| 51. |
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| 52. |
- Elzén, Ylva
(författare)
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Hattadamer
- 2005
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Rapport (populärvet., debatt m.m.)abstract
- Jag har länge funderat över äldre damers klädstil och speciellt deras hattar. Projektet inleddes höstterminen 2003 då jag läste en tvåveckors kurs i ”artist book”. Mitt projekt gick ut på att porträttera damer med hatt eller annan huvudbonad. Det gick förvånansvärt bra. Jag upptäckte dock snart att två veckor var alldeles för kort tid att gå runt på stan och fotografera äldre damer. Nästintill alla ställde upp och det uppstod oväntade och intressanta möten. Redan då bestämde jag mig för att jobba vidare med projektet som mitt magisterprojekt. Det resulterade i en utställning då jag visade tolv stycken bokuppslag samt en liten kortfilm om min farmor. Jag hade arbetat fram en bra metod att fotografera äldre damer. Jag hade en uppsjö av fotografier och ett stort antal äldre damer som jag lärt känna. Tiden blev för knapp för att hinna göra en hel bok. Efter min magisterexamen från Grafisk Design och Illustration sökte jag konstnärligt utvecklingsarbete. Jag beviljades stödet på 50 000 kr för att jobba vidare med mitt bokprojekt.En tanke med projektet var att jag saknat bilder av äldre kvinnor i det offentliga rummet. Unga kvinnor uppmärksammas i stor utsträckning, men äldre kvinnor syns och hörs mycket sällan i olika medier.
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| 53. |
- Enger, Johanna, 1970-
(författare)
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In search for the language of light and shadows
- 2023
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Konferensbidrag (populärvet., debatt m.m.)abstract
- Sight is the sense that gives us visual information about the world around us, and light is a prerequisite for this process. Light radiation can be measured physically with precision, but light as the experience created when light rays strike the retina of the eye is sensual, and thus both subjective, relative and complex. Like all impressions that reach our different senses, the visual experience of the outside world is created through processes that can be described from the basis of sensory, biology, physiology, perception, cognition and emotion. These processes cannot be translated into physical terms. We can measure stimuli that reaches the retina, but this gives very limited information about the experience.In the beginning, when all life existed in the sea, some organisms developed cells that were sensitive to light, allowing them to orient themselves to brighter or darker areas. This early capacity for visual information produced blurred visual impressions, only detecting differences between contrasts. Eventually, more advanced life forms developed the sharp central vision which, according to one hypothesis, appeared during a period when life had evolved into a predator prey interaction. Both these visual abilities, the blurred peripheral vision and the detailed focus vision are represented in the human sense of sight, and the blurred peripheral vision is crucial for our visual experience of the room.All the light we see is reflected from surfaces, unless you look directly into a light source. The properties of surfaces, their colour and texture in combination with the properties of the light source and the distribution of the light is what provides visual information about the room. It is through the modelling and interaction of light and colours that the experience of the room can appear with its shapes and textures, proportions, dimensions, depth and spatiality.Since electric light was introduced in our built environments about 100 years ago, light quality has been evaluated and regulated based on physical measurements, which are correlated to the human eye’s ability to register light and colour. International lighting standards for spatial environments provide detailed recommendations for light levels described in Lux or Footcandle. These measurements are based on the focus vision, which require higher light levels to function optimally. But the measurements do not provide information about the properties of the reflected light, which is what we see, nor does it include one of the basic functions of the sense of sight, which is to react and respond to contrasts.The beverage and food industries have for many years used terminologies and concept models that describe sensory properties of various products. The underlying methodology is called Sensory Analysis which is established in several different areas. Within the interdisciplinary research project Perceptual Metrics for Lighting Design, we have developed methods to measure perceived light quality for both light sources, luminaires and spatial environments with inspiration from Sensory Analysis. The project has been developed with a practice based and design-oriented approach,in close collaboration with the lighting industry. On workshops with lighting designers, we have collected words that describe the perceived character of light, shadows and contrast, and through repeated studies been able to develop the basis for a terminology to give value or measure perceived light quality in spatial contexts. An interesting and important aspect that has become apparent during the course of this project is how much light, shadows and contrasts affects the atmosphere of environments.The lecture will give an overview of the human visual perception in relation to how we perceive spatial environments, and also a description of the Perceptual Metrics for Lighting Design method and how it may be used in practice and research.
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| 54. |
- Enger, Johanna, 1970-, et al.
(författare)
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Mixing and Matching Luminous Colors
- 2022
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Konferensbidrag (populärvet., debatt m.m.)abstract
- The use of luminous colors is increasing in design and art due to new technologies in color-tunable lighting. Our project addresses the lack of guidance when working with additive mixing of luminous colors, including their interaction with surface treatments. When using paint colors, designers and artists can draw from theories developed by both color scientists and artists/designers.However, the same is not yet true when working with additive mixing of colored light, which LED technology only recently made possible. The project’s overall scope was to explore and identify various aspects in the use of luminous colors from a perception-based perspective, and to develop and propose a basis for a perception tool box for practitioners.
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| 55. |
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| 56. |
- Frögård, Maja, 1985-, et al.
(författare)
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Co-Design workshoppar med Upplands Väsby och Varberg : Deltagande och materiella förhandlingar i planprocesser
- 2016
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Rapport (populärvet., debatt m.m.)abstract
- I dokumentet presenteras det arbete som gjorts med en co-designansats inom forskningsprojektet Decode - Community Design for Conflicting Desires, 2014-2016. Genom att arbeta genom en co-designansats undersöks hur medborgardeltagande och andra samarbeten kan stödjas i planprocesser i stadsutvecklingssammanhang med syfte att skapa relevanta och hållbara förslag.De lärdomar och bidrag som föreslås rör: vikten av förhållningssätt, att arbeta med motstridiga intressen, materiella förhandlingar mellan olika logiker samt hur förslagen lever vidare.
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| 57. |
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| 58. |
- Grünewald, Catherine, 1982-
(författare)
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How will we know what to remember
- 2021
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Konferensbidrag (populärvet., debatt m.m.)abstract
- Catherine will speak about her graphic novel and drawing practice, which she uses to explore the interweaving of time, space and memory. In her work she is interested in using visual storytelling and comics as a way to study the other and the unknown, the visualization of the breakdown of order within a system, and how images change form over time, with images and identities haunting multiple types of production. She willdemonstrate how a graphic adaptation of classic texts can place a new understanding of existing material, and how she uses the format to underline emotional undercurrents in written material.In times of political and social extremism, nostalgia and the rewriting of history into ideals creates a reality that lacks specificity. Memory becomes oversimplified, generalised and reduced. Visual storytelling can remind people of the specificity of reality and the importance of remembering, envisioning and articulating our lives and the lives of others. Through her graphic novels Heart of Darkness, Scandorama, Terminal and Dead Man Walking Catherine will investigate nostalgia and haunting, revisit eugenic and colonial histories and explore the use of drawing to remember and memorialise contemporary victims of crimes.
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| 59. |
- Grünewald, Catherine, 1982-
(författare)
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The Host
- 2021
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Ingår i: Catalyst. - London, UK : SelfMadeHero. - 9781914224027
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Bokkapitel (populärvet., debatt m.m.)
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| 60. |
- Gustafsson Fürst, Johanna
(författare)
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[Efterord]
- 2020
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Ingår i: Stridsskrift. - Stockholm : Accelerator. - 9789151944524
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Bokkapitel (populärvet., debatt m.m.)abstract
- Tidigt i utställningsarbetet såg Gustafsson Fürst vikten av att ge plats åt utställningens ämne i litterära texter: ”Jag ville samla en grupp personer som har språket som sitt medium till ett uttryck för glädjen över orden, smärtan i att få språket begränsat och behovet av språklig frihet och olikhet”. Tillsammans med Sara Abdollahi bjöd hon in författarna och poeterna Lars Raattamaa, Negar Naseh, Balsam Karam, Ida Börjel och Loretto Villalobos. Formgivaren Jonas Williamsson har haft en nära dialog med Gustafsson Fürst om bokens färg och form då den skapats som en del av installationen Biblioteket, 2020. Williamsson har gett boken två omslag, ett som är satt i relation till skulpturerna och dess placering i utställningsrummet och ett ytterligare omslag för bokens fortsatta liv utanför konsthallen.
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