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Sökning: WAKA:kon > Högskolan i Borås > Konstnärligt arbete

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1.
  • Bashir, Tariq, 1981-, et al. (författare)
  • Cellulosic Smart Textile Fibers based on Organic Electronics
  • 2016
  • Konferensbidrag (refereegranskat)abstract
    • The paradigm shift of merging structural properties of materials with other functionalities prevails and cellulose based fibres are no exception. For the realisation of so called smart materials, including smart textiles, electrical conductivity is of special importance, enabling sensorics, signal transmission, energy supply, energy generation, and actuation. We here discuss taking use of the advancement within the organic electronics community of conjugated polymeric systems producing smart textile fibres for inclusion into garment as well as interior and technical textiles. Specifically, poly(3,4-ethylenedioxythiophene) known as PEDOT is studied as a model system. PEDOT has relevance being a working horse within the organic electronics community. Our emerging pilot line is based on creating conductivity by vapour polymerization of EDOT monomers on an oxidant coated textile fibre where these could be taken from arrange of materials. Here we focus on cellulose based fibres. It is shown that Tencell-Lyocell is a suitable substrate offering many  anchoring sites and that multiple depositions with layers deposited directly on each other decreased the resistance from 5.1 (± 1.6) kΩ/10 cm to 1.0 (± 0.1) kΩ/10 cm, for one layer and multiple layers respectively. Furthermore, adding 15 wt. % of the copolymer PEG-PPG-PEG to the oxidant solution decreased the resistance from 6.8 (± 1.2) kΩ/10 cm to 3.9 (± 0.8) kΩ/10 cm.
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  • Bågander, Linnea (författare)
  • BODY OF MOVEMENT - (IN)forming movement
  • 2017
  • Konferensbidrag (refereegranskat)abstract
    • This work aims to suggest materialized expressions based the moving body. As a principle of design, it treats the body as a whole and focuses on the in-betweens that the body creates in movement as aesthetics, not looking at its surface or the traditional ways of dividing the body (e.g. sweater, pants).In conclusion, the results suggest that the body movement has a spatial continuation as dynamic space that can be materialized. It is a suggestion a principle of design that can be applied in fashion design, choreography, architecture, furniture design. 
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4.
  • Bågander, Linnea (författare)
  • BODY OF MOVEMENT - (IN)forming movement
  • 2017
  • Konferensbidrag (refereegranskat)abstract
    • The presentation focuses on the collaborative process that occurs when designing garments for dance. It brings forth the benefits of the interdisciplinary production of knowledge that emerges when fashion is intersected with dance and through this moved. The collaborative process is exemplified in two projects Cuttlefish with Nicole Neidert and INSIDE/OUTSIDE with Karolin Kent and brings forth benefits of different backgrounds, expertise and perspectives in development of experimental costumes. 
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5.
  • Bågander, Linnea (författare)
  • Cuttlefish - another body
  • 2018
  • Konferensbidrag (refereegranskat)abstract
    • CUTTLEFISH – Another body  This work aims to explore other types of preforming bodies. Bodies extending themselves into material and creating expressions based on the body in a dialogue with materials expression. Through this aiming to remove connotations associated with the body through this create for the audience an experience of freedom of imagination. Fashion design involves an aesthetics that is based the body as form and is often changed in form according to norms, trends and ideals, shaping by “artificially changing the body’s silhouette and sometimes altering its natural structure” (Koda, 2012). Further, the alterations of dress affect how the body behaves and moves by restricting, enhancing (Bugg, 2006) and enabling movements through both physical and psychological means. In Cuttlefish, the body is instead altered in movement qualities and through this as form. The visual removal of the body, contributed to experienced new bodies, it became something that the viewer can relate to on an emotional level as they became new personas and identities. Audience experience a large vary of emotions and personal associations many of them concerning identity; who we are and how we exist together.   CUTTLEFISH credits:Choreographer: Nicole NeidertCast: Linn Ragnarsson, Viktoria Andersson, Anton BorgströmCostume design: Linnea BåganderSound design: Elize ArvefjordLight design: Ulrich Ruchlinski Premier: September 26th 2017 Falkhallen, Falkenberg, Sweden Additional performances:Byteatern Kalmar, KonserthusteaterKarlskrona, SPIRA Jönköping, Region Teatern Växjö, Skånes Dans Teater Malmö.
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6.
  • Bågander, Linnea, 1986- (författare)
  • STM16:9fft_VR : Virtual surrealism and site specific VR
  • 2019
  • Konferensbidrag (refereegranskat)abstract
    • Through this abstract, STM16:9fft_VR, a pilot for a VR film is discussed and presented. The project is developed through a collaboration between Nicole Neidert, choreographer, Joakim Envik Karlsson, film photographer, and Linnea Bågander costume designer. The pilot is part ofNarrative VR Lab, a project initiated and funded by Visual Arena, Region of Halland, Gothenburg city and Gothenburg Film Studios and supervised by Visual Arena.When entering into a new set of tools we started to, not only explore them physically but also by its definition. We asked ourselves what virtual is and found intriguing definition such as; “almost a particular thing or quality”, “very close to being something without actuallybeing it” or; “not physically existing as such but made by software to appear to do so.” (Merriam-Webster, 2019). The technical tools suggest this ‘almostness’ and we started to explore how to implement it in the process of developing a narrative. Parallels to surrealismcame naturally and when finding the definition of surrealisms narration as “means of unnatural or irrational juxtapositions and combinations” (Merriam-Webster, 2019) it became obvious how to not only work with the technical tools but also to explore the narrative, through a meeting between a natural context and an artificial figure. Methodologically we used the experience of working with a stage-based and site-specificworks to develop a narrative-driven by visual means mainly. The narrative was an interaction between dance, costume and visual situation. A dialogue between materials and bodies, mainly using movements of bodies and directions formed by the natural environment to drive the narrative. In the presentation, the possibilities and limitations to situate, distort and the experience of the reality of both virtual reality and the reality of site-specific and stage based performing arts will be discussed and compared.
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7.
  • Bågander, Linnea (författare)
  • Wear-thinking : enabling (e)motion
  • 2019
  • Konferensbidrag (refereegranskat)abstract
    • This paper suggests shifting the focus from a visual aesthetic of the body to an aesthetics emerging form the experience of wearing. Historically the aesthetics of wearing has been mainly concerned with visual aspects of body; how dress looks on you/make your body look rather than how it feels and what it does with you. Building further on the notion somatic garment as introduced by Sally E Dean (2011) and somatic style as defined by Shusterman (2012) the project addresses the experience of wearing and its effect on our emotional state and as bodily aesthetics. It is a practical exploration contributing to a theoretical discussion. The findings result from an interdisciplinary study intersecting fashion design and choreography, explored through interactive installations and performances developed over the course of 2 years. In 4 performances, 4 workshops and 3 exhibitions nationally and internationally the tactile and informing potential of wearing has been investigated. The results suggest a particular kind of wear-thinking that affects the body aesthetics through how it imposes movement patterns, positioning, tempo and emotions and through this it affects not only the emotional state of mind body also the appearance of the body. In the study, movements that create well-being, presence and relaxation was enabled with help of the interactive installation.Examples:Interactive form exhibited at festival:https://youtu.be/enaPeIRiELUPerformance: https://youtu.be/9SHC6zRA6TA
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8.
  • Davis, Felicia, et al. (författare)
  • Tuning in: Reflections in the Wake of Blackness through a Knitted Textile Antenna
  • 2022
  • Ingår i: ISEA 2022 POSSIBLES. - : ISEA International.
  • Konferensbidrag (refereegranskat)abstract
    • The paper presents the context and inspirations for the Flower Antenna, a large-scale, hovering, sculptural sound installation that combines sound and transmission art, computational textiles, and architectural design. Computational textiles include microcontrollers and other electronic components as well as use the natural property of the fabric to communicate information to people The Flower Antenna was exhibited at the Museum of Modern Art’s (MOMA) Reconstructions: Architecture and Blackness in America during the spring of 2021. The authors discuss the use of electromagnetic waves via an electronically active textile construction as a form of non-visual media used to represent the paradox of Blackness and the presence of Black people in architecture in the wake of the history of slavery in the United States. Electromagnetic waves are neither seen nor recognized by most people, yet they shape the spaces people inhabit and support almost every part of society today with the use of invisible networks cast by the internet and its structures. This artistic project contributes to a discussion and reconstructing an understanding of Black culture in transmission arts, textile design, and in architecture. 
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9.
  • Devendorf, Laura, et al. (författare)
  • AdaCAD: Parametric Design as a New Form of Notation for Complex Weaving
  • 2023
  • Ingår i: Conference on Human Factors in Computing Systems - Proceedings. - : ACM Digital Library.
  • Konferensbidrag (refereegranskat)abstract
    • Woven textiles are increasingly a medium through which HCI is inventing new technologies. Key challenges in integrating woven textiles in HCI include the high level of textile knowledge required to make effective use of the new possibilities they afford and the need for tools that bridge the concerns of textile designers and concerns of HCI researchers. This paper presents AdaCAD, a parametric design tool for designing woven textile structures. Through our design and evaluation of AdaCAD we found that parametric design helps weavers notate and explain the logics behind the complex structures they generate. We discuss these finding in relation to prior work in integrating craft and/or weaving in HCI, histories of woven notation, and boundary object theory to illuminate further possibilities for collaboration between craftspeople and HCI practitioners.
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10.
  • Dumitrescu, Delia, et al. (författare)
  • Crafting hybrid workflows for the design of augmented textile artefacts
  • 2023
  • Ingår i: Connectivity and Creativity in times of Conflict. - Antwerp : Academia Press. ; , s. 1-7
  • Konferensbidrag (refereegranskat)abstract
    • In the textile field, digital crafting is a relatively unexplored domain that requires further investigation in relation to the tools of the field and the aesthetic consequences of their use on the design. Computer software such as SDS-ONE APEX4 and computerised flat-bed knitting machines made by Shima Seiki are examples of the digitisation of analogue textile processes, and make use of digitally controlled material-fabrication methods. In adopting an exploratory approach to textile digitisation, this research aims to: i) explore methods of digital craftsmanship with a focus on textile materials and tools for the design of smart textiles, and ii) test the aesthetic possibilities of sketching smart textile artefacts using a hybrid workflow.This paper presents a hybrid workflow composed of methods emerging from the synergy between experiential knowledge of materials and experiments with digital media. One category of experiments addressed the material level. By utilising digital tools for the virtual sampling of colour-changing smart materials, two changes in textiles were explored: from white to coloured in response to UV light, and from bright to dark in light-emitting yarns being recharged by UV light. The different timings of the colour changes and dimming of the smart yarns were documented and digitised, resulting in a library of colour swatches of gradients based on dynamic material behaviour. The swatches were combined with multi-layered textile structures, digital textures, and simulations of smart and conventional yarns to design the surface of textiles using the knit and weave design software SDS-ONE APEX4. In the sketches, every pixel represented a knit stitch or meeting of a warp and weft thread, providing information about material, structure, and colour at a specific point in time. Another category of experiments addressed the relationship between material and form; the colours swatches were further mapped on three-dimensional objects in Blender software to generate new forms and explore how dynamic surface effects influence the perception of form.The experiments presented in this case study suggest that digitising a process that is based on the physical behaviour of yarns and textile structures offers an alternative medium for exploring smart materials more sustainably, expanding physical experimentation into the digital. This hybrid process enables designers to move between software packages and collaborate across professional knowledge domains, with the potential to develop cross-disciplinary and more sustainable material practices.
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