Ändra sökning
Avgränsa sökresultatet
12345 101 - 150 av 221
RefereraExporteraLänk till träfflistan
Permanent länk
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annat format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annat språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
Träffar per sida
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sortering
  • Standard (Relevans)
  • Författare A-Ö
  • Författare Ö-A
  • Titel A-Ö
  • Titel Ö-A
  • Publikationstyp A-Ö
  • Publikationstyp Ö-A
  • Äldst först
  • Nyast först
  • Skapad (Äldst först)
  • Skapad (Nyast först)
  • Senast uppdaterad (Äldst först)
  • Senast uppdaterad (Nyast först)
  • Disputationsdatum (tidigaste först)
  • Disputationsdatum (senaste först)
  • Standard (Relevans)
  • Författare A-Ö
  • Författare Ö-A
  • Titel A-Ö
  • Titel Ö-A
  • Publikationstyp A-Ö
  • Publikationstyp Ö-A
  • Äldst först
  • Nyast först
  • Skapad (Äldst först)
  • Skapad (Nyast först)
  • Senast uppdaterad (Äldst först)
  • Senast uppdaterad (Nyast först)
  • Disputationsdatum (tidigaste först)
  • Disputationsdatum (senaste först)
Markera
Maxantalet träffar du kan exportera från sökgränssnittet är 250. Vid större uttag använd dig av utsökningar.
  • 101.
    Jagare, Kajsa
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Fot objekt2000Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 102.
    Johannesson, Elin
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Förgät mig ej2013Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    I examine how relationships between people and objects are created and continues through contiguity every time one use or touch an object and through participation through use and memories. The aim is to continue a relationship and to keep a communication alive with people beyond time and space, then, now and henceforth. I take advantage of and transform the traces in an object that belonged to someone. Parallel I create new space for bodies to put their mark for the first time. I compare my work with the Nordic Museum's task to preserve the present for the future. But instead of the objects to be protected from contact I want them to be touched. I remove the function to access something else, a wordless communication. The object is people's lowest common denominator and a link between space and time. To touch an object can create memories that can not be reached only through visual senses. The objects in the Forget–me–not–collection are made to invoke haptic senses and work as ”memorials”. Like memorials they are collective and instil a sense of belonging that gives peace to continue into the future.

  • 103.
    Johansson, Nina Desiré
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Jewellery in the logic dreams - på jakt efter drömkänslan i konsten2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Nina Johansson starts her essay by making some examples of dreams to show the diversity of the ”dream world”. She speaks of how all humans dream, that it ties us together. She wants to translate the “feeling of dreams” into wearable objects, and to be able to do that, she must try and describe what that feeling consists of. She describes the specifics of what she is looking for by naming different kinds of dreams and homing in on what she calls “dream logic” as the subject that interests her the most. She continues to talk about the relation dream/body, and comes to the conclusion that it is vital in her work. She is looking for some kind of “dream aesthetics”, and researches the field by making a selection of artwork that she feels embodies that. The selection is made mainly through discussion with peers.

    Field: Nina Johansson explores the field by discussing different works of art in the fields sculpture, visual art, literature, film and jewellery art. She makes comments on how these works connect to her case and concludes that the art she feels connects best to dreams is art that leaves the viewer room for interpretation.

    Material: Nina Johansson means that her choice of material and execution is vital for the outcome of her work. She speaks of how different materials carry specific, collective meanings that she can use when trying to interpret the dream feeling in her own art. She is especially occupied with the way these materials “feel” and how they connect to the body.

    Relevance: Nina Johansson talks about the unique position a jewellery artist has when it comes to expressing emotions connected to the body (such as these dream feelings). She feels that this position is often overlooked, and she wants her work to be dependent of the body.

    Conclusion

    Nina Johansson concludes by trying to answer the question of dream aesthetics. She means that while there are specific dream modes that many of us can recognize, these have more to do with the narrative of dreams than the aesthetics. She then finishes the essay by speculating that the narrative might actually be the aesthetics when it comes to dreams.

  • 104.
    Jonsson, Anni
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Monument i miniatyr: minnessmycken2001Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 105.
    Joris, Hannah
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Our vulnerable position2009Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Today outer –often opposing- influences are endless; varying from contact with group features such as cultural, economical, national distinctions to differences in individual religious beliefs, sexual behavior, political views, ecological consciousness, etc. … Being confronted with this otherness leads to a crumbling, an unsettling notion of the known, the established values which throughout time were thought to have become one’s own; leading to confusion and resulting in the questioning of the self. A learning and growing process which does not become easier with all the changes in our contemporary Western society… How do we, contemporary Western human beings deal with the apparent freedom and insecurity we are confronted with in our society?The essay starts off by looking at some of the major shifts in our contemporary society. A first important change is the space-time compression. The consequences of this shift, such as the dissolving of nations, hybridizing of national identities, globalization and theuncertainty it brings forth, are explored from different angles.Fast-moving trends have caused a confusion of beliefs and identities and as there is not one principle provided, one has to learn to grasp the contrasts. Today there is a taste for heterogeneity, causing a shift towards openness, inclusion and tolerance. Even though it is on its dispositions that contemporary society thrives, it also means that opposing extremes exist next to one another.In our ‘information society’ innovation of communication and knowledge occupy a significant role. Besides the confusion caused through the space-time compression, all truly transformative advances in knowledge bring along the downside of uncertainty and incalculability.Along with these ‘sources for uncertainty’, there is also a short look into possible certainties in contemporary life, since traditional religions and modern substitutes are not satisfactory and a strong belief in anything today seems rather improbable.A possible source for answers and improvements which is given are the humanities. They confront people with making judgments about the relationship between facts and values.It is important in creating awareness in an ‘information society’ since innovations are value-free. Humanities can have the ambition to bring people towards each other to take up new forms of identification that are open for collaboration and unity.

  • 106.
    Jönsson, Martin
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Entré- och fasadbelysning: en flexibel belysningslösning2002Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 107.
    Jönsson, Martin
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Erwachsen Egg: craftsmanlike utility goods ; limited batch production ; 99 pieces2004Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 108.
    Karlsson, Albin
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Klockor om tid2002Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 109.
    Karlsson, Albin
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Vakna2000Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 110.
    Kettley Cronfalk, Elizabeth Florence
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    The Sound of Corpus.: Reverberating Materiality.2018Självständigt arbete på grundnivå (konstnärlig kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The skin on her arms was like leather, wrinkly, so thin you could see the blood flow underneath thesurface. Ruption´s that reminded me of small universes or spider-like flowers leapt up and downher arms. She liked listening to the radio, or so I think. She was lying on the bed in the middle ofthe little house surrounded by trees. The massive furn wood dining table was tilted up against thewall, a defeeted gigant.Empty, empty, empty. Silent, silent, silent. The room was a shell, singing of what wasbefore time; a vase stood in the heart of the house, alabaster, smooth, cold holding thestill, distilled essence of emptiness, silence.-Virginia WoolfThe history of materiality can be expected because we have seen it. We can understand how it candisappear or slowly decay because we have at one point in time understood its presence. In mywork I have investigated how material and sound can help to define each other. My thoughts arethat the vase in this aspect is corpus, a recorder of its environment. The vase i.e. corpus stands forintimacy, connecting people in a home where everyday life occurs through communication. The oldvase has a presence, that presence vibrates of life that you can hint but not fully understand.Sound talks about the proportions between things in a different way by travelling between statesand time. How can we understand and access history that is invisible to the eye? GuglielmoMarconi (a pioneer in long-distance radio transmitting) believed that acoustic phenomena continuedto hang in the air. He thought of sounds as bodies of vibration whos decay extended to infinity.Marconi used a concept he called dead air, to describe silence. All sound that ever existed isaccessible to us if we know how to tune into it. What would the silence of the alabaster vase soundlike? In my examination work I have focused on sound to try and understand how it is connected tothe traces of life that are not written in history books.

  • 111.
    Knap, Agnieszka
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Kollektion Sommarminnen1999Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 112.
    Knap, Agnieszka
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Smycken med affektion1997Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 113.
    Knuts, Tove
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Tampongbehållare2003Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 114.
    Koszkás, Mona C.
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Fantasiblötdjur: organiska former genom knopning och träckning1996Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 115.
    Kuffner, Nadine Simone
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Glaube als Übung2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 116.
    Larsson, Anna Tascha
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Smärta - från lidande till extas2009Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 117.
    Larsson, Maria
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Moving Matter2012Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This essay have collected texts from the philosophers Giles Deleuze and Felix Guattari, science anthropologist and professor Bruno Latour and science biologist writer Janine Benyus, focused on bio mimicry. The essay is called “Moving Matter” and is focused on how these writers relate to materials and how it connects to nature and furthermore to ecology.

    In the first part of my study I connect, through a personal reading, these writers because I found shared views on materials , nature, as active, trans-disciplinary, related to science and part of a big collective. I divided the text by chapters of each writer where I try to build my case with examples from each author. What I try to conclude is that for these writers materials are not only a single matter waiting but to be formed, it is an active moving agent which contains complex chemical and biological structures, connects to history, have a social, cultural and political role. All this complex relations could be said to form a kind of science related material culture of materials, a moving matter. By using this method an implicit ethical relations to nature and ecology is created, a Geo philosophy

    In the second part, “Connecting the Material”, I wish to conclude and summarize how this theories discussed in the first part could be relevant working and treating materials both as makers ,consumers, wearer of jewelry. I wish to use the so called functions of jewelry by adapting the thoughts from the first part of the essay and also by including works from different jewelry artists. By this I am posing the question:

    -What could it mean when we say that materials are active and intelligent in the context of Jewelery and Jewelery art?

  • 118.
    Larsson, Mia
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Transformer: tankar kring ett jag i upplösning i nätet och krigets skugga2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 119.
    Lasson, Martin
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Smycken och kläder2000Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 120.
    Lidman, Emelica
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Avståndet mellan smycket och kroppen - kan avstånd skapa närhet?2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 121.
    Liljedahl, Magnus
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Kaffekannan som objekt2005Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Jag har alltid fascinerats av kaffekannan i silver, hur tydlig den är i sin form och hur den bär på en tradition inom användandet såväl som utförandet. Det finns en tyst överenskommelse hur en kaffekanna ser ut och hur vi betraktar föremål med en tydlig funktion.Ur silversmedens synvinkel fungerar kaffekannan nästan som en ikon. Detta är något som håller på att försvinna i och med att kaffekannan i silver inte används på samma sätt i dag som den gjorde förr.

  • 122.
    Lindholm, Caroline
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    En fördjupning i islams arkitektur: [ornament & mönster]1996Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 123.
    Lindholm, Helena
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Det undermedvetna: inre bilder2006Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Det undermedvetna är ett enormt ämne med många teorier. Bland dessa finns det olika uppfattningar om hur vi ska tolka dess betydelse. Uppsatsen belyser hur vi kan se på det undermedvetna. Hur vi kan laborera med det undermedvetna i film? Vad har det för syfte att i film använda det undermedvetna och upphäva de normala livsmönster som gäller? Vilken betydelse har bilden för våra minnen? Vad händer med oss när vi kommer i kontakt med våran inre värld? Uppsatsen beskriver hur våra inre bilder skapas. Den jämför vilka skillnader det finns i våra inre bilder när vi läser respektive ser film. Slutligen ställs frågor kring hur vi kan använda det undermedvetna och våra inre bilder i en konstnärlig process.

  • 124.
    Lindholm, Helena
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Känslolägen: smycken ; halslinjen2004Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 125.
    Lindvall, Charlotta
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Dammet, vår minsta gemensamma nämnare: En känsla av tillhörighet2013Självständigt arbete på grundnivå (kandidatexamen), 15 poäng / 22,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Dust, our smallest common denominator

                                                                                                                                                                     Charlotta Lindvall

     

    ABSTRACT  

    I find it fascinating to know that we are all made of the same material as the stars and that everything is connected to each other and in a constant movement and transformation, a recycle of material. We are all made of stardust. In fact all life is sprung out of dust.

    In my essay I investigate the dust and ask the question if there are any traces in the dust. I look at the history of the dust and how it has affected us and our world through the decades. What does this small and airy but oh so unappreciated dust tell us? Why do we want to get rid of it? Is it possible to find a sense of belonging in the big context by investigating the dust and its origin and could I transform such a low material as dust into something magic that makes people reflect on our origin and belonging and how everything is connected? In my work I use dust as a material and in the essay I compare my work with other artists who have worked with dust as a material.

    Dust is everywhere because its source is from everything. I as a crafter also contribute to the dust making when I mechanically process material. We all share the atmosphere and breathe the same air and by that means we all share the dust particles. With every breath we take we inhale 1000 of dust particles and without knowing it the wind could have brought invisible camelhair from the Sahara desert that you just know have inhaled into your system. The most fascinating is that under your bed you can find traces of particles that have come all the way from outer space. In fact, each year it rains down 100 tons of cosmic dust from outer space down to our planet, particles that come from asteroids or comets and could contain hundred thousand of smaller particles of diamonds and sapphires that might come from a time when our planet was formed.

    I found that through the dust you can read the whole history of the universe. It holds the information of what has happened, what happened right now and what will happen. The dust reveals all our secrets; it holds the past and present at the same time. The dust is on its way to become and at the same time on its way from being.  In the dust you can find traces of me, you and the universe. By investigating the dust I have found a new view of the world. I have found a sense of belonging in the big context, where everything is connected and part of the same origin. Even in the darkest corner you can find magic.

    We are all diamonds fallen from the sky.

  • 126.
    Lindvall, Charlotta
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    I Mend It With Sugar2015Självständigt arbete på avancerad nivå (masterexamen), 80 poäng / 120 hpStudentuppsats (Examensarbete)
    Abstract [en]

    I mend it with sugar

     

     

     

     

    Abstract

     

    "Gluttony" and "sloth" is the sugar addictions best friend, or could it be that the addiction comes out of a disturbed hormone production caused by the environment that surrounds us?

    Trying to understand my own sugar addiction I weave in my personal story into my artistic research around this subject.

    The sugar might be the cause of the pandemic obesity and that's why it has to bee brought up into the light from its darkness down the basement of the food giants that roles over the world economy.

     

    There might be no answer yet to the questions I ask myself but it is time that we all do what it takes to get closer to the answers, by questioning the nature of the food that we stuff our self full of, we all have a part of it, or do we? Have our brain already been kidnapped by the white gold that we're no longer capable to think clear?

     

    This is a subject that suits very well to be highlighted through body related art, such as jewellery and corpus. We use our body when we eat, our feelings is coming from the inside of our body, by looking at our body and how it acts we can easily see the signs of how we really feel it's just that we forgot to look, we forgot to listen to our body, maybe it's the sugar that has numb our bodies…

     

     

  • 127. Linton, Agneta
    et al.
    Zetterlund, ChristinaKonstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.Sandell, Maj
    TUMULT: Dialog om ett konsthantverk i rörelse2009Samlingsverk (redaktörskap) (Övrigt vetenskapligt)
    Abstract [sv]

    Utställningkatlog till utställning i Gustavsbergs Konsthall 10 oktober 2009-10 januari 2010

  • 128.
    Lockner, Åsa
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Bara skalet kvar1999Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 129.
    Lockner, Åsa
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Shaken not stirred: om cocktailpartyts dragningskraft1997Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 130.
    Lundberg, Linalotta
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Personligheter hos personlighetens karaktärsdrag2005Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 131.
    Lundborg, Hanna
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Staden och konsten2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    En återkommande debatt i pressen är huruvida gatukonst/spontankonst, såsom graffiti, är en konstform som bidrar till stadsrummet eller är klotter och ska behandlas som ett olaga tillbud på stadsrummet. Debatten behandlar ofta graffiti och sträcker sig alltifrån tillåtande av lagliga väggar för graffitikonstnärer till en uppfattning att graffitiutövare är grovt kriminella och att en nolltolerans ska hållas gentemot graffiti. De olika partipolitiska organisationerna förhåller sig olika till frågan, och det gör också debattörerna på våra stora svenska dagstidningar; åsikterna går isär. Jag finner denna schism intressant och vill i detta arbete djupare undersöka de olika åsikterna och bakgrunden till dessa. Genom att titta på olika infallsvinklar från olika ämnesområden såsom arkitektur, sociologi, kulturgeografi, dagspress med flera vill jag få fram en mer sammansatt bild än den som ibland upplevs i mediedebatten. Jag vill också se vad konsten i sig kan ha för inflytande i samanhanget.För att genomföra denna undersökning kommer jag att börja med att titta på hur stadsbilden har förändrats sedan sjuttiotalet och framåt och vad detta har medfört i hur vi använder oss av det offentliga utrymmet i staden. Jag vill se till de bakomliggande samhällsstrukturella faktorerna för att se om det finns ett samband till hur vi betraktar och behandlar spontankonst i stadsrummet idag. Jag kommer också att titta på de politiska strömningarna som på olika vis påverkar debatten och som ligger till grund för den officiella hållningen till spontankonst i stadsrummet.Jag kommer vidare att undersöka skillnaden mellan offentlig konst, som tar en legal plats i det offentliga utrymmet, och inofficiell offentlig konst, såsom spontankonst, för att se var skillnaden ligger i förhållningssättet till de båda.Detta arbete är till största delen en litteraturstudie. Jag anser det viktigt att den litteratur och det material som jag läser är nutida, då jag har en uppfattning att frågan kring spontankonst i stadsrummet ändras i samma takt som samhällsklimatet ändras. Jag vill också veta vad som ligger till grund för det förhållningssätt vi har till spontankonst idag.Min frågeställning kommer att vara: Hur kan man förstå gatukonstens och spontankonstens roll, och debatten om den?

  • 132.
    Mandal, Petra
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Kroppsobjekt1997Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 133.
    Mandal, Petra
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Utsmyckning i rummet1999Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 134.
    Marsja, Olof
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Kroppsverkstad2017Självständigt arbete på grundnivå (konstnärlig kandidatexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The middle is a daunting place. If you get stuck there you get stuck. But when Gilles Deleuze and Felix Guattari describes the rhizome they mention that there is no beginning and no end, just something in between. And there in the middle stuff comes alive. Constantly changing and moving. It’s here, it’s there, goes in and out. Stuff co-exists and get entangled. It is a world of becoming. Looking for where it matters I looked down and saw a pair of molded plastic slippers and knitted woolen socks. My feet became the surface where two worlds seemed to appear. The global and the local. The mass produced and the home-made. Then they were gone. Just a pair of feet with socks and slippers. But these surfaces exist elsewhere too. Maybe we all walk around carrying parts of different worlds with us. For me it’s emotional. Being Sami and Swedish. So I picked up duodji, Sami craft, something I haven't worked with since I finished Samernas utbildningscentrum eight years ago. I felt other people saw it as only handicraft. And I thought it placed me in a certain position where I'm not comfortable. Half, semi, fraud, poser, con, etc. Never enough. Things are not that easy though. They are complex. In this essay I’m exploring this surface in between through the practice of craft and corpus. In a playful manner I’m investigating how the practices can become a tool to dissolve ideas, conventions, expectations and perceptions that limit our understanding of what things are becoming. I focus on the making and what happens when you as a maker goes with the materials and the objects that comes out of the practice.

  • 135.
    Martin, Tobias
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Safe: one thing to rely on1999Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 136.
    Martin, Tobias
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Skrin, lådor och kistor1996Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 137.
    Mattsson, Hanna
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Dolda former - en minnesbild2002Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 138.
    Mazé, Ramia
    et al.
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Industridesign.
    Olausson, LisaPlöjel, MatildaRedström, JohanZetterlund, ChristinaKonstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Share this book: Critical perspectives and dialogues about design and sustainability2013Samlingsverk (redaktörskap) (Övrigt vetenskapligt)
    Abstract [en]

    This is a critical time in design. Concepts and practices of design are changing in response to historical developments in the modes of industrial design production and consumption. Indeed, the imperative of more sustainable development requires profound reconsideration of design today. Theoretical foundations and professional definitions are at stake, with consequences for institutions such as museums and universities as well as for future practitioners. This is ‘critical’ on many levels, from the urgent need to address societal and environmental issues to the reflexivity required to think and do design differently

  • 139.
    Molly, Amba
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Aesthetic dialogues: a conversation between hands and industry2012Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Working in the field of arts, crafts and design for the last 8 years, my interest in functional objects created by hand which tell a story has evolved. I believe that the hand of the craftsperson and industrial methods, when merged together can create interesting beautiful objects. As a maker/designer I appreciate theaesthetics of both the craft world and the industrial world. I envision that in the future,industrial produced products will include parts made by a craftsman’s hand and vice versa.

    This interest in combining two worlds arises from my multiculturalbackground. With my father being from Surinam and my mother from Holland,I pose the question if it would be possible to craft a breed ofmulticultural objects that show the best of both worlds.Over the past three years during trips to Ghana and Morocco, I have observed alternative methods of hand making which have fascinated and inspired me.In these countries the makers utilize alternative forms, materials and technicalsolutions from their environment to create functional objects employed through out their daily lives. This aspect of hand made functional objects for survival resonates with me.

    On the other hand the world of the industrial mass-produced objectsappeals to me too. I appreciate the precise simple aesthetics and subtle detailscreated by the machines that manufacture them. During my research I discovered thatthere are many differences between both the craft world and the world of industrialproduction, the most notable being the removal of the human touch and the body and mindconnection to the work.

    With the rapid growth of technology, industrial objects are designed and pumpedout at a fraction of the time similar objects would take a craftsperson to make, and of course, at a fraction of the cost too.Not to take into account the years the crafts person spends studying in order to acquire the skills necessary to make the object in question. Sadly people are slowly losing contact with the processes of making objects by hand. Refrencing the work of designers Christien Meindertsma and Atelier NL, I will investigate this disconnection between peoples growing unwareness of the sources of materials and the way objects are made.I strongly believe that we should approach the future of making, by sharing the tried and tested skills and knowledge of craft with industry and start using new combinations. Kathryn Hinton and Lenneke Langenhuisen are two examples of artists that wrestle with and visualized this correlation between crafts and industrial production in their work.

    In my opinion this cross-pollination of disciplines will broaden the field of corpus.It is where new ideas, solutions and processes can be found. In short, by taking the goodness from each discipline and mixing it up, we can create “new” Corpus with “Interdisciplinary ” ‘DNA’.

  • 140.
    Möllersten, Elisabeth
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Förgänglighet2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Syftet med min uppsats är att jag vill påminna om människans egen förgänglighet. Jag vill upplysa att allting lever under samma princip. Förgängligheten finns i allt, att allting är underständig förändring och att det bara är en fråga om olika lång tid innan allt försvinner. Jag vill att människan ska bli mer påmind om att allt och alla, människor, naturen, och alla ting lever undersamma principer och på så sätt inte är särskilt skilda från varandra.Jag vill påvisa hur förgängligheten har analyserats och analyseras, samt ge en inblick i vad förgänglighetsteori handlar om. Förgängligheten har flitigt avbildats inom konsten.Jag kommer undersöka varför två betydelsefulla konstnärer har arbetat med förgängligheten och jämföraderas tolkningar. Mina frågeställningar är följande:

    • Hur definieras idén om förgängligheten historiskt och symboliskt?

    • Varför har Andy Warhol och Damien Hirst arbetat med förgängligheten?

  • 141.
    Nakajima, Hiroko
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Living in-between cultures and towards a new universality2012Självständigt arbete på grundnivå (kandidatexamen), 80 poäng / 120 hpStudentuppsats (Examensarbete)
  • 142.
    Nilsson, Annika
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Vi är inte där än2016Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The problem with definitions isn't always that they exist, but that assumptions occur because there is a hierarchical order within definitions. For example how everyone is presumed straight until proven otherwise. The thing that is subordinate simply becomes invisible. With definition we know what to expect and what not toexpect, and we can get a sense of belonging. It is supposed to make things easier, but it also fails to include the complexity of reality. Definitions seldom fit. Even though definitions can be problematic letting things and people stay undefined seems hard for us. Not defining could be considered a failure, like something has missed its purpose. Although it is this failure to define that can help us question how our world is organized and what it means. For me queer is a term that pushes boundaries and is based on the unwillingness to define. Something that challenges norms and disturbs the order of things.

    The discussion about the need for definitions is also possible to apply to objects and in this case corpus. Traditional corpus could be considered the embodiment of heteronormativity, but looking beyond the norms there is something queer about corpus. I have worked with enhancing this. For me corpus contains a constant movement and therefor it speaks about the non-defined. My corpus loses its form and regains it again, it's a continuous movement. The rhythm of losing form and regaining refers more to the function of corpus, to pour in and pour out, a space that shrinks and grows. There is something to gain by allowing things to move, by not relying on stable definitions and not rushing to conclusions about everything around us. For me movement is about possibility. Possibility to exist and take up space. Possibility to step outside boundaries and break patterns.

  • 143.
    Nordström, Anna
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Damaged Goods: Med fokus på emotionell kommunikation2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    How can the object based art help us, as viewers and as makers, to access a supplanted emotional state?

    One way of positioning yourself within the corpus-field is to step outside the traditional borders of the field and aim for other values within the objects, such as a visible working process, a storytelling or an emotional relationship to the object.  It is a way of taking a step from the traditional silversmithing towards some kind of free undefined corpus-art.  To reach for suppressed feelings is one way to find an importance within the artistic work, to give it a purpose.

    By investigating the concept of the sublime and the surrealist movement I try to find examples on how you, both as a viewer and as a maker, can put yourself in an emotional/intuitive state.  Through interviews with Jewellery and corpus artists I get a maker’s perspective which I compare with my own reactions to their work.

    Works of art can be used as a catalyst to reach, and maybe also to process, unattended feelings. This creates a strong emotional connection to the work.  As a maker you can, for example, do this by working with it as a theme, or by using an intuitive working method. But also as a viewer you can be triggered to expose these feelings. Although, it must be said, that the viewer’s experience of artwork is always subjective.

    I see the focus of emotional communication as a way of verifying the importance of artistic work within the corpus-field.

  • 144.
    Nordström, Anna
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Who of me am I?2014Självständigt arbete på avancerad nivå (magisterexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    I have chosen to use the forum of jewellery, particularly lockets, to investigate the notion of a public and a private self as a main theme. In this text I will bring up different aspects of the locket to show which tools I have to work with, and then I will research the actual theme from a sociopsychological point of view.

    Jewellery can be used as a manifestation of a public self and it can be a connection to a private self. The jewellery holds the possibility to tell its story when worn and the person wearing it might fill it with his/her own emotional value that might and might not be in correlation with the artists’ intent.

    The way lockets are and have been used is influencing the way we look at them; it charges them with symbolical meaning. The locket becomes a representation of a private, intimate part of the person wearing it. The locket has an outside and an inside, a public and a private part. When worn, it communicates to both the wearer and his/her surroundings. The action of opening a locket and of wearing a locket are deliberate acts that revolve around both the transgression between public and private and the secrecy of its content. These different aspects of the locket are tools that I can use in my work.

    The creation of an outer, public-, self works as a tool to help us interact with each other. It simplifies communication, places us in an understandable setting (society) and might also help us improve our influence on our social status. In some situations this public self can give rise to a feeling of alienation and discomfort. The risk is that we identify ourselves with a one-dimensional image of ourselves. Or that we experience a too big gap between our public and private self. The representational self can also become an integrated part of our identity. In that sense we create ourselves. As the borders between our private and public sphere become more blurry, it might be hard to keep the balance between the public and the private self. The increased availability for social interaction sometimes restrains the private self and this stresses the need for determining and keeping a private sphere for oneself.  I believe that the feeling of an outer and an inner self often is based in an ambivalence towards a social situation. That I pay attention to a framework that both attracts and repulses me. It is in those situations that our split self becomes apparent, and can be felt, but also questioned. I create my own public self. But there has to be a balance between our public and private self, and that stresses the need of setting up personal borders, not only for a bigger social benefit, but also to be able to cope with, to interpret and process everyday-life.

     I believe that the urge of addressing the personal, and bringing up different aspects of identity within jewellery art, springs from the preconception of jewellery as no more than an embellishment. That is also why it becomes interesting. From my part I see an excitement in the contradiction of using what might be considered a fashion attribute to problematize, make aware of an awkward attitude towards the presentation of the self.  To use the physical aspects of the locket to talk about a mental state, and an emotional reaction to a social situation. Because that is what the imbalance of a public and a private self does with me: it evokes an emotional reaction to the social situation I find myself in.

  • 145.
    Norinder, Mirjam
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Kafferep: en trivsam sammankomst1998Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 146.
    Norinder, Mirjam
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Stålullsprojektet: en sammanställning av uppfinningar och experiment1995Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 147.
    Norlén, Tove
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Naturlig symmetri: en smyckekollektion2001Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 148.
    Norrbin, Li
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Föränderlig armatur för restaurangmiljö2004Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 149.
    Nygårds, Patrik
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Organiska behållare1998Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 150.
    Nylén, Lo
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Att mötas i en vitlökspress - en studie om korpus2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

     

    My field is Korpus and in this project I am investigating what role that plays for me as an artist connected to craft. To really get close to, and understand Korpus I have deconstructed it to find clues to why the silversmithing field looks like it does and how we got here. I believe Korpus has not yet come out of the closet for what it really can be. That it carries a great heritage of traditions and preconceptions that it would do well to shake off a little bit of. Can Korpus as an art field really survive in Sweden, where the Church has no power and silverware is no longer a need to demonstrate ones economic prosperity at an important dinner party? To help myself get closer to these objects I have given my own definition of Korpus. When doing that I choose to look beyond material, history and form. My main interest is instead the fact that we use these objects in our everyday life, and the way that forms and affects us. A Korpus is an object with a strong connection to the human body and helps us to put other living matter within control in different ways. It has often a function but it is not the function itself that makes the object Korpus. My definition of Korpus applies for use on biological material, and to some extent, dead things that have been alive. To judge if something is Korpus, I look at how people interpret, understand or intentionally use an object on biological material. According to my definition Korpus occur in the moment of use. I state that craft as a field is uniquely connected to the everyday, as it can be both functional objects as well as installations just illuminating that fact. I want to liberate Korpus from its sideboard like jail and let it be what it really is - a tool for communicating with other humans in our daily lives. I am not a silversmith and my work is not material specific – can I then still connect myself to the craft field and be taken serious? The result of my questions is yes. Korpus belongs to a class (the upper class), it is bound to a material (silver), has a small group of practitioners and few people that even know what it means. But this is only true if I as an artist choose to find myself within these boundaries.

12345 101 - 150 av 221
RefereraExporteraLänk till träfflistan
Permanent länk
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annat format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annat språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf