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  • Resultat 1-9 av 9
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  • Akner Koler, Cheryl (författare)
  • Form & Formlessness Questioning aesthetic abstractions through art projects, cross-disciplinary studies and product design education.
  • 2007
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This research is based on empirical, embodied studies aimed to generate and regenerate aesthetic reasoning through three approaches:an educational approach concerned with developing an aesthetic discipline, supporting a formgiving process aimed to create tangible artifacts.an art-based approach supporting an open exploration of distortion and formlessnessa multi-disciplinary exploratory approach concerned with aesthetic experiences shared in laborations demonstrating complexity and transformation. The overall aim of the thesis is to explore different types of aesthetic abstractions that elaborate aesthetic reasoning about form and formlessness. The thesis develops methods and models for aesthetic investigation that support, challenge and go beyond the normative conceptions of beauty, with high relevance for teaching 3-D formgiving aesthetics and research by design methodologies. A central method applied throughout the entire research project is a cooperative inquiry method engaging students and experienced professionals as co-researchers in embodied/ interactive physical form studies and laborations. The content of the thesis is presented in three parts relating to the approaches above: -Part 1 defines an aesthetic nomenclature organized within a taxonomy of form in space. This aesthetic taxonomy is outlined in five levels based on essential aesthetic abstractions, emphasizing structure and inner movement in relation to the intention for the development of a gestalt. It originates from the educational program of Alexander Kostellow and Rowena Reed and has been further developed through an iterative educational process using a Concept-translation-form method, resulting in the Evolution of Form (EoF)-model. This EoF-model reciprocally weaves together geometric structures and organic principles into a sequence of seven-stages. To question the normative principles of beauty inherent in the EoF-model, a bipolar +/- spectrum was introduced at each stage to expand the model, aiming for a more inclusive approach to aesthetics. -Part 2, both challenges and expands the aesthetic reasoning in part 1 through i) solo sculptural exhibitions exploring properties of distortion and transparency in a constructivist art community ii) collaborative projects with physicists concerning infinity and studies of continuous complex curvatures and iii) explorative studies of material breakdown and non-visual studies with ID masters students at Konstfack. - Part 3 problematizes the taxonomy of form by applying methods and results from a cross-disciplinary study of complexity and transformation involving artists, physicists, designers and architects. The three year study explored temporal events of changing phenomena and formlessness that did not comply with any traditional aesthetic norms. Based on the experience from 12 laborations, three models were developed: The Transformation-model and Framing the dialogue-model were developed to physically interact with as well as to document and discuss change and transformation through bipolar reasoning. The Aesthetic phase transition-model was developed to capture the particular properties expressed in a transformation and unify stable objects with changing events.   In conclusion, the thesis claims the value of an inclusive aesthetic mode of abstract reasoning in the scientific and design communities.  A provisional 3 modes of abstraction-model is presented placing numeric, linguistic and aesthetic modes of abstraction as interdependent within a spectrum from separation to contextualization. 
  • Ávila, Martín, 1972-, et al. (författare)
  • Devices : On Hospitality, Hostility and Design
  • 2012
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This thesis studies and speculates upon the interrelations of artefacts with human and nonhuman agents. These interrelations form assemblages, some of which have emergent properties, becoming manifestations of processes that we cannot fully control or understand. The work started by exploring the theme of hospitality and hostility with the ambition to better understand the ecological complexity of the design process and its results. As an assemblage, this work combines different literary, philosophical and theoretical discourses and traditions with experimental design in order to develop and articulate the concept of device. A device organizes, arranges, frames our environment and thereby defines and limits possibilities of relation. Since relations can only be thought through a so-called natural language such as English, they must be taken into consideration through the process of languaging, understood by Humberto Maturana and Francisco Varela as communication about communication”, and as the most characteristic feature of the human species. My focusing on linguistic and biological phenomena is a response to this concern, in an attempt to understand how this process influences our perception of the world. Through a series of design projects, the thesis examines the potential range of an artefact’s relations. It does so by exploring grammatical associations that affect design onceptualizations, creating tools (prepositiontools) as well as studying and articulating forms of symbiosis that an artefact might develop in and with its environment (¡Pestes!).
  • Bauer, Petra (författare)
  • Sisters! Making Films, Doing Politics An Exploration in Artistic Research
  • 2016
  • Konstnärligt arbete (övrigt vetenskapligt)abstract
    • How does film become a political act? That is the question that the artistic research project Sisters! Making Films, Doing Politics revolves around. Taking Hannah Arendt’s ideas about the constitution of the political arena as its point of departure, this dissertation reflects on the aesthetic mechanisms that underlie contemporary strategies for collective and feminist filmmaking. Sisters! Making Films, Doing Politics draws on the particular historical archive of radical filmmaking and film theory that relates to the British film collectives of the 1970s: The Berwick Street Film Collective, Cinema Action and The London Women’s Film Group. Inspired by a Marxist-feminist tradition, these collectives explicitly sought to involve film in the political discussions and events that at that time took place in British society. In the dissertation’s first chapter, which deals with these film collectives, a theoretical, historical and artistic framework is established that is subsequently developed in four chapters that discuss the film productions that constitute the artistic core of the project: Sisters! (2011), Mutual Matters (2012), Choreography for the Giants (2013) and Conversation: Stina Lundberg Dabrowski Meets Petra Bauer (2010). As the dissertation argues, each of these films productions discloses specific aspects of the relation of politics and film aesthetics. It goes on to identify the precise relationships and the displacements that take place between the historical material, Arendt’s concept of the political act and the production of the films. A the centre of the investigation stands Sisters!, a film project carried out in collaboration with the London-based feminist organisation Southall Black Sisters.
  • 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.
  • Hjort, Elisabeth, 1975- (författare)
  • Förtvivlade läsningar Litteratur som motstånd och läsning som etik
  • 2015
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This study has two aims and addresses two areas of investigation. The first aim is to examine, in four novels and their textual worlds, what role is played by collective self-images and essentialist identities in maintaining power structures in regard to gender, class, norms for mental functions, and ethnicity. Whether, and if so, how, the novel’s deconstruction of language and images can function as resistance to hegemonic oppression? What does the encounter between the privileged collective and the marginalized look like in the novel, and what happens in this encounter?The project’s second aim is to probe what criticism of, and what strategies for resistance to, various power structures reading can provide. To what extent is it possible to speak of responsibility for, and in, the reading of fictional works? What role is played by the (un)expected and the conditionality in the poetical novel’s ethical demands on the reader? What might reading as an ethical practice mean and entail? The dual aim situates this dissertation in an interdisciplinary field between ethics, literary studies and aesthetics.In this study despair is the fundament on which the ethical reader stands to approach literature. Rather than discovering meanings, finding examples, or experiencing empathy, it is being engaged in the conditions determined by suffering and injustice that constitutes ethical reading.The novels Drömfakulteten (The Dream Faculty) by Sara Stridsberg, Hevonen häst (Hevonen Horse) by Annika Korpi, Montecore by Jonas Hassen Khemiri, and Personliga pronomen (Personal Pronouns) by Daniel Sjölin comprise the material for the study. They are analysed in terms of deconstructive hermeneutics. Theories brought to bear are primarily Gayatri Spivak’s post-colonial and Emmanuel Levinas’ phenomenological thinking about ethics, together with ideas from, among others, Derek Attridge, Judith Butler, and Sara Ahmed.The readings of the novels are done via four points of entry: identity, the body, the human, and the post-political, as part of the project’s work process, with each reading leading to new questions and critical interventions.The analysis points to a responsibility in relation to identity, a practice where oneself is shifted and transformed. This responsibility also encompasses accountability for the normative orders that need to be changed. Literary projects per se cannot achieve this, but they can be read as a stab at resistance, material for the reader to elaborate upon. This responsibility is an ethical practice that is not completed, that has uncertainty inscribed in its very essence, and that is reinvigorated with each new reading.
  • Lind, Ulla, 1951- (författare)
  • Blickens ordning : Bildspråk och estetiska lärprocesser som kulturform och kunskapsform
  • 2010
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • The main aim of this thesis is to research and discuss the conditions for visual and aesthetic learning processes as forms of culture and knowledge.Poststructural theories are used and the empirical findings are analyzed in relation to visual cultural studies as well as in relation to dominant orders of seeing and regimes of observation in visual pedagogies.The study employs two different research methods for investigating the conditions for children practicing visual languages as communicative and aesthetic learning processes. In the first study, visual and verbal documentation of aesthetic learning processes in four different preschool settings are followed and conducted. In the second study, school children were invited to visually represent their answers to the following question: “Tell in pictures about how it is to be a school child/pupil?”This research contributes to an increased understanding of visual languages, visual culture and aesthetic and creative learning processes contextualized through historical and contemporary meanings of preschools and schools. 
  • Ljungberg, Roland, 1951- (författare)
  • En resa från det ordlösa en kartläggning av ett personligt yrkeskunnande
  • 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 : text, form och formgivning
  • 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, 1951- (författare)
  • Design Space Exploration co-operative creation of proposals for desired interactions with future artefacts
  • 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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