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- Cappelen, Birgitta, 1962-, et al.
(författare)
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From designing objects to designing fields : from control to freedom
- 2003
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Ingår i: Digital Creativity. - 1462-6268 .- 1744-3806. ; 14:2, s. 74-90
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Tidskriftsartikel (refereegranskat)abstract
- In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.
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Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
- 2008
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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- Lindblad, Jakob, 1964-
(författare)
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470 nya kyrkor : Bidrag till Sveriges arkitekturhistoria 1850-1890
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present study critically examines the zealous building of 470 new parish churches in Sweden in 1850–1890; mainly replacing older churches in Västergötland, Småland and Scania; mainly new sites in Norrland. The primary source material is the church itself, meticulously examined in the fi eld and from archives, comparative analysis, the systemati-sation of formal elements and interpretation of architectural expression, characterisation of locations, plans, interiors and exteriors. The roles of initiators, architects, state/church authorities and building entrepreneurs are scrutinized as also liturgical demands, practical matters and the effects of growing populations and increased industrialisation leading to larger congregations, innovative building materials and new fashions. The results are extensively substantiated by analytical drawings, photographs, maps and tables of collated data, all new and by the author; fully availing of his training as architect, art-historian and Sockenkyrkoprojektet researcher. 18 churches are detailed in a representative sample. The parish church is its own art-historical genre. Each church is the sum of its parts interacting with its environs. When formal elements reoccur this refl ects practical solutions not always apparent from the written sources. A divergence between theory and practice is emphasised. Conforming rules, offi cial vetting and reuse of old drawings by the architects of Överintendentsämbetet were countered by master builders who deviated from approved designs, inspired by neighbouring churches. A spirit of architectural freedom fl ourished, encouraging creativity and novel architectural motifs. Traditional stylistic terminology is not applicable to these parish churches. Historical associations may have been sought, but were subsidiary to other demands of the building process. Individual architects and joint building ventures are identifi ed. Three ideals are isolated, variously utilizing form, light and height with a fashionable emphasis on spaciousness, the sacral and propriety. Today, increased secularisation and falling rural populations make these over-large churches an endangered cultural heritage.
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- Strandroth, Cecilia, 1974-
(författare)
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In Search of the Pure Photograph : A Historiographic Study of the Farm Security Administration, Walker Evans, and the Survey Histories of Photography
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The photographic archive of the American New Deal agency Farm Security Administration (created 1935-1943) occupies an important place in the history of photography as an exemplar of documentary photography and as symbol of the Great Depression. This dissertation is a historiographic study of this narrative of FSA photography, which investigates the archive's monumental position in the historical narration and demonstrates other possible readings. The first chapter delineates the dominating tropes of the narrative: the importance of the photographers' collective effort, the idea of the photographs as a collective portrait of America, the fear of propaganda, and describes the FSA canon and iconography.The three following chapters construct other potential narratives about the archive. The first shows that while the regular FSA canon is limited to photographs of waywardness and misery in rural America, the archive also contains photographs of modernity and development. The second shows that these photographs of modernity have not been made part of the narrative since they are explicitly motivated by politics and thus could be considered propaganda. The third narrative shows the reception of the most famous FSA photographer, Walker Evans, to have its foundation in the same resistance towards propaganda and politics. The study thus demonstrates that FSA photography was so much more than what is narrated in the history of photography. The survey histories are formulated within a modernist discourse of art, from an ideal of the media specific: each medium should strive towards a purification of its own interior qualities. The history of photography is thus narrated as a history of photographers' exploration of the medium itself. In the case of the FSA, the result is a narrative which considers the photographers' quest for more images the only important thing, which describes their practice as neutral, apolitical and pure.
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- Tillberg, Margareta, 1960-
(författare)
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Coloured Universe and the Russian Avant-Garde : Matiushin on Colour Vision in Stalin's Russia, 1932
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Colour vision was of fundamental importance in modernist art. One reason its significance has been studied so little with regard to Russian art is that Soviet archives were inaccessible until the early 1990s. This work is the first close study on a so-called laboratory in an art- and science institute in the Soviet Union in the 1920s. It is based on extensive research in twenty different Russian archives, each including numerous archival funds, in addition to the Stedelijk Museum Prentenkabinet in Amsterdam and other unpublished material.Contemporary ideas from German Bauhaus and De Stijl in Holland have received deserved attention. In the Soviet Union, avant-garde artists were silenced as enemies of the people – their priorities were other than the class struggle.The implicit narrative of the book, is about a group of intellectuals who struggled to work with what they believed in, e.g. an expansion and change of innate possibilities to create something never seen before, despite political oppression.The aim of this study is to present and analyse the hitherto unknown colour theory of Mikhail Matiushin (1866–1934) published in Leningrad and Moscow in 1932.The work is divided into five parts. The first part, Colour, deals with the contexts of history, colour and art. During the 1920s a number of institutes for interdisciplinary scientific research in art, design and architecture were founded in the Soviet Union. One of them was the Institute of Artistic Culture in Leningrad – GINKhUK – where Malevich and Tatlin also worked. One goal was to formulate a universal language with mathematics as the ideal science, to be collected into an encyclopaedia for visual culture (art, architecture, design); another goal was to redesign the world for the masses outside the ‘dead’ museums, and to produce a new kind of human being, a third goal. There the artist, musician and theoretician Mikhail Matiushin supervised the Department of Organic Culture with his Laboratory of Colour.The second part, Vision, analyses Matiushin's training programme, a variant of synaesthetical union of the senses, which includes an extension of the visual angle to a complete 360°; i.e., the consciously amplified eye, defined in Matiushin’s peculiar way.The third part, Culture, compares Matiushin with the theosophist mystics Pëtr Uspenskii and C. H. Hinton, the painter Wassily Kandinsky and the philosopher Henri Bergson.Part four, Ideology, sheds light on colour from those whose perspective was based on the State philosophy of dialectical materialism. By the early 1930s, the innovative institutes were closed down due to centralization of all expressions of culture under the banner of Socialist Realism.The last part, Synthesis, provides a detailed discussion on what happened after the 1930s. It concludes with the colour theory text, both its Russian original and for the first time in English translation.The belief is that Matiushin’s colour theory was not given any consideration after its publication in 1932. The results of this study show, however, that his colour handbook has been and still is used in the colour design of St. Petersburg.
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- Schult, Tanja, 1973-
(författare)
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A hero's many faces : Raoul Wallenberg in contemporary monuments
- 2009
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Bok (refereegranskat)abstract
- Raoul Wallenberg is widely remembered for his humanitarian activity on behalf of the Hungarian Jews in Budapest at the end of World War II, and known as the Swedish diplomat who disappeared into the Soviet Gulag in 1945. Today, Wallenberg’s example is used to communicate humanitarian values and human rights in many democratic societies. His story incorporates a classical hero narrative which has survived the ‘un-heroic’ 20th century.In 2008, there exist thirty-one Wallenberg monuments in twelve countries on five continents, from Hungary to Sweden, from Canada to Chile, from Australia to Russia. The rich diversity of the monuments invites to discuss the different concepts of Wallenberg and heroism as expressed in the artists’ works. The art-historical focus of this interdisciplinary study makes it a valuable contribution to the discussion of personal monuments, as well as to the socio-historical research on the commemoration of Wallenberg and the concept of the hero.
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| 9. |
- Schult, Tanja, 1973-
(författare)
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Raoul Wallenberg Monuments in Budapest and Worldwide
- 2007
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Tanja Schult: Raoul Wallenberg Monuments in Budapest and worldwideRaoul Wallenberg is today widely remembered for his humanitarian activity on behalf of the Hungarian Jews in Budapest at the end of World War II. In the year 2007, there exist more than 30 Wallenberg monuments in 12 countries on 5 continents: from Hungary to Sweden, from Canada to Chile, from Australia to Russia. The Raoul Wallenberg topic is a Holocaust related subject, but in contrast to monuments erected on the actual sites of the crimes and dedicated to Jews murdered in these places, the Raoul Wallenberg case allows also to tell of hope, shelter and rescue. Furthermore, the monuments are suitable to illustrate the respective nations dealing with the Holocaust. Against the background of the Wallenberg monuments in Budapest, especially Pál Pátzay’s The Snake Killer from 1949 and Imre Varga’s The New Raoul Wallenberg Memorial from 1987, Hungary’s dealing with its past and in particular with this prominent rescuer will be illustrated.Pátzay’s original monument was turned down the night before its planned inauguration. Just like Wallenberg, it fell victim to the political developments of the immediate post-war years. Ironically, the monument, as the man himself in 1945, was brought to Debrecen. While Wallenberg became a prisoner in the Soviet Gulag, the monument was erected in Debrecen where it stands until today, however bereft its original meaning. It took 50 years before a copy of the work could be inaugurated in its planned setting in Budapest. Also the history of Imre Varga’s monument is an exciting story of great political relevance. With the quotation of the motif of the Snake Killer within his monument, Varga makes a direct connection to Pátzay’s disappeared monument, as also the title of Varga’s monument, The NEW Raoul Wallenberg Memorial, indicates. Until the installation of a copy of the Snake Killer in 1999, this allusion had of course political relevance and for the one who knows of the fate of Pátzay’s work, this double entendre is also transferable on Wallenberg’s fate: both monument and man disappeared to an uncertain fate. Varga created both a monument to Wallenberg as well as a monument over a monument, with which he paid tribute to the work of his teacher Pátzay. Varga’s monument came by in times of political changes, when it seemed somehow possible in Hungary, if still risky, to take up long hushed up subjects as the Holocaust or Raoul Wallenberg. Today, after the fall of the Berlin Wall and the integration of Eastern Europe into the European Union, the political tensions of the middle until late 1980s and their relevance for the installation of a monument may seem far away. Nevertheless, they had an impact on where Varga’s monument could find its placement. The monument’s brief history explains its setting on the Buda-side of the Hungarian capital.By placing the Budapest monuments in the broader context of the other existing Wallenberg monuments, the significance the Holocaust remembrance has received for the national and international human rights politics since the 1990s will be demonstrated. Thereby I will refer to the concept developed by the sociologists Daniel Levy and Natan Sznaider in their book Erinnerung im globalen Zeitalter: Der Holocaust from 2001 (English translation followed in 2006: The Holocaust and Memory in the Global Age.)
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