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BODY OF MOVEMENT
- 2017
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Konstnärligt arbete (refereegranskat)abstract
- Pictures and videos exhibited at Everything and Everybody as materials 2017. The work exemplifies how the body can extend into materiality and through this it questions the borders of the body not only in form, which is usually the case in fashion design, but also in movement qualities as temporal form. Further it high lightens the importance of awareness of movement qualities in materials of dress as they express the form.The body is extended by its angular structure into the geometric form. 3 examples of the work was displayed. In its simplest form as lines connected with elastics, then the structure dressed in fabric and one where the structure is extended as squares.
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| 2. |
- Bågander, Linnea
(författare)
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BODY FRAGMENTED - Temporal Expressions
- 2020
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Ingår i: VIS. - 2003-024X. ; 4
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Tidskriftsartikel (refereegranskat)abstract
- In response to digital technology, new methods, thinking and aesthetics have emerged that challenge the way we design. In particular, the extraction of movement introduced by motion-capture technology proposes a design process wherein the motion rather than the form is used as a material. In such a process, the motion is extracted from a defined set of points that creates a digital representation. In this exposition, the strategies utilized when capturing a motion is translated into the process of garment making resulting in other bodily aesthetics through dress. Practically, this exposition is based on two independent studies that aim to define parameters for transformations of the moving body’s expression applied to a garment making process. The transformation is approached from two different perspectives; the first study is non-material and borrows theory and references from the field of dance and motion capturing technology. It maps the body as a point-based system based on the body as a moving form and pin-points body functions that affect these points. This part serves as a foundation for the second study that adds material aspects to the work, in particular, by mapping material parameters that relate to how the material is arranged in relation to these points. In conclusion, strategies of extraction of movement as the attachments and the scale of fragmentation of materials are considered as the main contribution to the garment making process. As it proposes a new usage of movement, the work has implications for fashion design, costume design and other body movement-based practices.
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| 3. |
- Bågander, Linnea
(författare)
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Body movement as material : Designing temporal expressions
- 2021
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Movement and temporal qualities have a significant effect on design expressions. However, in the design of dress these are often overlooked, and the static form of a positioned body is considered to be the main driver of design. This work explores the expressions of the body in motion, engaged in the interaction constituted by wearing. Through a practice-led experimental approach, the research presented in this thesis aims to establish strategies for utilising the motion of the body in the context of design development. The research has been carried out through multiple series of experiments. Initial series of experiments focused on exploring wearing as an entwined dialogue between body and material that is expressing and informing the motion of the body. This was followed by series of experiments focusing on more particular variables such as body movement principles, material properties, and somatic experiences. Through analysing and implementing movement as a design material the work suggests an alternative type of form-thinking and form-giving where materiality together with the body movement extends garments into a temporal expression.The result suggests an alternative model consisting of methods, concepts, and variables for design for designing temporal expressions wherein dress is defined as a temporal form and designed as a system of possible movements and ways in which a wearer can interact with a garment. Within this model, body movement is under-stood as a material and the body is viewed as a temporal structure and a mechanism for changes in the design. Overall, temporal expressions, or temporal form suggest acts of wearing and the somatic presence of the body as foundations in body-based expressions of equal importance as worn material. In particular, the design examples suggest another use of the joints of the body – the crucial points that enable move-ment – which were the main design material for temporal expressions.The methods and thinking proposed in this thesis may be beneficial for multiple fields of art and design that use the body’s motion as design material extending the findings from the origins of dress.
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| 4. |
- Bågander, Linnea
(författare)
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Body of movement : (in)forming movement
- 2017
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In dance many choreographers uses neutral garments not to distract too much from the movement the ”natural” body performs. Still these garments paints the body with color, form, identity and movement qualities. The work exemplifies how the body can extend into materiality and through this it questions the borders of the body not only in form, which is usually the case in fashion design, but also in movement qualities as temporal form. Further it high lightens the importance of awareness of movement qualities in materials of dress as they express the form. The potential of dress in dance is explored in three chapters. For each of these, materials were chosen and arranged in order to provide an additional layer to the movement that the body naturally performs, allowing material to transform the body into various figures of movement. The first part introduces the use of dress in dance and how dress acts with the moving body. The second part explores how movement with the origin in the body can extend spatially and the last part focuses on the materials ability to interpret and materialize the movement. The result of this work suggest that dress has the potential in dance as both choreographic tool and movement quality of equal importance as the movement of a body in a dance performance. Further it intersects the aesthetics of dance, a temporal aesthetic, with the aesthetics of garments, as a form based aesthetic, as it suggests dress as temporal design, allowing dress to create a new body of movement.
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| 5. |
- Bågander, Linnea
(författare)
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BODY OF MOVEMENT - (IN)forming movement
- 2017
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Konferensbidrag (refereegranskat)abstract
- This work aims to suggest materialized expressions based the moving body. As a principle of design, it treats the body as a whole and focuses on the in-betweens that the body creates in movement as aesthetics, not looking at its surface or the traditional ways of dividing the body (e.g. sweater, pants).In conclusion, the results suggest that the body movement has a spatial continuation as dynamic space that can be materialized. It is a suggestion a principle of design that can be applied in fashion design, choreography, architecture, furniture design.
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| 6. |
- Bågander, Linnea
(författare)
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BODY OF MOVEMENT - (IN)forming movement
- 2017
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Konferensbidrag (refereegranskat)abstract
- The presentation focuses on the collaborative process that occurs when designing garments for dance. It brings forth the benefits of the interdisciplinary production of knowledge that emerges when fashion is intersected with dance and through this moved. The collaborative process is exemplified in two projects Cuttlefish with Nicole Neidert and INSIDE/OUTSIDE with Karolin Kent and brings forth benefits of different backgrounds, expertise and perspectives in development of experimental costumes.
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| 7. |
- Bågander, Linnea, 1986-
(författare)
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Cuttlefish : performing body
- 2020
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Ingår i: Studies in Costume & Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 5:2, s. 257-273
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Tidskriftsartikel (refereegranskat)abstract
- This research report discusses and reflects on the development of the costumedesign and choreography of the performance piece Cuttlefish, 2017–19. In theperformance, the costumes played an essential role as they completely transformedthe movements and forms of the dancers. To enable this, costumes were designed astemporal forms, garments that contain a particular movement language based onthe structural possibilities of the body. The costumes are discussed here from twoperspectives: in relation to their role in constructing a narrative for the audience,choreographer and dancers and secondly concerning the practical aspects of theirdevelopment as temporal forms. The suggestion is that garments constitute materialopportunities, designed to provide a system of possible movements and expressionsthat the choreographer and dancer can explore. The result has implicationsfor both fields of fashion design and costume design as it proposes fundamentalparameters for a method of constructing garment as temporal form.
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| 8. |
- Bågander, Linnea
(författare)
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Cuttlefish - another body
- 2018
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Konferensbidrag (refereegranskat)abstract
- CUTTLEFISH – Another body This work aims to explore other types of preforming bodies. Bodies extending themselves into material and creating expressions based on the body in a dialogue with materials expression. Through this aiming to remove connotations associated with the body through this create for the audience an experience of freedom of imagination. Fashion design involves an aesthetics that is based the body as form and is often changed in form according to norms, trends and ideals, shaping by “artificially changing the body’s silhouette and sometimes altering its natural structure” (Koda, 2012). Further, the alterations of dress affect how the body behaves and moves by restricting, enhancing (Bugg, 2006) and enabling movements through both physical and psychological means. In Cuttlefish, the body is instead altered in movement qualities and through this as form. The visual removal of the body, contributed to experienced new bodies, it became something that the viewer can relate to on an emotional level as they became new personas and identities. Audience experience a large vary of emotions and personal associations many of them concerning identity; who we are and how we exist together. CUTTLEFISH credits:Choreographer: Nicole NeidertCast: Linn Ragnarsson, Viktoria Andersson, Anton BorgströmCostume design: Linnea BåganderSound design: Elize ArvefjordLight design: Ulrich Ruchlinski Premier: September 26th 2017 Falkhallen, Falkenberg, Sweden Additional performances:Byteatern Kalmar, KonserthusteaterKarlskrona, SPIRA Jönköping, Region Teatern Växjö, Skånes Dans Teater Malmö.
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| 9. |
- Bågander, Linnea, et al.
(författare)
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Enabling (e)motion
- 2020
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Ingår i: Dance Articulated. ; 6:1, s. 25-44
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses a practical exploration of the ability of a textile to meet with and affect bodies. It builds on the inherent ability of textiles, particularly in the form of a garment, to evoke movements and emotions. This paper suggests a shift in focus of the design of bodily materiality, towards an expression emerging from interactions connecting materiality and performativity. The findings are the result of 2.5 years of exploration, during which four performances, ten workshops, and four exhibitions were performed. The entwined parameters of expressing and informing are applied as a material choreographic thinking, which in this case results in a material choreography of openness, where expressing and informing are essential as entwined design parameters in the design of body-material interactions. The material choreography is developed as a method for addressing somatic experience, with improvements in terms of wellbeing and presence as aesthetic goals, focusing on reducing movements and emotions relating to stress for people suffering from chronic fatigue syndrome.
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| 10. |
- Bågander, Linnea
(författare)
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homo(sapiens) : Designing raw and defined material opportunities
- 2023
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Ingår i: Studies in Costume & Performance. - 2052-4013 .- 2052-4021. ; 8:2, s. 263-278
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Tidskriftsartikel (refereegranskat)abstract
- This research report reflects on the development of the costume design and choreography of homo(sapiens), a performance piece developed and staged between 2020 and 2022. Materials and costumes played an essential role in the performance, generating the narrative by somatically ‘speaking’ to the wearer. Two categories of somatically choreographic materials were defined through the work: ‘raw material opportunities’ based on the inherent capability of materials to inspire and create movement and form, and ‘defined material opportunities’ in which costumes were designed and formed with a choreography or movement language in mind. Comprehending these two approaches is crucial, as each design method offers, and requires, different choreographic and dramaturgical methods when integrated in a stage-based work.
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