| 1. |
- Alftberg, Åsa, et al.
(författare)
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Meetings with complexity : dementia, meaning and participation in art educational situations
- 2017
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Ingår i: Interpreting the brain in society. - Lund : Arkiv förlag & tidskrift. - 9789198085495 - 9789179242930 ; , s. 109-126
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Bokkapitel (refereegranskat)abstract
- In January 2013, a three-year project, ‘Meetings with Memories’ (in Swedish: Möten med minnen), was launched in Swedish museums with guided tours for dementia-afflicted audiences. The project involved altogether 88 Swedish museums and was headed by the Alzheimer Foundation (Alzheimerfonden). Many Swedish art museums were part of the project, with the purpose that the art educational situations would create participation and dialogue with a group of people usually absent from the museums. Art in particular is regarded as a possible therapeutic rehabilitation for people with neurodegenerative diseases, where dialogue and making of art enhance cognitive abilities and quality of life. The therapeutic promise within art pedagogy is part of the larger context of the art educational situations we have studied. In this chapter, the aim is to explore how these situations are done and how participation can be made and interpreted in relation to the target group, people with dementia. We focus on the participation in terms of the meaning making, dialogical processes of the art educational practice of the project ‘Meeting with Memories'.
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| 2. |
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Crafting Cultural Heritage
- 2016
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research. What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making? How can we study and understand craft as cultural heritage? This book contains a selecion of papers from the session Crafting Cultural Heritage at the Assosiation of Critical Heritage studies inaugural conference Re/theorising Heritage 2012 in Gothenburg. The contributors are Anneli Palmsköld; Thomas Laurien; Eleonora Lupo and Elena Giunta; Gunnar Almevik and Nicola Donovan. Their common interest are theories and methods of crafting that could benefit heritage studies approach to making.
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| 3. |
- Fallan, Kjetil, et al.
(författare)
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A Historiography of Scandinavian Design
- 2012
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Ingår i: Scandinavian Design. - London : Berg Publishers. - 9781847889119 - 9781847889126 - 9780857852182 - 1847889123 ; , s. 13-31
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 4. |
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| 5. |
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Konsthantverk i Sverige, del 1
- 2015
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Konsthantverk i Sverige del 1 samlar 18 författare. Boken kommer ur ett gemensamt intresse att förändra och vidga en konventionell historieskrivning om konsthantverk, bortom traditionella materialuppdelningar och nationella förståelser. Det vi skriver om kan ha kallats slöjd, konst, design, pyssel, konsthantverk, formgivning, brukskonst, hantverk och hemslöjd. Historia betraktas här som något pågående, något som vi gör. Det är ingen neutral aktivitet utan den är platsspecifik. I Konsthantverk i Sverige del 1 skildrar författarna från sina perspektiv en berättelse om materialitet och görande i Sverige från sent 1800-tal och fram till i dag. Boken skall inte ses som Historien med stort h utan snarare som de första stegen i en diskussion om historia, materialitet och görande.Med texter av Zandra Ahl, Christian Björk, Otto von Busch, Päivi Ernkvist, Kakan Hermansson, Elina Holmgren, Charlotte Hyltén-Cavallius, Frida Hållander, Love Jönsson, Mahmoud Keshavarz, Gunilla Lundahl, Helena Mattsson, Anneli Palmsköld, Johanna Rosenqvist, Miro Sazdic, Rosa Taikon, Jorunn Veiteberg, Christina Zetterlund
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| 6. |
- Laurien, Thomas, 1967, et al.
(författare)
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An Emerging Posthumanist Design Landscape
- 2022
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Ingår i: Palgrave Handbook of Critical Posthumanism. - Cham : Palgrave Macmillan. - 9783030426811 - 9783030426811 - 9783031049576 - 9783031049583
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Bokkapitel (refereegranskat)abstract
- A designer is somebody who points, who designates, and gives directions. Design thereby has a direction into the future. What directions are designers pointing out if design is coupled with posthumanism? Posthumanism has come into being in a landscape of both ideas and design. That which has previously been designed and produced is coming back and it can help us point out harmful inequalities if we sharpen our observational tools and concepts.“An Emerging Posthumanist Design Landscape” is an overflowing designated area for examples and thinking on compositions of design and critical posthumanism. It is a landscape in the making, yet scarred by previous design cultures and histories. As design researchers operating out of Scandinavian academia, we invite readers/travelers to meander through an emerging hybrid landscape and to make a few selected stops at the sites of our own recent design interventions. We articulate concepts, frictions, and opportunities sprouted in a sprawling and increasingly populated landscape of design and posthumanism. Posthumanist thinking questions and recharges fundamental design concepts and methods/approaches, e.g.: Who are the actors of posthumanist design? Where does it take place? What do we design? What materials do we use? How do we work? When does design take place? Why are compositions of design and critical posthumanism important undertakings? The responses to these questions sketch trajectories for further travels and the co-creation of an emerging posthumanist design landscape.
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| 7. |
- Mazé, Ramia, et al.
(författare)
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Share this book : critical perspectives and dialogues about design and sustainability
- 2013
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- This is a critical time in design. Concepts and practices of design are changing in response to historical developments in the modes of industrial design production and consumption. Indeed, the imperative of more sustainable development requires profound reconsideration of design today. Theoretical foundations and professional definitions are at stake, with consequences for institutions such as museums and universities as well as for future practitioners. This is ‘critical’ on many levels, from the urgent need to address societal and environmental issues to the reflexivity required to think and do design differently.
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| 8. |
- Palmsköld, Anneli, 1962, et al.
(författare)
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Handicrafting Gender : Craft, Performativity and Cultural Heritage
- 2018
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Ingår i: Gender and Heritage. - London : Routledge. - 9781138208148 - 9781138208162 ; , s. 44-60
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Bokkapitel (refereegranskat)abstract
- To write the history of craft and heritage engages with constructing a canon of known practices parallel to deconstructing the differences incorporated in institutions dealing with craft. Craft objects have long since been considered as heritage, but craft is also recognized as ’intangible heritage’. This can be seen in UNESCO’s (2008) designation of ’traditional craftmanship’ as a part of global intangible heritage. However, craft's gendered character is not equally recognized. In this article we will discuss craft, heritage and gender from a performativity perspective on making. The main question is how gender patterns are reflected in the understanding of craft, and in heritage making. The aim is to make visible the gender demarcations in the making of craft. We argue that the making of craft and its heritage status has been highly charged with gender differences. Recognizing this is of importance to be able to understand and to challenge heritage making processes and canons when it comes to craft. After a short theoretical background focusing on performativity and the canon of gender differences, three empirical examples are outlined. The first is about organizational aspects of handicraft, the second concerning the technique of crocheting, and the third considering visual representations of crafting, using empirical archival and published materials from the Home Craft Movement in Sweden.
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| 9. |
- Rosenqvist, Johanna, 1971-
(författare)
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Bodies Making Souvenirs : Performing Authenticity
- 2021
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Ingår i: Souvenirs in Motion: Cultural and Historical Perspectives on the Souvenir as a Research Object. - : University of Lapland.
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Konferensbidrag (refereegranskat)abstract
- In this paper I argue that the bodies of artists and makers are actually performing authenticity. The bodies in the making of craft and the visual representation of this making of craft , are key figures in showing how and where craft is being made, literary and metaphorically speaking. Throughout the history that is being on display in for example design- and crafts magazines, visual representations of making are linking objects to a certain time and place. My understanding of performing or rather performativity, is informed by the theorists such as Judith Butler and Eve Kosofsky Sedgwick for whom the relationship between saying and doing has become the centre of attention (Sedgwick 1993; Butler 1997; 1999). Although not focusing on the actual making of craft, Butler's theories on gender concerned with ‘doing’ rather than ‘being’ are useful in looking at craft from a critical perspective on what is being done. In introducing her concept of gender performativity, Butler proposes that gender is to be understood neither as an entity nor as a set of free floating attributes, but instead, as continuously being done. In her seminal text Gender Trouble from 1990 she writes ‘gender is itself a kind of becoming or activity to be conceived /…/ as an incessant and repeated action of some sort’ (Butler 1999: 112). The attributes ascribed to gender are performative, Butler says. So if repeated action makes up the patterns, that are thought of as feminine or masculine, and in turn are making gender, maybe repetition is key in performing authenticity in the making of Craft Made in Dalarna or Småland?
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