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Sökning: db:Swepub > Konstfack > (2011)

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1.
  • Arnkil, Harald, et al. (författare)
  • PERCIFAL: Visual analysis of space, light and colour
  • 2011
  • 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
  • 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. 
2.
  • Bärtås, Magnus, 1962-, et al. (författare)
  • Alla monster måste dö : gruppresa till Nordkorea : ett reportage
  • 2011
  • Bok (populärvet., debatt m.m.)abstract
    • Under brinnande kallt krig kidnappar den nordkoreanska regimen Sydkoreas mest kända filmstjärnepar, skådespelerskan Madame Choi och regissören Shin Sang-ok. De går till slut med på den filmgalne diktatorn Kim Jong Ils krav på att göra regimvänlig spelfilm för att indoktrinera massorna. Först 1986 lyckas de fly under spektakulära former.Efter att ha träffat Madame Choi i Seoul åker Magnus Bärtås och Fredrik Ekman hösten 2008 på en gruppresa till Nordkorea för att hitta spår efter filmparet. Tillsammans med interiörerna från resan, där en mycket märklig samling människor reser ihop under bitvis påfrestande omständigheter i ett land som trotsar all logik, blir berättelsen om filmparet till en smart, upprörande och idérik reportagebok som bit för bit suger in läsaren i sitt märkliga universum, in bakom kulisserna på ett av världens mest slutna och hårda länder.
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3.
  • Fridell Anter, Karin, 1950-, et al. (författare)
  • Successive approximation in full scale rooms.
  • 2011
  • 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.
  • 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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5.
  • Klarén, Ulf, 1944-, et al. (författare)
  • Colour and light in space
  • 2011
  • Ingår i: Proceedings of AIC 2011- Midterm Meeting of the International Colour Association, Zurich, Switzerland (www.aic-colour.org).. ; s. 485-488
  • Konferensbidrag (refereegranskat)abstract
    • Based on our own observations and on scientific and scholarly references this paper discusses the appearance of colour constancy and the adaptation of colour and lightness in space. It presents part of an ongoing work, the aim of which is to formulate a spatially based colour knowledge. Our scientific approach is holistic and mainly directed towards colour and light phenomena as such, not towards underlying physiological processes. Earlier research has discussed lightness perception in colours very near neutral grey, with so low chromaticness that you can ignore the hue. In our research we have found that surfaces with nominally chromatic colours under special circumstances can be perceived as white and thus serve as anchors for perception of other colours in the field of vision. We also discuss how distinctions are made between perceived colours caused by on the light colour and such caused by the surface qualities. What we call adaptation is not limited to basic perception. Experience of colour in space is both perceptive and cognitive, as part of interaction between the individual and the world on many levels. 
6.
  • Klarén, Ulf, 1944- (författare)
  • PERCIFAL - Perceptiv rumslig analys av färg och rum
  • 2011
  • Rapport (övrigt vetenskapligt)abstract
    • PERCIFAL -Perceptiv analys av färg och ljus- presenterar begrepp och metodiska ramar för beskrivning och analys av visuell upplevelse i rumsliga sammanhang. Utgångspunkten är en metod för visuell utvärdering av ljus i rum, som utarbetats vid Arkitekturskolan, KTH i Stockholm av professor Anders Liljefors.Anders Liljefors har också medverkat som konsult i PERCIFAL-arbetet. Syftet är att möjligöra beskrivning och kommunikation kring färgens och ljusets rumsliga helhetsverkan; genom diskussion och analys av systematiskt insamlade data kan man lära känna sitt synsinne och få en bättre förståelse för hur färg och ljus formar vår rumsupplevelse. Arbetsprocessen ligger nära konstnärens; mindre väsentliga detaljer offras till förmån för helhetsintrycket. Härigenom kan man beskriva grundläggande viktiga estetiska och visuellt funktionella rumsliga kvaliteter, som man inte kan komma åt på andra sätt.  
7.
  • Klarén, Ulf, 1944-, et al. (författare)
  • The spacious greyness : on colour, light and space
  • 2011
  • Ingår i: Colore : quaderni di cultura e progetto del colore. - Milano : IDC Colour Centre. - 1590-3079. ; :69, s. 24-32
  • Tidskriftsartikel (övrigt vetenskapligt)abstract
    • In the project Greyness and spatial experience we have studied visual qualities in grey/greyish colours "on location" in the  - spatial - world around. We have carried out a number of observation series not only aiming to investigate variation of greyness in different spatial situations but also to develop a methodology and equipment for such studies. In this paper perception of greyness is discussed in relation to our own observations and to scientific and scholarly references. We make some basic reflections on colour in spatial context and in relation to traditional colour theory.In spatial context colours with low chromaticness, near the grey-scale, play a more significant role than distictly chromatic colours; hence they are very important in design of built spaces, both exterior and interior. The logically balanced distribution of greyness in shadows and in surfaces against the light produces a spatial feeling of coherency, and greyish inherent colours generally form a subordinated background to colours with high chromaticness. Simultaneously greyness to a high degree conduces to differentiation of spatial experience; an over-all spatial experience of greyness normally offers subtle but distinct contrasts of hue.In the field of colour most scientific research deals with colour phenomena as such. In focusing on colour as spatial phenomenon, colour theory can be given theoretical connection to intuitive understanding of the world around and be part of a wider field of aesthetic research.
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8.
  • Kristoffersson, Sara (författare)
  • Swedish Design History
  • 2011
  • Ingår i: Journal of Design History. - Oxford : Oxford University Press. - 0952-4649. ; 24:2, s. 197-199
  • Recension (övrigt vetenskapligt)abstract
    • Scandinavian Design became a world-famous concept and brand in the 1950s. In numerous exhibitions, publications and commercial ventures, Scandinavia was portrayed as a regional and cultural entity comprising democratic and socially responsible model states with a common aesthetic: an elegant, low-key and restrained design without decorative excesses often realized in natural materials. This purported homogeneity has been greatly exaggerated in the literature on Swedish and Scandinavian design. It was certainly a commercially successful image, but not particularly true to life. This is observed by Lasse Brunnström in his Swedish Design History, in which he attempts to demonstrate that the history of Swedish design is far more variegated than is usually portrayed.
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10.
  • Lindstrand, Fredrik, 1973-, et al. (författare)
  • Interests in motion : The film medium through the eyes and lenses of young Scandinavian filmmakers
  • 2011
  • Ingår i: International Perspectives on Youth Media : Cultures of Production and Education. - New York : Peter Lang Publishing. - 9781433106538
  • Bokkapitel (övrigt vetenskapligt)abstract
    • This chapter examines youth media from a Scandinavian perspective, based on the results of a recent study about learning paths among young filmmakers in Denmark, Norway and Sweden. We deal specifically with how the film medium as a knowledge domain, or a field of practice, is represented through the discourses of young Scandinavian filmmakers. The chapter introduces three filmmakers and their submitted films. The analysis – which uses a social semiotic approach to communication and meaning making – is focused on their enclosed descriptions of a scene they felt satisfied with and their motivations for highlighting that specific scene. The aspects of the scene they point out are seen as representations of the film medium as a knowledge domain, based on certain assumptions about how the medium works and what can be regarded as marks of quality within the different aspects of filmmaking they focus on. As a background, a Scandinavian context for youth filmmaking is presented briefly.
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