Morten Søndergaard – författare

Vad har Adverb för inverkan på fertiliteten hos kvinnor respektive män? Vilka biverkningar riskerar man att få av Konjunktioner? Vad ska man tänka på innan man medicinerar med Verb? ORDAPOTEKET av den danske poeten och allkonstnären Morten Søndergaard är helt unik i sitt slag. Som litteratur betraktat är det ett egensinnigt bastardverk där det grammatiska språket möter det medicinska. Det är inte en bok, ändå kan det läsas; det är inte ett undervisningsmaterial, ändå har det använts i grammatikundervisning på skolor; det är inte ett konstverk, men har ändå ställts ut på ett flertal gallerier runt omkring i Europa. Verket består av en låda innehållande 10 medicinaskar; en ask för varje ordklass. Varje ask innehåller en bipacksedel i vilken man kan läsa om bl.a. respektive ordklass verkan och användningsområde; biverkningar samt hur medicinen ska förvaras. Varje bipacksedel bygger på verkliga, befintliga mediciner såsom tabletter mot ångest, lusshampo, inhalationsspray mot astma och intravenös cytostatika. Det är ett lekfullt och inspirerande sätt närma sig språket, men med ett djupt personligt och sårigt allvar i botten, vilket Søndergaard avslöjar i sin "Bruksanvisning". Verket utkom på danska 2012 och har därefter tolkats till bl.a. engelska, tyska, franska, gaeliska och norska. I den svenska utgåvan, tolkad till svenska av Jonas Rasmussen, ingår även, förutom Søndergaards "Bruksanvisning", ett förord av UKON (Ulf Karl Olov Nilsson) samt ett korsord skapat av Bim Wikström. För grafisk design står danska Wrong Studio.

The rapid growth of the discipline of aquatic ecology has been driven both by scientific interest in the complexities of aquatic ecosystems and by their enormous environmental importance and sensitivity. This book focuses on the remarkably diverse roles played by underwater plants, and is divided into three parts: 10 thematic chapters, followed by 18 case studies, and rounded off by three integrative chapters. The topics range from macrophytes as fish food to macrophytes as mollusc and microbe habitat, making this of interest to aquatic ecologists as well as limnologists, ecosystem ecologists, microbial ecologists, fish biologists, and environmental managers.

Grounded in a conviction that how we listen matters deeply in the context of ongoing social, political, and ecological crises, Situated Listening: Attending to the Unheard sets forth a collection of methodologies and creative proposals for listening, advancing the framework of situated listening as both a theoretical concept and a methodological practice that investigates relationships between the listening body and the politics of place, space, and culture.Drawing from an array of scholarship that engages sound studies broadly, this 15-chapter book is written entirely collaboratively and from a multidisciplinary perspective. Each section includes scores for situated listening, which take the form of diagrams, instructions, exercises, images, and meditations. The scores offer alternate modes of sharing the central ideas of the associated chapters, inviting the reader to shift from theory into practice. This book contributes to decolonial, feminist, anti-racist, and anti-capitalist scholarship in the field of sound studies, by centering listening as a relational practice.This book brings together a roster of accomplished, international contributors, making it essential supplementary reading for advanced undergraduates and researchers in sound studies. It will be of interest to faculty and students in the fields of Sound Studies, Music, Feminist Science and Technology Studies, Urban Design, and Sound Art.

Grounded in a conviction that how we listen matters deeply in the context of ongoing social, political, and ecological crises, Situated Listening: Attending to the Unheard sets forth a collection of methodologies and creative proposals for listening, advancing the framework of situated listening as both a theoretical concept and a methodological practice that investigates relationships between the listening body and the politics of place, space, and culture.Drawing from an array of scholarship that engages sound studies broadly, this 15-chapter book is written entirely collaboratively and from a multidisciplinary perspective. Each section includes scores for situated listening, which take the form of diagrams, instructions, exercises, images, and meditations. The scores offer alternate modes of sharing the central ideas of the associated chapters, inviting the reader to shift from theory into practice. This book contributes to decolonial, feminist, anti-racist, and anti-capitalist scholarship in the field of sound studies, by centering listening as a relational practice.This book brings together a roster of accomplished, international contributors, making it essential supplementary reading for advanced undergraduates and researchers in sound studies. It will be of interest to faculty and students in the fields of Sound Studies, Music, Feminist Science and Technology Studies, Urban Design, and Sound Art.

Submerged macrophytes have been the object of intensive research, and a large body of literature exists on their growth, reproduction, and physiology. Several studies have focused on the interactions between submerged macrophytes and other autotrophic components and the impact of the plants on the dynamics of nutrients, dissolved organic and inorganic carbon, oxygen, and pH. Comparatively few studies have dealt with the ability of submerged macrophytes to modulate the structure and dynamics of pelagic and benthic food webs. Recently, however, the amount of research into the structuring role of submerged macrophytes in food webs has markedly increased, and the results obtained so far suggest that sub­ merged macrophytes are of significant importance for the food web interactions and environmental quality of lakes, even at relatively low areal plant coverage. For example, plants affect the interactions between predacious, planktivorous, and benthivorous fish and between fish and invertebrates, including key organisms such as large zooplankton and snails. Changes in these interactions in turn may have cascading effects on the entire food web in both the pelagial and the littoral zone. To provide a forum for discussion of recent results in this growing field of research and to define future research needs, a workshop was held on 16 to 20 June, 1996, at the Freshwater Centre in Silkeborg, Denmark. The present book is a result of the workshop. It is divided into three parts.

This book investigates the ways in which new digital media may enhance the experience of the art-archive. Taken as a whole, the new media is a vital component of a "transdisciplinary" and transformative field, a cultural landscape that is changing rapidly the conditions and domains of the archive and the (art)museum. How, then, should the functions and strengths of both archive and museum be shaped to meet those cultural and technological changes? When the Internet and world wide web became "the place to be" commercially, museums followed suit and established their own sites. These can be coarsely divided into two categories: purely utilitarian websites with information about admission, hours of operation, directions, and the current show. The other -- more ambitious -- type of website tried to expand the exhibition area of the museum into virtual reality. The idea sounds great on paper but seldom succeeds in reality. Such websites often ignore the physical and social experience of a museum visit. Curiously, when they are most successful, websites often compete with the actual museum, possibly reducing the number of visitors and diluting the effect of seeing art first hand. The book discusses the challenges of the archive and the (art)museum in the age of digital media. It is based upon documentation from a research project, MAP -- Media Art Platform, that drew upon the talents and collaboration of many institutions, artists, programmers, art historians, designers and others. The outcome of the project was presented at the exhibition TOTAL_ACTION -- Art in the New Media Landscape at the Museum of Contemporary Art in Roskilde, Denmark, from October through November 2008.

Morten Søndergaard (f. 1964) är en av de mest framträdande danska poeter från den generation som klev fram i början av 90-talet. Søndergaard debuterade 1992 och har därefter nått fram till såväl kritiker och prisjuryer som till läsare. Søndergaard är verksam som poet, konstnär, översättare, redaktör och ljudkonstnär med en ständig språklig experimentlusta. Hans dikter är rotade i en klassisk poetik men han använder sig ständigt av språkets möjligheter att ifrågasätta denna och finna nya vägar att presentera dikten. Efter att ha utkommit på bland annat engelska, italienska, tyska och serbiska introduceras nu Søndergaard i bokform på svenska med Ett steg i rätt riktning. Søndergaards poesi har sedan debuten befunnit sig i en ständig framåtrörelse och så också i Ett steg i rätt riktning, som när den gavs ut i hemlandet nominerades till Nordiska rådets litteraturpris. Boken rör sig kring gåendet vilket behandlas i fyra diktsviter som undersöker det som social aktivitet, som kärlekshandling, som tanketillstånd och konstnärlig inspiration. Gåendet blir till en bild av livet och dikten, i vilken också Orfeus och Eurydike spelar en central roll.

Människans DNA: 2% är kodat, 98% är brus. En av de mest intressanta och tongivande danska författarna idag, Morten Søndergaard, lämnade ett blodprov vilket sedan analyserades med hjälp av så kallad DNA-sekvensering: a, g, c och så vidare. Den här boken är alltså till vissa delar, rent konkret, skriven med blod. I och med sin åderlåtning leker Søndergaard med den romantiska föreställningen om poeten som utsätter sig för prov eller smärta. Han går här över en gräns, en tröskel: den språkliga tröskeln för mening och förståelse. Dikten som biografi har aldrig varit mer genetisk, ett slags självporträtt av författaren. I översättning och med utförligt efterord av Jonas Rasmussen.