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  • 1. Brännström, Andreas
    et al.
    Ericsson, Mattias
    Lundqvist, Camilla
    Norberg, Micael
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Willemark, Alva
    Österholm, Johan
    Kite Aerial Photography - Hué2014Book (Other (popular science, discussion, etc.))
    Abstract [en]

    The Kite Aerial Photography - Hué project started with the intention from Mattias Ericsson and me Micael Norberg to work artistically on a jointly project with students from di erent art schools and from di erent cultures. We had an idea of building bridges both artistically and culturally. We traveled to Hué in Vietnam in order to explore new ways to collaborate and  nd new artistic meth- ods. We wanted to use kites and send our cameras up in the air to make aerial pictures. We tried to  nd a way to control events and by that also control our artistic outcome and understanding. But in the The Kite Aerial Photography project we had no control. The weather controlled our kites. The place and the language controlled what we knew and understood. What was left was to look into ourself and negate a compromise. The leftovers became documentations of an experience.And now I am looking back at those events, wondering what really happened. I am using words, trying to create an image of my memories and of my experience - hot air, smells and noise. Experi- ences I can’t communicate fully in words. You as a viewer will never feel them and I will only remember them. We will also remember di erently. Every participant have their own image ofwhat happened during those days in Hué. The feeling of being di erent, not understanding and being an outsider made us all meet ourselves in di erent ways. We believed that language would build bridges of understanding, and maybe it did. But here we are now. A long time has passed since we returned from Hué. What we have left are images and memories. I remember smells and emotions and in this state between memory and fact a tension is created. A juxtaposition of con ict- ing feelings. I look at the photographs now with a new understanding. We tried to move out of our comfort-zone looking for the unseen, the enigma, where memory and re ection becomes a liminal state. I now realize that knowledge is not fact or truth, but a state that we can call ”not knowing”. A state which for me is the very basic for understanding, and by that becoming the very essence of art.

  • 2. Ebner, Martin
    et al.
    Zeyfang, FlorianUmeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Poor man's expression: technology, experimental film, conceptual art2007Collection (editor) (Other (popular science, discussion, etc.))
  • 3.
    Edlund, Lars-Erik
    Umeå University, Faculty of Arts, Umeå School of Fine Arts. nordiska språk.
    Anmälan av Klaus Böldl, Eigi einhamr. Beiträge zum Weltbild der Eyrbyggja und ande¬rer Isländersagas. V + 306 s., Berlin-New York 2005 (Walter de Gruyter). (Ergänzungsbände zum Reallexikon der Germanischen Altertumskunde 48.) ISBN 3-11-018582-2.2006In: Arkiv för nordisk filologi, Vol. 121, p. s. 283-284Article, book review (Other academic)
  • 4. Ericsson, Mattias
    et al.
    Norberg, Micael
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    The Animation Manual2012Book (Other (popular science, discussion, etc.))
    Abstract [en]

    “The Animation Manual” started off with the idea of trying to tie together our own art practice with a workshop in animation.

    We travelled to Hué in Vietnam to work together with students and teachers at Hué College of Fine Arts. By placing our self in a different cultural context and collecting material that could become a base of a manual we wanted to explore the process and document the experiences we encountered in this meeting.

  • 5.
    Holmstedt, Janna
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts. Malmö Faculty of Fine and Performing Arts.
    Are you ready for a wet live-in?: explorations into listening2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations?

    This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet).

    The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them.

  • 6.
    Nilsson, Per
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Art, or developing amphibians2013In: Intravention, durations, effects: notes of expansive sites and relational architectures / [ed] Alberto Altés, Oren Lieberman, Baunach, Germany: Spurbuchverlag , 2013, p. 261-274Chapter in book (Refereed)
  • 7.
    Nilsson, Per
    Umeå University, Faculty of Arts, Umeå School of Fine Arts.
    Christina Catarina Larsdoter2006Other (Other (popular science, discussion, etc.))
  • 8.
    Nilsson, Per
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Forskningsprocesser i konst: Introduktion2006In: Konstnärlig forskning: artiklar, projektrapporter och reportage, Stockholm: Vetenskapsrådet , 2006, p. 136-153Chapter in book (Other (popular science, discussion, etc.))
  • 9.
    Nilsson, Per
    Umeå University, Faculty of Arts, Umeå School of Fine Arts.
    Hidden behind beauty2006In: Periferic Seven, International Biennal for Contemporary Art, Iasi, RomaniaArticle in journal (Other (popular science, discussion, etc.))
  • 10.
    Nilsson, Per
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    History travels fast: Remembering an old paper2009In: Grapheion : the International Review of Contemporary Prints, Book and Paper Art, ISSN 1211-6890, no 21Article in journal (Other (popular science, discussion, etc.))
  • 11.
    Nilsson, Per
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    The amphibian stand: an essay concering research practises in fine art2009 (ed. 1)Book (Other academic)
  • 12.
    Norberg, Micael
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Jag Buddha och mig själv: noteringar2012Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    “Jag hade önskan om att detta arbete skulle handla om lycka och att jag skulle kunna förstå lycka, framgång och vad de begreppen betyder. Jag utgick från perspektivet om min egen lycka (som om jag visste vad lycka var) men upptäckte snabbt att jag fick börja med att utgå från ingenting. Mina förutfattade meningar och dualistiska tankesätt fick mig att inse att jag måste börja om från början. Det blev ett antal ord satta i en följd med en förhoppning om att de skapar någon slags berättelse. Inte en berättelse om makt, strukturer, sex eller politik utan en betraktelse av olika tillstånd som tillsammans bildar en minnesbild. Det är noteringar kring händelser. Det handlar kanske mest om att gå.”

  • 13.
    Norberg, Micael
    et al.
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Ewadotter, Emma
    Umeå University, Faculty of Arts, Humlab.
    A permanent mark on a physical body2014Book (Other (popular science, discussion, etc.))
    Abstract [en]

    Boiling down a conversation that has been ongoing for years to a few pages of text is a complicated thing to do. Boiling down experiences gathered over the span of half a lifetime is even more so. In the beginning of this project, mingling two different people’s notions of existence into one body of text seemed to provide nothing but confusion and frustration. But there turned out to be some points of connection, bright lights that started to indicate a path. It was loosely defined, sometimes lost from sight, but nonetheless a common ground. What started to emerge was a shared notion of being. A being among beings. Being aware of the creeping sensation of becoming aware through a bodily experience. Being there-ness, a sensation brought upon the flesh through needles and patterns. It could have been anything, of course. The prick of the needle is just the beginning, the thin sliver of sunlight indicating that a door has been opened. Walking through that door is a different thing altogether…

  • 14.
    Ozmin, Janek
    et al.
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Heger-Davis, Swetlana
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Domestic still life2015Other (Other academic)
    Abstract [en]

    Professor Swetlana Heger and Janek Ozmin were commissioned to investigate the themes of Migrating Places of Production and Space as Product in relation to the town of Hohenems, Austria. The project investigated the history of material production in the Hohenems region and produced three woven sculptures that represent the globalised condition of manufacturing; it's relation to place and the role interdisciplinary work required to make of a representative image of place. The work was hung within a working aluminium anodising plant set in the town of Hohenems from which the sculptures provided a platform for debate on Migrating Places of Production and Space as Product.

    Domestic Still Life

    1. Blue - Yellow  180x 360cm 

    2. Yellow - Red  180x 370cm 

    3. Red - Blue  180x 355cm

  • 15.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Giveriet i den fria rörlighetens Europa2014In: Glänta, ISSN 1104-5205, no 1Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Gatans informella fördelningspolitik synliggör den europeiska välfärdens systemfel. Samtidigt bidrar den till människors akuta överlevnad. Genom att genomföra en marknadsundersökning, fotografera, läsa rapporter och ställa frågor till folk på gatorna undersöker Cecilia Parsberg giveriets och tiggeriets europeiska koreografier.

  • 16.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Giving in free movement Europe2014In: Eurozine, ISSN 1684-4637, article id 2014-08-06Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    The informal politics of distribution on the streets, of begging and of giving, makes visible the faults inherent in European welfare systems, writes Cecilia Parsberg. And the rules and statutes that aim to prevent poverty-stricken EU citizens from enjoying free movement add insult to injury.

  • 17.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Hur blir du en framgångsrik tiggare i Sverige?: en undersökning av tiggandets och givandets bilder 2011 till 20162016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works. 

  • 18.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Konsten kan skapa ett nytt handlingsutrymme2014In: Sydsvenskan, ISSN 1652-814XArticle in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Konstnären Cecilia Parsberg menar att konsten kan skapa ett handlingsutrymme mellan den som ber om pengar på gatan och den som ger. 

  • 19.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Om att tigga – ett tidsdokument med komplikationer: 2015In: Feministiskt perspektiv, ISSN 2002-1542Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Stefan Gurts bok Ni inger dessa människor hopp får vi följa Sven Hovmöller, vice ordförande i HEM, föreningen för hemlösa EU-migranter och hur en verksamhet byggs upp som efter två år ger 4,5 miljoner kronor till de försäljare som förut var tiggare. Men det är inte utan komplikationer, konstaterar Cecilia Parsberg som rekommenderar boken. ”Den är skriven med undran, öppenhet och intresse att förstå mer”.

  • 20.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Om handlingsutrymme mellan givande och tiggande2015In: Socialmedicinsk Tidskrift, ISSN 0037-833X, Vol. 92, no 3, p. 335-342Article in journal (Refereed)
    Abstract [sv]

    Ett drama pågår på gatorna mellan de som tigger och de som ger eller inte ger. Hindren tycks vara både känslomässiga och språkliga. Det finns dessutom kulturella koder i spel. De bilder vi har av varandra behöver förhandlas, särskilt de som fördomar och okunskap genererar, eftersom de idag skapar ett våld mot människor. Det gör Givandets kör och Tiggandets kör. Här deltar människor som tigger på gatorna och givare. Det är en filminstallation för två filmdukar, där betraktaren står emellan.

             Processen att skapa ett körverk tillsammans dessa tre dagar filmades också och blev en produktionsfilm med en tillhörande text där bland annat etik, estetik och arbetsförhållanden beskrivs. Verket har visats på en rad offentliga platser och på seminarier. Det är en gestaltning av hur det är möjligt att skapa utrymme för handling. Det visar både metod och resultat.

             Det finns ett handlingsutrymme mellan oss. Konst är ett sätt att utnyttja detta utrymme för att uttrycka det sinnliga, det där också det politiska grundas: i affekter och reaktioner hos människor. Om konsten handlar om att synliggöra detta handlingsutrymme så handlar det politiska om hur det är möjligt att se vilka bilder som är relevanta i detta utrymme, och att aktivera det. 

  • 21.
    Parsberg, Cecilia
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Sverige-Rumänien t/r2015In: Feministiskt perspektiv, ISSN 2002-1542, article id 2015-11-13Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Filmarna Tova Kurkiala Medbo och Caroline Kernen har under ett år följt tre kvinnor som reser mellan Stockholm och Rumänien för att tjäna pengar till sina familjer. De har fått många svar på sina frågor, men vilka var frågorna? Det undrar Feministiskt perspektivs recensent Cecilia Parsberg. Hon har sett dokumentären I jakt på ett bättre liv som har premiär ikväll på Stockholms filmfestival.

  • 22. Ronduda, Łukaz
    et al.
    Zeyfang, FlorianUmeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    1, 2, 3- avant-gardes: film/art between experiment and archive2007Collection (editor) (Other (popular science, discussion, etc.))
  • 23.
    Rådström, Anna
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Prescence and trace: the art of Fanny Carinasdotter2009In: It's about time: Ah, I like time. Once I had a really good one. / [ed] Sofia Curman, Umeå: Academy of Fine Arts, Umeå University , 2009, p. 16-16Chapter in book (Other (popular science, discussion, etc.))
  • 24.
    Rådström, Anna
    et al.
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Fredriksson, Christofer
    Does Gender Matter?2007Collection (editor) (Other (popular science, discussion, etc.))
  • 25.
    Rådström, Anna
    et al.
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Fredriksson, ChristoferUmeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Exchange2009Collection (editor) (Other (popular science, discussion, etc.))
  • 26.
    Rådström, Anna
    et al.
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Fredriksson, ChristoferUmeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    The seminar as the heart of the project2009Collection (editor) (Other (popular science, discussion, etc.))
  • 27.
    Rådström, Anna
    et al.
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Fredriksson, ChristoferUmeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    What is Equality?2008Collection (editor) (Other (popular science, discussion, etc.))
  • 28. Schmidt-Colinet, Lisa
    et al.
    Schmoeger, Alex
    Valdés Figueroa, Eugenio
    Zeyfang, Florian
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Pabellón Cuba 4D:: 4Dimensions, 4Decades2008Book (Other academic)
  • 29.
    Vetter, Ingo
    Umeå University, Faculty of Arts, Umeå School of Fine Arts.
    Allmende & Urbane Landwirtschaft2007In: Skulptur Projekte Münster 07, Köln , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 30.
    Vetter, Ingo
    Umeå University, Faculty of Arts, Umeå School of Fine Arts.
    Der lange Marsch2007In: Industriestadtfuturismus, Frankfurt/Main , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 31.
    Vetter, Ingo
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Functional Sculpture2008In: Art among u: public art in Gävle / [ed] Carl Bergström ; translation: Jan Teeland, William Jewson, Gävle: Gävle Konstcentrum , 2008Chapter in book (Other (popular science, discussion, etc.))
  • 32.
    Vetter, Ingo
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Funktionell skulptur2008In: Konsten mitt ibland oss: Gävles offentliga konst / [ed] Carl Bergström, Gävle: Gävle Konstcentrum , 2008, p. 53-60Chapter in book (Other (popular science, discussion, etc.))
  • 33.
    Vetter, Ingo
    Umeå University, Faculty of Arts, Umeå School of Fine Arts.
    NameGame2007In: Bin Beschäftigt, Bremen , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 34.
    Vetter, Ingo
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    True Swamp2008In: Katastrophenalarm, Berlin: NGBK Neue Gesellschaft für Bildende Kunst , 2008Chapter in book (Other (popular science, discussion, etc.))
  • 35.
    Vetter, Ingo
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Urban Agriculture2007In: Ground-up city: play as a design tool. / [ed] Liane Lefaivre, Döll, Rotterdam: 010 Publishers, 2007, p. 29-29Chapter in book (Other (popular science, discussion, etc.))
  • 36.
    Zeyfang, Florian
    Umeå University, Faculty of Arts, Umeå School of Fine Arts.
    4D - 4 Dimensions, 4 Decades: The Pabellon de Cuba, A Project for the Havanna Biennial2007Chapter in book (Other (popular science, discussion, etc.))
1 - 36 of 36
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