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- Bågander, Linnea
(författare)
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BODY FRAGMENTED - Temporal Expressions
- 2020
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Ingår i: VIS Journal. - 2003-024X. ; 4
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Tidskriftsartikel (refereegranskat)abstract
- In response to digital technology, new methods, thinking and aesthetics have emerged that challenge the way we design. In particular, the extraction of movement introduced by motion-capture technology proposes a design process wherein the motion rather than the form is used as a material. In such a process, the motion is extracted from a defined set of points that creates a digital representation. In this exposition, the strategies utilized when capturing a motion is translated into the process of garment making resulting in other bodily aesthetics through dress. Practically, this exposition is based on two independent studies that aim to define parameters for transformations of the moving body’s expression applied to a garment making process. The transformation is approached from two different perspectives; the first study is non-material and borrows theory and references from the field of dance and motion capturing technology. It maps the body as a point-based system based on the body as a moving form and pin-points body functions that affect these points. This part serves as a foundation for the second study that adds material aspects to the work, in particular, by mapping material parameters that relate to how the material is arranged in relation to these points. In conclusion, strategies of extraction of movement as the attachments and the scale of fragmentation of materials are considered as the main contribution to the garment making process. As it proposes a new usage of movement, the work has implications for fashion design, costume design and other body movement-based practices.
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| 2. |
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| 3. |
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Bild, konst och medier för yngre barn : kulturella redskap och pedagogiska perspektiv
- 2014
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Det är en pedagogisk balansakt att ta del av barns perspektiv och i rätt ögonblick utmana dem så att de utifrån egna intressen kan lära sig mer om olika gestaltningsformer och om den visuella kultur de lever i. Att barn idag erövrar en visuell läskunnighet är lika angeläget som att de får en verbal- och skriftspråklig kompetens.Med denna antologi vill vi erbjuda kulturella redskap och pedagogiska perspektiv för att arbeta med bild och konst i förskolan, men också på fritidshem och i skolans tidiga år. Det pedagogiska arbetet med bild, konst och medier har olika aspekter – sociala, kunskapsmässiga, kommunikativa och konstnärliga. Vi menar att samtliga är betydelsefulla och att det är viktigt att ingen av dessa aspekter hamnar i skuggan. De senare årens fokus på visualitet, visuell kultur, estetiska lärprocesser och lärande om, i, genom och med konst behöver diskuteras ytterligare i relation till yngre barn. Med exempel från olika projekt och aktiviteter diskuterar vi hur arbetet med bild i vid mening kan vara både lekfullt, meningsskapande, lärande och problematiskt.
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| 4. |
- Wänström Lindh, Ulrika
(författare)
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Light shapes spaces : experience of distribution of light and visual spatial boundaries
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Light enables us to experience space. The distribution of light is vital for spatial experience but has not been the main focus of previous research on lighting. The lighting designer’s professional knowledge is to a great extent experience-based and tacit. With design practice as the point of departure, this thesis aims to explore spatiality and enclosure in relation to the distribution of light – with the intention of increasing subjects’ understanding of what can be regarded as a space, and to show how spaces can be shaped by the distribution of light. By focusing on users’ experiences and interpretations, relationships between the distribution of light and perceived spatial dimensions and experienced spatial atmosphere have been investigated. The main contribution of this thesis is to widen the base of knowledge that lighting designers, architects and customers can use as a common reference. This thesis is based on three studies: the Scale Model Study, the Auditorium Study and the Church Park Study. The thesis includes concept- and method development. The mixed methodologies comprise a range from introspective phenomenological observations to deep interviews and questionnaires. The experimental setups have also shifted from scale models to real-life interior and exterior settings. Consequently, a quantitative approach has complemented the mainly qualitative approach. Through artistically based research, patterns and relationships are dealt with in complex real spaces. The findings of these studies lead to a discussion of when, why and how patterns of brightness and darkness influence spatial perceptions of dimensions. The findings also show that brightness not only contributes to our experiencing a space as more spacious than it really is, but in certain situations brightness can actually have the reverse effect. Furthermore, darkness can contribute to a spacious impression, which has hardly been discussed in previous research. What subjects regard as a space may shift between the clearly defined physical space and the perceived space, which include light zones. Light zones can create a sense of inclusion or exclusion for subjects, which affects their sense of community and their feeling of safety. Light topography, e.g. the height of luminaire positions, as well as light direction influence the way we experience the private and the public. Enclosure can, if related to visible spatial boundaries, facilitate reassurance and safety.
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| 5. |
- Thornquist, Clemens
(författare)
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Classroom
- 2018
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- The conditions under which education is conducted and teaching is mediated can be described in different ways. One is with pictures. Professor of Fashion Design Clemens Thornquist has photographed classrooms around the world. In 44 pictures, he shows environments that are known to all of us. However, the pictures do not show how teaching is conducted, its purpose, or which results it leads to either in the short or in the long term, but we can imagine. This report allows us to interpret what happens and what is achieved in the different environments and classrooms.
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| 6. |
- Lewis, Erin, 1980-
(författare)
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Design Potentials of Magnetic Yarns
- 2018
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Ingår i: Design Potential of Magnetic Yarns. - Porto, Portugal.
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Konferensbidrag (refereegranskat)abstract
- Magnetism holds a strong potential as a design material due to the array of possible expressions based on its fundamental behaviours of attraction and repulsion. The magnetic phenomenon presents itself simultaneously as visual and non-visual material through its quality of being imperceptible under certain conditions until manifested in some way, such as physical interaction or electronic control. This balancing of physical constants, material and immaterial considerations of magnetic phenomenon, become a rich site for exploration and experimentation when combined with the immense variables available in textile design such as yarn attributes (yarn number, yarn twist, fiber composition) and textile structure (woven, non-woven, knit, twisted and interlaced). Therefore, the use of magnetism as a design material holds a strong potential for dynamic and responsive textile expressions when used in composition with one another. While the discourse surrounding the material-immaterial relationship is active and present across various design disciplines [1,2,3], the representation of magnetic phenomenon as a design material remains underrepresented in the field of textile design. This experiment illustrates a method of creating yarns that are responsive to magnetic fields through a process of hand-painting natural, synthetic, and combination yarns with a widely-available ferromagnetic solution. The result is a reference catalogue of yarns exhibiting design potentials for textile-based magnetic interactions.ExperimentThis poster presentation describes a method of creating yarns that are responsive to magnetic fields through a process of hand-painting natural, synthetic, and combination yarns with a widely-available ferromagnetic solution. The yarns measure 10 cm in length and are grouped in bundles to form tassels. They are anchored to a fixed structure at a central point from which all movement arises. A magnetic field is applied to the yarns through the use of permanent- and electro-magnets. These painted yarns exhibit a unique variety of behaviours and characteristics ranging from lifting/dropping, expansion/compression, splaying, and fluctuating movements, as well as the yarn’s ability to hold structural form. These expressions are based on the yarn variants of fiber composition, weight, twist, flexibility, absorption ability, and evenness of absorption.ResultsThis experiment results in a catalogue of natural and synthetic yarn attributes pre- and post- ferritic treatment, which identities their magnetic and behavioural abilities. The results suggest design potentials to be further explored through textile construction methods such as weaving and knitting.Figure 1. Magnetic yarns in a woven textile construction.AcknowledgementThis research is supported by the Swedish School of Textiles, University of Borås, SwedenReferencesWiberg, M. (2014). Methodology for materiality: Interaction design research through a material lens. Personal and Ubiquitous Computing, 18(3), 625-636.Dunne, Anthony. (2006). Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design (Rev. ed.]. ed.). MIT Press.Kwon, H., Kim, H., & Lee, W. (2014). Intangibles wear materiality via material composition. Personal and Ubiquitous Computing, 18(3), 651-669.
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| 7. |
- Malmgren De Oliveira, Stefanie
(författare)
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On seeing : in fashion design
- 2016
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In fashion design, the designer strives for the development of ideas in view of significant visual goals. The process of specifying and developing ideas is a highly visual process. Based on what has been ‘seen’ as for example in a reference material or in explorations, designers define possible tracks to follow, decide which ideas to deepen or which ones to reject. Their activities can thus be described as a process of seeing.There is nothing novel about the importance of seeing as an act in the design process; on the contrary, seeing, is usually an intuitive act that any designer explicates throughout the process of shaping his/her vision. However, the systematisation of seeing in the design process in order to advance ways of working in the field of fashion design is still very much an area that is open for further research.In this thesis, possible ways of seeing are explored through experiments in different stages of the design process. Based on an image serving as a point of departure, seen elements were derived and put in relation to a body in a two-dimensional photographic sketching stage, in accordance with different ideas of dress. Selected ideas were then further elaborated and explored in terms of their design possibilities.The results of the experiments are propositions of design ideas that have been ‘seen’ in a single sketch or a series of sketches. The contribution of this licentiate thesis are: 1) A thorough mapping of two design stages (point of departure and two-dimensional sketching stage), and how they provide a deeper understanding of the design process, leading to 2) an improved sensibility with regard to design possibilities, their value and developments, and finally 3) the establishing of a methodology with which to discern the composition of a visual language/vision in fashion design based on ‘seeing’.The act of seeing is presented as the fundamental tool of designing for shaping a vision. By delving into the systematisation of the notion of seeing in a fashion design process, a methodology of seeing is introduced, which aims to enhance the possible ways of visualisation when designing.
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| 9. |
- Kooroshnia, Marjan
(författare)
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I come from...
- 2012
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The central feature of the art piece is the artist’s picture printed on wool fabric covered with moth’s eggs. The eggs have been allowed to develop into larvae, which have fed on the wool fabric, making holes in it. A second layer made of silk-organza fabric and printed in a Persian carpet pattern, can be seen through the holes. The two layers of fabric are isolated in a glass display case. The installation engages the audience in dialogue and discussion.
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