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- Frögård, Maja, 1985-
(författare)
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Negotiating Tensions : Designers’ responsibilities in democratic entanglements
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis concerns the roles and responsibilities of designers when we design workshops with democratic ambitions. Reflecting on my experiences from making co-design workshops for citizen participation to support sustainable urban development in municipal planning processes, I inquire into designers’ societal entanglements and explore these from democratic, social, political and designerly perspectives. Designing workshops in municipal planning processes made me curious about the diverse interpretations and practices of democracy. Seeking to make sense of my role in relation to these, I trace intertwinements between design and democracy. I reflect on how industrial designers’ roles are historically entangled with market-driven relations, formed by production and consumption. I also look at how political theory and philosophy articulate tensions within democracy, and criticise neoliberal political rationality for erasing the tension between democracy and capitalism. As designers are entangled in past and present relations affecting our roles and practices, we are affected by, but also influence, what we engage with. Designers who engage with democratic concerns navigate these tensions and thus affect how democracy is practiced. My inquiry into these perspectives led me to argue for designers’ responsibilities and for the need to reorient our practices to respond to democratic issues. Responsibilities need to be articulated in relation to tensions, as well as from within our practices; tensions can help us consider how we orient our practices – in relation to whom, what and where we design. As our relations also form our response-abilities, these reorientations also reshape our abilities to respond in practice, critically and carefully. I propose three concerns to support designers, design students and design researchers in orienting their practices, arguing that it is important to reflect on the concerns of entanglements, tensions, and responsibilities. These concerns focus on designers’ potential of making, on tentatively engaging with and curiously proposing things. My contribution and making of theory are thus for designers to make sense of and take responsibility for in relations shaped through our own particular practices.
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| 3. |
- Hållander, Frida
(författare)
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Vems hand är det som gör? : En systertext om konst/hantverk, klass, feminism och om viljan att ta strid
- 2019
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Whose hand is making? And how can we understand craft practices in dialogue with society through making and objects? How do we understand objects that manifest resistance? This dissertation in artistic research explores craft practices within the fields of ceramics and textile, through the method and form of autoethnography, and on the basis of an intersectional perspective. It understands making as embodied experience and knowledge, conditioned, but not always bounded, by societal structures, and it documents the resistance against, and the resilience of, repressive structures, in dialogues and struggles where objects gain agency.It is an examination that moves between the bookishness of libraries and historical trajectories on the one hand and making as collective practice on the other, the latter represented in what this study defines as case studies of making. The study creates the term “together-making” to describe and analyse collective craft practice as simultaneously a method of research and of making as a potentially political and socially-conscious act.Through two case studies of making the study assembles an archive of willfulness. In the first case study of making, ceramic practice and historical objects emanating from feminist and anti-slavery movements, are explored through a process of together-making, putting together the exhibition From Pottery to Politics in 2016. In the actual exhibition, further ceramic objects from Swedish twentieth century come into play to re-direct the shape of the exhibition, exemplifying the ways in which this study understands objects as manifest, material politics inciting response.The second case study of making, takes off from the geographical area known as »de sju häraderna«: a centre for Swedish textile manufacture and home-based industry since the seventeenth century. Focusing on a group of local seamstresses who organized Sweden’s first women’s football series in the 1960s – Öxabäck IF – the study investigates textile objects in dialogue with society reflected through the textile history of labour and feminist political movements in the nineteenth and twentieth century. This case study also documents the process of research through together-making, and the exhibition Öxabäck IF – Without You no Tomorrow, 2016.
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| 4. |
- Matthis, Moa
(författare)
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A Trace of Africa : Framing Empire in Strindberg's ’The Roofing Ceremony’
- 2020. - First edition
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Ingår i: Strindberg and the Western Canon. - Kraków : Jagiellonian University Press. - 8323347794 ; , s. 25-39
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- During the whole of his writing career August Strindberg was a restless canon-maker. In his capacity as writer, librarian, cultural scholar, polemicist and amateur researcher he constantly quoted sources, both historical and contemporary, included and excluded certain authors in his own work, as well as re-evaluated the boundaries of aesthetics and culture around the turn of the twentieth century. At the same time, he was a very active author in his own right, living in self-imposed exile but in close contact with cosmopolitan intellectual circles. All of this raises questions about his relationship with the literary and cultural canon. The dynamics between local and global culture define the whole of his oeuvre and make him one of those European authors who are readily interpreted in the context of Weltliteratur.Strindberg was a multilingual cosmopolitan, an emigrant, theosophist, and reporter. In his capacity as a writer, with his gaze trained upon both East and West, he absorbed impressions from the universalist tendencies of the fin de siècle. His ambition to join the global “Republic of Letters” led him to study French, Hebrew, the Chinese system of logograms, Russian literature, and the history of the Middle East.This volume, edited by Jan Balbierz, gathers contributions from renowned Strindberg scholars and discusses questions, such as: How did Strindberg construct his predecessors and which traditions did he associate himself with? How is a Strindbergian text altered in performative practice in theatre and film? How did Strindberg, whose writings are deeply rooted in Swedish folklore and landscape, relate to foreign cultural values?
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| 6. |
- Matthis, Moa, et al.
(författare)
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Kaffetåren och kolonialismen : cirkelns löfte och förtingligande
- 2022
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Ingår i: Bilder av ras i svensk visuell kultur. - Stockholm : Kungl. Vitterhets Historie och Antikvitets Akademien. - 9789188763297 - 9789188763303 ; , s. 89-108
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Bilder av ras i svensk visuell kultur är en tvärvetenskaplig antologi om hur representationer av ras etablerats, omformulerats och kritiserats i Sverige under tvåhundra år. Författarna är forskare i genusvetenskap, historia, konstvetenskap, litteraturvetenskap, medievetenskap, musei- och biblioteksvetenskap samt språkvetenskap, och nedslag görs i material från flera tidsepoker: bokillustrationer från 1800-talet, reklamaffischer och rasbiologiska fotografier från 1900-talets första hälft, tv- och filmkultur samt skämtbilder från 2000-talet. Utan att ge en heltäckande bild av problematiken närmar sig författarna materialet med en bred uppsättning angreppssätt och perspektiv; det visuella materialet diskuteras utifrån begrepp som dekolonialitet, representation, stereotyp, makt, genus, vithet och bildbruk.
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| 7. |
- Matthis, Moa, 1966-
(författare)
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"Take a Taste" : Selling Isak Dinesen's Seven Gothic Tales in 1934
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study explores the marketability of Isak Dinesen's Seven Gothic Tales, published in the US in 1934. The term marketability is used to refer to the book as a potentially desirable object for sale on the market, successfully promoted by the Book-of-the-Month-Club whose members were intent on educating themselves and refining their taste. The set-up and marketing strategies of the Book-of-the-Month-Club are considered in relation to the role of advertising as a discourse teaching social and personal values in a developing consumer culture where identity and personality were represented as never-ending, imperative projects. The consuming self is an individual freed from the restraints of tradition and communal values, making her free choice of whom to be on an increasingly diverse market, endlessly reinventing her identity. But this self is also a commodity on an increasingly complex and impersonal market where appearance is destiny. A historically contextualized reading of Seven Gothic Tales makes it possible to use the term marketability to refer to the work itself as a literary investigation of the conditions of identity-construction in a culture dominated by market-mediated relationships. In this reading, the Great Depression figures as a moment that reveals the degree to which consumerist ideology and logic had come to determine the possibilities of imagining being and identity, a condition that Seven Gothic Tales both reflects and resists.The effect of globalized transformation of production and consumption were felt in the two places that went into the making of Seven Gothic Tales: the US where it was first published and colonial Kenya where the author lived between 1914 and 1931 and where the book was begun. This study argues that the success of Seven Gothic Tales in the US depended on the way in which Blixen/Dinesen's experience of colonial Kenya was an experience of commercial modernity that reverberated with the experience of the American readers. Central to this argument is the ideal of feudalism as an explicit and decisive element in the creation of colonial Kenya. The aristocratic theme that permeates Seven Gothic Tales must be understood in relation to a colonial socioeconomic context that reinvented the feudal ideal as a marketable commodity at a time when social status and identity had become negotiable on a consumer market.
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| 8. |
- Rubin Dranger, Joanna, 1970-, et al.
(författare)
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Decolonizing Visual Representation
- 2015. - 1 uppl.
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Ingår i: Radical Re Re Re Re Re Rethinking. - Stockholm : Konstfack. - 9789185549139 ; , s. 136-145
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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