Suchergebnisse

This article explores existing and emerging frames of writing history involving a push for new modes of telling and writing history/histories. This, from the point of view of a recent movement, in short namedWomen Making History, launched in Malmö, Sweden in 2013 aiming to cover a 100-year period, from when immigration began until the present day. The movement – engaged in activism and archival work and research around the lives and work of women immigrants in the city – took off in 2013 with support from authors engaged in aLiving Archives1research project, and formally ended, though some activity continues, with a book publication in 2016. In collaboration with the movementFeminist DialogueMalmö University researchers (mainly the two authors and students) have been documenting activities and workshops over three years, revealing the voicing of ambivalent identities that wish to maintain a plurality and openness of identifications and directions. These voices do not want to be framed as 'outsiders', 'homogenized others' or 'victimized strangers', and struggle with a feeling of beingamendedto a more homogenous national history – an ambiguous predicament which is investigated in this article through diverse ways of trying to understand how belonging is developed in the notions ofmultidirectionality,multi-logues,amendmentsandre/framing.

City Symphony Malmö was a collaborative documentary that engagedcitizens of Malmö in recording short film sequences. The Symphony'video material was also performed at the art and performance centreInkonst where electronic musicians improvised to VJ's digital andanalogue live mixing of the material. A remediation of theperformance was streamed live on the Internet with live footagefrom the performance. All clips were released under the creativecommons licence and made available for remixing through ThePirate Bay. This article explores what it can imply to hand over themeans of film production to citizens. The discussion concentrateson participatory and spatially distributed filmmaking and screeningof non-institutional memories, produced in the symphony. Theanalysis merges influence from silent cinema and Soviet Montage, theories of public memory and place. It describes thecomplexities of creating non-institutional memory and archivingpractices and argues that such citizen-driven and non-institutionalmemories may challenge official history and societal memoryproduction, yet also reproduce typical and iconic images whichreveal spatio-material hierarchies. Such complexities demonstratethe value of an analysis of participation and spatio-materialdimensions of public memory as unfolded in the article.

Joystick is a concert format where Malmö Symphony Orchestra (MSO) plays computer-game music. The format, which started in 2006, is highly popular and well visited, drawing mostly male gamers between the ages of eighteen and forty. In the Joystick project, we wanted to explore how the relationship between MSO and the gaming community could be deepened and broadened. More specifically, we wanted to explore what community-engagement processes such deepened relations demand. ; Co-funded by the European Union Interreg IVA ÖKS

Live classical music is facing considerable challenges. How can philharmonic orchestras, organizations that are heavily rooted in the past, become more democratic and better connected to the societies they are situated in? Through collaboration across institutional borders and knowledge domains, the Designing Classical Music Experiences project had the ambition to develop new spatial and mediated audience experiences, and to reach new audiences in the Øresund Region. The vision was nothing less than to democratize classical music. One of the premises of the project was to involve musicians, designers, researchers, students, audience members – and many others – in the design- and development processes. Another premise was to enhance and extend the concert experience through visualizations and other types of visual arts. A number of conclusions related to 'organizational challenges', 'audience engagement', and 'media and technologies' are presented and further developed in this book. The first section of the book accounts for two perspectives on how to work with live classical music and audiences from a designer's point of view. The second section of the book give detailed accounts of the most high-profiled case studies the project has worked with. ; A companion guide to this publication is available at http://cmec.mah.se/