| 1. |
- Gavelin, Charlotta, 1972
(author)
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FROM SPACE TO PLACE - a Photographic Field Study
- 2023
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In: Relate North- Beyond Borders Conference, Umeå university.
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Conference paper (other academic/artistic)abstract
- The presentation shares experiences of an artistic project exploring a demarcated headland, a place with a history that began with an allotment area established on this land, which then transitioned from being remote from the city to becoming part of urban expansion. It's a place that can tell us something beyond its borders and specific location. It explores how traditions need to be renegotiated, how economic power structures are subtly visible, and the relationships between humans and nature in a changing environment. During the presentation, I showcased both the process behind my photographic field study and examples from exhibitions that have been part of the project. Additionally, during the conference, I participated with the artwork ' 57°41'42.0"N 11°47'03.0"E ' in the exhibition Relate North/Beyond Borders.
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| 2. |
- Gavelin, Charlotta, 1972
(author)
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MAKING-PLACE international postcard exhibition
- 2019
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In: InSEA Publications.
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Journal article (other academic/artistic)abstract
- En publikation som samlar alla deltagare i Making-Place International Postcard Exhibition, en del av International Society for Education through Art World Congress som ägde rum på University of British Columbia, Vancouver, Kanada i juli 2019.
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| 3. |
- Gavelin, Charlotta, 1972
(author)
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Potential images - to linger in a gap (haunted by the ontology of photography)
- 2022
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In: UGOT Photography, online platform for contemporary photography.
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Journal article (other academic/artistic)abstract
- Artikeln reflekterar över mellanrummet som uppstår mellan exponeringen av analog film och tills dess den framkallas. Om hur den potentiella bilden lagras i fotografens minne och långsamt bleknar samtidigt som förväntan ökar. Om att befinna sig i det mellanrum som är unikt för den analoga fotografins varande där varje bild är möjlig. Artikel publicerad i samband med examen i MFA Photography, HDK-Valand och som en del av ett omfattande konstnärligt fotografiskt projekt utställt på Röda stens konsthall 2022.
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| 4. |
- Häggström, Margaretha, 1962, et al.
(author)
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Att våga se och möta sina fördomar
- 2022
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In: Konferensbidrag NEÄL2022 Kulturutbildning för alla? Estetiskt lärande och social hållbarhet.
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Conference paper (other academic/artistic)abstract
- Barn och ungdomar har ett stort behov av att bli sedda, och att få vara den de är. Samtidigt har omgivningen en stark påverkan på deras uppfattning av hur de ska vara, se ut och agera. Estetiken kan vara ett medel för att bearbeta och utmana den unges syn på identitet. I denna workshop utforskas utveckling av fiktiva identiteter, där deltagarna med hjälp av dessa identiteter öppnar upp för oväntade berättelser. Uppgiften behandlar hur stereotypa normer kan ta sig uttryck och framträda, och berör klass, kön, sexualitet, ålder, etnicitet och funktionsvariation. Uppgiften utmanar deltagarna att arbeta med sin egen identitetsutveckling och syftar till att inkludera värdegrundsfrågor där estetik och bilddidaktiska verktyg används. Ett syfte är att stimulera frågor om social hållbarhet i bildlärarutbildningen. Uppgiften har genomförts på lärarutbildningen för blivande 6-9 lärare inom bild, och i en kärnkurs för blivande fritidshemslärare. I denna workshop arbetar vi praktiskt, samt presenterar tankarna bakom och sammanfattar slutligen med deltagarnas upplevelse av uppgiften. Identitetsskapande belyses både utifrån ett individ- och lärarutbildningsperspektiv. Workshopen baseras på normkritisk pedagogik och intersektionella och interkulturella perspektiv (Björkman & Bromseth, 2019; Lorentz & Bergstedt, 2021), med rötter i kritisk pedagogik, queerteori och intersektionalitet. Syftet med workshopen är att utforska och ifrågasätta normer och maktrelationer, vilka påverkar lärandeinstitutioner, lärare och elever. Referenser: Björkman, L., & Bromseth, J. (2019). Normkritisk pedagogik - Perspektiv, utmaningar och möjligheter. Studentlitteratur. Lorentz, H., & Bergstedt, B. (2021). Interkulturella dimensioner: pedagogik för interkulturellt lärande. Studentlitteratur.
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| 5. |
- Häggström, Margaretha, 1962, et al.
(author)
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Do you see how I feel and can you feel it? A study including mirror neurons in a collaborating art project
- 2020
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In: Making: Proceedings of the Insea World Congress 2019, Vancouver.. - 9789895468348
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Conference paper (peer-reviewed)abstract
- This short paper is based on an analytic autoethnographic study and explores the impact of mirror-neurons while making mixed self-portraits together. Autoethnography have in recent times been taking into consideration as a research method within performing arts. This study is based on art-based research. Art is used in order to direct social research questions in holistic and committed methods in which theory and practice are entangled. Theoretically, this work draws on the theory of mind (Slaughter & de Rosnay, 2017) and the concept of mirror-neuron (Iacoboni, 2008; Ferrari & Rizzolatti, 2015). The issue and analysis of how human can understand their own as well as others’ minds have been of interest in philosophy for a long period of time. Currently research on theory of mind includes all ages and a wider focus on progressions of understanding. The data production entail art-work, created through three phases, log books, audio recorded conversations, photographs and video recordings. The result shows how mirror neurons are activated through the art-work which enables a feeling of oneness. The study confirms that imitating and mirroring while creating art is a potent way of learning and could therefore be used purposely in art-education.
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| 6. |
- Häggström, Margaretha, 1962, et al.
(author)
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Do you see how I feel and can you feel it? An autoethnographic study on how mirror neurons guide the art-work in a collaborating art project
- 2019
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In: INSEA 2019: Making, Vancouver.
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Conference paper (other academic/artistic)abstract
- Throughout the ages, artists have painted self-portraits as an attempt to identify themselves. Who am I and who am I when I am joining a certain group of people? Likewise, in school education, self-portrait creation has been a traditional standard assignment. Correct proportions, realistic drawings and objectivity were the aim striving for. However, today self-portrait is used to expressing oneself in a more subjective and creative way. Mirroring oneself, the student is empowered to observe and scrutinize the notion of self in an unbiased way in contrast to the critical self-image of everyday life. Apart from learning the human anatomy and how to use pictorial techniques, students develop their self-awareness and knowledge of identity and may thus be able to express an alternative image of self. To develop the social self-concept, we need experiences of encountering the other (Hall, 1997). Within psychoanalysis, according to Hall, the idea of the other is essential to the constitution of the self as a subject; we create meaning through dialogue with the other. We rely on each other’s perceptions and appraisals to enhance our social self; we define ourselves in the eye of the other (Aure, 2011), as if we are looking in a mirror. Thereby we might be able to feel the emotional state of the other; to feel oneness. Synchronously, the capability to identify emotional expressions intimately connects to the visceral image of our own facial expressions (Hang Lee & Tottenham, 2011; Nummenmaa et al, 2008; Niendenthal, 2007). Consequently, mutual facial feedback serves as a bidirectional contagion which helps us to construe expressions and consolidate emotions in the spectator as well as in the other. Imitating is an indication of social behavior; it is what human beings do, from infancy to senescence (Yarbrough, 2017). Tuning our moods and movements is a way of expressing that we like a situation and the other person. Historically, human have used mirroring as a type of universal signal, and it have even been a way of surviving, Yarbrough maintains. Mirroring was learnt as a socially accepted behavior. Now it is seen as an innate inclination of expressiveness, yet depending on factors such as culture, education, personality and gender (ibid). This is an analytic autoethnographic study revealing the journey of three scholars/art-teachers educators/artists, working at the University of Gothenburg, exploring the impact and implication of mirror-neurons while making common and mixed self-portraits. Our experiences of this art-making are expressed through chronologically ordered narrative vignettes. In order to connect the experiences with theoretical significance these vignettes were critically reflected upon.
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| 7. |
- Häggström, Margaretha, 1962, et al.
(author)
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What Do You See in Me? A Collaborating Art Project Channeled Through Mirroring.
- 2019
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In: 51st Annual IVLA Conference 2019.
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Conference paper (other academic/artistic)abstract
- Introduction The topic of self is an intriguing endless issue that engages not only people in general, but scholars in various fields. Identity formation is a life-long endeavor. The notion of the other is crucial when constructing the self as a subject; in dialogue we create meaning (Hall, 1997). When developing our social self, we depend on each other’s opinions and judgments; we form our identity in the eye of the other (Aure, 2011) and thus through mirroring (Iacoboni, 2008). By mirroring, we are capable of recognizing the sensitive state of the other and to feel oneness (Piechowski-Jozwiak et al 2017). When mirroring each other, we intuitively express and combine emotions of the other and self. This imitative performance is a profound and strong social behavior. Tuning our frame of mind is a common way of expressing approval. In addition, it is a way of learning (Yarbrough, 2017). This presentation concerns a collaborating art project conducted by the three authors, building on art’s capacity to develop emotional connections (Hubard, 2007; Freedberg & Gallese, 2007; Jeffers, 2015). The project explores in what way the making of mixed portraits is directed or influenced by mirroring. Aim and research questions This study aims to expose the lived experience of the process of a collaborating art project and how mirroring might guide the art-making. Following research questions lead the analysis of the result: •How do we move while making the portraits? (E.g. gestures, movements, facial expressions). •How do the portraits emerge? (Similarities and diverseness). Theoretical departure This study takes its starting point from a life-world phenomenological perspective, grounded in Husserl (1913/1962), Heidegger (1988), Merleau-Ponty (1995) and Schultz (1999) and the concept of lived experience, i.e. the direct feelings, perceptions, thoughts and corporal awareness of life as we live it. In particular, we are inspired by Rehorick and Bentz (2008) and their use of the notions transformative phenomenology and wonderment. The reason for this theoretical framework is the aim to study change through practice. Wonderment challenges the natural attitude; that is the taking for granted-ness, and makes us see and notice. This means to see the extraordinary in the ordinary. In doing so, we may reveal the hidden, the imaginative and the possible. Method This study is underpinned by analytic autoethnography (Anderson, 2006). Autoethnography offers opportunities for artists and other practioners to critically scrutinize their work and to reflect on their lived experiences (Pace, 2012). By using video recording, log-book writing and audio recorded dialogues together with photographs, we have reflexively explored the lived experiences of the collaborating art-work. Result The result of the study shows that we through the methodology and the phenomenological perspective achieved a profound understanding of the process of collaborating art-work. We also found that our experiences during the art-making differed from what we observed in the video recordings. In this presentation we will reveal this divergence. References Anderson, L. (2006). Analytic Autoethnography. Journal of Contemporary Ethnography. Vol 35, Nr 4, p. 373-395. Aure, V. (2011). Kampen om blikket. En longitudinell studie der formidling av kunst til barn o gunge danner utgangspunkt for kunstdidaktiske diskursanalyser. Doctoral thesis. Stockholm: University of Stockholm. Freedberg, D. & Gallese, V. (2007). Motion, emotion, and empathy in aesthetic experience. Trends in Cognitive Sciences, vol. 11, No 5, pp. 197-203. Hall, S. (1997). The spectacle of the other. In S. Hall (ed). Representation – cultural representations and signifying practices. London: Sage Publications. Heidegger, M. (1988). Being and Time. Oxford: Blackwell. Hubard, O. (2007). Complete engagement: Embodied response in art museum education. Art Education, 61(6), 46-52. Husserl, E. (1913/1962). Ideas: General Introduction to Pure Phenomenology. London: Collier Macmillan. Iacoboni, M. (2008). Mirroring People: The science of empathy and how we connect with others. New York: Picador. Jeffers, C.S. (2009). Within Connections: Empathy, Mirror Neurons, and Art Education, Art Education, 62:2, pp.18-23. Merley-Ponty, M. (1995). Kroppens Fenomenologi. [Phenomenology of perception] Göteborg: Daidalos. Pace, S. (2012). Writing the self into research: Using grounded theory analytic strategies in Autoethnography. TEXT Special Issue: Creativity: Cognitive, Social and Cultural Perspectives, pp. 1-16. Piechowski-Jozwiak, B., Boller, F. & Bogousslavsky, J. (2017). Universal Connection through Art: Role of Mirror Neurons in Art Production and Reception. Behavioral Science, vol 7, nr 29, p. 1-9. Rehorick, D.A. & Bentz, V.M. (2008). Transformative Phenomenology. Changing ourselves, lifeworlds. Plymouth: Lexington Books. Schütz, Alfred. (1999). Den sociala världens fenomenologi. [The Phenomenology of the Social World] Göteborg: Daidalos. Yarbrough, M. (2017). Retreived 2018-09-09 from https://medium.com/the-mission/the-surprising-truth-about-why-we-tend-to-imitate-others-b15831070cd9
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| 8. |
- Häggström, Margaretha, 1962, et al.
(author)
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Who Are You And Who Am I? An Autoethnographic Study on How Mirror Neurons Guide the Artwork in a Collaborating Art Project
- 2021
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In: International Journal of Arts Humanities and Social Sciences Studies. - 2582-1601. ; 6:7, s. 1-10
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Journal article (peer-reviewed)abstract
- This is an analytic autoethnographic study revealing the journey of three scholars/art-teachers educators/artists, working at the University of Gothenburg, exploring the impact and implication of mirrorneurons while making common and mixed self-portraits. Our experiences of this art-making are expressed through chronologically ordered narrative vignettes. In order to connect the experiences with theoretical significance these vignettes were critically reflected upon. We found that the aesthetic responses evoked by the collaborative artwork are complex, including reactions on the artwork’s content, execution and performance. Result shows that we are able to recognize the emotional state of the depicted other, identify with the portrait and change one’s mood. We suggest that it is likely that mirror neurons activates when we meet the other in a picture.
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| 9. |
- Wallin, Malena, et al.
(author)
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Att bli lärare. Ett identitetsutvecklande arbete i lärarutbildningen.
- 2018
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In: Kropp, Plats och Rum, NEÄL 2018, Göteborgs universitet.
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Conference paper (other academic/artistic)abstract
- Lärare som undervisar elever i grundskola och gymnasium kommer ofrånkomligen att arbeta med identitet. Barn och unga utvecklar under tiden för sin skolgång den egna identiteten och de söker svar på frågor om vem de är och vem de är på väg att bli. Inspiration söks hos varandra, och förebilder från populärkultur, sociala medier och sportvärlden. Bekräftelse söks i den reella såväl som virtuella världen. Vilken beredskap har lärare för det betydelsefulla arbete som bemötandet av elevers sökande efter det egna jaget innebär? Vilken stöttning har lärare själva erbjudits i sin utbildning? Vi försökt utveckla uppgifter som utmanar våra lärarstudenter att arbeta med sin identitetsutveckling, värdegrundsfrågor som har inkludering som ett avgörande perspektiv och där estetik och bilddidaktik använts som didaktiska verktyg. Uppgifterna har genomförts i en svenskkurs för blivande F-3 lärare, och i en kärnkurs för blivande gymnasielärare. I denna workshop presenterar vi en av dessa uppgifter, och låter deltagarna själva skapa visuella representationer av identitet. Teoretiskt perspektiv Studien sin utgångspunkt i socialkonstruktivistiska teorier, som framhåller att den sociala verkligheten är socialt konstruerad (Foucalt, 1971; Burr, 2003; Fairclough, 2010) samt en diskursanalytisk ansats som betonar att diskurser som skapas i sociala sammanhang formar förhärskande föreställningar (Börjesson, 2003; Börjesson & Palmblad, 2007).Vi har ett designteoretiskt perspektiv på undervisning, som är en pluralistisk teoribildning. Den grundar sig på Selander (2008) och dennes teoribildning. Det innefattar socialsemiotik och multimodalitet (Kress & van Leeuwen, 2001, Kress 2005), pragmatism som vi känner den från främst (Dewey, 1997) och sociokulturella teorier (Vygotskij, 2000, Säljö, 2000). Vi stödjer oss också på Bruners tankar om scaffolding, både när det gäller didaktik för skola och didaktik för lärarstudenter (Bruner, 2002). Lärarstudenter behöver själva möta teorier i praktiken, alltså ”bli utsatta” för teorier genom att vara i teorin, inte endast läsa om den och försöka koppla till den i egna texter. Eftersom vi båda är bildlärare i botten spelar Lindströms (2008) modell en stor roll i vårt upplägg och i analys av vårt arbete. Syfte Syftet med studien är att undersöka hur visuella representationer av identitet skapas och uppfattas hos blivande lärare. Resultat I vår analys framträdde två spänningsfält: motstånd och bejakande. Inom vardera fält utkristalliserades två teman vilka slutligen analyserades i förhållande till identitet. I våra intervjuer har vi kunnat se att uppgiften upplevs som både lustfylld och krävande, och att det handlat mycket om att våga. Våga visa vem man är, lära känna sig själv och våga leka och spela ut. Bruner, J (2002). Kulturens väv. Utbildning i kulturpsykologisk belysning. Göteborg: Daidalos. Börjesson, M. & Palmblad, E. (2007). Diskursanalys i praktiken. Solna: Liber. Dewey, J (1997). Demokrati och utbildning. Göteborg: Daidalos. Fairclough, N. (2010). Critical discourse analysis. The critical study of language. Harlow: Pearson Education Limited. Foucalt, M. (1971). Diskursens ordning. Stockholm: Brutus Östlings Bokförlag. Kress, G. & van Leeuwen, T. (2001). Multimodal Discourse. The modes and Media of Contemporary Communication. London: Edward Arnold. Kress, G (2005). Multimodality. London: Routledge. Lindström, L (2008). Nordic Visual Arts Education in Transition. A researc Review. Stockholm: Vetenskapsrådet. Säljö, R (2000). Lärande i praktiken. Ett sociokulturellt perspektiv. Stockholm: Prisma. Vygotskij, L S (2000). Tänkande och språk. Göteborg: Daidalos.
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| 10. |
- Wallin, Malena, et al.
(author)
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Teacher Students Meet Their Intended Target Group - Aesthetic Work on Tweenies as a Phenomenon
- 2020
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In: InSEA ART Education VISUAL Journal. - 2414-3332. ; :9, s. 83-86
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Journal article (peer-reviewed)abstract
- The purpose of this study is to investigate how visual representations of identity are created and perceived by future leisure-time center teachers. In the leisure-time center there are still good opportunities to focus on interdisciplinary and joint work on value-based work, not least through aesthetic and creative processes. We have tried to develop tasks that challenge our teacher students to work exploratory with the concept Tweenies as a phenomenon through work with Storyline as a tool for a narrative, a way of working where aesthetics and image didactics have been used as didactic tools. The assumption that we make from the work with the university course is that the teacher students themselves need to experience the importance of working aesthetically with Storyline to understand the basis of the concept. What has been a crucial perspective for us is that the students are given the opportunity to learn through art and not just about art (Lindström, 2011) in the aesthetic learning processes. In our interviews we have been able to see that the task is perceived as both fun and demanding. The work with storyline made the students involved and they dared to experiment with other inputs than the ones in traditional teaching, which helped them to approach and deal with problems like how to take up difficult subjects in the teaching activities.
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