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- Nobel, Andreas, 1966-
(författare)
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Dimmer på Upplysningen : text, form och formgivning
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The main part of the dissertation is a text. The other is an exhibition mainly presenting a bow-lathe and some furniture designed and produced in that bow lathe. Interior- and furniture design are disciplines in which sensory qualities are important. Within these disciplines there are well established methods and languages for developing these qualities. However, such development has rarely been achieved through the medium of text. Sensory qualities tend to be ignored in highly textualized knowledge environments. Within education textualized knowledge is often valued higher than forms of knowledge developed through other medias than text. This situation has led to a dichotomized perception of knowledge where textualized knowledge attained through writing and conceptualizing, is valued higher than knowledge developed through physical work. The thesis argues that this hierarchical view on different forms of knowledge also has an influence on the practical profession of the designer, manifest in the paradoxical situation where the form aspects of design is neglected and over shadowed by various forms of textualized knowledge. The central research question posed in the text part is: Which adverse effects might an increasing emphasis on textualized theory have on the design practices? The questions are highlighted from perspectives such as; epistemology, tradition, history and power.The central research question in the exhibition part examines if any possible negative effects on design resulting from the above mentioned scenario, may be prevented through engaging in a highly physical and non-conceptual design- process? The purpose of the exhibition part is to introduce methods and design that may provide the impetus for further development in the fields of design. The bow lathe is presented as an example of a productive tool for the development of relevant contemporary design.
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| 2. |
- West, Kim, 1978-
(författare)
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The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection.Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases.The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.
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