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In this chapter, we will focus on performance as an aesthetic orcommunicative event that unfolds at a specific time and in a specific space set apart from the social world. Not only people come together in a performance, bu talso many different kinds of materialities and media. In the unique moment ofperformance that unfolds in time and space, the performer interacts with anaudience but also with other objects: props such as the famous skull thatHamlet holds in his hand or technical devices such as the microphone in astand-up act. In this chapter, we will look closely at how different kinds ofbodies and objects interact in a performance and at how the presence and emergence of an event interact with mediation and transmediation. Pantomimes, stand-up comedy acts, drama and music concerts can be understood as different qualified media types that take place in the context of different architectural framings that already in themselves indicate which conventions areat play, what kind of performance the audience should expect and what kind ofresponse is expected from the audience.

The texts in this book are based on a selection of the paper presentations and Keynote lectures held during the Centre for Scandinavian Studies Copenhagen – Lund’s (CSS) second biannual international conference in the field of Scandinavian Studies. The conference took place in Lund, at the joint Faculties of Humanities and Theology of Lund University between May 16-18, 2019. This year’s theme was “Scandinavian Languages and Literatures Worldwide – Prospects and Challenges” and the central topics being researched and discussed were: Scandinavian Literature in the World Translations of Scandinavian Literature Scandinavian Children’s Literature in the World Linguistic and literary constructions of the North The Framing of Scandinavian Studies Worldwide Nordic Languages in the World / World Languages in the Nordic Countries The conference had three Keynote lectures: Sprak och psykologiskt lokalsinne, by Sigrid Combuchen (Author and former Senior Lecturer at the Centre for Languages and Literature, Lund University) [see below] Region. Verden. Arkipelag – Nordisk litteratur og Tomas Transtromers “Ostersjoar”, by Dan Ringgaard (Professor at the School of Communication and Culture - Scandinavian Studies, Aarhus University) [see below] Beyond Noma, Bjork and Bergman – How the Nordic Countries could increase their Soft Power, by Francisco Beltran (Senior Lecturer at the Department of Political Science, University of Toronto) Following long established international praxis in the field of Scandinavian Studies the texts are written in any of the Nordic languages or in English.

Öyvind Fahlströms berömda manifest för konkret poesi «HÄTILA RAGULPR PÅ FÅTSKLIABEN» (1954) skrevs i en reaktion på diktarkonferensen i Sigtuna den 10–12 april 1953, som blev det incitament han behövde för att skriva om ett förmodligen redan påbörjat program till ett manifest. Det svenska litterära fältet existerade helt oberoende av den transnationella avantgardeströmning han promoverar i sin estetik och konferensen utgjorde därför enbart accidens för manifestets tillkomst. En diskussion av del ett med dess förlöjligande av den bidrar därmed inte med någon kunskap om manifestets essens: dess program. Med en bättre förståelse av relationen mellan Sigtunakonferensen och Fahlströms manifest skapas en mer rättvisande bild av femtiotalet, samtidigt som man i framtida forskning kan fokusera manifestets tonvikt på processualitet och performativitet. Öyvind Fahlström’s famous manifesto for concrete poetry «HÄTILA RAGULPR PÅ FÅTSKLIABEN» (1954) was written as a reaction to the authors conference in Sigtuna 10–12 April 1953, which was the incentive he needed to rewrite a program that had probably already been started into a manifesto. However, Fahlström’s own interests must be subsumed under a transnational avant-garde aesthetics. The Swedish literary field existed in parallel to the international avant-garde movements that he promoted and that in principle occurred independently of the Swedish field. The conference was therefore only an accidence for the advent of the manifesto, and a discussion of part one with its ridicule will contribute no knowledge about its essence: his program. With a better understanding of the relation between the Sigtuna conference and Fahlström’s manifesto, a more accurate view of the Swedish 1950s can be established, at the same time as future research can focus the essence of the manifesto: its processuality and performativity.

Avant-garde aesthetic movements react on and appropriate new technological media in a process of breaking down the boundaries between different media and different “arts," in an attempt to generate meaning from the sheer materiality of the artwork. Avant-garde artworks will therefore by necessity be marked by media in different ways, at the same time as these art forms are processual, performative and transgressive. One of the prime Swedish examples of this avant-garde strategy is Ake Hodell’s many realizations of his manuscript Lågsniff. The manuscript, written in 1963, was in the form of a text-sound-composition, which means that Lågsniff, already in this form, took many configurations with a plurality of genres and media modalities involved. Later the manuscript was realized as a series of performances, a TV-film, a book, and in 2002 as a DVD. For such a collection of art works, I would like to suggest the term “intermedial cluster.” The point of departure for my discussion is the DVD, a remediation of the TV- film from 1966, and I will focus on two of the juxtaposed discourses in the cluster that this DVD represents: the package tour and warfare, and on two thematic foci in the film: media and memory, and man as automaton.

Objectives: This study compared results on cognitive tests measuring nonverbal visualization and reasoning, executive functions, and creativity between 36 boys with experience of living in the street and 31 housed yet socioeconomically equivalent boys, in Bolivia. Results: The street children scored significantly higher on the creativity measure, which is discussed in relation to contextual relevance. No significant differences were found on the other cognitive tests. Time elapsed after living in the street and drug use were strongly associated with cognition, while age was not. Both groups scored below average compared to Western norms. The results are discussed in terms of the cultural relevance of the tests and the impact of socioeconomic status, stress, and stimulation on cognition.

The objectives of this article are two-fold: in part a presentation of Riffaterres semiotic-based analysis of poetry, and in part an examination of its problems and predicaments, using modern experimental poetry by way of example. Due to the fact that Semiotics of Poetry was introduced to the Anglo-American world at the same moment as a second wave of deconstruction was building up, Riffaterres theory was largely criticised for not adhering to new values, or ignored, despite the value of his semiotics of poetry as an analytical and pedagogical aid in the study of poetry. The problems that present themselves with respect to Riffaterres semiotics of poetry are mainly linked to his formalistic dependence on textuality, which cause him to ignore any factors other than intertextuality in the production of lyric poetry. This would suggest an appreciable limitation in the practicability of this method of gaining an overall grasp of what poetry is. In addition, I shall discuss the problems raised as a result of Riffaterres own hermeneutic practice of interpretation, thus offering a further illustration of the obstacles encountered in attempting to employ his semiotics of poetry. Finally, I shall endeavour to situate this method in a comprehensive poetic analysis, in order to demonstrate its primary practicability as a descriptive discipline

Per Backstrom / Benedikt Hjartarson: Rethinking the Topography of the International Avant-Garde. Introduction Rethinking the Dichotomy of Centre-Periphery Partha Mitter: Modern Global Art and Its Discontents Eva Forgacs: Romantic Peripheries. The Dynamics of Enlightenment and Romanticism in East-Central Europe Daina Teters: Peculiarities in the Use of the Concepts Centre and Periphery in Avant-Garde Strategies Laura Winkiel: Postcolonial Avant-Gardes and the World System of Modernity / Coloniality Piotr Piotrowski: Avant-Garde Art in Post-Communist Central Europe Impact of the Periphery on the Centre Malte Hagener: Mushrooms, Ant Paths and Tactics. The Topography of the European Film Avant-Garde Thomas Hunkeler: Claiming Dada for the French Vojtech Lahoda: Migration of Images. Private Collections of Modernism and Avant-Garde and the Search for Cubism in Eastern Europe Thomas Hackner: Worlds Apart? The Japan-Europe Historical Avant-Garde Relationship Central Role(s) of the Periphery Lisa Otty: "An Eccentric Homespun Avant-Gardist". Hugh MacDiarmid, 'Northern' Radicalism, and the Scottish Renaissance Movement Hanna Horsberg Hansen: Sami Artist Group 1978-1983. Otherness or Avant-Garde? Benedikt Hjartarson: Anationalism and the Search for a Universal Language. Esperantism and the European Avant-Garde Konstantin Dudakov-Kashuro: Revising the Aporias of the Avant-Garde Contributors Index

Depuis longtemps, on considérait l’art de la performance comme étant enraciné dans le « Hier und Jetzt », qui est, comme l’affirme par Walter Benjamin, la seule condition restante pour l’Aura. Cependant, Philip Auslander constate qu’aujourd’hui toute représentation est toujours déjà médiatisée d’une manière ou d’une autre ; et pourtant, nous pourrions encore ressentir de la vivacité et également de l’authenticité. La médiatisation est donc une condition (nécessaire) de l’authenticité. Dans cette étude consacrée à la performance de l’artiste suédois Öyvind Fahlström (1928-1976), intitulée Kisses Sweeter than Wine (1966), j’affirme toutefois que même l’utilisation de Verfremdungseffekts dans la performance avant-gardiste ne perturbe pas la construction de l’authenticité, même si cet effet est employé afin d’attaquer à la transparence médiatique (présupposée), jugée comme fondamentale pour une expérience « authentique ». Dans son emploi des nouvelles technologies et des divers médias audiovisuels, Fahlström était un précurseur dans le champ de l’art médiatique. La subtilité intermédiale peut donc être comprise à fond et discutée par le seul prisme de notre propre ère de l’information. D’autres exemples comparables durant les années 1960 créent des liens importants avec la généalogie de notre société contemporaine en réseau et à plusieurs écrans, car elles constituent les premières confluences de la cybernétique, de l’art et des médias. Ce phénomène est surtout perceptible dans la performance de Fahlström, qui faisait partie de 9 Soirées (9 Evenings). Théâtre et Ingénierie est arrangé, en 1966, par Experiments in Art and Technology (E.A.T.) au 69th Regiment Armory à New York. Fahlström mélange la performance sur scène avec une pléthore d’événements médiatisés, ce qui donne lieu à un spectacle caractérisé par de forts Verfremdungseffekts, tout en créant une expérience d’authenticité., Performance art has been regarded as solidly rooted in the “Hier und Jetzt”, asserted by Walter Benjamin as the only remaining condition for the Aura. However, as Philip Auslander observes, every performance today is always already mediatized in one way or another, and still we might experience liveness and then also authenticity. Mediatization is, therefore, a (necessary) condition for authenticity. In my discussion on the Swedish artist Öyvind Fahlström’s (1928–76) performance Kisses Sweeter than Wine 1966, I nonetheless argue that not even the use of Verfremdungseffekts in avant-garde performance disrupts the construction of authenticity, even though this effect is used to attack the (presupposed) media-transparency believed to be necessary for an “authentic” experience. In his use of new technology and different broadcasting media, Fahlström was a forerunner for media art. The intermedial intricacy can be fully understood and discussed only in our own information age. His and other similar experiments in the 1960s are important links in the genealogy of today’s networked, global and multiscreen world, since they constitute early confluences of cybernetics, art and media. This is best seen in his performance, which was part of 9 Evenings. Theatre and Engineering arranged, in 1966, by Experiments in Art and Technology (E.A.T.) at the 69th Regiment Armory in New York. Fahlström mixes performance on stage with a plethora of mediated and mediatized events, which results in a show that is characterized by strong Verfremdungseffekts, yet still gives rise to an experience of authenticity.