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  • 1.
    Abrahamsen Egenes, Else
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Organising of Space: about a orphanage in Tanzania2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In my BA project, I travelled to Tanzania with a MFS stipend and experienced humanitarian architecture up close - by following architectural group Asant Collective´s project in Tanzania: a new Children Centre for a small non-governmental organization called ECONEF. 

    I have worked with social questions / responsibilities regarding our role as interior architects in developing countries - often feeling like a anthropologist.

    In my design part, I have re-drawed the layout for ECONEF´s planned new orphanage after a analyse of the existing orphanage, culture and traditions.

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    Organizing of Space - Else Abrahamsen, BA Konstfack 2014 - Interior Architecture
  • 2.
    Belevich, Lydia
    University of Arts, Crafts and Design, Department of Fine Art.
    Koncentration, konstruktion: Fragment, Plasticitet, Konsekvens: Ett assemblage2020Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 HE creditsStudent thesis
    Abstract [sv]

    koncentration, konstruktion: Fragment, Plasticitet, Konsekvens

    Ett Assemblage

    I essän koncentration, konstruktion: Fragment, Plasticitet, Konsekvens- Ett Assemblage sammanställs ett urval kritiker, konstnärer och filosofers texter som diskuterar kapitalism, teknologi, plasticitet och affekt. Parallellt med teorierna är mina egna tankegångar och narrativ placerade tillsammans i ett assemblage.

    Essän diskuterar mediakritikerns Herbert I. Schillers:​ Culture Inc. The Corporate Takeover Of Public Expression​ (1989), företagens framväxt och ökande dominans i USA efter instifningen av den konstitutionella lagen “Bellotti” (1978); följder av företags rättighet till yttrandefrihet, och den ökade betydelsen av inpaketeringen av kulturella meddelanden för produktionsmedlen. Förenar citat från bland annat Slavoj Žižeks (The Pervert's Guide to Ideology) i detta.

    Texten lyfter därefter fram bitar av filosofens​ ​Catherine Malabous bok ​Vad ska vi göra med vår hjärna? ​(2008)​ o​ ch diskuterar ​Plasticitet vs. Flexibiliet,​ och ​“Den neurala världen och kapitalismens anda”.

    Andra utdrag från teoretiker (och konstnärer) såsom Donna Harraway, Steven Shaviro, Mark Fisher, Hito Steyerl, N. Katheriene Hayles och Chloé Galibert-Laîné’s essäfilm- The Pain Of Others​ återfinns i essän.

    Löpande i texten är mina egna narrativ fördelade längsmed och i kontrast gentemot teorierna som lyfts fram. Som bitar till ett assemblage men som också på olika sätt behandlar det subjektiva och subjektbildandet. Vilket sker i olika textformat under rubrikerna: Interview: Madonna​, ​Skulptur, Fördelning av en tidslinje, Replokalen, Berlin 2019: Nirvana 2019, Selected Songs By Year.

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  • 3.
    Brown, Hannah-Molly
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    How is craft a tool for humbling and empowering humanity?: An investigation into learning, and empathy building through material relationships.2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Our value of people and craft are linked. With the rise of fast production 

    industry, and the lack of transparency when it comes to a role of consumption, we have become detached from making processes. This detachment is 

    detrimental to our understanding and empathy for other people but also to ourselves. It perpetuates disposable ways of living and keeps us reliant on 

    disposable consumption. 

    Craft is an undervalued tool which can be utilised in historical learning as well 

    as anthropological study today. In doing so, we are able to understand more about humanity by inspecting craft through the ‘three facet’ lens. We are then 

    able to develop empathy for other people and other cultures, through the non- tangible space created during the process of crafting. For those who do craft, 

    this recognition is empowering and enables cultural ownership. It also empowers us as individuals, when we are able to produce something ourselves 

    and physically see the learning process. 

    This means we can recognise who has made our objects, and appreciate the 

    time, skill and commitment which goes into the undertaking. This encourages us to appreciate objects, to consider our ways of living and move away from 

    disposable consumption. 

    Through a comparison of the relationship to craft that is held in Peru, with that 

    of the relationship we hold in the UK, and broadened by my experience living and teaching in Sweden, I conclude that industrialisation and colonialism has a 

    role to play, but ultimately, the power and potential of craft, is physically in our own hands. 

    I propose using the ‘three facets’; Utility, Aesthetics and Connectivity, as a way to break down the information documented through craft, to analyse, at a deep 

    level, what can be gained from craft appreciation. 

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  • 4.
    Ceder, Clara
    University College of Arts, Crafts and Design, Institutionen för Bildpedagogik (BI).
    Design & Narration?: -A research exploring how design and narration, collectively, work as a means to expand the uncharted field of design pedagogy2011Independent thesis Basic level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    ABSTRACT

    This text process a design pedagogical research executed in Arvidsjaur during the fall of 2011. The formulation of questions that this study circles around regards how combining design and narration can be used in the development of design pedagogy. Also scrutinized, how did the formulation of this research affect the outcome and what means, in addition their attendance, did the people who partook contribute with?   

    The purpose is to find a pedagogic angle that moves focus away from the finished product and onto other aspects of the design process. To clarify, by investigating how narration adapts as a tool during a design process this research seek to enlighten ways that we comprehend, and make use of, our surroundings while working towards a common - designed - goal. What comes about when gathering a group of people and asking them to represent Arvidsjaur by designing a cup?

    The material used emanates from observations, narratives, images and finished artifacts – all deriving from a set of workshops held in the city of Arvidsjaur. To partake in the workshops was voluntary and the invite began with the question/statement: Design and narration? An ethnographically inspired method preceded the structure of the study and hence made it impossible to foreordain what would occur before arriving in Arvidsjaur. By placing the gathered material and observations along with a set of selected theories, such as sociocultural learning and social constructionism, I wish to enlighten and point out qualities, along with weaknesses, that this study occupies. 

    Beyond a written contribution, and the work on the field, the research resulted in a number of designed cups. These cups were photographed, processed, and depicted in three different ways – as posters and as a series of photographs. These images were on display during an exhibition at Konstfack in December 2011. My contribution to the exhibition was meant as a continuation on questions regarding design and narration. What happens e.g. with an item when it is displayed in this matter? When moved from one context to another? It is thus a way to stress the importance of questioning and challenge the way we apprehend our surroundings and what we chose to enlighten or leave out – a comment on a stirring development. I did not wish to explain to the viewer what the cups narrate; they were made to reveal something on their own. How they ultimately are received becomes yet another way of pointing out that how we experience something is dependent on a variety of circumstances.

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    Design & Narration?
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  • 5.
    Godman, Nicola
    University of Arts, Crafts and Design, Department of Fine Art.
    Tricky Tales: MFA Essay by Nicola Godman2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay is a reflection on various layers which inform my artistic practice, and particularly expands on the background and research for my short film The Spirit, The Lamp & The Permanent Inhabitant. It's an attempt to describe how certain parts of my Gotlandic background influence and inspire my artistic practice, and also to show how reading, writing and critical reflection are important parts of my process.

    The essay pays tribute to an oral storytelling tradition that can be found on the island Gotland, Sweden, but is also an examination into how tourism has affected human relationships, and speculatively, the relationship between humans and ancient spirits.

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  • 6.
    Heberling, Rikard
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    “Auktoriteterna i farten”: I.G.N. och den nationella typografin2017In: Biblis, ISSN 1403-3313, no 80, p. 23-45Article in journal (Other (popular science, discussion, etc.))
  • 7.
    Heberling, Rikard
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    “död åt versalerna!”: när alfabetet blev ett ideologiskt slagfält2018In: Svenska Dagbladet, ISSN 1101-2412, no 1 aprilArticle in journal (Other (popular science, discussion, etc.))
  • 8.
    Hellgren, Julia
    University of Arts, Crafts and Design, Department of Visual Arts and Sloyd Education.
    Digitala broar behöver också byggas!: Om görande som närmande av elevernas digitala kultur.2022Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Detta examensarbete skrevs vårterminen 2022 på institutionen för bild och slöjdpedagogik på Konstfack. Med en utgångspunkt i teorier om materialets agens och kulturella traditioner tar arbetet ann den digitala kultur som de senaste decennierna vuxit fram med ett extra fokus på skolans elever och deras fritid. Frågeställningen Hur förändrar görandet relationen till digitalt skapande i skolan? Banar väg för en undersökning av den relation skolan och lärare har till elevernas egen visuella kultur och om görandet kan bjuda in denna till skolans rum. Genom en workshop i digitala spel blev blivande bildlärare vägledda att delta i ett digitalt kreativt görande och deras utsagor, både före och efter workshoppen, analyserades med diskursanalys som metod. Resultatet visade att de blivande bildlärarna har en blandad bakgrund och bekvämlighet i det digitala görandet och att det finns en oro i att eleverna är mer kunniga i en del medium än läraren. De blivande lärarna hade även blandade åsikter om det digitala materialet och dess effekt på processen där vissa menade att hantverkets agens påverkades negativt av handens frånvaro och andra såg datorn som ett hjälpmedel.

     

    Utifrån detta arbete väcks det sedan nya frågor om det digitalas relevans i bildämnet och hur ett digitalt görande skapar behov för en ny sorts didaktik där det digitala materialets agens får ta plats och görandet möjliggöra att eleverna kan vara delaktiga i utformandet av den digitala kulturen. I arbetet diskuterar jag även behovet av att utveckla lärarutbildningen för att höja den digitala kompetens som lärarna innehar.

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  • 9.
    Häggbom, Ros-Marie
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    The Performance of Like-minded People2020Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    I mitt arbete har jag utforskat det konstnärliga religiösa arvet och hur bilder, symboler och fysiska föremål är grundläggande för kulturellt konsensus. Jag har utforskat fenomenet i gemensam tro på något övernaturligt och abstrakt med hjälp av klädkoder, måleri, skulptur, text och rumslig gestaltning. Inspirationen har jag tagit från bland annat kyrkobyggnadens sceniska egenskaper, där föreställningar tar plats. Ett annat tema i verket är kopplingarna till ritualen och innebörden i handlingen, liksom betydelsen av ord och bilder för människors förmåga att forma en tro på något immateriellt. Upplevelse och inlevelse är viktiga delar i vidareförandet av budskap, både inom konst och religion. Min intention med det här verket är kort sagt ett experiment och en parafras på religiös visuell kommunikation, och att jag försökt samla den kärnfulla symboliken som blivit bevarad i det, utifrån min egen tolkning och erfarenhet. Vem eller vilka det här är för är egentligen inte det viktigaste i min mening, utan jag ser det som ett personligt undersökande av något som intresserar mig och förhoppningsvis andra med.

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    Processbeskrivning
  • 10.
    Jonsson, Linnéa
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    THE REACH2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    We walk through most of our everyday life without constantly thinking of what we are doing in that exact moment. I mean, that would be absolutely exhausting. Left foot, right foot, left foot, right foot. Hand to cup, grab, lift and onwards to the mouth. But what is interesting is that we refer to these actions and doings as nothing. They seem to have no value to us at all. What have you been doing today? Nah, nothing. Nothing at all. As well in our commute to work. Sometimes we step onto a bus or train and when we take off our coat at work we almost don’t even know what happened between point a and point b. Does it seem familiar?  My work has come to evolve around our everyday routines. How in those moments of unconscious nothingness we actually do so many things and most of all encouter so many objects. When we walk through a door, pick up a tool, open a box, we grab a handle and the bodily encounter is made through the hand. I’ve come to explore how it seems that the hand has its own life when we are in this state. How the objects in our everyday call for the hand, directs the hand, makes a choreography for the hand. I have recorded the hands movement in different media in order to get a new view of something familiar and try to find new realities to what we think we know.  What happens when the hand and a handle meet in a routine? What does it actually look like? Why is it important to become aware of?  I believe by changing our attitude to things in our environment, we can also change the attitude to people around us. Changing perspectives on the most ordinary everyday chores can generate new thoughts about the commonplace and like the butterfly effect also create a more permissive society.  

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  • 11.
    Kapadia, Ninna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Interior Architecture & Furniture Design.
    Re-Story: The O.T.M.I* project*O.T.M.I = Obsolete Technical Mechanical Item2015Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The core question in this master thesis is: What happens to the essence of an object when it becomes out of date and is no longer in use? I am addressing the sense of dignity in once meticulously designed technical/mechanical items that now has become obsolete. The intention has been to investigate how to give new meaning to obsolete items and find new eligibility for their existence. 

    The investigation was conducted through the development of a method: collection, analysis, deconstruction, investigation and resurrection of a number of O.T.M.I. (Obsolete Technical Mechanical Items).  

    The resurrection process consisted of the (re-)writing of the objects’ narratives. These stories along with the objects’ parts, spaces and sounds created a frame for a scenography, a soundtrack and characters to act in a film to tell the story.

    As interior designers we have the opportunity to transform space and fill it with stories. Imagination is an important tool: We benefit from having the ability to imagine, for instance, how different surfaces will reflect sound and light. Our imagination is highly visual. So I have transformed my imaginary world of Obsolete Technical Mechanical Items to visual and audial elements that support the content and values of a story through researching the objects, finding how to clarify and support the story. The Re-Story.

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    Re-Story The Movie
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    Re-Story The Autopsy
  • 12.
    Karlsson, Josephine
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Interior Architecture & Furniture Design.
    Brunnen, röken, vattnet: En historia om badandet som aktivitet med influenser från stilepoken allmoge2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    I mitt examensarbete utforskar jag allmogestilen i Skåne och för samman den med nordisk badkultur. Allmogestilen utgör ett betydande kulturellt och designmässigt arv som riskerar att försvinna på grund av bristen på tillräcklig restaurering av allmogemöbler och till och med olaglig export. Med inspiration från nordisk badkultur där aktiviteter såsom kallbad, rökbastu och dricka brunn är centralt omtolkar jag det moderna spat. Den reducerade estetiken som i vanliga fall associeras till den här typen av rum ersätts med den kraftfullt ornamenterade allmogestilen. Allmoge kan vara både en lyxartikel och något vardagligt, beroende på hur det används och värderas. Syftet för mitt examensarbete är att belysa allmogestilen genom att använda dess stilistiska element som inspirationskällor och genom interiören berätta en historia, i sann allmogeanda.Dessutom utforskar jag allmogestilens och ornamentikens förmåga att kommunicera budskap och historia genom materiella objekt.

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  • 13.
    Knevel, Jaap Willem
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    There must be other ways: A personal plea for more complexity, dialogue, and otherness in wayfinding design2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    ‘There Must Be Other Ways’ explores alternative approaches to wayfinding design. Through practical experimentation I explore how signs can give room to more complexity in language, can be made in dialogue with the people they depict, and can highlight under-represented ways of navigation.

    The text focuses on three ways of working and ways of looking in wayfinding design that are so common in the practice that I identify them as norms: standardisation, simplification, and universalism. In three separate projects, I explain how each of those norms came to be part of the practice, share some of my experiences with them, and experiment with ways to challenge them. In Chapter 1, I try to include individuals and communities in the design process instead of following international standards. In Chapter 2, I show how to incorporate complexity in signage instead of hiding it. And in Chapter 3, I explore how wayfinding design can visualise otherness instead of holding on to universalism.

  • 14.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    Ikea: Massproduced National Design Identity2018In: Design Roots: Culturally Significant Designs, Products and Practices / [ed] Stuart Walker, Martyn Evans, Tom Cassidy, Amy Twigger Holroyd, Jeyon Jung, London: Bloomsbury Academic, 2018Chapter in book (Refereed)
  • 15.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    IKEA 이케아: Design by Ikea2015Book (Refereed)
  • 16.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    Ingvar Kamprads ande fortsätter sväva över Ikea2018In: Dagens nyheter, ISSN 1101-2447, no 29 januariArticle in journal (Other (popular science, discussion, etc.))
  • 17.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    イケアとスウェーデン: 福祉国家イメージの文化史2015Book (Refereed)
  • 18.
    Kristoffersson, Sara
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV).
    宜家的设计·一部文化史 平装: 一部文化史 平装2017Book (Refereed)
  • 19.
    Mehra, Sameeksha
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Traditions and Transformation2019Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Traditions that shape our identity and beliefs are constantly undergoing transformation through our interactions with new cultures. At the same time, these interactions enhance our awareness of where we come from, and where we truly belong. In this thesis I investigate the history of jewellery in India through a contemporary perspective and interpretation. My project narrates my transformative journey from the rich tapestry of Indian traditions towards the contemporary western culture. The subject of Indian jewellery is vast and complex, the enquiry is just the beginning of the journey. Therefore, my goal is to discover linkages between the age-old traditions and the fast-changing world of today. I create a dialogue between traditional, ritualistic Indian jewellery and an irreverent choice of materials and methods that have been conceived from my experiences in the West. Through this dialog, I explore the push and pull between traditional ethos and modern sensibilities, and the transformation it engenders.

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  • 20.
    Nordin, Marie
    University of Arts, Crafts and Design, Department of Visual Arts and Sloyd Education.
    Teckningsrevolt: Förändringsprocesser i teckningsundervisning med 68-vågen på Konstfack2018Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This study takes its starting point in a shift identified at the Teacher Institute of Drawing (Teckningslärarinstitutet - TI) within the Konstfack School of arts and crafts in Stockholm at the time of the wave of radicalism that took place in about 1968. Changes in the drawing instruction at TI have been examined through interviews with former students at the institute, student fanzines and archive materials relating to the restructuring of the Konstfack School during the 1960s. Here, it emerges that the curriculum previously focused largely on aspects of form in the mastery of tools used to produce images. After 1968, however, the drawing education became substantially more theoretical. It came to focus more on discussing pictures and images and understanding the societal functions of drawing, which were emphasized more than students’ own creative work. During the period studied, subject categories were also restructured, with new constellations arising and the boundaries between different media becoming more diffuse. Ingredients in these changes included photographic media, analyses of mass media and a critical questioning of an autonomous artistic domain. A disrupted balance in power relations at the school, with students questioning established norms, contributed to this new orientation. 

    In a creative process, accompanying the research, I have engaged in practices of picturemaking no longer included in the training at the current Department of Visual Arts and Sloyd Education at Konstfack, evolved from the former Teacher Institute of Drawing. This work could be described as a form of experimental archaeology, in which I have reflected on how practices might tread new paths when excluded from a previous context. I tested a method of free expression in painting and practised life drawing. I produced a large sculpture, to afford space for creating with physical materials. I also investigated drawing as a basis for other forms of pictorial expression, such as sculpture. The experience of this process enhanced my understanding, contributing an independent comment on the theoretical and historical investigation. The result is a monument in the form of an installation, constituting a tribute to the historical profession of drawing teacheresses.

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  • 21. Palmsköld, Anneli
    et al.
    Rosenqvist, Johanna
    University of Arts, Crafts and Design, Department of Crafts (KHV).
    Handicrafting Gender: Craft, Performativity and Cultural Heritage2018In: Gender and Heritage: Performance, Place and Politics / [ed] Wera Grahn, Ross J. Wilson, London: Routledge, 2018, p. 44-60Chapter in book (Refereed)
    Abstract [en]

    To write the history of craft and heritage engages with constructing a canon of known practices parallel to deconstructing the differences incorporated in institutions dealing with craft. Craft objects have long since been considered as heritage, but craft is also recognized as ’intangible heritage’. This can be seen in UNESCO’s (2008) designation of ’traditional craftmanship’ as a part of global intangible heritage. However, craft’s gendered character is not equally recognized. In this article we will discuss craft, heritage and gender from a performativity perspective on making. The main question is how gender patterns are reflected in the understanding of craft, and in heritage making. The aim is to make visible the gender demarcations in the making of craft. We argue that the making of craft and its heritage status has been highly charged with gender differences. Recognizing this is of importance to be able to understand and to challenge heritage making processes and canons when it comes to craft. After a short theoretical background focusing on performativity and the canon of gender differences, three empirical examples are outlined. The first is about organizational aspects of handicraft, the second concerning the technique of crocheting, and the third considering visual representations of crafting, using empirical archival and published materials from the Home Craft Movement in Sweden.

  • 22. Palmsköld, Anneli
    et al.
    Rosenqvist, JohannaUniversity of Arts, Crafts and Design, Department of Crafts (KHV).Almevik, Gunnar
    Crafting cultural heritage2016Collection (editor) (Other academic)
    Abstract [en]

     The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research. What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making? How can we study and understand craft as cultural heritage?This book contains a selecion of papers from the session Crafting Cultural Heritage at the Assosiation of Critical Heritage studies inaugural conference Re/theorising Heritage 2012 in Gothenburg. The contributors are Anneli Palmsköld, Thomas Laurien, Eleonora Lupo and Elena Giunta, Gunnar Almevik, and Nicola Donovan. Their common interest are theories and methods of crafting that could benefit heritage studies approach to making.

  • 23.
    Rosenqvist, Johanna
    University of Arts, Crafts and Design, Department of Crafts (KHV).
    Introduction to Crafting Cultural Heritage2016In: Crafting cultural heritage / [ed] Anneli Palmsköld, Johanna Rosenqvist, Gunnar Almevik, Göteborg: University of Gothenburg, 2016, p. 7-10Chapter in book (Other academic)
    Abstract [en]

    The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research. What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making? How can we study and understand craft as cultural heritage?This book contains a selecion of papers from the session Crafting Cultural Heritage at the Assosiation of Critical Heritage studies inaugural conference Re/theorising Heritage 2012 in Gothenburg. The contributors are Anneli Palmsköld, Thomas Laurien, Eleonora Lupo and Elena Giunta, Gunnar Almevik, and Nicola Donovan. Their common interest are theories and methods of crafting that could benefit heritage studies approach to making.

  • 24.
    Sethi, Bhumika
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Cultural Sustainability: Influence of Traditional craft on Contemporary craft cross-culturally2023Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Among the four dimensions of sustainability (environmental, economic, social, and cultural), it is the latter aspect that is least examined. However, understanding how culture contributes to the long-term sustainability of communities and societies is one key to a holistic understanding of sustainability itself, and further how it can impact the textile in different cultures. This project is based on understanding cultural influence when practice is moved from one place to another. As traditional artisans struggle with addressing the consequences of economic issues and finding new models of conducting their temporal business, their very existence and preservation contribute to the long-term sustainability of communities and societies as a whole. This project is taken further by following two approaches: first, to understand the values and ideals embedded in traditional textile which contributes to the textile industry and serves as the foundation of long-term survival; second, by acting ‘culturally sustainable,’ to ensure its endurance, thus vouching for safe interests of future generations. The project presents a perspective of a traditional practice moving from India to Sweden as a craft practice instead of a business opportunity to produce functional products. It investigates what happens to an Indian practice when it merges with the aesthetics of Swedish craft and culture. This paper puts light on the fact that eastern crafts are led by western designers and associations for its globalisation into industries. However, it is followed by the negative impact in the form of the exploitation of artisans and the loss of tradition in traditional crafts in this process. Also leading to singularity in craft all over world losing the cultural value. This practice-based research brings the two cultures (Indian and Swedish) and their traditional practices together in one work, presenting the influence of it on each other and presenting my perspective on these cultures being part of both without losing the cultural value and leading to the evolution of traditional practice.

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  • 25.
    Sigurd, Andrea
    University of Arts, Crafts and Design, Department of Visual Arts and Sloyd Education.
    Volymen går upp till elva: En socialsemiotisk studie av mockumentärfilmens mediepedagogiska möjligheter2022Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    En självreflexiv humor, som den satiriska genren mockumentärfilm bygger på, skulle kunna erbjuda möjligheter för människor att “klä av sig sina pretentioner”. Som kejsaren utan kläder så kanske människan blir våldsamt påmind om sin egen världs- och självbild i jämförelse med andra människors föreställningar om världen. Denna studie syftar till att reflektera kring hur filmtittaren blir till genom tittandet på mockumentärfilmer, men även aktiviteten att titta på filmer och rörlig bild överlag. Uppsatsen faller inom en bild- och mediepedagogisk forskning där jag i min roll som bild-och medielärarstudent använder mig av analysmetoder för att teoretiskt utforska mockumentärfilmen och dess meningsfullhet för bildelever. Mina frågeställningar kring sanningsanspråk och mediepedagogik relateras till bildämnets centrala syften kring bildkommunikation, bildskapande och kunskaper om omvärlden.

    Denna uppsats kan ses som ett bidrag för framtida bild- och medielärare som finner spänning och lust i att utforska omvärldens politiska, existentiella och populärkulturella sammanhang med sina bildelever. Jag har själv implementerat detta i min bildundervisning med mina bildelever för att jag ser stora resurser i hur bild- och mediaämnet möjliggör att vi kan analysera våra kunskaper om vår samtid genom filmtittande, analytiska reflektioner och historiska nedslag i filmverk samt egna filmskapande moment.

    Frågeställningarna i min uppsats har gestaltats i ett grupprojekt med två andra medielärarstudenter från Konstfacks bildlärarutbildning. Grupprojektets gestaltning tog formen av en slags interaktiv installation på Konstfacks vårutställning. Gestaltningens parallella arbetsprocess i samband med mitt uppsatsskrivande blev ett sätt för mig att kollaborativt utveckla filmpedagogiska redskap. Sammanfattningsvis så vill min studie visa på de spännande och problematiska möten som kan uppstå mellan rörlig bild, människor och omvärlden där alla tre är i konstant tillblivelse, förändring, rörelse. Mitt arbete ser relationen mellan detta till min nyfikenhet att tillsammans med framtida bildelever utforska och reflektera kring deras egna maktpositioner som elever i en skolinstitution och medborgare i ett samhälle med demokratiska ideal.

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  • 26.
    Stampe Ödman, Vilde
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Interior Architecture & Furniture Design.
    Att ställa till med en scen2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My degree project begins with questions formulated around the ability, or inability to take and make space in the city and how taking place can create change.

    By staging (making a scene) using the strategies, taking care, being present, and taking space, I want to explore, make visible and set in motion shared place-making in our common rooms.

    I have started in seemingly* abandoned places and in temporary rooms: Because the seemingly abandoned only appears to be unused and can, with a little imagination, be made into what is needed for the moment. Because traces that are left behind become mysteries, possible futures and dreams of the adventures of others. Because the desire to take the stage sometimes requires moments of empty stages. Because the act of sharing also means taking turns.

    With seemingly abandoned I mean places that sometimes appear unused, but are not. Places with traces of past activity and inspiration to future happenings.

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  • 27.
    Ståhl, Rosita
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Labor lurking under the surface of glass: Discussion between the visible and invisible2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This text is about visibility and invisibility of work and labor through research from history and present time and through my own work, process and thinking. Through these topics I want to raise discussions and make comments in the field of craft and glass. To evoke our senses and feelings through video, sound and perception of the work and installations together with the properties of glass. To discuss that there are underlying layers of a work of glass that we see in a museum or gallery space. Why some information is visible, and some is lost by the presented state. Is the material and finished product that we see more important than the underlying layers and process? Can we change how we present and document our pieces with information better? Together with the labor of my interest, there is also about the loss of an industry and a personal loss of the time I had there coming to an end. 

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  • 28.
    Zethson, Michell
    University of Arts, Crafts and Design, Department of Crafts (KHV).
    Köttslöjd: Diffraktioner på temat nykarnism & ätna djur2018In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, Vol. 101, no 4, p. 209-223Article in journal (Refereed)
    Abstract [en]

    Scholars within human animal studies (HAS) pin-points that animals are made absent when their bodies are transformed into meat. Carol Adams terms this the structure of the absent referent(2004). However, a recent nostalgia for meat – an new carnism – has appeared. Within this frame-work, being able to kill your own dinner is con-sidered noble and honest (Parry 2009). One could say that the aim is to make the absent referent present again. Following this line of thought, I cast light upon processes wherein the animality is not hidden but where, on the contrary, the food and even the beer are made fleshy. In this essay, I especially focus on two examples: the crafted ”pig beer” Malte, and the restaurant Omakase Kött-slöjd in Stockholm. My aim is to discuss and in-vestigate how new carnism is produced. Even more important though, is the seemingly banal question: do these movements succeed in bringing the animal and the animality back onto our dinner tables?

    Using post humanist perspectives, and a dif-fractive reading method influenced by Karen Barad, I draw the conclusion that the animality disappears in the process of killing, crafting and eating. The transformation of animal into crafting material, is vital in this disappearance act. In fact, I argue that, as soon as the body of an animal is transformed into a so called crafting material – the animal is once again made absent.

  • 29.
    Åkerstedt, Sofia
    University College of Arts, Crafts and Design, Institutionen för Bildpedagogik (BI).
    I stort sett handlar det om likes: En studie i hur normer och beteendemönster ser ut och skapas för användandet av Instagram2014Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Det här examensarbetet handlar om ungdomar 16-19 år gamla och deras relation till sociala medier och då med fotoappen Instagram i fokus. Den bygger på en undersökning i två delar; en intervjudel med informanter för att se hur instagramdiskursen ser ut, hur de använder sig av appen, tolkar och tänker och en observationsdel där jag tagit del av samma informanters bilder på Instagram. Jag tittar på hur användaren formas av Instagram och hur Instagram formas av användaren, på vilket sätt informanterna förhåller sig till bildtexter, hashtags och om intervjudelen skiljer sig från den observerande delen. Kan man finna en större och djupare mening med detta populärkulturella tidsfördriv där vi förväntas publicera vardagsbilder eller hur används det? Jag vill i den här studien kartlägga de normer som formar ungdomar 16-19 som använder sig av Instagram, de mönster som finns för användandet och se det ur Image – Picturesynvinkel, där picture står för bilderna enskilt och image är helhetsbilden de ger tillsammans genom frågeställningen:

    Hur ser normer och mönster ut för användandet av Instagram bland gymnasieungdomar?

    Syftet med undersökningen är att bättre förstå vad vi gör med sociala medier och vad dem gör med oss. Vad gör Instagram med användarens självbild och de normer för hur en ska vara och leva, påverkas vi eller går det oss förbi precis som vi tenderar att scrolla förbi händelser och bilder på sociala medier? Skulle man kunna/är det lämpligt att interagera med Instagram i bildundervisning och i så fall på vilket sätt? Resultatet av undersökningen stämde inte alls överens med de tankar och föreställningar jag inledningsvis hade. Istället för att tala om parallella världar, dubbla identiteter med ett sociala medier-jag och ett IRL-jag så vittnade många av informanterna om att de inte kunde frångå sitt IRL-jag på sociala medier för att det då skulle uppfattas som avvikande och konstigt. Även om det finns ett beteendemönster som anses vara okej så får individuella spelregler utformas som att hålla en viss redigeringsstil eller inte gilla/like förrän tio stycken före gjort det, då försvinner nämligen namnen på de som gillat en viss Instagrambild och ersätts med ”11 likes”.

    Min undersökning gestaltades på Konstfacks vårutställning 2014 i ett brädspel baserat på det sociala spel som återfinns på sociala medier och Instagram. Spelet är konstruerat och framtaget tillsammans med två kurskamrater vars undersökningar behandlar närliggande områden.

    Josefhine Olsson Forsström – Onstage/Offstage, om representationer och tillhörigheter på kollisionskurs och Mia Widoff – Jag syns alltså finns jag! En studie i hur ungdomar kommunicerar på sociala medier och hur stor vikt de lägger vid bild- och skriftskapande i interaktion med andra.

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