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  • 1.
    Holmstedt, Janna
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Between Earthworms and Satellites2019In: Open Humanities Lab Symposium: New Humanities & the Anthropocene, KTH, Stockholm, 14-15 May, 2019, 2019Conference paper (Other (popular science, discussion, etc.))
  • 2.
    Holmstedt, Janna
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    The Blowhole: Posthumanist reflections on interspecies communication, listening, and the aesthetics of more-than-human relations2019In: RE:SOUND, the 8th International Conference for Histories of Media Arts 2019, Aalborg, Denmark, 20-22 Aug, 2019., 2019Conference paper (Refereed)
    Abstract [en]

    Sounds are leaky phenomena, pointing to the unavoidable entanglement of bodies, technologies and environs. A captured sound is a record of loss, as is the archive. This loss urges me – as artist, researcher, and listener – to story and restory entanglements. While the media might be fixed, listening is fluid and dynamic. And a sonic sensibility, I find, holds the potential to counteract a reductive, visual-textual logic and its related knowledge formations.

    This journey into a predominantly sonic ecology departs from the unique archival material of American neurophysiologist John C. Lilly. In the 1950s and 1960s Lilly conducted controversial scientific experiments with dolphins, as well as on himself. I will focus on an aspect previously not discussed in relation to Lilly's dolphin research, the role of listening and the use of sound technology, and I will attend to Lilly's experimental set-ups as media ecologies. The encounter with an animal "voice" and the attempts to record this phenomena as sound objects would force Lilly into uncharted territories. When the recordings of words uttered by dolphins were played back to other researchers, they didn't hear what Lilly's team had heard. As Lilly began experimenting with sound, it seemed as neither technology nor perception could be relied on. Even the role of language in the act of communication became increasingly elusive.

  • 3.
    Holmstedt, Janna (Artist)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Blåshålet2019Artistic output (Refereed)
    Abstract [sv]

    Denna session, baserad på material från ett historiskt ljudarkiv, utgår från ljudinspelningar av kommunikationsexperiment med delfiner som utfördes på 1950 och 60‐talet i USA, där delfinerna skulle lära sig att tala engelska med blåshålet.

  • 4.
    Holmstedt, Janna (Artist)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Flock Frequency Colony: Sonospheric Communards and Points of Listening2019Artistic output (Refereed)
    Abstract [en]

    QC 20191111

    This talk is about shutting up, about touching the matter of language, and animals that come together through listening.

  • 5.
    Holmstedt, Janna (Curator, Artist)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Siltberg, Lars (Artist)
    Nilsson, Erik (Photographer)
    Gränssnitt2019Artistic output (Unrefereed)
    Abstract [sv]

    Ur inbjudan: "Välkomna i skymningen till en experimentell kväll med ljudvandring, film, installationer och värmande brasa. Vi har under olika tidpunkter och skiftande årstider återkommit till en och samma plats, en kolonilott. Nu bjuder vi in till en work-in-progress där vi hoppas att ni vill komma och lyssna, titta, vandra och värma er med oss.

    Vi har tänkt på kolonin som ett gränssnitt, ett medium som förbinder olika användare. Några av dessa användare är Zea mays, satellitparet Sentinel-1, diverse däggdjur, samt en uppsjö växter, mikrober och okända entiteter."

  • 6.
    Holmstedt, Janna (Artist)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Lobell, Malin (Artist)
    (p)Art of the Biomass2019Artistic output (Refereed)
    Abstract [sv]

    Är möjligt att tala om jordens, dvs. myllans, rättigheter? Jord är i många fall en blind fläck och något som lätt tas för givet. Den ligger där under våra fötter. Samtidigt är den ett komplext levande system som håller på att utarmas. Den kallas också en hotad resurs, då människans matproduktion och det hårt industrialiserade jordbruket har nått en kritisk gräns.

    Holmstedt och Lobell utgår från jord som mer-än-mänsklig aktivitetszon och habitat då de spekulerar i möjligheten att upprätta ett Allting. Förutom att anknyta till nordisk historia och de tidiga församlingarna för lagstiftning, rättskipning och förvaltning, syftar Allting på Bruno Latours teori "Parliament of Things" där lagar inte instiftas med människan i centrum utan kring livet självt.

    Om vi skulle kalla till ting, vilka tingsplatser skulle kunna fungera som relationella "knutar" där politiska ekologier och mer-än-mänskliga relationer kan uppmärksammas? Vilka nya lagar skulle kunna framträda ur varje tingsplats om den bemöts som ett parlament av mänskliga och icke-mänskliga aktörer där människan inte är den privilegierade livsformen. Behövs jordreservat? Krävs en ny jordreform? Vilka är myllans rättigheter?

  • 7.
    Holmstedt, Janna (Artist)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Shared Surfaces2019Artistic output (Refereed)
    Abstract [en]

    In this combined talk, walk, listening session and reading, Janna Holmstedt will depart from an invisible border and an urban allotment, the tiny remnants of a once huge community that was levelled with the ground in 1965. Relations are traced between different figures, places and times: earthworms in the soil beneath our feet, potato riots in Stockholm during WW1, the allotment movement, archaeological findings of popcorn in Peru, Sentinel-1, a pair of satellites that orbit Earth to monitor soil moisture, and a cob of corn from Zea mays var. amylacea. All are fragments from a work-in-progress where the allotment becomes a place to think with and through, where the small place, the everyday and the trivial intra-acts with the global, large-scale and remote. Holmstedt uses this superficially demarcated piece of land as an interface - or rather, a situation of shared surfaces - through which post-anthropocentric modalities of belonging and care can be attended to, and transcorporeal entanglements be experienced. In her own words, it is a place for 'unlearning'.

  • 8.
    Holmstedt, Janna (Artist)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Smolicki, Jacek (Artist)
    Fragmentarium Club.
    Sonic Sensibilities2019Artistic output (Refereed)
    Abstract [sv]

    I Sonic Sensibilities möts Jaceks och Jannas konstnärsskap samt intresse för olika former av lyssnade praktiker och ljudteknologier. I ett aktivt lyssnade träder andra aspekter av omgivningen fram än de vi vanligtvis uppmärksammar i en visuellt orienterad kultur. Hur upplever jag omgivningen och min egen närvaro i den om jag under tystnad lyssnar in, istället för att betrakta eller prata om den? Hur låter omgivningen och objekten? Hur låter egentligen språket? Vad gör teknologin med lyssnandet och våra kroppar? I Sonic Sensibilities, som kan sägas bestå av tre akter, leds vi från befintliga ljudvärldar och lyssnande utomhus, till förstärkta, förvrängda och inspelade ljud i Jaceks performativa ljudkollage där vardagliga föremål används på oväntade och poetiska sätt, över till historiska ljudarkiv, djurröster och berättande i Jannas performance som bitvis har karaktär av föreläsning (lecture performance).

  • 9.
    Holmstedt, Janna
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Sonic Sensibilities: /Mis/communication/s/2019Artistic output (Unrefereed)
    Abstract [en]

    In this mixed and postdisciplinary gathering, with listening sessions and talks by artists and researchers, we will visit the limits of communication(s) – when our technologies, ideas, languages and intentions fail us. We will among other things encounter phenomena that cannot be decoded, interspecies communication experiments, and speculations about how we can communicate with not only aliens but also inhabitants on planet Earth in a distant future.

    In a society imbued with communication technologies and a positive belief in the possibilities of accurately formulating, transmitting, receiving and archiving, it might be sobering to consider situations where the communicative attempt takes us elsewhere. Where it derails our assumptions and intentions and where we admittedly are out of control. What can be gleaned from these limits and borderlands? What can be unlearned? What ethico-political considerations do they confront us with?

  • 10.
    Holmstedt, Janna (Artist)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    The Order of the Dolphin2019Artistic output (Unrefereed)
    Abstract [en]

    What do we hear when we think we listen? In 1961, a prominent flock of researchers were invited to a semi-secret conference arranged by NASA’s Space Science Board to discuss a subject not yet considered scientifically legitimate: What are the conditions required for establishing contact with other worlds? Could engaging in communication with dolphins prepare us for an encounter with non-human intelligence? In this listening session, Holmstedt moves between the human, the synthetic and the beastly while revisiting some of the interspecies communication experiments that were carried out in the 1950s and 60s, partly funded by NASA, where dolphins were supposed to learn to speak English with their blowholes. At the centre of the session are tape recordings from language lessons with dolphins, and a woman, whom during 75 days tried to live under equal conditions with the dolphin Peter in a flooded house.

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