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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.
  • Fridell Anter, Karin, et al. (författare)
  • NEUTRAL GREY – AN ABSTRACTION?
  • 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. 
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
4.
  • 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.
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5.
  • 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. 
6.
  • 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.
7.
  • Klarén, Ulf, 1944-, et al. (författare)
  • Colour and Light in Design
  • 2013
  • Ingår i: Proceedings from the 2nd International Conference for Design Education Researchers, 14-17 May 2013, Oslo, Norway. - ISBN 978-82-93298-00-7 (vol.1–4) ; s. 743-752
  • Konferensbidrag (refereegranskat)abstract
    • : In our designed culture, every environment, object and picture is analyzed from the viewpoint of colour and light. Colour and light play an important role in social life and culture. This paper springs from an epistemological project about concept formation in the field of colour and light. Based on own observations and scientific and scholarly references it presents a graphic model describing possible constituent relations between colour and light experiences. Design is the art of using knowledge – implicit or explicit – about how humans perceive, experience, and relate to the world around. In design all senses are involved, but when dealing with colour and light we can confine ourselves to vision; designers must understand the conditions of visual perception. Human experience of colour and light has many sources; the given cultural context (conventional meanings of colour and light), the direct experience of the world around (colour and light expressions) and the basic perceptual functions (formal aspects of colour and light). There is need for distinct concepts and concise approaches to understand coherence of aesthetic and functional expressions. Design education calls for coherent and well defined structures that can be used to describe connections and distinctions between experiences of different kinds.
8.
  • 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. 
9.
  • Klarén, Ulf, 1944-, et al. (författare)
  • THE SPACIOUS GREYNESS:
  • 2009
  • Ingår i: AIC 2009 Proceedings of the 11th Congress of the International Colour Association Sydney, Australia 27 September to 2 October 2009. - Sydney : The Colour Society of Australia, Inc. September 2009, Sydney, Australia.. - 1877040 76 2 - 1 877040 76 2 ; s. 1-4
  • Konferensbidrag (refereegranskat)abstract
    • In the project Greyness and spatial experience1 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 distinctly 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. If 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. 
10.
  • Lindquist, Sinna, et al. (författare)
  • Artefacts for understanding
  • 2004
  • Ingår i: Proceedings for Research into Practice Conference. - University of Hertfordshire.
  • Konferensbidrag (refereegranskat)abstract
    • This paper discusses two aspects of artefacts in the design process. The fi rst is how artefacts can be used to inform researchers about people’s context, desires, concerns, needs and constraints. The second is how artefacts can facilitate the construction of shared knowledge that is needed during multidisciplinary research projects. Theses two ways of looking at artefacts will be discussed mainly through the empirical material of the interLiving project, a 3-year multidisciplinary cooperative design technology development project and also through several cooperative design workshops conducted at CID, Centre for User Oriented IT Design.
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  • Resultat 1-10 av 25
  • [1]23Nästa
 
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