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Sökning: swepub > (2010) > Konstfack

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1.
  • Behm, Annika, 1977- (författare)
  • Tiden är vårt hem
  • 2010
  • Konstnärligt arbete (övrigt vetenskapligt)abstract
    • Problematiken för mitt projekt kretsar kring existens och tid. Kring hur vi upplever vardagens framfart, i det enskilda, samt hur vi förhåller oss till vår omvärld, i det privata. Genom att vi existerar är vi också del av tidens gång och nuet vare sig vi vill eller inte och i detta faktum finns någonting tröstlöst men samtidigt romantiskt som fascinerar mig och som jag vill utforska. I detta framåtskridande finns integriteten som ett individens skydd mot exponering och den stress över att uppnå någonting med våra liv. Men vad finns kvar efter ett liv som levts utan åstadkomna stordåd? Vad lämnar vi för spår? Tiden är den överhängande problematiken för mitt projekt, och jag närmar mig det genom tre fotografiska verk med titlarna Monument, Fragment och Moment.
2.
  • 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.
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3.
  • Sazdic Löwstedt, Miro, 1966- (författare)
  • Haecceitas
  • 2010
  • Konstnärligt arbete (övrigt vetenskapligt)
4.
  • Fridell Anter, Karin, et al. (författare)
  • SYN-TES
  • 2010
  • Ingår i: Colour and light in architecture : 11-12 November 2010 : proceedings. - Verona : Knemesi. - 978-88-96370-04-9 ; s. 235-240
  • Konferensbidrag (övrigt vetenskapligt)abstract
    • The research project SYN-TES aims at contributing to a theoretical development transforming the field of colour and light into a coherent field of research. This includes the identification of important problems and the development of theoretical and methodological tools for the trans-disiplinary understanding necessary to solving them. Special emphasis is put on the spatial interaction of colour and light in architecture.The work has the form of seminars/workshops where colour and light specialists from different academic disciplines (six Nordic universities) and companies (light sources, colorimetric standards, window glass) examine different aspects of the problem complex. Sub-projects deal with the epistemology and concepts of colour and light, with methods for analysing colour and light in existing architectural spaces and with the relationship between energy and light quality.
5.
  • Lindstrand, Fredrik, 1973- (författare)
  • A design oriented approach to learning in multimodal text production practices
  • 2010
  • Konferensbidrag (refereegranskat)abstract
    • This paper presents results from a Swedish research project about filmmaking as a site for transformative processes (Lindstrand, 2006; 2009). The scope of the paper is twofold, as it both presents results regarding multimodal learning in the production of moving images and aims at contributing more generally to the development of multimodal, design oriented approaches to the analysis of learning. The text is anchored in examples from collaborative filmmaking processes which serve as a background for elaborating on questions of various kinds: How can learning be grasped analytically and methodologically in processes of multimodal semiotic production? What is learnt and what characterizes the learning process in this type of semiotic work? How – and why – does the multimodal nature of these endeavours contribute to the learning process?Filmmaking consists of a number of processes characterized by different objectives and the production of different kinds of texts, within different genres, with different tools, in different media and different modes. All of these differences contribute to changes – related to issues of transformation and transduction – in the overall process and present the filmmakers with new challenges, new perspectives and new sets of meaning potentials. The paper brings attention to how the filmmakers reflect upon various aspects of the films during their work, and shows how they gradually become aware of aspects of their films that relate to the ideational, interpersonal and textual metafunctions of texts. Their widened attention affects the process itself, since it guides them towards new choices. A cyclic motion is thereby implied, since the new choices will lead to new reflections and so on.The presented results are summed up in the form of an additional version of the Learning Design Sequence model presented by Staffan Selander (2008), aimed at mapping learning processes in creative multimodal text production and emphasizing the role of design in the learning process.ReferencesLindstrand, F (2006) Att göra skillnad. Representation, identitet och lärande i ungdomars arbete och berättande med film [Making difference. Representation, identity and learning in teenagers’ work and communication with film] Doctoral thesis. Stockholm: HLS Förlag.Lindstrand, F (2009) ”Lärprocesser i den rörliga bildens gränsland” [”Learning processes at the crossroads of filmmaking”]. In Lindstrand, F & Selander, S (eds)Estetiska lärprocesser [Aesthetic learning processes]. Lund: Studentlitteratur.Selander, S (2008) “Designs for learning – a theoretical perspective”. In Designs for Learning,  vol 1, no 1.
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10.
  • Lindstrand, Fredrik, 1973- (författare)
  • Interview with Theo van Leeuwen
  • 2010
  • Ingår i: Designs for Learning. - Designs for Learning. - 1654-7608. ; 3:1-2, s. 84-90
  • Tidskriftsartikel (övrigt vetenskapligt)abstract
    • Intervju med professor Theo van Leeuwen in den internationella vetenskapliga tidskriften Designs for Learning.
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