| 1. |
- Fridh, Kristina, 1961-
(författare)
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Japanska rum – en diskussion kring tomhet och föränderlighet i traditionell och nutida japansk arkitektur
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Traditional and contemporary Japanese architecture is examined, with focus on the characteristics of emptiness and changeability, the point of departure being Japanese conceptions of space which are interpreted and described from a Western perspective. According to Japanese cultural tradition space is conceived as a subjective perception, a physical experience and a changeable process. A description and analysis of how these conceptions of space are expressed and perceived in architectonic forms, both in traditional sukiya architecture and in a selection of contemporary works of architecture, is then presented. The buildings discussed in the thesis are, among others, the Katsura villa, the pavilions Rinun-tei and Kyusui-ken in Shugaku-in, Shisen-do, Hillside Terrace, Church with the Light, Villa in Shimo-gamo, Gifu Kitagata Apartment Building and Tofu. The contemporary works of architecture have been designed by Fumihiko Maki, Tadao Ando, Waro Kishi, Kazuyo Sejima and Jun Tamaki. Besides visiting the buildings, articles written by these architects have been studied which convey their views on architecture. These texts reflect both Japanese and Western influences in a global debate about architecture. This thesis is based on a direct experience of various buildings together with a personal Western interpretation. In this way the subjective experience is put into focus and leads to a discussion about architecture based on concepts or perceptions. The strong Japanese architectural tradition lives on in the reinterpretations of contemporary architecture, the study of which creates a deeper understanding of the tradition. In this foreign world of architecture there is room for dimensions which could become an architectonic challenge in designing new buildings and environment.
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| 2. |
- Göransson, Michelle, 1976-
(författare)
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Materlialiserade sexualiteter : om hur normer framträder, förhandlas och ges hållbarhet
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this dissertation is to analyse how conceptions of sexuality are interlinked with and formed through connections with different types of matter, and also to study what significance matter (that is, bodies, space and things) has in shaping and actuating norms, particularly heteronorms.The study is based on transcribed semi-structured interviews and go-along interviews with persons who deviate from the societal norm of man and the societal norm heterosexual. In addition, the material consists of signposts, spaces, architecture, legal documents and texts found on websites.The dissertation is mainly dedicated to the study of processes wherein bodies, things and space are linked together or separated. Bodies materialise as non-heterosexual (or heterosexual) in processes that entangle movements, spaces, things and language. Apart from analysing bodies as morphous, I also emphasise that the boundaries between bodies and things must be understood as transient. Things can integrate into bodies and limbs can turn into things. I also cast light on the fact that heteronorms are imprinted into matter such as the built environment. Boundaries are materialised, but LGBTQ- defined safe spaces are concurrently being formed. Such spaces tend to be transient in character. This stands in contrast to such things that tie into societal norms, which tend to survive the passing of time whether they be buildings, monuments or urban planning. Thus, norms are both created by and imprinted into matter. The memories, experiences and assumed needs of certain bodies and their ways of living together are given solidity. Spatially organised differences are, on the other hand, primarily accepted when packaged into events, temporary and clearly marked, which inadvertently highlight Sweden’s (imaginary) openness and diversity.
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| 3. |
- Hjort, Elisabeth, 1975-
(författare)
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Förtvivlade läsningar : Litteratur som motstånd och läsning som etik
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)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.
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| 4. |
- Holmquist, Anna
(författare)
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Produktionsnoveller : Om Folkforms arbete med Masonite och andra material
- 2023
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- A large part of the production today is manufactured so far from the consumer that there is no connection to the production. That there have historically been direct connections between an industry and the people, local traditions and material assets of the place is easily forgotten. The thesis makes these relationships visible through an artistic exploration conducted through a combination of materials, form,craft, image and text. Furthermore, through design work, to show how production processes and knowledge of the industrial cultural heritage can be shaped and documented through practice-based design research.The starting point in the thesis is the design and documentation of Masonite, which the design duo Folkform worked on for more than a decade. Masonite has become synonymous with an entire range of different types of fibreboard. This investigation takes its starting point in sheets of the Masonite brand, spelled with a capital ”M” and a lowercase ”e” at the end, a wood fibre material invented by William H. Mason in the United States in the 1920s. When the last Masonite factory in Sweden closed in 2011, Masonite became a historical and cultural heritage.This thesis work can be seen as a form of industrial memory research, through design, where the physical material, the piece of furniture and the experiences from ongoing production form part of the investigation. Consequently, these subjects are used to communicate stories regarding manufacturing techniques, places, people and cultural heritage. The documentation, in combination with design work, has developed into an autoethnographic design research method – namely, the Production Novella. This methodology is used by the researcher to apply her own personal experiences as part of the research. The Production Novellas comprise written memories, diary entries, letter correspondence and photographic documentation from the production, along with exhibitions, material samples and also the finished piece of furniture.In this thesis, the Production Novellas are used as an empirical and narrative method to describe design and manufacturing methods in a practical research context. The thesis portrays the collaboration between designers and craftsmen in various workshops, mainly within the Swedish manufacturing industry. It highlights the importance of a design process close to production and shows the many relationships hidden behind the product’s creation process. ●
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| 5. |
- Hållander, Frida
(författare)
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Vems hand är det som gör? : En systertext om konst/hantverk, klass, feminism och om viljan att ta strid
- 2019
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Whose hand is making? And how can we understand craft practices in dialogue with society through making and objects? How do we understand objects that manifest resistance? This dissertation in artistic research explores craft practices within the fields of ceramics and textile, through the method and form of autoethnography, and on the basis of an intersectional perspective. It understands making as embodied experience and knowledge, conditioned, but not always bounded, by societal structures, and it documents the resistance against, and the resilience of, repressive structures, in dialogues and struggles where objects gain agency.It is an examination that moves between the bookishness of libraries and historical trajectories on the one hand and making as collective practice on the other, the latter represented in what this study defines as case studies of making. The study creates the term “together-making” to describe and analyse collective craft practice as simultaneously a method of research and of making as a potentially political and socially-conscious act.Through two case studies of making the study assembles an archive of willfulness. In the first case study of making, ceramic practice and historical objects emanating from feminist and anti-slavery movements, are explored through a process of together-making, putting together the exhibition From Pottery to Politics in 2016. In the actual exhibition, further ceramic objects from Swedish twentieth century come into play to re-direct the shape of the exhibition, exemplifying the ways in which this study understands objects as manifest, material politics inciting response.The second case study of making, takes off from the geographical area known as »de sju häraderna«: a centre for Swedish textile manufacture and home-based industry since the seventeenth century. Focusing on a group of local seamstresses who organized Sweden’s first women’s football series in the 1960s – Öxabäck IF – the study investigates textile objects in dialogue with society reflected through the textile history of labour and feminist political movements in the nineteenth and twentieth century. This case study also documents the process of research through together-making, and the exhibition Öxabäck IF – Without You no Tomorrow, 2016.
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| 6. |
- Lind, Ulla, 1951-
(författare)
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Blickens ordning : Bildspråk och estetiska lärprocesser som kulturform och kunskapsform
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)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.
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| 7. |
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| 8. |
- Ljungberg, Roland
(författare)
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En resa från det ordlösa : en kartläggning av ett personligt yrkeskunnande
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)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.
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| 9. |
- Medbo, Mårten, 1964
(författare)
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Lerbaserad erfarenhet och språklighet
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- During the course of the twentieth century, a doubt emerged – first within visual arts, and later also within crafts – where the relevance of the traditional way of making art was addressed, as were thoughts on what was termed ‘empty shape’. The notion that shape in itself was no longer artistically valid is closely linked to notions of materiality as hindrance, and immateriality as freedom – all of which have had a major influence on contemporary visual arts and crafts, in general, and, more specifically, on what I term ‘theory-practice’ within the field of crafts. During the past few decades, increasing proof of this influence on the field of crafts as a whole has also been experienced. As a ceramist expressing myself through clay, form has never been empty, and clay never a hindrance, and my dissertation is an attempt to put materiality as hindrance, and immateriality as freedom, in context, as well as to reflect upon questions related to their emergence and what impact they have within the field of crafts. My point of departure here is my own experience as an artist and ceramist, where inquiring and exploring takes places through practical knowledge. I argue that there is no such thing as immateriality in art and that all artistic expression requires bodily-situated craft skill of some kind in order to be materialised and communicated, as well as to take place in the world. I also argue that art should be seen as what I term ‘language-practice’. Through this practice I craft the concept of ‘clay-based language-ness’ and ‘language- like-ness’ in order to come as close as possible to describing, in words, the kind of communication I wish to create as a ceramist, as well as what art-making (‘art-crafting’) constitutes when conceptual artists create their art. Regarding crafts as a language-practice, however, conflicts with the theory that is setting the tone as well as leading the field of crafts today. I therefore wish, and propose, to find a way out of this conflict-ridden situation. As part of this endeavour, I present the text-based part of the dissertation and the clay-based part of the dissertation – side by side.
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| 10. |
- Nobel, Andreas, 1966-
(författare)
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Dimmer på Upplysningen : text, form och formgivning
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The main part of the dissertation is a text. The other is an exhibition mainly presenting a bow-lathe and some furniture designed and produced in that bow lathe. Interior- and furniture design are disciplines in which sensory qualities are important. Within these disciplines there are well established methods and languages for developing these qualities. However, such development has rarely been achieved through the medium of text. Sensory qualities tend to be ignored in highly textualized knowledge environments. Within education textualized knowledge is often valued higher than forms of knowledge developed through other medias than text. This situation has led to a dichotomized perception of knowledge where textualized knowledge attained through writing and conceptualizing, is valued higher than knowledge developed through physical work. The thesis argues that this hierarchical view on different forms of knowledge also has an influence on the practical profession of the designer, manifest in the paradoxical situation where the form aspects of design is neglected and over shadowed by various forms of textualized knowledge. The central research question posed in the text part is: Which adverse effects might an increasing emphasis on textualized theory have on the design practices? The questions are highlighted from perspectives such as; epistemology, tradition, history and power.The central research question in the exhibition part examines if any possible negative effects on design resulting from the above mentioned scenario, may be prevented through engaging in a highly physical and non-conceptual design- process? The purpose of the exhibition part is to introduce methods and design that may provide the impetus for further development in the fields of design. The bow lathe is presented as an example of a productive tool for the development of relevant contemporary design.
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