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- Björgvinsson, Erling, 1969, et al.
(författare)
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Hospitalisation and Spatial Vagueness: Patients’ Sense of Plasticity in a Care Environment
- 2017
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Ingår i: Caring Architecture: Institutions and Relational Practices. - Newcastle upon Tyne : Cambridge Scholars Publishing. - 9781443898966 ; , s. 33-49
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Bokkapitel (refereegranskat)abstract
- Hospitalised patients are faced with a brute reorientation of their normal spatial needs and preferences and are forced to adjust spatially, so they start to re-arrange their own situation according to personal needs and site-specific circumstances. This re-arrangement includes material re-positioning of institutional objects and private things, but also adjusting to the presence and needs of hospital staff and other patients. Different types of spatial restraints and opportunities may emerge in this alignment with the hospital culture and thus patients’ preferences and spatial production within this environment need to be further investigated. Patients may need not only to produce a space of their own that allows subjective and intersubjective building of territories, but also to retain a certain movement of freedom in relation to the firmness of the socio-spatial programme and the architecture that exists in hospital wards. This chapter presents an investigation of patients’ socio-spatial concerns and preferences when hospitalised. The results indicate that more attention could be paid to patients’ concerns and preferences as regards spatial flexibility, reflecting the existential necessity for vagueness as an ingredient of space and the enacted experience of plasticity as the ability to give and take form. This leads on to the conclusion that applied concepts of space and the design of hospitals could take into account a more varied range of everyday space production according to those occupying the space.
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| 5. |
- Hällgren, Nina, 1977-
(författare)
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Designing with Urban Sound : Exploring methods for qualitative sound analysis of the built environment
- 2019
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The licentiate thesis Designing with Urban Sound explores the constitution and qualitative characteristics of urban sonic space from a design-oriented and practice-based perspective. The act of lifting forth and illuminating the interaction between architecture, the creation of sound and a sonic experience aims to examine and develop useful tools and methods for the representation, communication and analysis of the exterior sonic environment in complex architectural spaces. The objective is to generate theoretical and practical knowledge within the field of urban sound planning and design by showing examples of different and complementary ways of communicating and analyzing sound than those which are commonly recognized.
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| 6. |
- Sandin, Gunnar
(creator_code:cre_t)
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As Safe as Houses
- 2004
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)
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| 7. |
- Sandin, Gunnar, et al.
(författare)
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Aesthetic regulation of objectionable representations. : A semiotic approach to memorials and religious architectural space.
- 2012
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Ingår i: Global Semiotics : Bridging Different Civilizations - Bridging Different Civilizations. - 9787563037438
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Konferensbidrag (refereegranskat)abstract
- Whenever a material object is selected to represent a physically absent, but emotionally present referent, such as a religious figure or a deceased relative, we have a complex representation situation that involves what we could tentatively label “transgressive cognitive acts”. A transgressive cognitive act is here meant to involve a part that is experienced as present, and as having an effect, but not evidenced from a rationalist or scientific perspective on existence. Sometimes, the complexity of this type of representation is such that argumentation beside the theological, e.g. aesthetic, comes to stand as vicarious to theological or existential opinions about the matter. The semiotics of such vicarious representation have to consider a “leaking” communication model where one part in the trinity - of the sender, the receiver or the referent - escape a coherent or evidenced definition (God can be all three, depending on type of communication). The fact that empirically non-existing referents have been recognized and theorized in semiotics (Eco; Sonesson; and others) does not explain why certain cases of absent semiotic agents, linked to religious belief, or to sense of presence in grief of a deceased person, may give rise to such extreme degree of emotion or sense of existence.Departing from a narrated episode written by J M Coetzee, about the controversy brought up by a crucifix, turning into a quarrel about aesthetic preferences, this paper discusses a series of designed or spontaneously created spatial representations of physically absent, but indirectly and emotionally present referents, as they appear in memorials, cemeteries and funeral chapels. In public acts of memorialisation, the physical objects that represent the deceased – like gravestones or memorial objects placed at sites representing the dead – are often strictly regulated, differently in different cultures. When for instance they appear at unexpected places in the urban environment, or with unfamiliar looks, memorials and their material culture can become highly controversial or be regarded as objectionable.These materialisations with a relation to religion, or existential belief, may give rise to arguments where the aesthetic aspect is the last chance to state a principle order in the cultural scheme in which they are debated. Such arguments are actualised in the current debate about post-secular societies, where it is for instance stated (Habermas) that both religious and secular mentalities must be open to a complementary learning if we are to balance shared citizenship and cultural difference in the post-secular society. It is an objective of this paper to show that the recognition of a semiotics that involves the paradoxical presence of emotionally strong, but fundamentally absent parts in communication can contribute to the aesthetics of physically present, but existentially debated objects, as well as to the discussion about the confronting as well as conjoining elements of regulation of these issues in society.
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| 8. |
- Sandin, Gunnar
(författare)
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Art and the evolvement of culture. The altering capacity of institutional critique
- 2013
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Konferensbidrag (refereegranskat)abstract
- Creativity is a principal force of cognitive and communicational genesis that causes alteration of established rules and concepts (Heine/Kuteva 2007) and transgression of cultural borders (Lotman 1990). Artistic activity is normally taken for granted as creative, despite the fact that much artistic intention, is not necessarily aspiring to make any radical change of the circumstances in which it is communicated. Still, the role of art in societies can be claimed to be of radical importance for human development. Art may historically, and indeed in several archaeological and anthropological perspectives, be seen as a shared cognitive resource and a projection surface for the self-conceiving of cultures. Thus, its representational capacity influences stabilisation as well as alteration of societies and their borders. Art has even been described as “a major factor in evolving the cognitive domains in the long history of the human species” (Donald 2006), and in this perspective art is to be regarded as an important “trigger” in evolutionary change, belonging in several stages of development.If art in general has these evolutionary and extensional qualities, what then could be said about the self-questioning agency of critical art, sometimes labelled “institutional critique”, i.e. art that beyond depiction or beauty aims at exposing the fundaments upon which it itself is collected, maintained, symbolized, economized? Through examples from contemporary critical art, it will here be discussed to what extent these activities alter their own culture. In view of the examples, creativity will be regarded – in order to distinguish it from mere problem-solving, and refinement of discipline – as a radically open-ended intention that may alter the comprehension of its own immediate context as well as of the context in a broad cultural meaning.
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- Sandin, Gunnar
(författare)
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"IS IT" - och andra platser
- 2000
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Ingår i: Glänta (special issue on art and research). ; 4, s. 1-16
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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