| 1. |
- Neiß (Neiss), Michael, 1977-, et al.
(författare)
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New applications of 3D modeling in artefact analysis : three case studies in Viking Age brooches
- 2016
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Ingår i: Archaeological and Anthropological Sciences. - Springer : Berlin. - 1866-9557 .- 1866-9565. ; 8:4, s. 651-662
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Tidskriftsartikel (refereegranskat)abstract
- Three-dimensional (3D) laser scanning is a nondestructive and versatile technique that provides archaeologists with 3D models of archaeological and ethnographic objects. We have previously shown that 3D models facilitate shape analysis of archaeological bones and stone tools, due to the high measurement accuracy inherent in the latest generation of 3D laser scanners. Here, we explore the utility of 3D modeling as a tool for analyzing Viking Age metal artefacts with complex morphologies. Four highly ornate Viking Age brooches from Scandinavia and Russia were digitized with a portable laser scanner, and the resulting 3D models were used in three case studies of (a) artefact reconstruction, (b) tool mark analysis, and (c) motif documentation. The results revealed both strengths and limitations of the employed techniques. 3D modeling proved to be very well suited for artefact reconstruction and was helpful also in the stylistic and motif analysis. The tool mark analysis was only partially successful, due to the resolution limits of the laser scanner used. 3D-based motif analysis of a grandiose Scandinavian-style brooch from Yelets, Russia, identified an anthropomorphic figure with a bird-like body that previously has been overlooked. This figure may be a Rurikid coat of arms, possibly linking the object to a princely household and providing further evidence for a connection between Scandinavia and the Rurikids. As 3D technology keeps improving, we expect that additional applications for 3D modeling in archaeology will be developed, likely leading to many new findings when old objects are re-analyzed with modern techniques. However, our results indicate that 3D modeling cannot completely replace traditional artefact analysis—instead, we argue that the two approaches are best used in combination.
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| 2. |
- Öhman, May-Britt, 1966-
(författare)
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Gut la dån? Vem är du? Kukas sie olet?
- 2020. - 1
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Ingår i: Kiruna Forever. - Stockholm : Statens centrum för arkitektur och design, ArkDes Förlag. - 9789198511253
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Bokkapitel (populärvet., debatt m.m.)abstract
- Malmen, skogen och vattenkraften, i de nordliga samiska territorierna, (och numera de nordligaste delarna av Sverige) har under lång tid varit förutsättningen för den vällevnad och ohållbara livsstil som många människor, kanske även du, upprätthåller idag.Titelfrågan – om vem du är – på (lule)samiska, svenska och meänkieli, handlar om just detta. Minns du dina förmödrar och förfäder, och vilken del de har haft i denna historia? Vilken roll, som bygger på det som hänt, är, i nutiden, din? Låt oss bryta ner detta i lite mindre delar. Vi börjar med en fråga om glädje: Vad får dig att känna glädje och är den känslan kopplad till något slags konsumtion? Hur lever du? I vilken slags byggnad, varifrån kommer vattnet du dricker, vart tar maten du processat genom din kropp vägen? Hur färdas du dagligen? Är du fastboende och under svenska statens kontroll eller förflyttar du dig fritt som du vill? Och hur hänger detta ihop med den kultur du lever i? Har du funderat något på vad svensk kultur egentligen är? Hur svensk kultur formuleras i ord, bild, berättelser, i historien du fått lära dig, eller kanske den historia du inte fått lära dig?Jag vill ta dig med på en perspektivvändarresa. Där du, som den du är idag, får vrida och vända på dig för att minnas – och därmed förstå vem du är, vem du blivit, beroende på vad dina föregångare gjort och sagt.Sverige har inte alltid varit. Sverige – Svea rike – som modern kolonialstat skapades på 1500-talet. Fram till dess var samer inflytelserika och mäktiga. Parallellt med de europeiska kolonisationsprocesserna runtom i världen blev även Sverige en stark kolonialstat, ett imperie, grundat på just kolonisationen av de samiska territorierna.
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| 3. |
- Öhman, May-Britt, 1966-
(författare)
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Gut la dån? Vem är du? Kukas sie olet? Who are you?
- 2020. - 1
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Ingår i: Kiruna Forever. - Stockholm : Statens centrum för arkitektur och design, ArkDes Förlag. - 9789198511253
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Bokkapitel (populärvet., debatt m.m.)abstract
- The ore, the forest and the hydropower of the northern Sami territories (nowadays the northernmost part of Sweden) have for a long time been essential to the unsustainable life of luxury that many people, perhaps even you, lead today.The question in the title – asking who you are in Lule Sami, Swedish and Meänkieli – is about exactly this. Do you remember your foremothers and forefathers, what part they played in this history? Which role, based on all that has happened, is now yours? Let’s break it down into smaller parts. And begin with a question about joy: What makes you feel joy, and is that feeling connected to some kind of consumerism? How do you live? In what kind of building? Where does the water that you drink come from, where does the food processed by your body end up? What is your daily mode of transport? Are you a permanent resident under the control of the Swedish State or do you move freely as you wish? How does all of this connect with the culture you live in? Have you ever considered what Swedish culture really is? And how Swedish culture is being defined through words, images, and stories, through the history you were told, or perhaps through the history you were not told?I want to invite you along on a voyage of reversed perspectives. During which you, as you are today, have to contort yourself to remember – in order to understand who you are, who you have become, and how this depends on what your predecessors did and said. ‘Sweden’ has not always been. Modern Sweden – that is the Kingdom of Sweden – was established as a colonial nation state in the 16th century. Up until then the Sámi were influential and powerful. But, concurrently with other European colonisation processes taking place across the world, Sweden also became an assertive colonial state; an empire founded on the colonisation of the Sámi territories.
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| 4. |
- Smolicki, Jacek, 1982-
(författare)
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Minuting. Rethinking the Ordinary Through the Ritual of Transversal Listening
- 2021
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Ingår i: VIS – Nordic Journal for Artistic Research. - : Society for Artistic Research. - 2003-024X. ; :5
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Tidskriftsartikel (refereegranskat)abstract
- This exploratory essay introduces selected sound recordings along with notes and observations from Minuting – a practice of sonic journaling I have performed daily since July 2010 in numerous locations and settings. I weave these observations together in a way that resonates closely with the idea of repetition, in multiple forms: protest, automation, cycle, and ritual, as well as the repetition inherent to my acts of recording. While introducing sounds from the archive of Minuting, I reflect on how this constrained and systematically enacted form of listening, recording, and re-listening leads to a transversal type of sonic reflexivity. It is a form of alertness to sound that stretches beyond the immediate resonance of the 'now' – towards spatially and temporarily distant, yet to some extent intertwined, objects, subjects, events, and environments. The text evolves across three interrelated layers: annotated recordings from the project's archive, a set of thoughts and associations triggered by re-listening to the material, and a discursive analysis that opens up the project to a dialogue with other thematically resonant debates and practices. Drawing on perspectives from media studies, the philosophy of technology, sound studies and durational art, I discuss Minuting as an art work, a creative constraint and a transversal listening practice. Lastly, I propose it as an existential media technique for composing critical and reflective positions towards one's surrounding space, experience of time, and use of sound technologies.
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| 5. |
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A Chest in the Attic
- 2019
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Konstnärligt arbeteabstract
- When the attic of the Huseby estate house was cleaned in 2008, a large wooden chest was found. It had not been opened since being sealed in India and shipped to Sweden in 1869. Its contents reveal a world of knowledge that changes how we understand the history of colonial India and of Småland 150 years ago, and how these histories intertwine. Joseph Stephens grows up in a British family shaped by the global transformations of the nineteenth century. Joseph was born in Stockholm and, when he is 11 years old, moved to Copenhagen where his father George, folklorist and runologist, had taken up a position at the university. In 1859, at the age of 19, Joseph leaves for Bombay. This is an important port city and a world-leading metropole of trade and finance. Here, Joseph is trained to become a civil engineer under his brother-in-law, an engineer working on one of the world’s largest infrastructure projects: the railways. In the 1860s the Great Indian Peninsula Railway Company (G.I.P.R.) was constructing the trunk lines between India’s trade metropoles, Bombay and Calcutta. The large railway network will eventually interconnect the colonial economy, transporting passengers, goods and troops across the continent. Joseph soon becomes a subcontractor and mobilises labourers and material for smaller projects. After some time he set up his own firm: Joseph Stephens & Company.
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| 6. |
- Petersson, Bodil, 1967-
(författare)
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Kulturarvet som förnyelsebar resurs : Experimentellt kulturarv på Öland
- 2023
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Ingår i: Öländska horisonter. - Borgholm : Ölands Hembygdsförbund. - 9789151999623 ; , s. 241-263
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- I artikeln beskrivs nätverket Experimentellt kulturarvs första större projekt på Öland inom vilket arkeologer, konstnärer och kulturarbetare samverkade för genoförandet av konstnärliga gestaltningar av kulturarvsplatser i det öländska landskapet. Projektet började förberedas 2014 och genomfördes under 2016–18 tack vare finansiering från Familjen Kamprads Stiftelse, som möjliggjorde de konstnärliga gestaltningarna och det fördjupade samarbetet mellan arkeologer, konstnärer och kulturarbetare. Åtta kulturarvsplatser gestaltades för allmänheten. Resultatet av samarbetet visar hur kullturarvet ständigt tolkas och omtolkas och därmed utgör en värdefull förnyelsebar resurs i samhället.
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| 7. |
- Carpentier, Nico
(författare)
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Iconoclastic controversies exhibition : A visual sociology of statues and commemoration sites in the southern part of Cyprus
- 2015
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The photographs, taken in the southern regions of Cyprus, investigate the monuments, landmarks and statues that are part of the everyday life of Greek Cypriots. “The statues are vehicles of communication. They are vehicles of ideology, of information. It’s the entire object that also becomes a medium”, explains the professor.These photographs analyse how statues and commemoration sites narrate and frame the Cyprus Problem, and how they in many cases contain references to the “Self” and the “Other” by presenting a heroic “self” to the “own” community, or by showing the suffering of the “self”. But the exhibition also investigates how some (exceptional) statues undermine this presentation of the “self” and offer a different narrative of the conflict, and the identities of the people involved. “The logics of war and conflict often makes us believe that there is a homogenous community that is identical. And that is part of the problem, actually, because it hides the diversity that is so important. Showing these internal differences is very important in dealing with conflicts like in the Cyprus Problem”, notes professor Carpentier. He continues: “the project shows how important and how traumatic the Cyprus Problem is. The Cyprus Problem scratched the Cyprus soul, it really went very deep. The statues are ways of dealing with that”.
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| 8. |
- Holtorf, Cornelius, 1968-, et al.
(författare)
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Discussion
- 2017
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Ingår i: Peculiar Artifacts in Bosnia & Herzegovina. - Gent : Art Paper Editions. - 9789490800642 ; , s. 131-140
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Bokkapitel (populärvet., debatt m.m.)
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| 9. |
- Smolicki, Jacek, 1982-
(författare)
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Acoustethics: Careful Approaches to Recorded Sounds and Their Second Life
- 2022
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Ingår i: Prace Kulturoznawcze. - : Wydawnictwo Uniwersytetu Wroclawskiego. - 0860-6668. ; 26:1, s. 11-33
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Tidskriftsartikel (refereegranskat)abstract
- This article attempts to rethink some problematic ways and motivations for engaging in (field) recording and working with recorded sounds. Interweaving reflections from my long-term soundscape archiving initiative undertaken in Stockholm, with projects of others aiming at preserving cultures through sound, I reflect upon ethical challenges that emerge against the prospect of second and following lives and deaths of recordings. Does the second life of a recorded event risk replicating power relationships that the original recording was enmeshed in? What can be gained and, more importantly, lost while conceiving a second life of a recorded sound? This article intends to open up an array of such questions which, as I suggest, need to be taken into consideration already before and during the recording process. As a discursive tool that does not resolve those concerns but instead creates space for critical reflection, I propose a concept of acoustethics. In a nutshell, acoustethics, as this portmanteau of acoustics and ethics suggests, is an ethically informed approach to the world’s soundscapes. I argue that any kind of engagement with the auditory world through recording technologies requires careful consideration of multiple agencies contributing to the recorded sound. As a reflective attitude to the sonic realm, acoustethics acknowledges that any recording takes place within already existing fields of relations and simultaneously generates new links between subjects, histories, worldviews, technologies, and other forces. In other words, any recording is intrinsically field recording.
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| 10. |
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Bodil Lajv : Festskrift till Bodil Nildin-Wall den 18 januari 2007
- 2007
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Konstnärligt arbete (refereegranskat)abstract
- Innehåller skriftliga bidrag från Maria Teresa Agozzino, Bo Almqvist, Eva Brylla, Anita Eldblad, Karin Hallén, Marlene Hugoson, Katharina Leibring, Folke Lore (fiktiv), Agneta Ney, Britt-Mari Näsström, Margareta Svahn, Mats Wahlberg, Jan Wall, Tora Wall, Anna Westerberg & Per-Anders Östling.
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