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  • 1. Eca, Theresa
    et al.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Soundscapes:: start up a participatory art project online2014Inngår i: 2º Conference on Arts-Based Research and Artistic Research: Insights and critical reflections on issues and methodologies, Professional Conference, Granada, Spain, 27-30 January, 2014, 2014Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This text is about an arts education collaborative learning experience called Soundscapes Project. The Project aims the development of local intercultural projects in educational settings using arts processes. The initial part of the experiencewas a pilot study conducted during 2013 involving students aged from 3 years old until 18 years old from schools in Greece; Portugal; Brazil; Spain and Sweden. The project started as a collaboration between teachers from University of Jaén in Spain and the art teachers association APECV in Portugal. In that project interactive media was used for communication and creation of contents. Some interesting points emerged in the group such as the use of digital tools to reflect upon pedagogical practices; the use of performance as a collective tool for sharing and reflectingabout practices and finally the impact of interchange intercultural art education projects on teachers lives. After analyzing those issues with the pilot study participants we brought up some possibilities for using digital media, and multimodal performances for pedagogical reflection within a model of participatory research.

  • 2.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    An aesthetic approach to new technology2012Inngår i: Arts Education in the Crossroad of Cultures: Proceedings InSEA 2012 European Regional Conference 25-27 of June, Lemesos, Cyprus / [ed] CySEA Board, 2012, s. 514-526Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Is digital creativity affected by gender norms? This paper aims to investigate girls as creative developers of the Internet and new technology. Information has been collected through interviews with female students, artists, project managers and entrepreneurs. As the investigation of digital creativity and gender has progressed, a hypothesis has emerged, namely that girls frequently have an aesthetic approach to new technology. Girls choose to learn some new technology because they want to use the technology in order to achieve something else, and their goal often have aesthetic preferences. The issue of girls learning technology, becoming technical, is clearly more complicated than one might first think in relation to gender norms. Expressions of technical knowhow or innovation that are not in line with the predominant male norm easily become invisible. Creative girls who undergo education within the digital field can easily end up in a situation where they must first work with equality and become entrepreneurs in order to have a chance to practice their profession.

  • 3.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Artistic research and development work in Teachers Education2014Inngår i: Tales of Art and Curiosity from Canterbury 2013 / [ed] Gregory, P., Canterbury: Canterbury Christ Church University / NSEAD , 2014, s. 151-157, artikkel-id 106Konferansepaper (Fagfellevurdert)
    Abstract [en]

    How could the creative processes and artistic pedagogic methods be further developed, investigated and problematized in teachers education? How could we involve children and students, on equal terms, in the development of new creative learning processes?

    The aim of this paper is to find new knowledge about what methods may be suitable for artistic in-house research- and development projects within teachers education. One purpose is to investigate how the artistic and pedagogic processes could be explored and renewed by participatory art projects together with children and students.

  • 4.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Artistic research in teachers education2013Inngår i: Proceedings of the 1st Annual Conference on Arts-Based and Artistic Research: Barcelona, Spain, January 31st - February 1st, 2013 / [ed] Hernández-Hernández, F., & Fendler, R., Barcelona: University of Barcelona , 2013, s. 157-161Konferansepaper (Fagfellevurdert)
    Abstract [en]

    SoundImages is an artistic research- and development project at a Swedish university. The fieldwork started in 2011 initiated by a visual artist and a musical composer, involving approximately 100 children of 5-6 years old and 100 students. The practice based result of the project, so far, includes an audio-visual “instrument” and a computer game created together with the children and students. The artistic results have been exhibited and evaluated by test groups at preschools in 2012.

  • 5.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Becoming an Artist2014Inngår i: 2º Conference on Arts-Based Research and Artistic Research: Insights and critical reflections on issues and methodologies, Granada University, Granada, Spain, 27-30 January, 2014, 2014Konferansepaper (Fagfellevurdert)
    Abstract [en]

    How do you become an Artist? When and why during education or career do you begin to experience yourself as an Artist? How is artistic knowledge transferred? The aim of this research project is to investigate how contemporary artists become Artists and which factors in the relational environment that are crucial for the artistic identification process.

  • 6.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Can you see me now?2012Inngår i: Invisible Girl Conference, Umeå, Sweden, 7 June, 2012 / [ed] Gun-Marie Frånberg, Camilla Hällgren, Elza Dunkels, 2012Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Why do so many girls choose to blog? What is it that influences girls’ choices of new technology? How is digital creativity affected by gender norms? The prevailing social gender norms appear to be reflected on the Internet as digital gender norms, where girls and boys seem to prefer different communication tools. While working with the question of digital gender, I developed the hypothesis of aesthetic technology, namely that girls often have an artistic approach towards technology.

  • 7.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Can you see me now?: the digital strategies of creative girls2013Inngår i: Invisible Girl: "Ceci n'est pas une fille" / [ed] Gun-Marie Frånberg, Elza Dunkels and Camilla Hällgren, Umeå: Umeå Universitet , 2013, s. 231-241Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The digital strategies of creative girls aims to make visible girls as creative developers of the Internet and new technology, which has been investigated through interviews with students, artists, project managers and entrepreneurs. Why do so many girls choose to blog? What is it that influences girls’ choices of new technology? How is digital creativity affected by gender norms? The prevailing social gender norms appear to be reflected on the Internet as digital gender norms, where girls and boys seem to prefer different communication tools. While working with the question of digital gender, I have developed the hypothesis of aesthetic technology namely that girls often have an artistic approach towards technology. Girls mainly learn technology for a reason, planning to do something once they have learned the technique, and their goals often have aesthetic preferences. The issue of girls learning technology, becoming technical, is clearly more complicated than one might first think in relation to gender norms. Even though young girls are often just as interested in technology as young boys are, it is difficult for them to keep or adapt their technical interest to normative femininity, as they enter their teens. Another problem is that expressions of technical competence or innovation, which do not correspond to the predominant male norm, might be hard for us to see. Creative girls who undergo education within the digital field can easily end up in a situation where they must first work with equality and become entrepreneurs in order to have a chance to practice their profession.

  • 8.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    How could we bridge geographical and cultural distances with net art?2013Konferansepaper (Fagfellevurdert)
  • 9.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    In Search of Digital Feminisms: Digital Gender & Aesthetic technology2013Inngår i: Lateral: Journal of the Cultural Studies Association, ISSN 2469-4053, nr 2Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    What is it that influences girls’ choices of new technology? How is digital creativity affected by gender norms? “Digital Gender & Aesthetic Technology” aims to make visible females as creative developers of the Internet and new technology, through interviews with students, artists, project managers, and entrepreneurs. The prevailing social norms appear to be reflected on the Internet as “digital gender norms,” where girls and boys prefer apparently different communication tools. While working with the question of “digital gender,” I have developed the hypothesis of “Aesthetic Technology,” namely that girls often have an artistic approach towards technology. Girls mainly learn technology for a personal reason, planning to create something once they have learned the technique, and their goal often have aesthetic preferences. The question of girls “becoming technical,” is more complicated than one might first think, in relation to gender. Even though young girls are often just as interested in technology as young boys are, it is difficult for them to keep or adapt their technical interest to normative femininity in their teens. Another problem is that expressions of technical competence or innovation, which do not correspond to the predominant male norm, might be hard to recognize. Females who study within the field of creative digital technology often begin their career by struggling with questions of equality, instead of just practicing their profession.

  • 10.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    N-appar2012Inngår i: Cultural encounters: Starting the Dialogue in Arctic Sustainable Arts / [ed] Timo Jokela, Elina Härkönen, Rovaniemi: University of Lapland , 2012, s. 9-9Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    "N-appar" is an artistic research- and development project at a Swedish University. The fieldwork started 2011 initiated by a visual artist and a musical composer, involving approximately 100 children of 5-6 years old and 100 students. The practice based result of the project, so far, includes an audio-visual "instrument" and a "computer game" created together with the children and students. The artistic results have been exhibited and evaluated by test groups at primary schools 2012. During the fall of 2012 an article will be written on the project, with focus on artistic pedagogy.

  • 11.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    N-appar: artistic research in teachers education2012Konferansepaper (Fagfellevurdert)
    Abstract [en]

    "N-appar" is an artistic research- and development project at a Swedish University. The fieldwork started 2011 initiated by a visual artist and a musical composer, involving approximately 100 children of 5-6 years old and 100 students. The practice based result of the project, so far, includes an audio-visual "instrument" and a "computer game" created together with the children and students. The artistic results have been exhibited and evaluated by test groups at primary schools 2012. During the fall of 2012 an article will be written on the project, with focus on artistic pedagogy.

  • 12.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Nostalgica Utopica Futura2013Inngår i: Relate North: Engagement, Art and Representation 2013 / [ed] Elina Härkönen, Timo Jokela, Ásthildur Jónsdóttir, Rovaniemi: University of Lapland , 2013, s. 23-23Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    This collaborative sound-video art project ‘Nostalgica Utopica Futura’ (inspired by Italian minimalist musical composer Luigi Nono) has one of the narratives of inspiration in historical, utopic ideal society built up in 1895 on an island called Norrbyskär, located at the coast close to Umeå. The island was totally (re)constructed, probably inspired by contemporary ideas about utopic societies, like the Morris novel, where the workers were ‘taken care of ’ in all social aspects. The children in the video, Ivan Morén and Linnea Thors are ancestors of a family who lived at Norrbyskär during this period. Film production took place in the family house, called the Tailor House, where tales of the family were mixed with contemporary tales, to a gothic story of the drowned children (the script were written in collaboration with the children). The image style was influenced by the Nordic fine de siècle New Romanticism, with Swedish artist like Carl Larssons ‘A day of celebration’ and Axel Fridells ‘Mr Simmons’ or the ‘The dying dandy’ by Nils von Dardel. Sound was composed by J.M. Holmberg.

  • 13.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Participatory art as a methodology for educational change2018Inngår i: Libro de actas del 3rd international summerworkshop on alternative methods in social research: Transformative and Inclusive Social and Educational Research / [ed] Blas González Alba, Moisés Mañas Olmo, Pablo Cortés González y Álvaro de la Morena, 2018, s. 73-82Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In my PhD-thesis named 'Relational Creativity' I am researching the potential of using participatory art as a transformative methodology in design for creative learning environments. In practice I have investigated the possibilities of using a participatory art project to influence university education from within. My preliminary results indicate that participatory artistic methods include the potential of transforming a learning environment to becoming a more inclusive system. I therefore suggest that participatory artistic methods can be used to investigate other ways of understanding educational processes, and for building alternative educational models and relationships, as proposed in the framework for this summer workshop. I certainly agree with the organizers, that we need to get together to share our knowledge about new ways of doing research. In this paper I propose as a topic of discussion, that one of the challenges for us, is to find ways to communicate and share the knowledge emerging from these new transformative and inclusive methodologies, as practitioners and researchers.

    How can we find ways to share and communicate (describe, analyse, discuss and validate) the rich variation and complexity of transformative research methods emerging in the contemporary fields of artistic, arts-based, educational and social sciences?

  • 14.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Relational creativity: what can participatory art do for higher education?2019Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Why research creativity in higher education? Creativity is regarded as a key competence for future education by the European Union as well as by UNESCO, and my wish is to contribute to this contemporary global agenda of rethinking education. Creativity is central for complex problem- solving and we need to rethink education to facilitate for our future citizens to develop creativity, to be able to meet our interconnected world's urgent need for sustainable development. Based on these global demands for supporting creativity as a competence in future education, I propose that developing knowledge about design for creative learning environments is an important quest in educational research.

    The problem however, is that, there is not much previous research that can serve as a knowledge foundation for how to design for learning environments which support students' development of creativity. In this thesis I research creativity from a sociorelational perspective, with and through participatory artistic practices. I first came to think of the notion of relational creativity, while working as an artist, noticing how there seemed to be a connection between participants' increased creativity and engagement in participatory artistic practices.

    The aim of the thesis is to develop theory about relational creativity as a design concept for creative learning environments, grounded in practice. The study is based on my previous research and development work as an artist-in-residence in higher education. In the thesis the theory is presented along with four design concepts for relational creativity. The four design concepts are: design for creative transformation - as in taking advantage of art's openness for interpretation and emergence of unexpected new solutions; design for creative participation - as in trusting the participants with the responsibility of contributing to a common work of art and knowledge; design for creative comparative encounters - as in providing participants with supportive environments free from judgmental evaluation; design for creative networking - as in facilitating for participants to share, interact with and contribute to each other's processes of art and meaning making. In the thesis I present theory along with rich empirical examples reconnecting to the participatory artistic interventions which this study is based on. My ambition to contribute with new knowledge about relational creativity as a design concept for creative learning environments in higher education, which is useful for practitioners as well as for the research community.

  • 15.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Ser du mig nu?: Kreativa tjejers digitala strategier2012Inngår i: KLÄM!: Konferens om lärande, ämnesdidaktik och mediebruk 2012, Umeå, Sweden, 14-16 maj, 2012, Umeå: Umeå Universitet , 2012Konferansepaper (Fagfellevurdert)
    Abstract [sv]

    Varför är det så många tjejer som väljer att blogga? Hur påverkas digital kreativitet av genusnormer?

    "Ser du mig nu? Kreativa tjejers digitala strategier" är ett paper som syftar till att synliggöra tjejer som kreativa användare och utvecklare av internet och ny teknik. Detta har undersökts genom intervjuer med kvinnliga studenter, konstnärer, projektledare och entreprenörer. De genusnormer som råder i samhället verkar återspeglas i unga människors nätkulturer Tjejer och killars nätkommunikation tar sig uttryck i skilda umgängesformer, knutna till homosociala genusnormer, trots att nätet förväntas vara en kroppsoberoende mötesplats. Killar dominerar online-spel miljöer, där manligt heteronormativa värderingar riskerar att försätta tjejer i ett sexistiskt grundat utanförskap. Tjejer dominerar bloggsfären, där bloggandet kan betraktas som ett nytt kvinnligt entreprenörskap, med användare som kontinuerligt utvecklar nya kreativa strategier för nätverkskommunikation. En hypotes som vuxit fram under arbetes gång, är att tjejer ofta har en estetisk ingång till teknik. Tjejer påverkar ofta välja att lära sig teknik för att de vill skapa något annat med hjälp av tekniken, och målet har ofta estetiska preferenser. Att lära sig teknik, att som kvinna bli teknisk, visar sig vara mer komplicerat än vad man först kan tro i förhållande till genusnormer. Problemen har att göra med överskridandet av genusnormer, och yttrar sig på en rad områden. När det gäller teknisk kunnighet så finns det normativa förväntningar på hur kompetensen skall komma till uttryck. Tjejer som utbildar sig inom området kreativ digital teknik, får ofta börja med att arbeta för jämställdhet, i stället för att utöva sitt yrke, eftersom det kan vara svårt att etablera sig i den befintliga företagskulturen.

  • 16.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Super-wise Supervision: A reflective dialogue concerning online supervision in Art Education2015Inngår i: 3rd Conference on Arts-Based Research and Artistic Research 2015, Porto, Portugal, 22-24 January, 2015, 2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    su•per•vise (ˈsu pəәrˌvaɪz) v.t. -vised, -vis•ing.

    to watch over and direct (a process, work, workers, etc.); oversee; superintend.

    [1580–90; < Medieval Latin supervsus, past participle of supervidre=super- super- + vidre to see]

    Introduction

    To watch over and direct a creative learning process is a challenge for every teacher involved in Art Education. With todays' common use of new media, distant education will have an increasingly important role to play in higher education, where learning environments will be internet-based or blended between physical and digital situations.

    Questions

    What will happen when we start using new media to supervise in Art Education?

    In what ways the medium affect our relations, how we think and act? In which ways might the medium become the message?

    Will new media per se change the way we think about our supervising situations?

    How will concepts like open source and distributed development influence and change the way we design learning?

    The reflective dialogue

    This proposal aims to investigate and discuss the experiences of an educational situation where artistic projects or artistic learning is supervised mainly on-line. By comparing the perspective of the teacher and the student in a dialogical form, we aim to open up for divergent thinking and unexpected findings.

  • 17.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    The art of mastering freedom : a paradoxical quest for pedagogics of creativity2014Inngår i: 2nd Encounter on Practices of Research in Arts Education / [ed] Catarina S. Martins, 2014Konferansepaper (Fagfellevurdert)
    Abstract [en]

    How can you learn to master artistic freedom? In what ways is it possible teach someone to be creative? The purpose of this research project is to investigate which structures, methods and practises that are crucial to provide an environment that promotes the development of creativity among art students in University Education.

  • 18.
    Morén, Sol
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Virtual Art Studio: relational creativity in a shared blog2015Inngår i: Risks and Opportunities for Visual Arts Education in Europe / [ed] Ângela Saldanha; Cristina Trigo; Maria Jesus Agra Pardiñas; Teresa Torres de Eça, APECV , 2015, s. 85-86, artikkel-id 70Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Virtual art studio - relational creativity in a shared blog is a case-based presentation, which aims to reflect upon and analyse what happened during a learning situation, where distant students of Art Education worked for a semester in a shared blog. Further more the research aims to investigate which factors in the learning design that promotes creativity between students in digital learning environments. In which ways could we design learning to enhance relational creativity among distant students using digital learning environments? What factors may be of importance in the learning design to provide possibilities for the students to relate to and inspire each other during the artistic learning processes? How can we construct analysing methods that enables us to entangle the different aspects of artistic, technological and relational challenges of distant learning in artistic subjects?

  • 19.
    Morén, Sol ()
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Morén, Ivan ()
    Lind, Anders ()
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    N-appar2012Kunstnerisk output (Granskad)
    Abstract [en]

    "N-appar" is an artistic research- and development project at a Swedish University. The fieldwork started 2011 initiated by a visual artist and a musical composer, involving approximately 100 children of 5-6 years old and 100 students. The practice based result of the project, so far, includes an audio-visual "instrument" and a "computer game" created together with the children and students. The artistic results have been exhibited and evaluated by test groups at primary schools 2012. During the fall of 2012 an article will be written on the project, with focus on artistic pedagogy.

  • 20.
    Morén, Sol ()
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Holmberg, Jonas M. ()
    Nostalgica Utopica Futura2013Kunstnerisk output (Granskad)
    Abstract [en]

    This collaborative sound-video art project ‘Nostalgica Utopica Futura’ (inspired by Italian minimalist musical composer Luigi Nono) has one of the narratives of inspiration in historical, utopic ideal society built up in 1895 on an island called Norrbyskär, located at the coast close to Umeå. The island was totally (re)constructed, probably inspired by contemporary ideas about utopic societies, like the Morris novel, where the workers were ‘taken care of ’ in all social aspects. The children in the video, Ivan Morén and Linnea Thors are ancestors of a family who lived at Norrbyskär during this period. Film production took place in the family house, called the Tailor House, where tales of the family were mixed with contemporary tales, to a gothic story of the drowned children (the script were written in collaboration with the children). The image style was influenced by the Nordic fine de siècle New Romanticism, with Swedish artist like Carl Larssons ‘A day of celebration’ and Axel Fridells ‘Mr Simmons’ or the ‘The dying dandy’ by Nils von Dardel. Sound was composed by J.M. Holmberg.

  • 21.
    Morén, Sol ()
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Persson, Hanna ()
    The invisible girl2012Kunstnerisk output (Granskad)
    Abstract [en]

    Entering a new world, in order not to fade away or become invisible, you must have the courage to start making at least a small part of the new world yours. When the little girl who is the the main character in the fairytale anime Spirited Away, becomes transluctant, she eats some berries from the alien world, to slowly become visible again. When I found out that the research project Invisible Girl was open for visual arts, I immediately visualized the image of the invisible girl. In my artistic practice the embodied vision often appears first, of course not in a void, but solitary, and the background, the artistic sources of inspiration or references has to be traced back subsequently. One comprehension of the artistic vision is that it arises from a specific approach to creativity, in which the unconscious is allowed to penetrate to the surface. During the artistic process, I think in images, words represent themselves as pictures, or associations to other words that become other images. In my artistic vision I saw the picture of a girl whose hands and feet had already started to fade away, as she was slowly becoming more and more translucent. In the beginning of the tale, a symbolic dark tunnel leads the family into an unfamiliar world, or to use Freud's term uncanny, populated by spirits. To understand the changes taking place in her life the little girl examines and develops the various possible charaters or selves that reveals themselves to her in the fairytale. According traditional psychoanalysis, fairytales could serve as metaphors that may help children to relate to different problems or transitional phases of life. The artwork Invisible Girl symbolizes the transition between worlds, old and new selves, or one could say, a rite de passage.

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