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- Grundell, Vendela, 1977-
(författare)
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Flow and Friction : On the Tactical Potential of Interfacing with Glitch Art
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis aims to analyze how interfacing affects viewer experiences and viewer positions, and how glitch art online makes that effect visible. Glitch art is concerned with disruptions in the systems that govern how for instance photography is produced, circulated and displayed in a digital image flow. The system’s usually undisrupted operation emerges through the friction created between the key components of the study: the viewer, the photo-based mediation, and the interface where the two meet. These components are encircled by the relation between individual and system, whose increased integration with one another requires a sharper eye: a tactical spectatorship in response to how the interface of the image flow can turn the individual into a part of the system. The unfolding of such a spectatorship is investigated through three questions: What can a viewer see and do by interfacing with the website, and with what means? How is the photo-based material on the website produced, displayed and conceptualized? How does the website and its photo-based material – glitched and not glitched – position the viewer haptically and epistemologically?With a cross disciplinary approach, three media phenomenological case studies present glitch artworks in an online environment. The case study on Phillip Stearns’s project Year of the Glitch concerns the website’s index and archive pages as well as still images with a focus on camera reconstruction, verbal conceptualization, and image materiality. The case study on Rosa Menkman’s website Sunshine in My Throat includes index and artwork pages, two artworks with still and moving images as well as a thematization of the entire online environment being glitched. The case study on Evan Meaney’s project Ceibas Cycle focuses on the index page and an interface-based artwork, two video works as well as a portfolio of photographs that are not glitched. The timeliness of the case study materials – created between 2004 and 2012 – is anchored in systems aesthetics, in which technical problems are explored as a cultural critique since the 1960s. The qualitative analysis both emphasizes and problematizes experience, as a complement to quantitative studies about images in relation to a digital flow.The study analyzes how glitch art shapes experiences both by following the interface and by disrupting it. The effect of the underlying system thus appears in a material that has not yet been given an in-depth art historical analysis with a particular focus on the individual viewer. With such a focus, glitch is conceptualized as systemic friction in this study, which clarifies how the artworks online produce knowledge about the interface by providing the individual with a possibility of creating tactical breaks into the image flow. The results of the study consist of the ways of seeing that develop such a possibility – and they gain relevance as they make visible how the flow usually operates in invisible ways. These results point out that the experience of the artworks – and by extension, other experiences of images online – can alert viewers to their own activity within the image flow. If the system sets boundaries for experiences of and through the interface, a tactical spectatorship becomes possible when a glitch gives the individual an opportunity to try different positions towards these boundaries.
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| 2. |
- Bergman, Elin, 1983-
(författare)
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Trädgårdens textur : Rumsliga, materiella och sociala perspektiv på den privatägda trädgården i Sverige cirka 1900-1930
- 2024
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The subject of this dissertation is privately owned gardens in Sweden circa 1900–1930 and aims to identify and make visible their meaning and impact on different societal levels. Sweden, like many other European countries, faced profound societal changes during the nineteenth and early twentieth centuries. This was in part due to a major increase in population, the development of new urban environments, a growing working class, and migration within and out of the country. The culmination of these circumstances had an impact on the development of society, more broadly, and on housing, in particular.Prior scholarly inquiries across multiple disciplines have studied the home as a locus for various social relations and expressions of aesthetic ideals. However, the outdoor space of the home has not been specifically included or emphasized in previous research. The focus of this dissertation is therefore to examine gardens within the private sphere – in physical form as well as in their conceptions – concentrating on spatial organization and material constitution within the social context of the time. The aim is to make visible the ways in which the garden acted as an important part of the construction of the ideal home, in theory as well as in practice. In so doing, gardens and garden practices of the early twentieth century are historically, culturally, and socially situated.The theoretical framework is built upon the concept of texture which combines the theoretical fields of spatial theory and materiality. The approach and the use of texture emphasize the material elements that are essential in the constitution of the garden (but not always considered meaningful in their own right), as well as the relationship between humans and their surroundings, particularly with regard to home-making and relating practices. It includes analyses of individual materials’ physical conditions and the way they are experienced with the senses. Furthermore, it highlights the material and visual merging of materials as a perceived whole and the relation of the parts to that whole. Finally, it elucidates the socio-cultural relations between objects and environments which are then experienced, used, and changed by human subjects. The dissertation demonstrates the various meanings of the garden and garden practices, based on a vast set of empirical sources selected on principles of geographical and demographical diversity during the selected time period. The result is presented in case studies. These include analyses of garden literature, the work of county gardeners employed by the Agricultural Society, and educational institutions such as Lillie Landgren’s Torshäll (Dalarna County). Furthermore, particular sites are investigated, such as the mining town of Boliden (Västerbotten County), and the private gardens of Crown Princess Margareta at Sofiero (Skåne County) and Ellen Key at Strand (Östergötand County). The study reveals the multifaceted functions of the garden. The conception of the garden’s potential was made visible in publications and visual material, which provided exemplary gardens, cultivated by – and at the same time cultivating – the human actors. The study’s emphasis on the manual elaboration of materials with a certain aesthetic ideal or practical purpose as the objective confirms that the garden is a result of spatial, material, and social prerequisites, all coalescing as the texture of the garden.
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| 3. |
- Hinners, Linda, 1971-
(författare)
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De fransöske handtwerkarne vid Stockholms slott 1693–1713 : Yrkesroller, organisation, arbetsprocesser
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The thesis deals with French sculptors and painters active around 1700 at the Royal Palace in Stockholm. They were summoned from Paris by the architect Nicodemus Tessin the younger (1654–1728). This study analyses the Frenchmen’s professional roles, how Tessin organised their work and the working methods applied in the decoration of the Gallery of Charles XI and the adjoining parade rooms. It also involves questions concerning the artist’s roles and the status of artistic professions at the early modern period.The artisans were a group of some fifteen sculptors, painters, founders and a goldsmith. Several of them were accompanied by family members, some of whom were active in the workshop. In France these sculptors and painters had worked in the Bâtiments du Roi and particularly at the Gobelins. Although they were not part of the artistic elite at the Académie Royale de Peinture et de Sculpture they had vital knowledge in classical pattern/design, le bon goût and drawing. The artisans were also members of the guild system and were thus permitted to accept private commissions.My aim has been to clarify the artisans’ background in Paris and the recruitment undertaken by the diplomat Daniel Cronström (1655–1719). With regard to their activities in Sweden, it has been important to clarify their conditions in the building organisation at the Royal Palace, including social contexts such as their family situation and the possibility to practise their Catholic faith. Equally important is the professional relationship between the Frenchmen and Tessin, who was appointed Superintendent in 1697. Through detailed archival studies, the working practices and the creative process are analysed, especially the collaboration between Tessin and the painter Jacques Foucquet and the sculptors René Chauveau (1663–1722) and Jacques Foucquet (1639–1731).
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| 4. |
- Skogh, Lisa, 1974-
(författare)
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Material Worlds : Queen Hedwig Eleonora as Collector and Patron of the arts
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The thesis portrays the role of Hedwig Eleonora (1636-1715) dowager queen of Sweden, born princess of Schleswig-Holstein-Gottorf, as a patron and collector. Her role is analysed as to have played a great part in the Swedish cultural political visual production before and during the age of absolutism in the late seventeenth and early eighteenth-century.Hedwig Eleonora’s specific areas of interests have in this study been grouped as metaphorical material worlds: her active involvements in pictures, wonders and knowledge. The analysis concerns Hedwig Eleonora’s patronage strategies of painters, sculptors, ivory sculptors, hardstone carvers, jewellers and goldsmiths, as well as ideas on natural resources, rarities and scholarship, which were of great significance to the visual display and political culture created around the Swedish royal court. Furthermore, the study of her collections brings to light the influence of her international connections, including agents of exclusive commodities and scholars, as well as the great importance of her continental family network, such as the influential and prominent courts of Gottorf and Dresden, whose patronage patterns are mirrored in the symbolic environments created by Hedwig Eleonora.
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| 5. |
- Granath Lagercrantz, Mari, 1966-
(författare)
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Terrakottaföremål från Ghana på British Museum : Materiella och immateriella assemblage
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of the thesis is to identify, describe and interpret two series of terracotta objects from southern Ghana originally donated by Robert P. Wild to the British Museum in London between 1933 and 1936. The dissertation does not seek to answer questions of origin, intention and meaning, but seeks instead to show how phenomena such as production, distribution and consumption may better be understood as processes and situations that the object passes several times in its “social life”. The terracotta items donated by Wild to the British Museum can be related to what is commonly referred to as “Akan terracottas”, “Memorial terracottas” or “Terracotta funerary sculptures” in art- and cultural history-literature. These names identify a group of terracotta objects (mainly sculpture heads but also vessels) from southern and central Ghana, which have come to hold iconic positions in global cultural history, but also in the international art trade. As many researchers have shown, such terracotta objects are likely to be linked to some kind of funeral tradition, but they may also have had a number of other functions throughout their history. The dissertation is based on the study of a variety of materials relating to the institutional practices at the British Museum, and analyzes both material impressions left on the objects and also intangible aspects of them. By examining and analyzing the museal ethnographic object, the study highlights and discusses how such concepts as time, geographical space and institutional space have been materialized throughout history. In the study, the aim is related to Deleuze and Guattari’s thoughts about assemblage, rhizom and agency, which also assume that each body or object is a combination of different materials, ideas, and their abilities to connect to other bodies, objects, categories and concepts. The investigation also turns to the contemporary artist El Anatsui. The aim here is to show how El Anatsui’s work allows for a new interpretation of the terracotta objects. In the dissertation, it is shown that the circulation of the terracotta objects leaves its marks on them, transforming them, and that it is this ongoing process which creates the objects over and over again.
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| 6. |
- Mellander, Cathrine, 1971-
(författare)
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Arkitektoniska visioner under statligt förmynderskap : En studie av Överintendentsämbetets verksamhet och organisation 1818-1917
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The overall aim of this dissertation has been to paint a more detailed picture of the organization and practice of the Board of Public Buildings during the period 1818-1917, mainly through a close-up study of four consecutive architects working for the Board. Besides analysing the practice followed by the authority and the social structure of which it was a part, the dissertation also deals with aspects of its interaction with executive regional and local clients, and the effect this mutual collaboration had on the final architectural expression. The activities of the Board are in this study interpreted as a reflection of what has always characterized Swedish administration historically, namely, strong central control with a requirement for all-round official inquires and public transparency, guaranteeing the citizens’ demands for codetermination. The study clearly shows that this typically mild exercise of power, which has characterized Swedish administration, also embraced the country’s public architecture. The significance that can be ascribed to the Board as regards the configuration of public architecture was immense. The stylistic ideals initiated by the Board had an enormous impact because of the large number of cases handled, combined with their geographical spread. In this lay the strength of the authority, but its weakness as well: by virtue of its superior position, the architects of the Board could easily point out the direction to be taken by style, but subsequently, when the stylistic ideals had spread downwards to the broad masses, it was difficult to change course. It may thus be noted that the Board as an authority was a leading body and a source of stimulus when riding the crests of the waves, but in the troughs it lagged behind and was even static. Never the less the significance of the Board of Public Works and Buildings for the development of building in Sweden during the nineteenth century can scarcely be overestimated.
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