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  • Resultat 41-50 av 426
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41.
  • Broms, Loove, 1977-, et al. (författare)
  • The Energy AWARE Clock : Incorporating Electricity Use in the Social Interactions of Everyday Life
  • 2009
  • Ingår i: Proceedings of the 6th International Symposium on Environmentally Conscious Design andInverse Manufacturing (EcoDesign 2009).
  • Konferensbidrag (refereegranskat)abstract
    • New interfaces to the energy system can facilitate changes of habits and provide means to control the household’s use of energy. In this paper, we look at energy use and such interfaces in the home from a socio- technical perspective. We describe how interviews and user observations can be used in combination with the theory of domestication to inform and inspire the design of interfaces to the energy system. As a result of our approach, we present the Energy AWARE Clock, an example of a new type of electricity meter that challenges the norm of how the electricity system is typically represented in the home. The Energy AWARE Clock makes use of a clock metaphor to visualise electricity-use in relation to time in everyday life. Energy-awareness products always challenge domestic social patterns and it is important to consider these aspects in the design process to find successful solutions for the future. 
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42.
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43.
  • Burga, Estella, et al. (författare)
  • Nuestras Madres : Forming Political Subjects en la mesa
  • 2017
  • Ingår i: Architecture and Culture. - : Routledge. - 2050-7828 .- 2050-7836. ; 5:3, s. 53-56
  • Tidskriftsartikel (refereegranskat)abstract
    • NUESTRAS MADRES is an artwork by the art collective IDA performed at the AHRA Architecture and Feminisms Conference (2016), which consisted of a collective ritual and a poetry reading. The ritual created a safe space where a group of participants sat around a table taking turns in sharing their stories about their mothers while embroidering their mothers’ names on a single tablecloth. These were synthesized into a poem and presented the following day. IDA investigates issues in private and public space connected to knowledge production and gender normativity. Even though the role of mothers and their knowledge is usually connected to the private sphere, the knowledge of our mothers and their mothers shared en la mesa - over the table - is important in the construction of political subjects. How has this knowledge helped us survive in society as women, queer, indigenous, working class, Muslim, immigrant - as human beings?
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44.
  • Bärtås, Magnus (konstnär, creator_code:cre_t)
  • Age of Anger
  • 2018
  • Konstnärligt arbete (refereegranskat)abstract
    • Verket visat i utställningen "Broderi osv", Lokstallarna, Stömstad, 30/6–29/7 2018
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45.
  • Bärtås, Magnus (författare)
  • Another Voice
  • 2003
  • Ingår i: Reshape!. - Stockholm : IASPIS. - 9187952270
  • Bokkapitel (refereegranskat)
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46.
  • Bärtås, Magnus, 1962- (konstnär, creator_code:cre_t)
  • Brioni : en nekromantisk teater
  • 2022
  • Konstnärligt arbete (refereegranskat)abstract
    • Utställning, Österängens Konsthall, Jönköping, 5 febrauri - 20 mars 2022
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47.
  • Bärtås, Magnus (författare)
  • Bye Bye Monkey
  • 2019
  • Ingår i: Roadkill. - Stockholm : Praun & Guermouche.
  • Bokkapitel (refereegranskat)
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48.
  • Bärtås, Magnus (konstnär, creator_code:cre_t)
  • Kumiko, Johnny Walker & The Cute
  • 2018
  • Konstnärligt arbete (film/video) (refereegranskat)abstract
    • Verket visat i utställningen "With or Without the Sun", Sixtyeight Art Institute, Köpenhamn, 9/3–14/4 2018
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49.
  • Bärtås, Magnus (konstnär, creator_code:cre_t)
  • Miraklet i Tensta (theoria)
  • 2014
  • Konstnärligt arbete (film/video) (refereegranskat)abstract
    • Verket visat vid ytterligare tillfällen, bl.a. i utställningen "Public Luxury", Arkdes, 1/6 2018 – 20/1 2019 och utställningen Grodregn, Ronneby Konsthall, 12/9–1/11 2020
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50.
  • Bärtås, Magnus, 1962- (konstnär, creator_code:cre_t)
  • On Hospitality : Layla Al-Attar and Hotel Al-Rasheed
  • 2023
  • Konstnärligt arbete (film/video) (refereegranskat)abstract
    • In this work, an experiment is carried out that could be called necromancy: a dead person is made to speak to us alive about the past. Necromancy is always an integral part of historiography: using the imagination based on source studies, speculating about the context of history. We meet Layla Al-Attar, an Iraqi artist who talks about a special hotel in Baghdad and the concept of hospitality. Hotel Al-Rasheed was built by order of Saddam Hussein to house the meeting of the Non-Aligned Movement in Baghdad in 1982. The construction of the hotel was a gigantic Swedish industrial project, today forgotten. It was led by SKANSKA company in Kalmar and more than 1000 companies contributed, many of them small businesses from the province of Småland. But the meeting in Bagdad never took place, the war with Iran broke out.During the Gulf War, Hotel Al-Rasheed became the scene of the world's first televised war. Layla Al-Attar provided the entrance with a mosaic image depicting George Bush's face, as well as the text "George Bush is a criminal". A US missile hit her home in 1993, killing her, along with her husband and housekeeper. The artist had received her invitation from the dictator, she saw the incredible hotel materialize and made her political comment. But she had to pay the price.The work is part of the group exhibition "Här omkring" ("Round here"), Designcentrum, Nybro, 13/05 - 27/08 2023.The exhibition has also been shown at Form/Design Center, Malmö, 22 November 2023 – 14 January 2024.
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