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| 2. |
- Flodin, Camilla, 1977-
(författare)
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Att uttrycka det undanträngda : Theodor W. Adorno om konst, natur och sanning
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis examines a central, but neglected aspect of the aesthetic theory of Theodor W. Adorno, namely his notion of art as mediator between mankind and nature. The analysis focuses on Adorno's discussion of art's truth content, understood here as art's ability to give voice to nature as it has been subjugated by the growth of civilization. Chapter one examines the notion of the domination of nature in Dialectic of Enlightenment. This notion serves as important background for the understanding of how art can preserve the memory of nature. Dialectic of Enlightenment also contains an outline of the genealogy of art. This genealogy is the focus of chapter two, which explores how the birth of art is connected to the domination of nature. Chapter three considers Adorno's criticism of the priority of human reason over nature in both Kant's and Hegel's aesthetics. Adorno claims instead that art which manages to mediate natural beauty reveals human being's likeness to nature and animals rather than her superiority over them. Chapter four explores the issue of how something created by man can give voice to nature, which is usually considered as mankind's opposite. Chapter five develops the discussion from chapter four and further examines Adorno's notion of art as a placeholder for that which is not yet, i.e. the reconciliation between mankind and nature. Chapter six deals with the relationship between art and society. Adorno regards art as both autonomous and social, and claims that it is necessary for art to participate in nature-dominating society in order to be able to give voice to repressed nature. In the concluding remarks an interpretation of Adorno's idea of art as a placeholder for the reconciliation between mankind and nature is outlined in a way that enables the inclusion of art after the modernist era as well.
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| 3. |
- Flodin, Camilla, 1977-
(författare)
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Konsten och den hota(n)de naturen
- 2009
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Ingår i: Glänta. - Göteborg : Glänta. - 1104-5205. ; :4, s. 86-91
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 4. |
- Flodin, Camilla, 1977-
(författare)
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Naturen som "alls icke omyndig" vs. "Det finns ingen natur längre."
- 2009
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Ingår i: Codex and Code. - Linköping : Linköping University Electronic Press. ; , s. 105-113
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- För Adorno är idén om att konsten medlar mellan människa och natur central, liksom den var för det stora flertalet romantiska filosofer och konstnärer. Adorno återkommer till Hölderlins dikt "Bergvinkeln i Hardt" ("Der Winkel von Hardt") i sin essä "Parataxis", i Ästhetische Theorie och i sina föreläsningar om historia och frihet. I Hölderlins dikt beskrivs naturen som "alls icke omyndig" ("nicht gar unmündig"). Naturen bär i dikten spår av det förflutna och vittnar om ett historiskt skeende. I sina föreläsningar om historia och frihet menar Adorno att denna dikt är den bästa modellen för att förstå vad han själv menar med sitt begrepp "naturhistoria". Jag vill utreda varför så är fallet samt på vilket sätt Adorno menar att den modernistiska konsten vänder sig mot (den romantiska) idén om konsten som en försoning mellan människa och natur, så att denna försoning endast kan gestaltas negativt. I Becketts Slutspel (Fin de partie) säger en av huvudpersonerna: "Det finns ingen natur längre." Pjäsen framställer enligt Adorno en komplett förtingligad värld, där ingenting som inte tillverkats av människor har någon plats. På vilket sätt kan Becketts verk ändå sägas peka mot en möjlig försoning mellan människa och natur? Hur talar naturen i detta verk jämfört med i Hölderlins dikt?
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| 5. |
- Jönsson, Bodil, et al.
(författare)
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Ethics in the Making
- 2005
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Ingår i: Design Philosophy Papers. - Queensland, Australia : Team D/E/S. - 1448-7136. ; :4, s. 1-8
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Tidskriftsartikel (refereegranskat)abstract
- Applied ethics in research is no longer regarded as a concern exclusive to the medical field. Exemplars in ethics from other fields such as design are, however, meagre, as are relevant practical and design applied guidelines. The more ethically grounded a given area of research is, the greater the chance it can contribute to long-term, meaningful breakthroughs in knowledge. An improved ethics in design can enable a critical questioning that in turn leads to entirely new research questions.The mere involvement of human subjects and the application of safety provisions in design research do not guarantee it will meet ethical considerations, best practices or standards. The entire complex interaction with users offers intriguing possibilities and risks, or can result in mediocrity in areas such as: preparation and implementation that is worth the research person’s time; respect for users’ contributions; dignified treatment; feedback in an iterative and interactive process with mutual information and inspiration; and products and processes that are truly influenced by the users. This reasoning applies to all, but with special distinction to people who are disabled and elderly. Starting with specific needs as opposed to more general ones (the latter of which result in the necessity for more abstract specifications for the multitudes) can, above and beyond the ethical dimension, also result in increased innovation and effectiveness for society on the whole. Proceeding from the particular to the general is of considerable value, for ethical reasons as well as for sheer effectiveness.Involving persons with a variety of disabilities in product development helps to ensure innovative and useworthy products.[1] One of many prerequisites for ethically sound user involvement is that all participants are aware of the interference taking place in an iterative design process.An elaboration of ethical aspects in design can be valuable for different stakeholders (user organisations, NGOs and the design community) and, of course, for the relevance of resulting products and processes. A more considerate ethical approach could have substantial economical value due to the higher relevance of the results. There has been a considerable increase in the ethical expectations placed on businesses and professions in recent years. Scores of organisations have reacted by developing ethical codes of conduct and professional guidelines to explicitly state their values and principles.[2] Moreover, the drafting of a code of ethics can be seen as an indication of professionalism in an emerging profession.[3]
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| 6. |
- Jönsson, Bodil, et al.
(författare)
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Ethics in the making
- 2005
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Ingår i: Design Philosophy Papers. - : Routledge. - 1448-7136. ; :4
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Tidskriftsartikel (refereegranskat)abstract
- Applied ethics in research is no longer regarded as a concern exclusive to the medical field. Exemplars in ethics from other fields such as design are, however, meagre, as are relevant practical and design applied guidelines. The more ethically grounded a given area of research is, the greater the chance it can contribute to long-term, meaningful breakthroughs in knowledge. An improved ethics in design can enable a critical questioning that in turn leads to entirely new research questions.
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| 7. |
- Jönsson, Bodil, et al.
(författare)
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Situated research and design for everyday life
- 2005
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Ingår i: Proceedings of Nordes, Nordic Design Research.
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Konferensbidrag (refereegranskat)abstract
- This paper presents examples of different aspects of design in a disability context with the aim of revealing some of its fundamentals. It particularly emphasizes situated aspects of research: the need for being there, with the users in their daily lives – where the action is.
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