| 1. |
- Orrghen, Anna, 1972-
(författare)
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A monument of the future : The rise and fall of the Swedish national monument, celebrating the turn of the millennium
- 2021
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Konferensbidrag (refereegranskat)abstract
- In December 1999, the Swedish national memorial celebrating the turn of the millennium was inaugurated. Tidsdokumentet was erected on behalf of the Millennium Committee, set up by the Swedish government. The commission to realise the monument was given to Chalmers University of Technology and the result became an interactive monument downtown Gothenburg. However, despite advanced research, cutting-edge technology and the intention to create something enduring, the monument was deconstructed shortly afterwards. Tidsdokumentet was created in the midst of the dotcom bubble and was supposed to symbolize visions of scientific and technological progress. During the thirteen years that passed from the origin of the idea to the dismantling of the monument, the meaning of Tidsdokumentet transformed from being a promise of the future to become a reminder of the ephemerality of digital technologies. Thus, although Tidsdokumentet was intended to be part of the future, it literally turned into a part of the past. From a STS perspective, Tidsdokumentet could be described as a projection site for visions of the emergent information society. By examining the history of Tidsdokumentet, this paper aims at shedding light on the socio-technological construction of the future as it is expressed through contemporary art.
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| 2. |
- Orrghen, Anna, 1972-
(författare)
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Art criticism and the newness of video art : the reception of video art in the Swedish daily press, 1985–1991
- 2020
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Ingår i: Journal of Aesthetics & Culture. - : Informa UK Limited. - 2000-4214. ; 12:1
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this article is to present and examine how art criticism in the Swedish daily press has dealt with video art as a new art form. The article argues that art criticism is challenged by having to deal with video art as a new art form. By paying attention to how the “identity crisis” of video art is represented in art criticism covering the four exhibitions Video/Art/Video, U-media, Japan nu/Sverige nu and Interface, as well as how the inherent properties of the printed press are used in this negotiation, this article shows that the art criticism contains a range of journalistic genres, makes use of art-historical and technological references and investigates the inherent properties of video art. The article further shows that the art criticism is primarily concerned with formal aspects of video art and that the medium specificity of the printed press is particularly salient. By comparing the specific Swedish situation with the international reception of video art as a new art form, I show that, in spite of the difference in date, they are indeed similar. Finally, by relating the reception of video art as a new art form to that of photography during the mid 19th century and digital art at beginning of the 21st century, I further show that the identity crisis of video art is similar to earlier as well as later identity crises of new technological art forms.
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| 3. |
- Orrghen, Anna, 1972-
(författare)
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Changing Crossroads : An interplay between art, artdiscourses and mediatechnologies in the art of Peter Hagdahl as construed in the art critique in Dagens Nyheter and Svenska Dagbladet. A historical perspective
- 2002
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Ingår i: Media Research in progress. - Stockholm. - 918835427X ; , s. 168-183
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The overall aim of this paper has been to examine the development of an aesthetical discourse: the art discourse and the dialectic between it and the technological development. In order to do so I have chosen to through discourse analyses analyse art reviews from two daily newspapers. My hypothesis was that there is a difference to be found between the early and the later work of arts within this field where the majority of the early artworks will show a noticeable interest for technological aspects such as the possibility of interactivity and the latter are to be more involved with questions concerning ideological issues. One may be able to talk in terms of a change from materiality to an increased interest in ideology. The theoretical framework of the study has included concepts such as remediation, immediacy, hypermediacy and the second media age. Concepts belonging to theories which all deal with new media. My purpose has been to try and adapt the same concepts to articles dealing with new media, one migth call it that I have tried to use them on a meta level.Since this paper is the result of a case study it means that it should also be regarded as such, that is rather as an attempt to identify tendencies than as a completed study. But although the material used for this study is far too small to be able to say something for sure, I have tried to show that – even though the tendency is everything but clear – the later articles are the ones with a more reflexive and philosophical approach towards new media. Which also could be understood as they are closer to what Poster describes as the second media age.
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| 4. |
- Orrghen, Anna, 1972-
(författare)
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Collaborations between Engineers and Artists in the Making of Computer Art in Sweden, 1967–1986
- 2011
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Ingår i: <em>History of Nordic Computing 3</em>. - Berlin/Heidelberg : Springer. - 9783642233142 ; , s. 127-136
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Bokkapitel (refereegranskat)abstract
- The aim of this paper is to describe and analyze collaborations between artists and engineers working together in the making of computer art in Sweden 1967−1986. The paper is based on interviews with artists and engineer swho collaborated during this time. By using the theoretical concept “coconstruction,” I map the phenomenon and discuss the driving forces behind the social, as well as the economical and institutional conditions of the collaborations.
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| 5. |
- Orrghen, Anna, 1972-
(författare)
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Dagen efter...
- 2002. - 1
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Ingår i: Hello Europe! Tallin Calling!. - Huddinge : Medie- och kommunikationsvetenskap, Södertörns högskola. ; , s. 109-111
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Orrghen, Anna, 1972-
(författare)
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Den medierade konsten : Scenen, samtalet, samhället
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation takes its starting point in three Swedish art exhibitions which contain so called new media: Avatar (1998), Bäst före (1999) and Electrohype (2000-2006). These exhibitions take place in a time which according to media scholars is significant; media society, media age, media landscape, image culture, media culture and media space is a handful of concepts being used to characterize this particular time. These exhibitions contain new media, thematically or as an apparatus, and are to be considered as expressions of the contemporary media society. With the starting point in how printed media, radio, television and internet discuss Avatar, Bäst före and Electrohype the aim of this dissertation is to examine how the contemporary media society is thematized in the mediated discourse of art and new media in Sweden, formwise as well as thematically, during the turn of the century 2000. The overall intention is to shed light upon the pattern of tensions that are brought to the fore when new media emerge in the society. The societal context of the exhibitions is defined as a media society. The research object of the dissertation are mediation processes related to Avatar, Bäst före and Electrohype. The role of the exhibitions in the study are as discourse producing events. The material consists of written, auditive and visual texts from the mass media that relates to the three art exhibitions. By using textual analysis this dissertation puts to the fore spatial dimension of the synaesthetical practices of looking, the embodied vision, the compression of time and space, the importance of learning oneself how to see phenomena related to new media. This describes the contemporary media society as ephemeral and changeable, at the same time as it proves to have a continuity. It is vital to stress the importance of not understanding this characterization in terms of binary oppositions. On the contrary, it is their parallel existence that contribute to the elasticity significant of the contemporary media society.
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| 7. |
- Orrghen, Anna, 1972-
(författare)
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Det digitala i svensk konsthistorieskrivning
- 2019
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Ingår i: Hundra år av svensk konsthistoria.
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Konferensbidrag (refereegranskat)abstract
- Syftet med föreliggande paper är att undersöka vilken plats det digitala har i svensk konsthistorieskrivning. Under 1960-talet introduceras datorkonsten i Sverige. Därefter har den digitala konsten fortsatt att utvecklas och digitala tekniker, metoder och teman har blivit en del av den svenska konstscenen. Sedan början av 2000-talet har den digitala konsten uppmärksammats inom ämnet konstvetenskap. Ett antal avhandlingar har behandlat introduktionen av datorkonst i Sverige under 1960- och 70-talet (Svensson 2000), digitalt fotografi (Wagner 2003; Dahlgren 2005; Grundell 2016) och introduktionen av datorer i svensk konstundervisning (Vipsjö 2005). Därtill kan nämnas konferensrapporter (Göthlund och Tellgren 1999), antologibidrag (Orrghen 2011; Orrghen 2015), samt artiklar (Nilsson 2005; Orrghen 2015). Den digitala konsten har även uppmärksammats inom ramen för andra ämnen, så som litteraturvetenskap (Olsson 2005), filmvetenskap (Hansson 2006), medievetenskap (Orrghen 2007; Ryan Bengtsson 2012) och företagsekonomi (Scherdin 2007). Men även inom andra discipliner, särskilt inom konstvetenskaplig forskning (Hagdahl och Joki-Jakobsson 2005; Crawford 2009; Munos 2013). Även vid institutioner utanför akademien finns det bidrag till den digitala konstens historieskrivning, särskilt inom museisektorn i form av utställningskataloger (Norrköpings konstmuseum 1990; Riksutställningar 1998-1999; Tensta konsthall 1999), samt inom ramen för biennalen Electrohype (se till exempel 2000, 2002, 2004, 2006, 2008, 2010). Därutöver finns ett antal populärvetenskapliga publikationer (Essvik och Nordqvist 2015a; Essvik och Nordqvist 2015b). Genomgången visar att det ter sig som att den digitala konstens historia i Sverige till viss del skrivs inom andra ämnen än konstvetenskap. Därför är det intressant att undersöka dels vilken plats det digitala har i svensk konsthistorieskrivning, dels var den digitala konstens historieskrivning sker. Centrala frågor i föreliggande paper är: Var, det vill säga inom vilka ämnen, discipliner och institutioner, skrivs den digitala konstens historia i Sverige? Vilka aktörer skriver den digitala konstens historia i Sverige? I vilka fora samt vid vilka tidpunkter skrivs den digitala konstens historia i Sverige? Vad handlar den digitala konstens historia i Sverige om? Genom att kartlägga, beskriva, analysera och kategorisera litteratur (avhandlingar, artiklar, konferensbidrag, antologier, monografier, populärvetenskapliga publikationer, utställningskataloger) om digital konst i Sverige från 1960-talet fram till idag, undersöker föreliggande paper var, när och av vilka den digitala konstens historia skrivs, samt vilka frågor den behandlar. På en övergripande nivå bidrar papret till en kritisk granskning av hur det digitala konstitueras i svensk konsthistorieskrivning.
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| 8. |
- Orrghen, Anna, 1972-
(författare)
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Driven by Visualization : Sten Kallin’s collaborations with Astrid Sampe, Sture Johannesson and Mats Amundin as explorations of computer technology
- 2015
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Ingår i: Konsthistorisk Tidskrift. - : Taylor & Francis Group. - 0023-3609 .- 1651-2294. ; 84:2, s. 93-107
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Tidskriftsartikel (refereegranskat)abstract
- During the late 1960s and early 1970s a newtype of collaboration between artists, scientists,and engineers developed alongside the emergingfield of computer art. This was an erawhen the computers, much larger than today,were rarely screen-based, and were almostimpossible to gain access to unless it wasthrough collaboration. In Sweden, the IBMemployee and computing expert Sten Kallinentered into collaborations with a number ofartists and scientists. In this article, I investigatehis collaborations with the textile designerAstrid Sampe, the artist Sture Johannesson,and the zoologist Mats Amundin. The perspectiveof this article differs from the morehabitual focus on artistic motivations, as Iinstead approach these efforts from the collaboratingcomputer experts’ point of view,rather than the established artist collaborators.I argue that Kallin’s interest in visualizationwas one of the driving forces that made himparticipate in these collaborations. I furthersuggest that their experimental approachestoward computing not only characterized thework of Kallin but was significant to othercomputer art practitioners during this era.
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| 9. |
- Orrghen, Anna, 1972-
(författare)
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Editorial : Technologies of visualization
- 2015
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Ingår i: Konsthistorisk Tidskrift. - : Taylor & Francis Group. - 0023-3609 .- 1651-2294. ; 84:2, s. 73-74
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Tidskriftsartikel (refereegranskat)
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| 10. |
- Orrghen, Anna, 1972-
(författare)
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From Visions of Technological Progress to Technological Ruins : The Swedish Millennium Monument and the Challenges of Preservation of Digital Public Art
- 2021
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Ingår i: Public Art Dialogue. - : Taylor & Francis. - 2150-2552 .- 2150-2560. ; 11:2, s. 208-225
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Tidskriftsartikel (refereegranskat)abstract
- This article examines the challenges of the preservation of digital art in physical public spaces. Through the case of Sweden’s national monument celebrating the turn of the millennium, the article sheds light upon the vulnerability of physical public monuments incorporating digital technology. Based on archival studies, the article shows that the long-term preservation of digital art in physical public settings is undermined by lack of technological and organizational sustainability. It further highlights the dual nature of digital art as a crucial challenge of preservation of digital public art, as it leads to different interpretations of what digital public art actually is.
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