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  • Akner-Koler, Cheryl (författare)
  • Complex Curvatures in Form Theory and String Theory
  • 2005
  • Ingår i: Leonardo : Journal of the International Society for the Arts, Sciences and Technology. - 0024-094X. ; 38:3, s. 226-231
  • Tidskriftsartikel (refereegranskat)abstract
    • The authors use new aesthetic criteria concerning structures and properties to explain parallel concepts within theoretical astroparticle physics and contemporary form/compositional research. These aesthetic criteria stem from complex curvature models developed both in string theory and in artistic perceptual research on transitional surfaces and concavities. The authors compare the complex curvatures of the mathematically derived Calabi-Yau manifold with one of Akner Koler's sculptures, which explores an organic interpretation of the looping curvature of a Möbius strip. A goal of the collaboration is to gain experience and insight into the twisting paradoxical forces in the 3D world and to explore the properties of transparency as applied to the Calabi-Yau manifold and a point cloud translation of Akner Koler's sculpture.
  • 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. 
  • Diamantopoulou, Sophia, et al. (författare)
  • Making meaning in museum exhibitions
  • 2012
  • Ingår i: Designs for Learning. - 1654-7608. ; 5:1-2, s. 11-28
  • Tidskriftsartikel (refereegranskat)
  • Diamantopoulou, Sophia, et al. (författare)
  • Making meaning in an exhibition
  • 2012
  • Ingår i: Proceedings of the DREAM conference The Transformative Museum. - 978-87-995472-0-3 ; s. 110-127
  • Konferensbidrag (refereegranskat)
  • Fridell Anter, Karin, et al. (författare)
  • 2009
  • 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
  • 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. 
  • 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
  • Frölunde, Lisbeth, et al. (författare)
  • Methodologies for tracking learning paths: : designing the on-line research study Making a Filmmaker
  • 2009
  • Ingår i: Mediekultur. - Aalborg : Sammenslutningen af Medieforskere i Danmark. - 0900-9671. ; 46, s. 73-85
  • Tidskriftsartikel (refereegranskat)abstract
    • The article concerns the design of a collaborative research project (2008-09) entitled Making a Filmmaker, which examines how young Scandinavian filmmakers create their own learning paths in formal and/or informal contexts. Our interest is in how learning experiences and contexts motivate the young filmmakers: what furthers their interest and/or hinders it, and what learning patterns emerge. The aim of this article is to present and discuss issues regarding the methodology and methods of the study, such as developing a relationship with interviewees when conducting interviews online (using MSN). We suggest two considerations about using online interviews: how the interviewees value the given subject of conversation and their familiarity with being online. The benefit of getting online communication with the young filmmakers is the ease it offers, because it is both practical and appropriates a meeting platform that is familiar to our participants.
  • Gradén, Lizette, 1966- (författare)
  • Dressed in a Present from the Past : The Transfers and Transformations of a Swedish Bridal Crown in the United States
  • 2010
  • Ingår i: Culture Unbound : Journal of Current Cultural Research. - Linköping : Linköping University Electronic Press. - 2000-1525. ; 2, s. 695-717
  • Tidskriftsartikel (refereegranskat)abstract
    • Ever since the emigration from the Nordic countries the Old world and the New world have maintained an exchange of ideas, customs, and material culture. This cultural heritage consists of more than remnants of the past. Drawing on theories of material culture and performance this article highlights the role of gifts in mate-rializing relationships between individuals, families and organizations in the wake of migration. First, I build on a suggested coinage of the term heritage gifts as a way of materializing relationships. Thereafter, I map out the numerous roles which a Swedish bridal crown play in the United States: as museum object, object of display and loaned to families for wedding ceremonies in America. The trans-fers and transformations of the bridal crown enhances a drama of a migration her-itage. This dynamic drama brings together kin in Sweden and America and maps specific locations into a flexible space via the trajectory of crown-clad female bodies.
  • Homlong, Siri (författare)
  • Like or dislike
  • 2013
  • Ingår i: Proceedings from the 2nd International Conference for Design Education Researchers, 14-17 May 2013, Oslo, Norway. - 978-82-93298-00-7 ; s. 731-742
  • Konstnärligt arbete (refereegranskat)abstract
    • In different areas of handicraft and textile production, teachers, researchers, purchasers and others have to judge products based on different factors such as function, aesthetics, taste and so on. The whole process of designing – from ideas and visions to finished product – includes aesthetic judgements: In the first planning phase, several sketches are made that can later be changed, adjusted and further developed. When a product is finished, further judgements are needed: designers and artisans evaluate the result of their efforts, teachers judge the works of pupils or students and purchasers or consumers judge the suitability of the textile based on their particular needs. Because different persons make different choices when making or buying a textile product, it is interesting to study people’s experiences of fabrics as well as their reasons for making certain aesthetic judgments. This article presents a study of judgments and values expressed when designed printed fabrics were displayed for designers, teachers of textile crafts, consumers and schoolchildren. The present study shows that subjects make their judgements on the basis of formal, functional, cultural and emotional contents. These aspects should therefore be in focus in design work and design education. 
  • Klarén, Ulf, 1944- (författare)
  • Catching the Aesthetic Dimension: On Aesthetic Experience of Colour and Light
  • 2013
  • Ingår i: AIC Colour 2013 12th Congress of the International Colour Association 8-12 July, 2013 Newcastle upon Tyne, UK, Proceedings.. - Newcastle: 2013 The Colour Group (Great Britain) www.colour.org.uk. - ISBN 978-0901623027 ; s. 989-992
  • Konferensbidrag (refereegranskat)abstract
    • This paper springs from a project about concept formation in the field of colour and light. It is based on own reflections and on scientific and scholarly references. It is an attempt to describe a conceptual approach to aesthetic experiences of colour and light relating them to different levels of experience: categorical perception, direct experience and indirect – cultural – experience. Art and design have a special and complex relation to the different levels of experience. Artistic works can serve as ”models” or “examples” – indirect experiences – for how we may attend to light and colour in our direct approach to the world. They are also, as appearances, direct experiences. The emotional content we can experience in a piece of art or a designed object is symbolic in a special way; perceptual patterns of colour, light and form, abstracted from their normal context in life, can be used as symbols for felt life in pieces of art and in designed objects. What we are used to calling formal aesthetics belongs primarily to the categorical – basic – perception. Adopting a reflective attitude we consciously attend to this perceptual process of understanding and open up for reflection on experiences as such.
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