historiske Kildeskriftkommission. Indrebø, G. 1921: Stadnamni i ei fjellbygd.