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  • Bärtås, Magnus, 1962- (författare)
  • You told me : work stories and video essays / verkberättelser och videoessäer
  • 2010
  • Konstnärligt arbete (övrigt vetenskapligt)abstract
    • You Told Meis a practice-based research project and consists of three video biographies (the  Who is…? series), and two video essays ( Kumiko, Johnnie Walker & the Cute  (2007), Madame & Little Boy (2009)), an introduction with a contextualization and methodology of the field, and three essays.The dissertation is an observation and analysis of certain functions and meanings of narration and narratives in contemporary art, as well as being an experiment with roles, methods, actions, and narrative functions in an artistic medium – the video essay. Using the methods of“pilgrimage” (Chris Marker) and essayistic practices, and by revisiting and retelling biographies, this work tries to find a place in between collective and personal memory.During the practical process and the reflective theoretical work the different elements or instances of the video essay are identified: the subject matter, the images (the representation), the artist/author, the narrative/text, and the narrator/voice. In documentary film the lack of natural correspondence between these entities is often dissolved or denied – this work instead exposes the instances as separate units. A question arises: What alternative roles can be established between these elements, for example by negotiation and transference between them?The methodological part of the text focuses on the conceptual invention made during the process, which I have called work story [verkberattelse]. A work story is a written or oral narrative about the forming of materials, immaterial units, situations, relations, and social practices that constitutes, or leads to, an artwork. By discussing analogies between storytelling, collecting, and biographical accounts together with examples from conceptual art, the dissertation shows how the work story is not only crucial for the understanding of the artwork but that the act of making and the very order or sequence in which the making proceeds often have symbolic, metaphorical, metonymical, political, and even epistemological meanings.In an extended form a work story disseminates meaning rather than capturing it. This is the essayistic work story that permits a writer/artist to wander off and touch upon a subject as if in passing, reproducing its neglected genealogy and destiny in the detailed materiality of the work story.
  • Ljungberg, Roland (författare)
  • En resa från det ordlösa
  • 2008
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • A Journey from the Wordless is a study of the development of the author’s own professional knowledge.  After an introductory chapter on theory and method, there are four chapters treating of the author`s academic training as an artist (Ch. 2), a presentation and analysis of his own exhibitions (Ch. 3), a chapter on a cooperative effort entitled Pompeii in Time and Space (Ch. 4), and a concluding discussion of the nature of personal knowledge (Ch. 5).Questions are addressed concerning artistic knowledge; how it is built and transferred and how it is developed and transformed. Since the author`s own professional knowledge is the object of the research, special perspectives on personal experience emerges that otherwise would be difficult to articulate.The thesis is also a contribution to the debate surrounding artistic research in the visual arts, focusing on the importance of reflection and analysis in art education and creative art work.
  • Nobel, Andreas (författare)
  • Dimmer på Upplysningen
  • 2014
  • Konstnärligt arbete (övrigt vetenskapligt)abstract
    • Avhandlingen består av två delar i vilken huvuddelen redovisas i textform och den andra som en utställning innehållande en bågsvarv samt bågsvarvade möbler. Utställningen dokumenteras som film.Rumsgestaltning och möbelformgivning är yrkespraktiker vilka laborerar med materiella, rumsliga och sinnliga aspekter. Inom fältet finns sedan gammalt väl utvecklade metoder och språk för att undersöka och utveckla dessa men dessa är sällan i textform och ofta inte ens i ordform. Avhandlingen diskuterar hur textbaserad teoretisering av ett visst ämne tenderar att leda till en försämrad förmåga att uppfatta och värdera sinnliga och formmässiga aspekter på det ämne som textualiseras. De akademiska institutioner som arbetar med textualiserad teoribildning har av gammal hävd tolkningsföreträde i utbildnings- och kunskapssammanhang. Denna situation har bidragit till ett dikotomiserande synsätt på kunskap vilket tenderar att värdera textteoretiska kunskapsformer högre än sådana kunskapsfält som i högre grad utvecklar kunskap praktiskt genom mer sinnesbaserat arbete i form snarare än genom text. Avhandlingen visar hur denna hierarkiska kunskapssyn också har utövat inflytande på formgivningsfälten och hur den där bidragit till det paradoxala att formaspekter på formgivning ofta hamnar i skymundan.Huvudfrågan som ställs i textdelen är: Vilka negativa effekter kan en ökande grad av textualiserad teoribildning befaras ha på formgivningspraktikerna? I avhandlingens formgivningsdel är forskningsfrågan: Kan en hög grad av fysiskt deltagande i designprocessen bidra med impulser som motverkar eventuella negativa effekter av en textualiseringen av teoribildningen inom, i första hand, fälten för inredningsarkitektur och möbeldesign?Syftet med avhandlingens textdel är att genom kritisk analys och tolkning av sådana kunskapskulturer som starkt präglas av läsande och skrivande som medel för sina teoribildningar kunna synliggöra vissa problem då dessa medel och språk tillämpas inom fälten för formgivning. Dessa textualiseringstendenser belyses också utifrån perspektiven; epistemologi, tradition, historia och makt.Avhandlingens formgivningsdel, utställningen, har som syfte att presentera metoder och formgivna resultat som kan ge impulser till vidareutveckling inom främst möbel- och inredningsfältet. Undersökningen i denna del sker via formgivning genom konstnärligt informerat hantverksarbete.
  • Westerlund, Bo (författare)
  • Design Space Exploration
  • 2009
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This thesis critically reflects on co-operative design workshops that I have conducted. The basic method used in these workshops draws on the participants’ embodied knowing. In the over twenty workshops that are analysed here a wide range of participants have been involved: family members, employees, persons with disabilities, and other stakeholders like manufacturers, service providers and civil servants. The topics have varied, but they have mostly been related to ICT products and services. Most of the workshops were conducted within various research projects.In order to analyse this diverse range of workshops I use several different theories and concepts. I articulate and analyse the design aspects of the activities by using established design theories and concepts. The conceptual tool design space, meaning all possible design proposals, is used for understanding the design process. I also use theories from other fields in order to analyse three different aspects of the workshops: the participants’ activities, the designers’ responsibility, and the process. To analyse the way that the participants co-operatively create knowledge, theories of interpersonal actions are used; to analyse the work done by the designer/conductor, theories of frames are used; and to analyse the process, the theory of actualisation and realisation is used.During the workshops the participants co-operatively make scenarios, props and video prototypes in order to create proposals for desired interactions with future artefacts.Contributions include accounts of critical situations during the workshops and suggested strategies for dealing with them. Some implications are relevant to the design field in general, for example the importance of a process where the participants trust each other, learn from each other and work effectively with difficult issues by creating multiple proposals that facilitate understanding of the design space. I also offer arguments about why it is better to see activities, props and prototypes as mainly constitutive rather than as only representative.Video prototypes on DVD and seven publications are included in the thesis. 
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