| 1. |
|
|
| 2. |
- Claésson, Dick, 1967, et al.
(författare)
-
Elfängen : Om Ivar Arosenius sista hem och om ett försök att iscensätta en förfluten värld genom dokumentation, historiska fragment och konstnärlig gestaltning
- 2023
-
Bok (övrigt vetenskapligt/konstnärligt)abstract
- Först är resultaten tillfälliga, prövande: hypoteser som prövas och förkastas. Så tillkommer nya bevis eller spår. Så stelnar gradvis bilden, fixeras till något som får oss att tro att vi har nått fram till ett slags sanning. Hur förhåller sig vår tidigaste iscensättning till den gestaltning vi till slut kom fram till? Stod den sanningen nära? Processen, skulle det snart visa sig, var hela tiden ett mål i sig; den gradvisa utvecklingen av en undersökningens närsynta metod där allt tycktes oss betydelsebärande och ingenting vi såg eller observerade var oviktigt. Palimpsestens metod var på vissa sätt också Ivar Arosenius metod, och så blev den till sist även vår: verkligheten överlagrades av sagan, myten, symbolen och förvandlingen. Elfängen är en bok om Ivar Arosenius sista hem, och om en plats som sedan länge är borta.
|
|
| 3. |
|
|
| 4. |
|
|
| 5. |
- Westin, Jonathan, 1980, et al.
(författare)
-
Assembling Arosenius
- 2019
-
Ingår i: Current Discourses and Global Challenges, 7-8 November 2019, Critical Heritage Studies, University of Gothenburg.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Arosenius’ home in Älvängen disappeared in the early seventies after decades of neglect. Using the archive as a source, a virtual model is assembled where the connection between artist, art and place is investigated to contextualize the documents of the archive. With this interactive reconstruction we aim to construct a synthesis of a heterogeneous and sometimes conflicting material that can be used both as an access-point and as a repository. Of central interest for the study is how to communicate interpretative practices to the user, balancing an incomplete source material with the need to create a space that can inspire affect. Just as the archive contains a translation of Arosenius’ home, first into documents and files, and later, when digitized, into bits, the reconstruction of Arosenius’ home is a translation of bits into context. It is an investigation into both the limits of the archive view, that which the archive lets us perceive, and the product of activating and giving depth to the archive by bringing it together with the site of its origin. In the study, we frame the act of digitally reconstructing a site as an iterative research method of investigation and translation between different media, that allow a disparate material to be collected, studied, and processed simultaneously.
|
|
| 6. |
- Westin, Jonathan, 1980, et al.
(författare)
-
Conjuring up the Artist from the Archives: Ivar Arosenius
- 2016
-
Ingår i: Digital Humanities 2016, Kraków 11–16 July 2016.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What processes are involved in translating a physical archive into a digital? Can we give body, context, and affect back to a digitized material? These are questions we investigate through a three-year project about Ivar Arosenius, a Swedish artist and writer who met an untimely death in early 1909, only 30 years of age and within months of his big breakthrough. During the subsequent years and decades, his substantial production earned him recognition posthumously both nationally and internationally, and today he is one of the most renowned Swedish artists. The project has instigated a number of studies of what knowledge and aspects can be added through different technological developments, as well as what knowledge and values are lost or threatened in a digitization process. In parallel to our work with staging the artist from the archives, we study how previous stagings – exhibitions, books, studies – have mediated and affected the image of Ivar Arosenius. In building a digital archive of Arosnius, we follow the material as it travels from the manuscript vault into the digitization studio, mapping all the actants involved in shedding it of its physicality. This is a translation process that functions to rephrase the archival material with the purpose of making it mobile and conform to those protocols that define something as being digital. This rephrasing does not only remove physicality, but does also introduce a whole new vocabulary, words describing the digital format, that in many ways replaces the one that art historians, archivists and conservators use to describe the manuscripts. Much of the material pertains to Arosenius’ home in Älvängen, torn down in the early seventies after decades of neglect. Using the archive as a source, we have assembled a virtual model in Unity where the connection between artist, art and place is investigated to catch the way Arosenius has translated his surroundings and to contextualize the documents of the archive. With this interactive reconstruction we aim to construct a synthesis of a heterogeneous and sometimes conflicting material that can be used both as an access-point to the life of Ivar Arosenius and his art, and as a repository: built on a source material consisting of archival photos, local stories and historic maps, paintings, 3d-scanned artefacts, sound recordings, and inventories of both the belongings of the artist and his family, and of the vegetation on his lands, the digital construction is a knowledge-model containing all the material pertaining to this part of the artist’s life. As such, of central interest for the study is how to communicate interpretative practices to the user, balancing an incomplete source material with the need to create a space that can inspire affect. Just as the archive contains a translation of Arosenius’ home, first into documents and files, and later, when digitized, into bits, the reconstruction of Arosenius’ home is a translation of bits into context. It is an investigation into both the limits of the archive view, that which the archive lets us perceive, and the process of activating and giving depth to the archive by bringing it together with the site of its origin. In the study, we frame the act of digitally reconstructing a site as an iterative research method of investigation and translation between different media, that allows a disparate material to be collected, studied, and processed simultaneously. Arosenius’ Älvängen is at the centre of this study as it is the locus of the art, and also the place of the life that the archive tries to represent. As such, it is the archaeo-archival embodiment of the artist’s archive.
|
|
| 7. |
- Westin, Jonathan, 1980, et al.
(författare)
-
Hur frammanas konstnären ur arkiven? Exemplet Arosenius : Digitalisering och samordning av samlingar för nya former av tillgängliggörande och forskningsfrågor
- 2019
-
Ingår i: Digitalt kulturarv – workshop om projekten inom satsningen Samlingarna och forskningen, Tekniska Museet, Stockholm 17 maj 2019.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Under Arosenius projektets gång utformade vi fyra distinkta gränssnitt där vi utforskade olika sätt att kommunicera både kvantitativ och kvalitativ data som tillät en användare att närma sig olika aspekter av materialet i Aroseniusarkivet. I samtliga fall försökte vi dels frångå eller överbrygga de begränsningar som ett fysiskt arkiv medför och som ibland omedvetet överförs till dess digitala motsvarighet, dels mildra effekten av vad som förlorats i digitaliseringsprocessen där ett fysiskt dokument fullt av djup och historia översatts till en högupplöst avbildning.
|
|
| 8. |
- Westin, Jonathan, 1980, et al.
(författare)
-
The Painter Is Absent : Ivar Arosenius and the Site-Specific Archaeo-Archival Reconstruction of the Ghost of a Home
- 2017
-
Ingår i: Bebyggelsehistorisk tidskrift. - 0349-2834. ; :73, s. 116-129
-
Tidskriftsartikel (refereegranskat)abstract
- This article discusses the digital reconstruction of the home and garden of the famous Swedish painter Ivar Arosenius (1878-1909). The small piece of land in Älvängen finds itself at the centre of a new archiving process, as much of the material now being digitized in the Arosenius Project was produced there during the artist's last few years. In describing the reconstruction process, the act of digitally reconstructing a site and a built environment is framed as an iterative research method of enquiry and translation between different media – an act that allows heterogeneous materials to be simultaneously collected, studied, and processed. As such, the reconstruction is posed as not only a visual manifestation of the physical and digital archive documentation, bur also a process of knowledge acquisition and evaluation. The reconstruction allows the documents of the archive to be framed not only as archive documents, but as artefacts reflecting – and resituating – the relationship that ties Arosenius' art to his surroundings. The reconstruction tries both to bring some aspects of the archive back to life and to be an analytical model chat generates and stores intangible information. As such, it is both a reflection of our visual and textual archive and a carri er of personal stories and memories.
|
|
