| 1. |
- Matusiak, Barbara, et al.
(författare)
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PERCIFAL method in use : Visual evaluation of three spaces
- 2011
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Ingår i: AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Colour Association, Zurich, Switzerland, 7–10 June 2011: Conference Proceedings, CD. - Zurich : pro/colore, 2011. ; , s. 568-571
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Konferensbidrag (refereegranskat)
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| 2. |
- Arnkil, Harald, et al.
(författare)
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PERCIFAL: Visual analysis of space, light and colour
- 2011
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Ingår i: AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Colour Association, Zurich, Switzerland, 7–10 June 2011: Conference Proceedings, CD. - Zurich : pro/colore, 2011. ; , s. 229-232
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Konferensbidrag (refereegranskat)abstract
- This paper addresses the need for better and more accurate methods of recording and analyzing the visual experience of architectural space. PERCIFAL (Perceptive Spatial Analysis of Colour and Light) is an ongoing project that aims at developing a method of analysis that can capture coherent spatial experiences of colour and light. The starting point for PERCIFAL is a method of visual evaluation of space and light, developed by Professor Anders Liljefors at the former department of architectural lighting at KTH Architecture. PERCIFAL is based on direct visual observations and the recording of these observations by verbal-semantic descriptions using a questionnaire. It has been developed primarily as an educational tool, but we see in it potential for a design tool for professionals as well as for an analytical method for research. The first test results, conducted in Sweden, Norway and Finland, show that the method has significant pedagogical merits and that it allows interesting comparisons between physical measurements and visual experiences of space, light and colour.
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| 3. |
- Broms, Loove, et al.
(författare)
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Coffee Maker Patterns and the Design of Energy Feedback Artefacts
- 2010
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Ingår i: DIS '10 Proceedings of the 8th ACM Conference on Designing Interactive Systems. - New York, NY, USA : ACM. - 9781450301039 ; , s. 93-102
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Konferensbidrag (refereegranskat)abstract
- Smart electricity meters and home displays are being installed in people’s homes with the assumption that households will make the necessary efforts to reduce their electricity consumption. However, present solutions do not sufficiently account for the social implications of design. There is a potential for greater savings if we can better understand how such designs affect behaviour. In this paper, we describe our design of an energy awareness artefact – the Energy AWARE Clock – and discuss it in relation to behavioural processes in the home. A user study is carried out to study the deployment of the prototype in real domestic contexts for three months. Results indicate that the Energy AWARE Clock played a significant role in drawing households’ attention to their electricity use. It became a natural part of the household and conceptions of electricity became naturalized into informants’ everyday language.
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| 4. |
- Fridell Anter, Karin
(författare)
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LJUS- OCH FÄRGBEGREPP och deras användning
- 2012
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Rapport (refereegranskat)abstract
- Det tvärvetenskapliga projektet SYN-TES. Människa, färg och ljus. Syntetisering för ett sammanhållet kunskapsfält har pågått på Konstfack under 2010-2011, med finansiering från KK-stiftelsen (ref. nr 2009/0195). Projektet har omfattat ett femtontal nordiska färg- och ljusspecialister från företag och olika akademiska discipliner. I anslutning till detta har det genomförs ett antal delprojekt kring avgränsade frågeställningar. Detta delprojekt har behandlat begreppsbildning och terminologi kring färg och ljus, där förekomsten av konkurrerande traditioner ofta leder till missförstånd och försvårar kunskapsupp- byggnaden. Delprojektet i sin helhet publiceras i boken Colour and Light – Concepts and Confusions (Red. Arnkil, H. 2012. Helsinki: Aalto University School of Arts, Architecture and Design). Denna rapport om ljus- och färgbegrepp bygger på Karin Fridell Anters artikel i boken. Texten har utarbetats i nära samarbete med Ulf Klarén och Harald Arnkil. Under arbetets gång har den diskuterats av SYN-TES samlade seminariegrupp.
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| 5. |
- Fridell Anter, Karin, 1950-, et al.
(författare)
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Successive approximation in full scale rooms. : Colour and light research starting from design experience.
- 2011
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Ingår i: AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Colour Association, Zurich, Switzerland, 7–10 June 2011: Conference Proceedings, CD. - Zurich : pro/colore, 2011.
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Konferensbidrag (refereegranskat)abstract
- OPTIMA is a pilot study attempting to simultaneously involve all visual aspects of the room, with an analysis starting from the totality instead of dividing it into different parameters. Its primary aim is to develop and test methods for this, combining a scientific approach and experience based practices of art and design
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| 6. |
- Hellström, Björn, 1959-, et al.
(författare)
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Acoustic Design Artifacts and Methods for Urban Soundscapes
- 2008
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Ingår i: The 15th International Congress on Sound and Vibration In: International Journal of Acoustics & Vibration. ; , s. 52-52
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Konferensbidrag (refereegranskat)abstract
- The research question is: “How to develop and apply acoustic artifacts and design methodologies for improving soundscapes in urban outdoor spaces?” In the project, this research question is limited to two specific types of urban outdoor spaces – city-park and city-square – and to two types of acoustic design artifacts. These are: I. Dynamic promotion of qualitative site specific sounds (e.g., the overall site specific sonic atmosphere, sounds from human activities, birds and fountains), which creates an improved soundscape. II. Sound-art installations, that creates delimited auditory sub-spaces within the park/square. The purpose and method is: 1. To provide two case-studies of artistic soundscape improvement, one in a noise polluted city-park and one in a city-square. The case-studies will serve as models for future applications of the new acoustic design artifacts. 2. To create and validate an innovative acoustic design methodology based on state-of-the-art real-time acoustic simulation tools integrated into the design process. The methodology will be validated in psychoacoustic listening experiments and field studies. 3. To determine the potential of the two acoustic design artifacts (I Dynamic promotion of qualitative site specific sounds, and II Sound-art installations) for providing pleasant and restorative soundscapes, in order to strengthening the social interaction as well as the spatial and aesthetical qualities in noise polluted city parks/squares. The present project beats a new track by combining acoustic design with sound art research, integrating methodologies based on real-time acoustic simulation and application of psychoacoustic methodology for validating simulations and for evaluating perceptual, emotional and behavioural effects on visitors to public open spaces. The ongoing research project, financed by the Swedish Research Council, is executed by the University College of Arts, Crafts and Design (Konstfack), Gösta Ekman Laboratory – Stockholm University and Karolinska Institutet and the Interactive Institute, all in Stockholm, Sweden.
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| 7. |
- Williamson, Morag, et al.
(författare)
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What is EFPTA for? : Some self-reflection at the 20 year milestone.
- 2024
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Ingår i: The age of psychology. - Helsinki, Finland. ; , s. 10-10
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Konferensbidrag (populärvet., debatt m.m.)abstract
- It’s 2024, and we have good cause to celebrate 20 years of EFPTA activity. We have grown and thrived as an organisation, and can list a number of achievements, including numerous successful eventsfor psychology teachers /educators both in-person and online, collaboration with other organisations involved in psychology /psychology education in Europe, research publications, and presentations at international conferences. We effectively adapted our activities during the pandemic, and we continue to attract new member countries and individuals. Presumably we – and others - see ourselves as doing something important; if so, what is that? Or do we just love to get together socially with like-minded folk? Bearing in mind the enormous changes in the environment over the last 20 years – from local/national education issues to global crises – what should be EFPTA’s purpose in the coming years? what challenges do we face? where should we focus our efforts? This participative discussion-based workshop will consider these and other related questions, with reference to our formal aims as well as participants’ experiences. It is hoped that these discussions will help inform EFPTA’s priorities in terms of future strategy.
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| 8. |
- Fridell Anter, Karin, et al.
(författare)
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NEUTRAL GREY – AN ABSTRACTION?
- 2009
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Ingår i: Proceedings of the 11th Congress of the International Colour Association, AIC 2009. - Sydney : The Colour Society of Australia, Inc. September 2009, Sydney, Australia.. - 1877040 76 2 ; , s. 1-4
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Konferensbidrag (refereegranskat)abstract
- This paper presents part of the research project Greyness and spatial experience. Its main objective is to discuss the concept of neutral grey and to investigate the preconditions for perceiving neutral grey colours in different situations. Neutral grey is defined as having similarity only to black and white, not to the chromatic elementary colours. Greyish colour samples have been observed with different backgrounds and in different light. One of these series is presented in detail in the paper, the conclusions from others are considered in the discussion, together with relevant literature. Greyish colours are seldom perceived as neutral, but rather tend to get a perceived hue, which depends on the observation situation. Inherent neutral grey colours are not found in nature. In production of materials and artefacts no tolerance level can assure a total lack of hue. In conclusion we suggest that neutral grey should be considered as an abstraction, its unique but in practice unobtainable quality lying in its absolute lack of hue and chromaticness.
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| 9. |
- Klarén, Ulf, 1944-, et al.
(författare)
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Always Something Else : Levels of experiencing colour and light
- 2012
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Ingår i: In color we live. - : Color Association of Taiwan. - 9789868679634 ; , s. 68-71
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper springs from a project about concept formation in the field of colour and light, andpresents a graphic model describing possible constituent relations between colour and lightexperiences. A deeper understanding of colour and light experiences calls for a coherent andwell-defined structure that can be used to describe connections and distinctions betweenexperiences of different kinds. This also can contribute to understanding of how colour andlight concepts are related to each other. We experience the world holistically. Our experiencesof colour, light and space have many aspects. Their relations to different levels of experiencealways have to be considered.
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| 10. |
- Axelsson, Östen, et al.
(författare)
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A field experiment on the impact of sounds from a jet-and-basin fountain on soundscape quality in an urban park
- 2014
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Ingår i: Landscape and Urban Planning. - : Elsevier BV. - 0169-2046 .- 1872-6062. ; 123, s. 49-60
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Tidskriftsartikel (refereegranskat)abstract
- A field experiment was conducted to explore whether water sounds from a fountain had a positive impact on soundscape quality in a downtown park. In total, 405 visitors were recruited to answer a questionnaire on how they perceived the park, including its acoustic environment. Meanwhile the fountain was turned on or off, at irregular hours. Water sounds from the fountain were not directly associated with ratings of soundscape quality. Rather, the predictors of soundscape quality were the variables “Road-traffic noise” and “Other natural sounds”. The former had a negative and the latter a positive impact. However, water sounds may have had an indirect impact on soundscape quality by affecting the audibility of road-traffic and natural sounds. The present results, obtained in situ, agree with previous results in soundscape research that the sounds perceived—particularly roadtraffic and natural sounds—explain soundscape quality. They also agree with the results from laboratory studies that water sounds may mask road-traffic sounds, but that this is not simple and straight forward. Thus sound should be brought into the design scheme when introducing water features in urban open spaces, and their environmental impact must be thoroughly assessed empirically.
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