| 1. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2016
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- For the third year, the AHA festival investigates the meeting between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture and the Department of Physics. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about exploring the world through art and science. We invite scientists (physicists, historians, astronomers, engineers), artists (dancers, musicians, painters, poets, acrobats) who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.The first year’s theme ’Embodiment’ (2014) explored the body as our anchor in the world, followed by the 2015 theme on ’Numbers’, a delightful net we cast over the world. This year's theme is ’Uni-verse,’ again a natural consequence of our interest in the relation between art and science. The elemental force that drives science as well as art is curiosity. Come be curious with us! During the festival we have chosen to divide the word universe into three: uni and "-" and verse. Uni means that something is combined into a whole. Verse means that we are turned in a direction, the origin of the word tells us that it is the plow that turns at the end of the field. And the dash "-" is all the spaces and cracks where new discoveries can grow. Art and science unfolds in the gap between what we know and what we want to know.
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| 2. |
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The Face of God - Making Narratives #2
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- The Face of God, an antology of essays about the fictive Czech entomologist and artist Milka Havel's life and works. A partially lost text about the search for order in chaos, forms the basis for a book and an exhibition at the art museum Vandalorum. The artist is made alive by texts, images and artifacts.
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| 3. |
- Jensen, Stefan, 1986, et al.
(författare)
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Fotografiska möten med naturen
- 2023
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Ingår i: Göteborgs naturhistoriska museum : 100 år i Slottsskogen : Jubileumsskrift 2023. - Göteborg. - 9789189347038
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Sedan mitten på 1800-talet har kameran varit ett viktigt redskap i mötet med naturen – både för den naturvetenskapliga forskningen och för amatörens passionerade undersökningar av växter och djur.
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| 4. |
- Jensen, Stefan, 1986, et al.
(författare)
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Radioaktivitet och fotografi
- 2023
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Ingår i: Vetenskapsfestivalen.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Fotografen och konstnären Sara Linderoth fotograferar platser som har höga halter av radioaktiva ämnen och gör autoradiografier med växter, svampar och jordprov. Här berättar hon och visar exempel på sitt arbete. Stefan Jensen, fotograf och curator på Hasselbladstiftelsen ger en introduktion till kopplingen mellan radioaktivitet, fotografi och konst. Finns tillgängligt på URPlay. Inspelat den 20 april 2023 på Stadsbiblioteket i Göteborg. Arrangör: Vetenskapsfestivalen.
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| 5. |
- Thompson, Linda Maria, Lecturer, 1978-
(författare)
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(In)visible powers : witnessing the ‘tourist-waters’ of Nämforsen
- 2023
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Ingår i: Cultural Geographies. - : SAGE Publications. - 1474-4740 .- 1477-0881. ; 30:2, s. 325-332
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Tidskriftsartikel (refereegranskat)abstract
- This artistic research reflection explores Sweden’s legally-mandated ‘tourist-release’ at the Ångermanälven River’s storied site of Nämforsen. Against World Wars and calls for energy independence of the mid 1940s, the iconic Ångermanälven River was industrialised from a free-flowing salmon river to eventually a series of 44 dams and hydropower plants. Later, a unique environmental court legal judgement resulted in ‘tourist-water’ at Nämforsen that gives the illusion of a free-flowing river during summer months. Existing for solely aesthetic purposes, tourist-water is an unexplored example of the (in)visible powers perpetuating myths associated with hydropower and place in Sweden. Through text and images, this piece reflects on witnessing this tourist-water phenomena through place-based documentary arts practice. The fieldwork is part of a doctoral project in artistic practice focusing on how photography can mediate complex issues in places of environmental change through the case of Nämforsen. Strategies such as framing, time-scaling and montage have emerged from this practice at the same time as ethical concerns related to representation are raised. This case is especially pertinent as hydropower in Sweden comes under increased scrutiny, simultaneously as it is marketed as a sustainable energy solution. The piece furthermore highlights the lasting implications of conservation efforts centred historically on aesthetic rather than ecologic values.
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| 6. |
- Nyström, Ingalill, 1969
(författare)
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Bonadsmåleri under lupp: Spektroskopiska analyser av färg och teknik i sydsvenska bonadsmålningar 1700-1870
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The objects of this PhD thesis are Southern Swedish painted wall-hangings: folk art paintings from the 18th and 19th centuries. The aim and objective of the study are: to investigate the construction and manufacturing processes of the painted wall-hangings; to identify both the painting materials and other substances employed; and, to document painting techniques used by different painters within this painted wall-hanging tradition. This is to get an increased understanding of the materials and techniques used, and the material development of these painted objects during the 18th and 19th centuries. The study is interdisciplinary in which Art Technological Source Research (ATSR) is combined with conservation science. Non-destructive and non-invasive analytical methods were preferentially used. Therefore spectroscopic methods including multi-spectral imaging systems, FT-Raman with a micro video probe head, FTIR with diffuse reflectance and Electron Microscopy with Elemental Analysis (SEM-EDX) were applied. Most of these chemical and technical analyses are undertaken on site. Supplementing analyses using spot tests and experimental reconstructions of coloring matters from plants and possible binder composition has then been carried out in the laboratory. In order to understand the manufacturing process of the wall-hangings also mock-ups where made. Historical recipes have been used to make these reconstructions. The Results indicate that generally inexpensive pigments such as chalk, red lead, ochres, orpiment, carbon black and woad have been used. Some artificial pigments such as; Prussian blue, emerald green and chrome yellow were introduced in the wall-hangings in the latter part of the era. The binding media in the paint contains egg and in some cases also starch. The paint is normally painted on reused linen cloth prepared with starch containing glue. During 19th century also paper has been used as a support. Representative for these painted objects is also that templates were adopted for the figures in the picture scenes and motifs. The significance of this study is that the materials science and knowledge of the technology used is important to be able to predict degradation risks, and to develop preventive and remedial conservation strategies for these objects. The technological material knowledge not only is crucial for preservation but also can supplement previous studies and previous attribution of Southern Swedish painted wall-hangings without signature.
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| 7. |
- Jensen, Stefan, 1986, et al.
(författare)
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WITH AN EYE ON NATURE: FEATHERS, FOSSILS AND PHOTOGRAPHS
- 2023
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Ingår i: Gothenburg Museum of Natural History.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The exhibition takes you on a journey through time, out in nature and into the rich image archive of Gothenburg's Natural History Museum. Since the mid-nineteenth century, photography has served as an important tool in encounters with nature from the perspectives of both scientific research and amateurs’ devoted examinations of plants, animals, and geology. In the exhibited images, we encounter everything from the small sea roach to a giant lumpfish found off the west coast and geological formations of gneiss and silicon. Through the museum's extensive image collection, which ranges from the early black-and-white portraits of natural scientists and their discoveries to today's high-resolution digitizations of type material, we can follow the development of photographic technology and its use in the natural sciences. Photography has revolutionized the way we observe and perceive nature. At the museum, photography is an indispensable tool for research, preservation, and protection of biological diversity. The camera is used in everything from documenting and describing new species and their natural habitats to photographing museum objects for digitization and exhibitions. However, new visual technologies offer creative possibilities for exploring and communicating museum collections in new ways. With an Eye on Nature questions how and when nature looks back at the person behind the camera. Can photography and new imaging technologies pave the way for different interactions between biological beings such as birds, trees, fungi, and people? The exhibition is based on collections of the Gothenburg Museum of Natural History, in which two guest curators from the Hasselblad Foundation have been botanizing. With an Eye on Nature also includes photographs by bird and nature enthusiast Victor Hasselblad, who was deeply involved in the museum, and works by a selection of contemporary artists who look at nature differently than the scientific. Gothenburg's natural history museum collections span over 150 years. The museum moved to the current building in connection with the city's 300th-anniversary celebration in 1923. With an Eye on Nature is an anniversary exhibition celebrating the museum's first 100 years in Slottsskogen. A wall next to the exhibition is inhabited by colourful birds carved from fresh hazel by primary school students from Västra Götaland.
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| 8. |
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| 9. |
- Nyström, Ingalill, 1969
(författare)
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Materials in folk art from Hälsingland – A colourful study.
- 2016
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Ingår i: Book of abstracts. Materials for Tomorrow: Chalmers annual Materials Science Initiative Seminar and the Division of surface and materials chemistry annual symposium. Nov 8-10, 2016, Gothenburg, Sweden.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What can we learn from the materials of yesterday for the materials of tomorrow? This talk is about art technology and the materials found in folk arts and crafts in decorated farmhouses of Hälsingland, UNESCO World Heritage since 2012. A variety of case studies from the project called “Decorated Farmhouses of Hälsingland: a holistic study of a world heritage site” will be presented. Wall paintings and painted furniture as well as decorated textiles are examined to understand their technology and artist’s materials. The study is cross disciplinary and methods from natural and historical sciences have been applied. The project is funded by the Swedish Research Council (VR), started in January 2014, and extends over four years. It is a collaboration between different researchers: conservation scientists, chemists, physicists, conservators, art historians and ethnologists from University of Gothenburg, Chalmers University of Technology, Linköping University and the Swedish National Heritage Board. The scientific analyses applied in the study are primarily different spectroscopic methods. Non-invasive analyses using multispectral imaging and XRF were conducted directly on art objects in museums and homestead museums. Additionally, samples were taken from these objects for supplementary analyses using FT-Raman and IR spectroscopy and DSA-ToF-MS and GC-MS. As a conclusion from this study, we believe that cooperation between different disciplines is crucial to tackle and interpret empirical material that often contains both historical sources that require transcriptions and interpretations, and material characterization and scientific interpretation of the analytical results. When different skills and various perspectives come together, new interpretations and new knowledge can be obtained. And in a sustainable perspective, the craft techniques and materials, as well as the historic recipes revealed in our study, have the potential to be re-used in the development of modern paints for the buildings of tomorrow.
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