| 1. |
|
|
| 2. |
|
|
| 3. |
-
A City Curating Reader - Public Art Munich 2018
- 2018
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- What is public in public art? What are the contingencies of working outside of the protection of the institutional walls? What makes city curating? This reader takes Munich as a case study, and documents the projects of Public Art Munich 2018 dealing with political, ideological and economical shifts, spanning from the founding of the Bavarian Soviet Republic in 1919 to the arrival of refugees at the Hauptbahnhof in 2015. The book contextualizes art within the broader questions of the grammar of the public sphere and of what constitutes publicness today. It also reflects on the concept of context-specific city curating, performativity and art conceived in minutes rather than square meters. Art projects, conversations and essays plot a narrative of how art can cultivate encounters with the unpredictable, negotiate uncommonness, and provoke counter-publics to come. The reader is published on the occasion of Public Art Munich 2018 – Game Changers (April 30-July 27, 2018), curated by Joanna Warsza.
|
|
| 4. |
|
|
| 5. |
|
|
| 6. |
- Aglert, Katja
(författare)
-
“Archipelagic Rehearsals” – Attemptive Thinking Through Practicing Textual Artistic Research
- 2021
-
Ingår i: Karib - Nordic Journal for Caribbean Studies. - : Novus Forlag. - 1894-8421 .- 2387-6743. ; 6:1, s. 1-11
-
Tidskriftsartikel (refereegranskat)abstract
- The article is based on a lecture performance titled “Archipelagic Rehearsals – Abstract as Score” that was presented at the RGS-IBG conference, held jointly by the Royal Geographical Society and the Institute of British Geographers, in Cardiff in 2018. The presentation was an exploration of a possibility to practice, in Édouard Glissant’s terms, “archipelagic thinking” by presenting a lecture with interaction from the audience, as a lecture performance. That “archipelagic experiment” is continued in the article through an attempt to format the performance as an academic text. In turn, the text is an attempt to create new imaginaries and storytelling with Spanish slugs through participatory artistic experimental practice. The writing as artistic practice offers the potential for becoming and as such it is unpredictable in its outcome. The article starts with the author’s framing of Glissant’s poetics and attempts a feminist and more-than-human approach to present the event – the performance of the lecture and the story of the slug in footnotes that were an integral part of the lecture.
|
|
| 7. |
|
|
| 8. |
- Aglert, Katja
(konstnär, creator_code:cre_t)
-
Green Screen
- 2016
-
Konstnärligt arbete (utställning/event) (refereegranskat)
|
|
| 9. |
|
|
| 10. |
- Aglert, Katja, et al.
(författare)
-
Winter Event—Antifreeze
- 2014. - 1
-
Bok (populärvet., debatt m.m.)abstract
- In 2009, the Swedish artist Katja Aglert embarked on an artistic residency research trip to the Arctic. This became the starting point for her project 'Winter Event - antifreeze'. Five years on it has, using repetition and reiteration as its main artistic methods, turned into a complex multi-branched structure, of which this book forms a part and constitutes the finale. The project proposes a different narrative of the Arctic, dissects clichés of romanticism and mysticism related to this context, and deconstructs heroism and so-called discoveries from a norm-critical perspective. The book is the result of a collaboration between Aglert and the curator Stefanie Hessler and includes documentary images by the artist, reference material from a variety of other resources, an extensive introductory essay by Hessler, as well as specially commissioned texts by renowned theorists Lisa Bloom and Sabeth Buchmann.
|
|
| 11. |
- Ahl, Zandra, 1975-
(författare)
-
På andra sidan lera
- 2015
-
Ingår i: Konsthantverk i Sverige del 1. - Tumba : Mångkulturellt centrum. - 9789186429409 ; , s. 149-157
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
|
|
| 12. |
|
|
| 13. |
- Akner-Koler, Cheryl
(författare)
-
A Note on Nano (FormGiving)
- 2015. - 1 uppl.
-
Ingår i: Radical Re Re Re Re Re Rethinking. - Stockholm : Konstfack. - 9789185549139 ; , s. 128-133
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
|
|
| 14. |
|
|
| 15. |
- Akner-Koler, Cheryl, et al.
(författare)
-
Aesthetics and nanostructure
- 2011
-
Ingår i: International Innovation. - : Research Media. - 2041-4552. ; :6, s. 97-97
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Professors Cheryl Akner-Kohler and Lena Tibell of the Nanoform project describe the artistic methods and benefits that it might afford to both science and society.
|
|
| 16. |
|
|
| 17. |
|
|
| 18. |
- Akner-Koler, Cheryl, et al.
(författare)
-
Complex Curvatures in Form Theory and String Theory
- 2005
-
Ingår i: Leonardo. - : MIT Press - Journals. - 0024-094X .- 1530-9282. ; 38:3, s. 226-231
-
Tidskriftsartikel (refereegranskat)abstract
- The authors use new aesthetic criteria concerning structures and properties to explain parallel concepts within theoretical astroparticle physics and contemporary form/compositional research. These aesthetic criteria stem from complex curvature models developed both in string theory and in artistic perceptual research on transitional surfaces and concavities. The authors compare the complex curvatures of the mathematically derived Calabi-Yau manifold with one of Akner Koler's sculptures, which explores an organic interpretation of the looping curvature of a Möbius strip. A goal of the collaboration is to gain experience and insight into the twisting paradoxical forces in the 3D world and to explore the properties of transparency as applied to the Calabi-Yau manifold and a point cloud translation of Akner Koler's sculpture.
|
|
| 19. |
|
|
| 20. |
- Akner-Koler, Cheryl
(författare)
-
Expanding the boundaries of form theory : Developing the model Evolution of Form
- 2006
-
Ingår i: Wonderground - 2006 DRS International Conference. - : Design Research Society. ; , s. 79-92
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The design research community is beginning to recognize the organizing capacity of form as a scientific method of its own right. The aim of this study was to a) develop a pedagogically framed case study method that applied a participatory action research approach and b) create a 3-D form model bridging geometric- to organic structures. A 10-step-concept-translation-form method was developed which resulted in a “Evolution of form” model with two axes: The first horizontal axis presents a sequence of geometrically derived forms that gradually take on organic qualities of convexities and concavities. The second axis expands the model in a vertical dimension to include a bipolar spectrum at each stage. This vertical dimension opens up a dichotomy between congruent and incongruent properties in relation to original features of the geometric form.The discussion deals with the active formgiving process; the need for sculptural awareness and the inner sense of form; validity of the created method and model and finally the pros and cons of aesthetical abstractions that build on geometric references.
|
|
| 21. |
|
|
| 22. |
- Akner Koler, Cheryl
(författare)
-
Form & Formlessness : Questioning aesthetic abstractions through art projects, cross-disciplinary studies and product design education.
- 2007
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This research is based on empirical, embodied studies aimed to generate and regenerate aesthetic reasoning through three approaches:an educational approach concerned with developing an aesthetic discipline, supporting a formgiving process aimed to create tangible artifacts.an art-based approach supporting an open exploration of distortion and formlessnessa multi-disciplinary exploratory approach concerned with aesthetic experiences shared in laborations demonstrating complexity and transformation. The overall aim of the thesis is to explore different types of aesthetic abstractions that elaborate aesthetic reasoning about form and formlessness. The thesis develops methods and models for aesthetic investigation that support, challenge and go beyond the normative conceptions of beauty, with high relevance for teaching 3-D formgiving aesthetics and research by design methodologies. A central method applied throughout the entire research project is a cooperative inquiry method engaging students and experienced professionals as co-researchers in embodied/ interactive physical form studies and laborations. The content of the thesis is presented in three parts relating to the approaches above: -Part 1 defines an aesthetic nomenclature organized within a taxonomy of form in space. This aesthetic taxonomy is outlined in five levels based on essential aesthetic abstractions, emphasizing structure and inner movement in relation to the intention for the development of a gestalt. It originates from the educational program of Alexander Kostellow and Rowena Reed and has been further developed through an iterative educational process using a Concept-translation-form method, resulting in the Evolution of Form (EoF)-model. This EoF-model reciprocally weaves together geometric structures and organic principles into a sequence of seven-stages. To question the normative principles of beauty inherent in the EoF-model, a bipolar +/- spectrum was introduced at each stage to expand the model, aiming for a more inclusive approach to aesthetics. -Part 2, both challenges and expands the aesthetic reasoning in part 1 through i) solo sculptural exhibitions exploring properties of distortion and transparency in a constructivist art community ii) collaborative projects with physicists concerning infinity and studies of continuous complex curvatures and iii) explorative studies of material breakdown and non-visual studies with ID masters students at Konstfack. - Part 3 problematizes the taxonomy of form by applying methods and results from a cross-disciplinary study of complexity and transformation involving artists, physicists, designers and architects. The three year study explored temporal events of changing phenomena and formlessness that did not comply with any traditional aesthetic norms. Based on the experience from 12 laborations, three models were developed: The Transformation-model and Framing the dialogue-model were developed to physically interact with as well as to document and discuss change and transformation through bipolar reasoning. The Aesthetic phase transition-model was developed to capture the particular properties expressed in a transformation and unify stable objects with changing events. In conclusion, the thesis claims the value of an inclusive aesthetic mode of abstract reasoning in the scientific and design communities. A provisional 3 modes of abstraction-model is presented placing numeric, linguistic and aesthetic modes of abstraction as interdependent within a spectrum from separation to contextualization.
|
|
| 23. |
- Akner Koler, Cheryl
(författare)
-
How haptic attributes evoke intentionality and generates meaning
- 2019
-
Ingår i: Konstfack Research Week. - Stockholm : Konstfack. - 9789185549429 ; , s. 12-
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Haptica is an artistic research project in the field of aesthetics that explores practical and theoretical connections between haptic attributes of the hand (making), nose, mouth and throat (tasting) and body (inner presence). The project aims to interlace aesthetic reasoning from sculpture and design to culinary art that emphasises active exploration and intentional form- and taste- giving processes. Haptic perception engages sensory experiences mediated through skin and kinaesthetic system.The project started with researching how air flows through space and is perceived by subtle sensory receptors under our skin and hair follicles, proceeding to tactile touch of material and grasping of material and instruments used in the creative making and performative process. It then shifted the practical and theoretical models from external space and physical materials to internal airflow through breathing, smelling and tasting that connects with soma aesthetics and reflection through inner presence. The project is a collaboration with Mischa Billing and Annika Göran Rodell, Campus Grythyttan at the School of Hospitality, Culinary Arts and Meal Science, Örebro University.
|
|
| 24. |
- Akner-Koler, Cheryl, 1956-, et al.
(författare)
-
Integrating Sensitizing Labs in an Educational Design Process for Haptic Interaction
- 2016
-
Ingår i: FORMakademisk. - Oslo : Formakademisk. - 1890-9515. ; 9:2, s. 1-25
-
Tidskriftsartikel (refereegranskat)abstract
- New design methods for educating designers are needed to adapt the attributes of haptic interaction to fit the embodied experience of the users. This paper presents educationally framed aesthetic sensitizing labs: 1) a material-lab exploring the tactile and haptic structures of materials, 2) a vibrotactile-lab exploring actuators directly on the body and 3) a combined materials- and vibrotactile-lab embedded in materials. These labs were integrated in a design course that supports a non-linear design process for embodied explorative and experimental activities that feed into an emerging gestalt. A co-design process was developed in collaboration with researchers and users who developed positioning and communications systems for people with deafblindness. Conclusion: the labs helped to discern attributes of haptic interactions which supported designing scenarios and prototypes showing novel ways to understand and shape haptic interaction.
|
|
| 25. |
- Akner Koler, Cheryl, et al.
(författare)
-
Nanoformgivning genom haptiska, estetiska laborationer
- 2012
-
Ingår i: Dokumentation och presentation av konstnärlig forskning. - Stockholm : Vetenskapsrådet. - 9789173072052 ; , s. 113-125
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Nano design through haptic and aestethic laboratory experiments.
|
|
