We’re thrilled to have explored our history, and how Arts/Research is boosting our archiving, with the University Histories blog from the University of Manchester. #NordicnessInMotion
Almost as old as the Nordic tradition of summer schools – to which Nordic Summer Univeristy is indebted – is that of the Winter School. Generations of writers, thinkers, artists and mercenaries have met during the long days of darkness across Scandinavia to refuel: to learn, to discuss, to keep their brains warm.
Our 9 study circles each meet during the winter months, around February, for mini-symposiums. Pick a subject and find out more:
The dedication to extreme conditions marks the “winter school” experience – and we have been happy to hear that this typifies other, similar institutions!
As Bohuslav Balcar and Petr Simon recount for 25 years of winter schools on “Abstract Analysis” for Acta Universitatis Carolinae, “The worst living conditions were at Strazne 1979. It was necessary to break the ice if you wanted to wash your face or to use your toothbrush. One foreign participant arrived late evening, suffered through the whole night and escaped the next morning forever”.
Hopefully we have never been beset by such conditions – but it certainly brings back memories from our 1995 session, as you can read about here!
A psychoanalyst, metascientist, philosopher and music theorist, Carl Lesche (1920-1993) was a member of the Nordic Summer University in its earliest days from 1952.
Robert Rauschenberg performing “Shotput + Elgin Tie” at a Fylkingen concert at the Museum of Modern Art, Stockholm, 13 September 1964. From Fylkingen Bulletin 1:1966. Photo: Hans Malmberg/Tio. Retrieved from http://www.hz-journal.org/n19/hayashi.html
Also a member of the radical music group Fylkingen, Lesche was a theorist in the experimental music and performance field. His travels took him all the way to the Soviet Union, where he made some of the earliest recordings of orthodox liturgical music.
(from ‘A Short Biography and List of His Scientific Writings’ By Åke Åredal)