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  • 1.
    Abrahamsen Egenes, Else
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Inredningsarkitektur & Möbeldesign.
    Organising of Space: about a orphanage in Tanzania2014Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    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.

    Fulltekst (pdf)
    Organizing of Space - Else Abrahamsen, BA Konstfack 2014 - Interior Architecture
  • 2.
    Avila, Martin
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), Industridesign.
    Responding through design2018Inngår i: Semotics of Hybrid Natures: Anthropogenic Ecosystems, Multimodalities, Transformed Umwelts / [ed] Silver Rattasepp, Tartu, Estonia, 2018, s. 14-15Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    The presentation “Responding through design” addresses the use of the ecological notion of response diversity (Elmqvist Et al. 2003) as a frame to develop naturecultures. It does so by focusing on the practice of design, making explicit the type of performativity that design proposals could enact by devising complementary responses designed to support the life of specific beings in specific ecosystems. The talk elaborates upon examples from the project Dispersal machines, part of my postdoctoral research entitled Symbiotic tactics and financed by the Swedish Research Council (2013-2016). Dispersal machines proposes two complementary artificial systems that attempt to minimise the damages by a moth (Spodoptera frugiperda) on crops (corn and soy predominantly) in the agroecosystems of Córdoba, Argentina. The proposals attempt to biologically control this species by interventions that disseminate and/or host species that predate or parasitize the moth at different stages of its life cycle: a diurnal response, based on the dissemination of parasitized eggs of the moth by a tiny wasp (Telenomus remus), as well as a nocturnal response, based on the placement of bat refuges that feed on the adult moth.

     

    Interspecies care demands response-ability (Haraway 2016); the challenges being the development of a practice of design tuned to respond dynamically to multi-scalar phenomena and multi-species abilities. Addressing the “semiotics of hybrid natures”, the presentation reflects upon “abilities to respond” and the notion of semethic interaction (Hoffmeyer 2008) as it relates to the more general semiotic term, semiosphere. With this context in mind, it addresses pattern-making through design, co-evolutionary possibilities, and the human capacity to respond through design, and design as a form of response. 

    Download (pdf)
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  • 3.
    Avila, Martin
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    Three Ecologies Diffracted: Intersectionality for Ecological Caring2019Inngår i: Proceedings of the 8th Bi-Annual Nordic Design Research Society Conference - Who Cares? 2-4th of June 2019 Finland, Espoo, Finland, 2019Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This essay commemorates the 30th anniversary of the publication of Félix Guattari’s The Three Ecologies. It does so by proposing a ‘diffractive’ reading of the book, suggesting latent potential in each of the overlapping “ecologies” that conformed the ecosophysketched by Guattari. 

    There are mainly two aspects of The Three Ecologies addressed in this essay. Firstly, the understanding of the general frame of the interrelation of the three ecologies as an “intersectional” approach. Secondly, the understanding of this form of intersectionality as a possible platform to acknowledge other-than-human ‘intersections’. Through the essay I exemplify with one of my own design projects to help situating the claims and the questions raised. Finally, I propose a multimodal explorative framework of the three ecologies to explicitly articulate human and other-than-human beings inter and intra-relatedness. 

    Fulltekst (pdf)
    fulltext
  • 4.
    Bärtås, Magnus
    Konstfack, Institutionen för Konst (K).
    Naturligt lärande2001Inngår i: Tänk om, 2001Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 5.
    Bärtås, Magnus
    et al.
    Konstfack, Institutionen för Konst (K).
    Ekman, Fredrik
    Mannen som ville ta över hjärnan2000Inngår i: Dagens nyheter, ISSN 1101-2447, nr 28/5Artikkel i tidsskrift (Annet vitenskapelig)
  • 6.
    Bärtås, Magnus
    et al.
    Konstfack, Institutionen för Konst (K).
    Ekman, Fredrik
    Orienterarsjukan och andra berättelser2001Bok (Annet (populærvitenskap, debatt, mm))
  • 7.
    Bärtås, Magnus
    et al.
    Konstfack, Institutionen för Konst (K).
    Ekman, Fredrik
    Strålverk: Japansk kultur är besatt av det radioaktiva hotet2011Inngår i: Aftonbladet, ISSN 1103-9000, nr 24 marsArtikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 8.
    Ceder, Clara
    Konstfack, 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 poäng / 30 hpOppgave
    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.

    Fulltekst (pdf)
    Design & Narration?
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  • 9.
    Einarsson, Olof
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Industridesign.
    Future of Bio-Product Design: EXPLORING THE IMPACT OF BIOMATERIALS AND BIOPROCESSES ON FUTURE PRODUCT DESIGN2011Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Bio-based products is a hot topic for the future. The industry needs new materials and production methods. This project is looking at the consequences for industrial design when creating bio-products. The time perspective of the project is 30 years ahead. A future scenario was created based on extensive trendspotting research. The result is a product together with new design tools.

    This salt and pepper shaker is grown with the use of bacteria that creates a biofilm. The bacteria are killed after the process and the biofilm remains. This growth process allow variation and give unique results every time, which opens up for an emotional bond to the product. Also if it breaks, it can heal itself, and you can keep on using your favorite shaker.

    The result of the project is a proposal of how to deal with randomness in the design process and industrial production.

  • 10.
    Fridell Anter, Karin
    et al.
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK).
    Klarén, Ulf
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK).
    Duwe, Pär
    Alcro-Beckers AB, Stockholm.
    Berggren, Leif
    Philips AB, Lighting, Stockholm .
    Lång, Johan
    Philips AB, Lighting, Stockholm .
    SYN-TES 2010-2011 Interdisciplinära studier om färg – ljus – rum2012Rapport (Annet vitenskapelig)
    Abstract [sv]

    Det tvärvetenskapliga projektet SYN-TES. Människa, färg och ljus. Syntetisering för ett sammanhållet kunskapsfält har pågått på Konstfack under 2010-2011, med finansiering från KK-stiftelsen (ref. nr 2009/0195). Projektet har omfattat ett femtontal nordiska färg- och ljusspecialister från företag och olika akademiska discipliner. Alla deltagarna har dessutom arbetat med annan forskning och/eller utvecklingsarbete om ljus- och/ eller färgfrågor. I arbetet med SYN-TES har gruppen regelbundet hållit interna semina- rier där olika kunskapstraditioner kunde närmas varandra och där gruppen gemensamt formulerade grunderna för ett sammanhållet kunskapsfält som innefattar både färg och ljus. I anslutning till detta har det genomförs ett antal under- eller sidoprojekt kring avgränsade frågeställningar, delvis med finansiering från Energimyndigheten (projekt nr 32266-1 och 34528-1)

    Det övergipande syftet var att skapa förutsättningarna för ett sammanhållet kunskapsfält som innefattar både färg och ljus, ur ett mänskligt perspektiv. I denna rapport sammanfattar vi huvuddragen i denna ”syntetisering”, med tonvikt på frågeställningar och processer. De mer konkreta resultaten av seminarier och subprojekt redovisas i en serie separata rapporter. 

    Fulltekst (pdf)
    SYN-TES rapport nr 5.pdf
  • 11.
    Gradén, Lizette
    Konstfack.
    Dressed in a Present from the Past: The Transfers and Transformations of a Swedish Bridal Crown in the United States2010Inngår i: Culture Unbound : Journal of Current Cultural Research, ISSN 2000-1525, Vol. 2, s. 695-717Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Ever since the emigration from the Nordic countries the Old world and the New world have maintained an exchange of ideas, customs, and material culture. This cultural heritage consists of more than remnants of the past. Drawing on theories of material culture and performance this article highlights the role of gifts in mate-rializing relationships between individuals, families and organizations in the wake of migration. First, I build on a suggested coinage of the term heritage gifts as a way of materializing relationships. Thereafter, I map out the numerous roles which a Swedish bridal crown play in the United States: as museum object, object of display and loaned to families for wedding ceremonies in America. The trans-fers and transformations of the bridal crown enhances a drama of a migration her-itage. This dynamic drama brings together kin in Sweden and America and maps specific locations into a flexible space via the trajectory of crown-clad female bodies.

  • 12.
    Heberling, Rikard
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), Grafisk design & illustration.
    “Auktoriteterna i farten”: I.G.N. och den nationella typografin2017Inngår i: Biblis, ISSN 1403-3313, nr 80, s. 23-45Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 13.
    Heberling, Rikard
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), Grafisk design & illustration.
    “död åt versalerna!”: när alfabetet blev ett ideologiskt slagfält2018Inngår i: Svenska Dagbladet, ISSN 1101-2412, nr 1 aprilArtikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 14.
    Hjalmarsson, Jan
    Södertörns högskola, Södertörns högskolebibliotek.
    Olika bibliotekstyper och ett användarperspektiv2016Inngår i: Bibliotekariens praktiska kunskap: om kunskap, etik och yrkesrollen / [ed] Eva Schwarz, Stockholm: Regionbibliotek Stockholm , 2016, s. 117-126Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 15.
    Hjalmarsson, Jan
    et al.
    Södertörns högskola, Södertörns högskolebibliotek.
    Grönvall, Karin
    Södertörns högskola, Södertörns högskolebibliotek.
    Bildning för vår tids bibliotek - till nytta för vår tids studenter?2014Inngår i: NU2014: Umeå 8-10 oktober: abstracts, 2014, s. 184-184Konferansepaper (Annet vitenskapelig)
    Abstract [sv]

    I diskussioner kring den högre utbildningens syfte ställs ibland bildningsideal mot vad som kan kallas ett nyttoideal. Sverige förenade studentkårer (SFS) väljer att knyta bildning till sin definition av en användbar utbildning där bildning utgör en "en central och oersättlig del", men inte förknippas med direkt nytta. Tillgång tillbiblioteksverksamhet är en förutsättning för utbildning. Bibliotek och bildning hör ihop och begreppet bildning nämns till exempel i nya bibliotekslagen: "Biblioteken i det allmänna biblioteksväsendet ska främja litteraturens ställning och intresset för bildning, upplysning, utbildning, och forskning och kulturell verksamhet i övrigt." Hur kan verksamheten vid biblioteken inom högre utbildning relatera till bildning och nytta på ett relevant sätt för dagens studenter? Traditionellt förknippas bibliotek med ett närmast absolut kunskapsbegrepp på så sätt att biblioteken har haft som uppgift att organisera och systematisera den samlade kunskapen i form av dokument. Biblioteken har också förknippats med urval och kvalitetskontroll och ett kanonbegrepp ligger nära till hands - läser man rätt böcker blir man bildad. Denna typ av lärdomsbildning kan anses bidra till personligutveckling och kulturell status, men sätts inte sällan i motsats till nytta. I en tid där informationsflödet är konstant och dokumentstrukturer löses upp är detta bildningsbegreppet inte längre gångbart. Traditionella publiceringsformer har visserligen flyttats över till den digitala miljön, men där existerar de tillsammans med nyare och snabbare kommunikationskanaler och gränserna blir alltmer otydliga. Filosofen Bengt Kristensson Uggla beskriver denna trend: "Det globala informationssystemet medför en horisontalisering av all kunskap, med konsekvensen att värderings- och kunskapshierarkier vittrar bort så att kunskapen i allt högre grad kommer till oss osorterad". Själva grundvalarna för biblioteksverksamhet har förändrats. Kristensson Uggla förespråkar ett bildningsbegrepp där tolkningsförmåga som innefattar selektion, värdering, meningsbildning och användning är en förutsättning i ett nytt informationslandskap. Ett sådant perspektiv på bildning förutsätter en aktiv pedagogisk roll för biblioteken i högre utbildning. Syftet med detta rundabordssamtal är att diskutera detta bildningsbegrepp utifrån ett högskolepedagogiskt perspektiv. Hur kan det tillämpas på högskolebibliotekens verksamhet? Kan den pedagogiska verksamheten utvecklas av att fokus sätts på studenternas tolkningsförmåga och begreppen selektion, värdering, meningsbildning och användning? Kan detta bildningsperspektiv vara till nytta förstudenterna i deras framtida arbetsliv?

  • 16.
    Hjorth, Elisabeth
    Konstfack, Institutionen för Konst (K).
    Den sentimentala kvinnans upprättelse2018Annet (Annet (populærvitenskap, debatt, mm))
  • 17.
    Hjorth, Elisabeth
    Konstfack, Institutionen för Konst (K).
    Frankenstein och förtvivlan2018Inngår i: Frankenstein och verkligheten, 2018Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 18.
    Homlong, Siri
    Konstfack, Institutionen för Bildpedagogik (BI).
    Like or dislike: aesthetic judgements on textile patterns2013Inngår i: Proceedings from the 2nd International Conference for Design Education Researchers, 14-17 May 2013, Oslo, Norway / [ed] Janne Beate Reitan, Peter Lloyd, Erik Bohemia, Liv Merete Nielsen Ingvild Digranes and Eva Lutnaes, 2013, s. 731-742Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In different areas of handicraft and textile production, teachers, researchers, purchasers and others have to judge products based on different factors such as function, aesthetics, taste and so on. The whole process of designing – from ideas and visions to finished product – includes aesthetic judgements: In the first planning phase, several sketches are made that can later be changed, adjusted and further developed. When a product is finished, further judgements are needed: designers and artisans evaluate the result of their efforts, teachers judge the works of pupils or students and purchasers or consumers judge the suitability of the textile based on their particular needs. Because different persons make different choices when making or buying a textile product, it is interesting to study people’s experiences of fabrics as well as their reasons for making certain aesthetic judgments. This article presents a study of judgments and values expressed when designed printed fabrics were displayed for designers, teachers of textile crafts, consumers and schoolchildren. The present study shows that subjects make their judgements on the basis of formal, functional, cultural and emotional contents. These aspects should therefore be in focus in design work and design education.

     

    Fulltekst (pdf)
    fulltext
  • 19. Hope, Sophie
    et al.
    Richards, Jenny
    Konstfack, Institutionen för konsthantverk (KHV), Ädellab.
    Building as body: a handbook for investigating your workplace2018Bok (Annet vitenskapelig)
  • 20.
    Hope, Sophie
    et al.
    Konstfack, Institutionen för konsthantverk (KHV), Ädellab.
    Richards, Jenny
    “Is that why we don’t have a kitchen or staffroom?”: reproductive labour at work2018Konferansepaper (Annet vitenskapelig)
  • 21.
    Hopwood-Goodheart, Louisa
    Konstfack, Institutionen för Bildpedagogik (BI).
    Displaying others, revealing self: an investigation into how ethnographic museum display creates knowledge about culture2001Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 22.
    Hosseini, Sepidar
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Grafisk Design & Illustration.
    "Men ni iranier är ju bra på mönster": och andra berättelser om svenskhet2011Independent thesis Basic level (degree of Bachelor), 15 poäng / 22,5 hpOppgave
    Abstract [en]

    ”My father once picked a liverleaf and gave it to me. I was sad because it was a protected flower. I wanted to explain that to my father but I didn’t know how. Then I understood: it was this that made me sad, and not because I was some sort of nature activist when I was 6. I’d learned about the right of public access at nursery school, and my father hadn’t.”

    Personal stories about Sweden based on various aspects of being Swedish in a globalized time. A time where different perspectives meet and hybrid identities arise, at the same time as the need for a national identity seems to be growing stronger. In my work I and a number of invited guests with widely different backgrounds, try to formulate and reformulate the concept of Swedishness. Can we through telling other stories, expand the tale of Sweden and make it contain greater variations?

  • 23.
    Jonsson, Linnéa
    Konstfack, Institutionen för konsthantverk (KHV), Ädellab.
    THE REACH2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 poäng / 15 hpOppgave
    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.  

    Fulltekst (pdf)
    fulltext
  • 24.
    Kapadia, Ninna
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Inredningsarkitektur & Möbeldesign.
    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 poäng / 30 hpOppgave
    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.

    Fulltekst (pdf)
    fulltext
    Download (mp4)
    Re-Story The Movie
    Download (mp4)
    Re-Story The Autopsy
  • 25.
    Klarén, Ulf
    et al.
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK).
    Arnkil, Harald
    Aalto University School of Arts, Design and Architecture, Helsinki, Finland .
    Fridell Anter, Karin
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK).
    Colour and Light in Design: - Levels of experiencing colour and light2013Inngår i: Proceedings from the 2nd International Conference for Design Education Researchers, 14-17 May 2013, Oslo, Norway / [ed] Janne Beate Reitan, Peter Lloyd, Erik Bohemia, Liv Merete Nielsen Ingvild Digranes and Eva Lutnæs, 2013, s. 743-752Konferansepaper (Fagfellevurdert)
    Abstract [en]

    : In our designed culture, every environment, object and picture is analyzed from the viewpoint of colour and light. Colour and light play an important role in social life and culture. This paper springs from an epistemological project about concept formation in the field of colour and light. Based on own observations and scientific and scholarly references it presents a graphic model describing possible constituent relations between colour and light experiences. Design is the art of using knowledge – implicit or explicit – about how humans perceive, experience, and relate to the world around. In design all senses are involved, but when dealing with colour and light we can confine ourselves to vision; designers must understand the conditions of visual perception. Human experience of colour and light has many sources; the given cultural context (conventional meanings of colour and light), the direct experience of the world around (colour and light expressions) and the basic perceptual functions (formal aspects of colour and light). There is need for distinct concepts and concise approaches to understand coherence of aesthetic and functional expressions. Design education calls for coherent and well defined structures that can be used to describe connections and distinctions between experiences of different kinds.

    Fulltekst (pdf)
    Colour and Light in Design - Levels of experiencing colour and light
  • 26.
    Kristoffersson, Sara
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK).
    En kravfylld uppsminkning av verkligheten2010Inngår i: Svenska dagbladet, ISSN 1101-2412, nr 2010-06-20Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 27.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    Ikea: Massproduced National Design Identity2018Inngår i: Design Roots: Culturally Significant Designs, Products and Practices / [ed] Stuart Walker, Martyn Evans, Tom Cassidy, Amy Twigger Holroyd, Jeyon Jung, London: Bloomsbury Academic, 2018Kapittel i bok, del av antologi (Fagfellevurdert)
  • 28.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    IKEA 이케아: Design by Ikea2015Bok (Annet vitenskapelig)
  • 29.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    Ingvar Kamprads ande fortsätter sväva över Ikea2018Inngår i: Dagens nyheter, ISSN 1101-2447, nr 29 januariArtikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 30.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    Normbrytning har okritiskt blivit ny norm2016Inngår i: Dagens nyheter, ISSN 1101-2447, nr 21 januariArtikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 31.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    Rosa: både sockersöt och uppkäftig2018Inngår i: Dagens Nyheter, ISSN 1101-2447, nr 2 decemberArtikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 32.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    Sambandet mellan ting och känslor2017Inngår i: Respons, ISSN 2001-2292, nr 1Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 33.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    Så blev rött historiens hetaste färg2017Inngår i: Dagens nyheter, ISSN 1101-2447, nr 30 aprilArtikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 34.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    Varför käbblar alla om normer?2016Inngår i: Dagens nyheter, ISSN 1101-2447, nr 25 augustiArtikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 35.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    イケアとスウェーデン: 福祉国家イメージの文化史2015Bok (Annet vitenskapelig)
  • 36.
    Kristoffersson, Sara
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV).
    宜家的设计·一部文化史 平装: 一部文化史 平装2017Bok (Annet vitenskapelig)
  • 37.
    Mehra, Sameeksha
    Konstfack, Institutionen för konsthantverk (KHV), Ädellab.
    Traditions and Transformation2019Independent thesis Advanced level (degree of Master (Two Years)), 80 poäng / 120 hpOppgave
    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.

    Fulltekst (pdf)
    fulltext
  • 38.
    Nordin, Marie
    Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik.
    Teckningsrevolt: Förändringsprocesser i teckningsundervisning med 68-vågen på Konstfack2018Independent thesis Advanced level (professional degree), 20 poäng / 30 hpOppgave
    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.

    Fulltekst (pdf)
    fulltext
  • 39.
    Richards, Jenny
    Konstfack, Institutionen för konsthantverk (KHV), Ädellab.
    Building as Body2018Konferansepaper (Annet vitenskapelig)
  • 40.
    Richards, Jenny
    et al.
    Konstfack, Institutionen för konsthantverk (KHV), Ädellab.
    Browne, Sarah
    Gendered Theories of Complaining, compliance, coping and caring2018Konferansepaper (Annet vitenskapelig)
  • 41.
    Samuelsson, Jenny
    et al.
    Luleå universitet.
    Sjögren, Mikael
    Umeå universitet.
    Peurell, Annika
    Riksantikvarieämbetet.
    Harnesk, Jakob
    Karlstad universitet.
    Gadd, Hanna
    Högskolan Väst.
    Hjalmarsson, Jan
    Södertörns högskola, Södertörns högskolebibliotek.
    Mannerfeldt, Elisabeth
    KTH.
    Forsman, Daniel
    Chalmers tekniska högskola.
    Kihlberg, Jakob
    Svensk biblioteksförening.
    Effektiv vetenskaplig kommunikation: för forskning, utbildning och nyttiggörande2015Bok (Annet vitenskapelig)
  • 42.
    Sandelin, Erik
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), Industridesign.
    After the Revolution: Prototyping Post-Speciesist Futures2019Inngår i: Rethinking revolution: Nonhuman animals, antispeciesism and power, 2019, s. 92-92Konferansepaper (Fagfellevurdert)
    Abstract [en]

    What could a post-speciesist world be like?

    Critical Animal Studies activists and scholars have developed convincing counter-arguments to speciesism and animal oppression. These arguments are continuously developed and reshaped through contributions from fields like gender studies, postcolonialism, environmental humanities, and philosophy. This broad range of approaches makes for an diverse and growing body of knowledge on the systematic discrimination, exploitation, and oppression of nonhuman animals, not least regarding the treatment of animals today and in the past. We argue, however, that this knowledge production is significantly more sporadic when it comes to constructive proposals of less speciesist futures. Where are the snapshots from potential futures, and alternative presents, where human-animal relations are radically reconfigured?

    We suggest that in working towards an anti-speciesist revolution we need to also be able to imagine what living in a post-speciesist society could be like; and explore creative tactics for bringing these material propositions into being.

    These kinds of speculations and constructions of scenarios involve future-oriented contributions from fields such as the arts, design, literature, architecture, and speculative philosophy. In other words, domains that are engaged with envisioning, prototyping, and rehearsing potential futures and alternative presents. In this paper, we discuss a number of works that in different ways materialise reconfigured relations between humans and other species. Examples include utopian artworks by Hartmut Kievert, Ursula Le Guin’s ecofeminist stories, as well as our own design projects on sketching already existing post-speciesist animal-human encounters and redesigning recreational fishing practices. We discuss what tactics are employed by the creators and how their designerly approaches might help in generating new ideas about possible futures. We also introduce and reflect on tools and practices from the design disciplines, such as sketching, prototyping, and design fiction that can be of use for CAS scholar-activists.

    Importantly, an affirmative approach of imagining post-speciesist futures does not come without risk. It can be argued that constructive, at times hopeful, projects distract from militating against the currently dim situation that billions of animals face daily. It can also be argued that we are nowhere near attaining a world that can be considered hopeful for most animals on our planet. Shouldn’t we focus on bringing about the revolution before speculating on its aftermath?

    We argue that research and activism against speciesism ought to be complemented by constructive scenarios for post-speciesist futures. We seek to contribute to the field of Critical Animal Studies by calling for and articulating a stronger speculative and imaginative strand of CAS, without blunting the urgency and critical edge of the field.

  • 43.
    Sandelin, Erik
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), Industridesign. KTH Royal Institute of Technology, Stockholm.
    Designer and Goldcrest: a story2018Inngår i: (Un)Common Worlds: Contesting the Limits of Human–Animal Communities, 2018, s. 77-77Konferansepaper (Fagfellevurdert)
  • 44.
    Sandelin, Erik
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), Industridesign. KTH Royal Institute of Technology, Stockholm.
    Why didn’t I say something? thought Designer. But what would I have said? I don’t know how to design with birds. Designer decided to head out into the world to ask for help.2019Inngår i: Multispecies Storytelling in Intermedial Practices, 2019, s. 76-76Konferansepaper (Fagfellevurdert)
  • 45.
    Shutrick, Helena
    Konstfack, Institutionen för Bildpedagogik (BI).
    Hur klär vi ut oss till människor?2004Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 46.
    Smith, Matt
    Konstfack, Institutionen för konsthantverk (KHV), Keramik & Glas.
    Queering the Historic House: Destabilizing Heteronormativity in the National Trust2017Inngår i: Sexuallity and Gender at Home: Experience, Politics and Transgression / [ed] Brent Pilkey, Rachael M. Scicluna, Ben Campkin, Barbara Penner, London: Bloomsbury Academic, 2017, 1, s. 105-120Kapittel i bok, del av antologi (Fagfellevurdert)
  • 47.
    Stampe Ödman, Vilde
    Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), Inredningsarkitektur & Möbeldesign.
    Att ställa till med en scen2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 poäng / 30 hpOppgave
    Abstract [sv]

    Det här projektet börjar med frågeställningar kring att kunna eller inte kunna ta plats i staden och hur platstagande kan skapa förändring.

    Genom iscensättande (att göra en scen), med strategierna: omhändertagande, närvarande och platstagande vill jag undersöka, synliggöra och sätta igång delat platsgörande i det offentliga rummet.

    Jag har börjat på skenbart* övergivna platser och i temporära rum: För att den skenbart övergivna platsen bara ser ut att vara oanvänd och kan, med lite fantasi, göras om till det som behövs för stunden. För att i de spår som lämnas uppstår gåtor och mysterier, möjliga framtider och drömmar om andras äventyr. För att lusten att inta scenen ibland kräver stunder av tomma scener att inta. För att delande också är att turas om.

    *Med skenbart övergivna menar jag platser som tidvis upplevs oanvända men inte är det. Platser med spår av tidigare aktivitet och inspiration till framtida händelser.

    Fulltekst (pdf)
    fulltext
  • 48.
    van Doorn, Anita
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    We have received borders not to move2015Independent thesis Advanced level (degree of Master (Two Years)), 80 poäng / 120 hpOppgave
    Abstract [en]

    Institutions of power exert their control over us, sometimes in very obvious and grand ways, but also often in far more insidious and covert ways. This paper looks at forms of control, specifically relating to movement of individuals and populations, that are exerted on the body, internalised by the body and subsequently expressed through the body. It seeks to offer insight into the ramifications of such strategies of control on the physical and social body, for example manufacturing of shame, the other, illegality, and the body as a thing.

    With the phenomenon of the border line as a starting point, this paper approaches the human ramifications of western power structures on the body through Foucault's notion of 'governmentality', and the employment of the term, (reflecting the artistic approach to the nature of this research paper), the illegal body.

    From developments in certain forms power structures and obedience throughout western history to nationalist constructions, an analysis and critique some of the normative ways of thinking about space and place in relation to the body and identity is offered. Produced in conjunction with the practical body of work of the same title (a very conscious appropriation of the title of Barabara Kruger's work 'We Have Received Orders Not To Move', which deals with power and gender), theoretical and philosophical aspects as they fed into choices of formal aspects of the making process, and vice versa, are discussed.

    What is asserted is that systems and technologies of control are very effective at deeply embedding normative ideologies into the body, in essence ideologies become hardwired into the response systems of the body This is particularly concerning when we consider that once again, national security and border protection are two of the main concerns of governments.  

    Fulltekst (pdf)
    We have received borders not to move
  • 49.
    Winqvist, Åsa
    Konstfack, Institutionen för Bildpedagogik (BI).
    Mangan lockar sina läsare till medskapande: etnografisk undersökning av en ungdomskultur2007Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Uppsatsen syftar till att undersöka ungdomars reception av fenomenet manga/anime på ett etnografiskt arbetssätt, avgränsat med begreppet ungdomskultur. Fokus ligger på två mangayttringar som närmast berör ungdomar: shōjo för flickor och shōnen för pojkar. Resultatet redovisas i tre olika teman: Estetik/Stil, Makt/Könsroller och Berättelser/Myter,vilka tolkas med hjälp av ett raster på textuell, kontextuell och sociohistorisk nivå.Undersökningen är kvalitativ med sju ungdomar som informanter, och empirin består avfältanteckningar, fotodokumentation och intervjuer.Ungdomarnas fascination av mangaserier kan delvis förklaras med att de ritas i ett utstuderat ”filmiskt” maner, med snabba bildväxlingar och många olika bildvinklar, och delvis med att läsaren kan följa protagonistens utveckling under många år, parallellt med sin egen utveckling till ett vuxnare jag. Kulturyttringen uppmuntrar även till eget medskapande och egenamatörmanga-produktion, vilket medför att många ungdomar publicerar sitt eget material,både i pappersform och på internet. Detta gör fenomenet förhållandevis ohierarkiskt.Manga/anime-traditionen är ofta ironisk och lekfull, motiven i den tidiga sekventiellabildkonsten i Japan hämtades från nöjes- och teatervärlden, men under den flamsiga ytan döljsofta allvarliga resonemang. Berättartraditionen kan uppfattas utifrån tre olika modus: vardagligt, humoristiskt och poetiskt. Ungdomarna kan i postmodernistisk anda ta del av det främmande och egendomliga, men kan också; när de själva vill, stänga av och avskärma sigifrån det.Estetiken betecknas av eklekticism, brottstycken, lekfull inställning till form och konventionoch raserandet av hierarkiska traditionerna. Könsroller utmanas med crossdressing, och demanliga protagonisterna ritas ofta med påfallande feminina anletsdrag. Uppsatsen beskriverdetta med bakgrund av queerteoriska tankegångar, där en given norm ifrågasätts. Läsandet avserietidningar har nästan alltid betraktats nedlåtande, med någon form av moralpanik i sitt kölvatten. Detta kan betraktas som en reaktion mot en pågående modernisering. Resultatet av uppsatsen visar inte på någon större förändring i det traditionella könsrollstänkandet, men en viss omformulering pågår.

    Fulltekst (pdf)
    Mangan lockar sina läsare till medskapande
  • 50.
    Youssouf, Souzan
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Industridesign.
    ReHair - Hållbar design aktivism: Hår och Estetik2011Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    ”It ain’t eazy being greazy in a world full of cleanliness and all that other madness.” – Method Man

    Vi har alla hår på kroppen. Och det är alltid under uppsyn.Behåring finns bland annat på våra ben, kön och ansikten och tas i stor utsträckning bort oavsett färg, storlek och synlighet. Samhällsnormer kring den hårlösa, civiliserade och attraktiva människan försätter många av oss i tids- och pengakrävande situationer som ofta kan vara ganska plågsamma. Skönhetsindustrin arbetar för att du ska fortsätta med dessa beteenden, men har du någonsin funderat på varför du gör det?

    Mitt arbete försöker kombinera hållbar design med kritisk design. Därmed granskas vad vi gör och varför, men mest av allt finns ett kritiskt undersökande av vilken relation våra handlingar har till det framtida hållbara samhället, som skapat en balans mellan det sociala, vår miljö och vår ekonomi. Projektet omfamnar våra olikheter samtidigt som det demonstrerar att problematiken går utöver valet av miljövänliga material i produkter.

    Hållbarhet börjar hos oss själva och våra beteenden. Är du redo för förändring?

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