| 11. |
- Lind, Ulla, 1951-
(författare)
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Blickens ordning : Bildspråk och estetiska lärprocesser som kulturform och kunskapsform
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The main aim of this thesis is to research and discuss the conditions for visual and aesthetic learning processes as forms of culture and knowledge. Poststructural theories are used and the empirical findings are analyzed in relation to visual cultural studies as well as in relation to dominant orders of seeing and regimes of observation in visual pedagogies. The study employs two different research methods for investigating the conditions for children practicing visual languages as communicative and aesthetic learning processes. In the first study, visual and verbal documentation of aesthetic learning processes in four different preschool settings are followed and conducted. In the second study, school children were invited to visually represent their answers to the following question: “Tell in pictures about how it is to be a school child/pupil?” This research contributes to an increased understanding of visual languages, visual culture and aesthetic and creative learning processes contextualized through historical and contemporary meanings of preschools and schools.
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| 12. |
- Lindstrand, Fredrik, 1973-
(författare)
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A design oriented approach to learning in multimodal text production practices
- 2010
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Konferensbidrag (refereegranskat)abstract
- This paper presents results from a Swedish research project about filmmaking as a site for transformative processes (Lindstrand, 2006; 2009). The scope of the paper is twofold, as it both presents results regarding multimodal learning in the production of moving images and aims at contributing more generally to the development of multimodal, design oriented approaches to the analysis of learning. The text is anchored in examples from collaborative filmmaking processes which serve as a background for elaborating on questions of various kinds: How can learning be grasped analytically and methodologically in processes of multimodal semiotic production? What is learnt and what characterizes the learning process in this type of semiotic work? How – and why – does the multimodal nature of these endeavours contribute to the learning process?Filmmaking consists of a number of processes characterized by different objectives and the production of different kinds of texts, within different genres, with different tools, in different media and different modes. All of these differences contribute to changes – related to issues of transformation and transduction – in the overall process and present the filmmakers with new challenges, new perspectives and new sets of meaning potentials. The paper brings attention to how the filmmakers reflect upon various aspects of the films during their work, and shows how they gradually become aware of aspects of their films that relate to the ideational, interpersonal and textual metafunctions of texts. Their widened attention affects the process itself, since it guides them towards new choices. A cyclic motion is thereby implied, since the new choices will lead to new reflections and so on.The presented results are summed up in the form of an additional version of the Learning Design Sequence model presented by Staffan Selander (2008), aimed at mapping learning processes in creative multimodal text production and emphasizing the role of design in the learning process.ReferencesLindstrand, F (2006) Att göra skillnad. Representation, identitet och lärande i ungdomars arbete och berättande med film [Making difference. Representation, identity and learning in teenagers’ work and communication with film] Doctoral thesis. Stockholm: HLS Förlag.Lindstrand, F (2009) ”Lärprocesser i den rörliga bildens gränsland” [”Learning processes at the crossroads of filmmaking”]. In Lindstrand, F & Selander, S (eds)Estetiska lärprocesser [Aesthetic learning processes]. Lund: Studentlitteratur.Selander, S (2008) “Designs for learning – a theoretical perspective”. In Designs for Learning, vol 1, no 1.
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| 13. |
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| 14. |
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| 15. |
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| 16. |
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| 17. |
- Lindstrand, Fredrik, 1973-
(författare)
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Interview with Theo van Leeuwen
- 2010
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Ingår i: Designs for Learning. - : Designs for Learning. - 1654-7608 .- 2001-7480. ; 3:1-2, s. 84-90
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Intervju med professor Theo van Leeuwen i den internationella vetenskapliga tidskriften Designs for Learning.
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| 18. |
- Lindstrand, Fredrik, 1973-, et al.
(författare)
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Scandinavian filmmakers across contexts of learning
- 2010
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Ingår i: Media Literacy and Education. - Helsingfors : Nordicom & the Finnish Society on Media Education. - 9789186523022 - 9789186523008
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 19. |
- Ranjbar, Parivash, et al.
(författare)
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Konstfack designar hjälpmedel
- 2010
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Ingår i: Audio-nytt. - Solna : LIC Audio. - 0347-6308. ; 37:4, s. 24-26
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 20. |
- Bärtås, Magnus, 1962
(författare)
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You Told Me – work stories and video essays : Verkberättelser och videoessäer
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- You Told Me is a practice-based research project and consists of three video biographies (the Who is…? series), and two video essays (Kumiko, Johnnie Walker & the Cute (2007), Madame & Little Boy (2009), an introduction with a contextualization and methodology of the field, and three essays. The dissertation is an observation and analysis of certain functions and meanings of narration and narratives in contemporary art, as well as being an experiment with roles, methods, actions, and narrative functions in an artistic medium – the video essay. Using the methods of “pilgrimage” (Chris Marker) and essayistic practices, and by revisiting and retelling biographies, this work tries to find a place in between collective and personal memory. During the practical process and the reflective theoretical work the different elements or instances of the video essay are identified: the subject matter, the images (the representation), the artist/author, the narrative/text, and the narrator/voice. In documentary film the lack of natural correspondence between these entities is often dissolved or denied – this work instead exposes the instances as separate units. A question arises: What alternative roles can be established between these elements, for example by negotiation and transference between them? The methodological part of the text focuses on the conceptual invention made during the process, which I have called work story [verkberättelse]. A work story is a written or oral narrative about the forming of materials, immaterial units, situations, relations, and social practices that constitutes, or leads to, an artwork. By discussing analogies between storytelling, collecting, and biographical accounts together with examples from conceptual art, the dissertation shows how the work story is not only crucial for the understanding of the artwork but that the act of making and the very order or sequence in which the making proceeds often have symbolic, metaphorical, metonymical, political, and even epistemological meanings. In an extended form a work story disseminates meaning rather than capturing it. This is the essayistic work story that permits a writer/artist to wander off and touch upon a subject as if in passing, reproducing its neglected genealogy and destiny in the detailed materiality of the work story.
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