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  • 101.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Political Rock2016Ingår i: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 35, nr 3, s. 436-438Artikel, recension (Övrigt vetenskapligt)
  • 102.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Proletärtonsättarna - vilka var de?2020Ingår i: Västerbottens-Kuriren, nr 3 janArtikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 103.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Ragtime Reinholds jazzglädje2019Ingår i: Västerbottens-Kuriren, ISSN 1104-0246Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 104.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    (rec av) Chilton, Karen: Hazel Scott: The pioneering journey of a jazz pianist from Café Society to Hollywood to HUAC2011Ingår i: Orkester Journalen, ISSN 1102-7428, nr 3, s. 60-61Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 105.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    (recension av) Anna Harwell Celenza: Jazz Italian Style2018Ingår i: Orkesterjournalen, ISSN 1102-7428, nr 1, s. 72-72Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 106.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    recension av Denning, Michael: Noise Uprising.2017Ingår i: PULS, ISSN 2002-2972, Vol. 2, s. 100-103Artikel, recension (Övrigt vetenskapligt)
  • 107.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    recension av Kelley, Robin: Africa speaks, America Answers: Modern jazz in revolutionary times2014Ingår i: OJ : Orkesterjournalen : om jazz, ISSN 1102-7428, nr 1, s. 47-Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 108.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    (recension av) Kruger, Simone & Ruxandra Trandafoiu (eds), THe Globalization of Musics in Transit: Music, Migration, and Tourism.2018Ingår i: PULS, Musik- och dnasetnologisk tidskrift, ISSN 2002-2972, Vol. 3, s. 92-94Artikel, recension (Övrigt vetenskapligt)
  • 109.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    (recension av) Stefan Bohman: ARbetslösas röster.2018Ingår i: Puls, Musik- och dansetnologisk tidskrift, ISSN 2002-2972, Vol. 3, s. 79-80Artikel, recension (Övrigt vetenskapligt)
  • 110.
    Arvidsson, Alf
    Umeå universitet.
    (Recension av) Susanne Ziegler, Ingrid Åkesson, Gerda Lechleitner & Susana Sardo (eds.) BookHistorical Sources of Ehnomusicology in Contemporary Debate.2019Ingår i: PULS, ISSN 2002-1972, Vol. 4, s. 132-134Artikel, recension (Övrigt vetenskapligt)
  • 111.
    Arvidsson, Alf
    Umeå universitet.
    (Recension av) Terje Planke, Anne Kristin Moe & Thomas Walle (red.) Immateriell kulturarv på museum: By og Bygd, årbok for Norsk Folkemuseum 47.2019Ingår i: PULS, ISSN 2002-1972, Vol. 4, s. 135-137Artikel, recension (Övrigt vetenskapligt)
  • 112.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Representation of Jazz and Popular Music: (rec av) Tor Dybo, representasjonsformer i jazz- og populærmusikkanalyse2014Ingår i: Ethnologia Scandinavica, ISSN 0348-9698, E-ISSN 0348-9698, s. 159-160Artikel, recension (Övrigt vetenskapligt)
  • 113.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    (Review) Political Rock. Edited by Mark Pedelty and Kristine Weglarz.2016Ingår i: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 35, nr 3, s. 436-438Artikel, recension (Övrigt vetenskapligt)
  • 114.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Some characteristics of contemporary art music composition in Sweden2013Ingår i: Taking part in music: case studies in ethnomusicology / [ed] Ian Russell & Catherine Ingram, Aberdeen: Aberdeen University Press , 2013, s. 297-304Kapitel i bok, del av antologi (Refereegranskat)
  • 115.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Songs with a Message: Common Themes in Swedish 1970s Rock/Folk Songs2010Ingår i: Music and Politics, ISSN 1938-7687, Vol. 4, nr 1Artikel i tidskrift (Refereegranskat)
  • 116.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Spaningar i kultursektorn2019Samlingsverk (redaktörskap) (Övrigt vetenskapligt)
  • 117.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Svånaug Haugan, Anne; Niels Kayser Nielsen & Peter Stadius (red): Musikk og nasjonalisme i Norden2011Ingår i: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 93, s. 118-120Artikel, recension (Övrigt vetenskapligt)
  • 118.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    The present-day composer: Performing individuality and producing on commission2011Ingår i: Current Issues in European Cultural Studies June 15–17, Norrköping, Sweden 2011 / [ed] Martin Fredriksson, linköping: Linköping University Electronic Press, 2011, s. 515-520Konferensbidrag (Övrigt vetenskapligt)
  • 119.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    THomas Brothers. Louis Armstrong: Master of modernism.2017Ingår i: Orkesterjournalen, ISSN 1102-7428, nr 5, s. 74-75Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 120.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Thomas R. Hilder. 2014. Sámi Musical Performance and the Politics of Indigeneity in Northern Europe.2016Ingår i: Journal of World Popular Music, ISSN 2052-4900, E-ISSN 2052-4919, Vol. 3, nr 1, s. 150-153Artikel, recension (Refereegranskat)
  • 121.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Ulf Peder Olrog som mediatör och brobyggare2011Ingår i: Noterat, ISSN 1400-7339, nr 19, s. 87-92Artikel i tidskrift (Övrigt vetenskapligt)
  • 122.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Vemod och motstånd: Norrland och norrlänningar i populärmusiken2017Ingår i: Brännpunkt Norrland: perspektiv på en region i förändring / [ed] Anders Öhman & Bo Nilsson, Umeå: Bokförlaget h:ström - Text & Kultur, 2017, s. 11-39Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 123.
    Arvidsson, Alf
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Adolfsson, Jörgen
    Svenskt Visarkiv.
    Ett minne för livet: A Swedish music collective2011Ingår i: Jazz Research Journal, ISSN 1753-8637, E-ISSN 1753-8645, Vol. 5, nr 1-2, s. 142-152Artikel i tidskrift (Refereegranskat)
  • 124.
    Arvidsson, Alf
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Adolfsson, Jörgen
    Svenskt Visarkiv.
    MINNET: Transcending Genre Boundaries, Organizing Diversity2015Ingår i: The Cultural Politics of Jazz Collectives: This is our music / [ed] Nicholas Gebhardt & Tony Whyton, New York/London: Routledge, 2015, s. 149-156Kapitel i bok, del av antologi (Refereegranskat)
  • 125.
    Arvidsson, Alf
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Holst, Susanne
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Lundberg, Dan
    Svenskt Visarkiv.
    Nordström, Marika
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Åkesson, Ingrid
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper. Svenskt Visarkiv.
    Introduction: The conditions of music-making: between cultural policy, economics, and aesthetics2013Ingår i: Taking part in music: case studies in ethnomusicology / [ed] Ian Russell & Catherine Ingram, Aberdeen: Aberdeen University Press , 2013, s. 269-272Kapitel i bok, del av antologi (Refereegranskat)
  • 126.
    August, Edwards
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Food street2018Självständigt arbete på grundnivå (konstnärlig kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 127.
    Aurell, Gerd
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen Konsthögskolan.
    Ström, Annika
    I could´nt help but wonder what about world war me: BFA Umeå Academy of Fine Arts 20182018Samlingsverk (redaktörskap) (Övrig (populärvetenskap, debatt, mm))
  • 128.
    Ausinsch, Fredrik
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Designhögskolan vid Umeå universitet.
    HUR KAN VI REDUCERA DEN INTERNA ÖVERGÖDNINGEN SAMT REGLERA ALGBLOMNINGAR FRÅN ATT NÅ EGENTLIGAÖSTERSJÖNS KUSTZON ?”: En vision om att återfå en balans i Östersjön genom att skörda algöverskott och använda biomassan som en framtida råvara.2014Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The Baltic Sea is one of the world’s most polluted seas. Increased discharge of nutrients due to greater populations of people, together with a slow water exchange, creates great stress on the sea. Too much nutrients leads to increased growth of algae and causes problem in the ecosystem. Even if we reduce nutrient discharge the problem still exist in the ocean. When algae dies and sinks, more nutritional substances is produced called "internal eutrophication". This phenomenon will grow in the future due to a warmer climate and the problem is spreading towards the coastal zone, which is an important site for fish recreation. By removing the abundance of algae, the nutritional and toxic substances are reduced and the algae biomass can be a future resource for biofuel production.

  • 129.
    Axelsson, Linnea
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Blyets barnaskara: ett försök att sjunka till Richard Serras ansiktlighet2005Ingår i: Studier i konsthistoria 2004:23 / [ed] Roland Spolander & Kristi Burma, Umeå: Umeå universitet , 2005, , s. 20s. 19-Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 130.
    Axelsson, Linnea
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Efter handens lättnad: efter J.D.2005Ingår i: À Derrida x 13 / [ed] Kristi Burman & Roland Spolander, Umeå: Institutionen för konstvetenskap, Umeå universitet , 2005, s. 29-37Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 131.
    Axelsson, Linnéa
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Bilden och spårgestalten = The image and the figure of trace2004Ingår i: Shaping space and history = Vormides ruumi ja ajalugu / [ed] Kristi Burman and Roland Spolander, Umeå: Umeå universitet , 2004, Vol. VIII, s. 131-138Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 132.
    Axelsson, Linnéa
    Umeå universitet, Humanistisk fakultet, Konstvetenskap.
    Bildning och känsla i konsthistorisk metod2006Övrigt (Övrig (populärvetenskap, debatt, mm))
  • 133.
    Axelsson, Linnéa
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Det leende landskapet2007Ingår i: Med landskapet bakom, Umeå: Institutionen för konstvetenskap, Umeå universitet , 2007, s. 33-65Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 134.
    Axelsson, Linnéa
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Omfamningar. Rummets och gränsens meningar: Om Louise Bourgeois' och Rachel Whitereads verk2009Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

      The aim of this dissertation is to create and convey an understanding of the significance of space and limits in the works of artists Louise Bourgeois and Rachel Whiteread. Focus is placed upon the physical and spiritual dimensions of their works of art. The primary material is made up by Louise Bourgeois’s and Rachel Whiteread’s sculptures, mainly six pieces: Louise Bourgeois’s Quarantania I (1949-1952), Fée Couturière (1963) and Cell VII (1998), Rachel Whiteread’s Untitled (1991), Untitled (Room) (1993) and Embankment (2005).

        Louise Bourgeois was born in Paris, in 1911 (she has lived in New York since 1938), and Rachel Whiteread was born in London, in 1963. They belong to different generations and cultures, but come together through the use of a relation which I have perceived as a main theme in the artistry of both women. A relation, the exploration of which begins in the title Embraces. The study rests on a bodily structure, in method as well as in disposition. I have met the sculptures in the present room, struck up a dialogue with them. The chapters Birth, Body and Space bring the works of Louise Bourgeois and Rachel Whiteread together with an expansive historical and aesthetical material, in order to widen and deepen the dialogue on the significance of limits and space.

  • 135.
    Axelsson, Linnéa
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Sittande skulpturer / nomaden i det utvidgade fältet2004Ingår i: Studier i konsthistoria 2004:22 / [ed] Roland Spolander & Kristi Burman, Umeå: Umeå universitet , 2004, Vol. 2004:22, s. 25-Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 136.
    Aytekin, Cenk
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Institutionen Designhögskolan.
    Living an Active Life with Asthma2012Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    In 2019 a striking 400 million people worldwide will be living with asthma. Environment, genetics and lifestyle are all factors that are assumed to cause this chronic disease. The current treatment of asthma is focused on medication, and wellness through exercise is not promoted. The benefits of an active lifestyle for asthmatics are many and include a reduced medication dose, increased tolerance to triggers and less asthma symptoms. Regular exercise can therefore dramatically decrease the effects of asthma and the mental and physical limitations that may follow. However, many asthmatics experience difficulties maintaining an active lifestyle due to the fear of having an exercise-induced asthma attack. There is also reluctance to the necessary intake of the high dosage of preventive medication.

  • 137.
    B. Torretta, Nicholas
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Designhögskolan vid Umeå universitet.
    New Behaviours of Design for Sustainability2017Övrigt (Övrigt vetenskapligt)
  • 138.
    B. Torretta, Nicholas
    et al.
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Designhögskolan vid Umeå universitet.
    Reitsma, Lizette
    RISE Interactive.
    Design, power and colonisation: decolonial and antioppressive explorations on three approaches for Designfor Sustainability2019Ingår i: Academy for Design Innovation Management 2019 (ADIM2019), Loughborough University London, 18th - 21st June, 2019, London, 2019Konferensbidrag (Refereegranskat)
    Abstract [en]

    Our contemporary world is organized in a modern/colonial structure. As people,professions and practices engage in cross-country Design for Sustainability (DfS), projectshave the potential of sustaining or changing modern/colonial power structures. In suchproject relations, good intentions in working for sustainability do not directly result inliberation from modern/colonial power structures. In this paper we introduce threeapproaches in DfS that deal with power relations. Using a Freirean (1970) decolonialperspective, we analyse these approaches to see how they can inform DfS towards beingdecolonial and anti-oppressive. We conclude that steering DfS to become decolonial orcolonizing is a relational issue based on the interplay between the designers’ position inthe modern/colonial structure, the design approach chosen, the place and the peopleinvolved in DfS. Hence, a continuous critical reflexive practice is needed in order to preventDfS from becoming yet another colonial tool.

  • 139.
    Backlund, André Mattias
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Collectivist Anarchism: Nerds in (Hacker + Maker)space2018Självständigt arbete på grundnivå (konstnärlig kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 140.
    Balotis, Simon
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Suranyu Lägenhetskomplex2016Självständigt arbete på grundnivå (konstnärlig kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 141. Barbosa, Janaina T.
    et al.
    Wiltse, Heather
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Designhögskolan vid Umeå universitet.
    Mota, João A.
    Power of design agency in building and sustaining collaboration: two cases in São Paulo2017Ingår i: Nordes 2017: DESIGN+POWER, Nordes , 2017, nr 7Konferensbidrag (Refereegranskat)
    Abstract [en]

    Design research has considered the power of collaboration in terms of the politics of artefacts, services and practices to build or to support publics. Working within a framework of “commons” as continuing processes of negotiation in collaboration, this study asks: How can designskills and agency build up collaborative capacities in urban communities for sustained processes of social innovation? This qualitative research explores two case studies in Brazil, where design agency is identified in social practices carried out by both designers and non-designers. Three key processes involved in designing collaboration were identified: experimenting, disrupting and sustaining. This work concluded that design skills facilitate the distribution of power to build collaboration through co-production of common spaces. This investigation contributes to the ongoing discussion of design and “infrastructuring,” identifying the power of design agency in building and sustaining collaboration in a complex social landscape of an emerging city.

  • 142.
    Barbuta, Diana
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Voluntary Prisoners of Digital Technologies2016Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 143.
    Barrett, James
    et al.
    Umeå universitet, Humanistiska fakulteten, Humlab.
    Jenna, Ng
    University of York.
    A Pedegogy of Craft: Teaching culture analysis with machinima2013Ingår i: Understanding Machinima: Essays on Filmmaking in virtual worlds / [ed] Jenna Ng, New York: Bloomsbury Academic, 2013, First, s. 227-244Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    Abstract [en]

    Machinima films are commonly associated with various other media forms such as games, television, cinema, theatre and music videos. Sprung from gameplay, machinima originated as gaming “demos” – data logs which can be played back on a game engine to re-live past events in a game world, typically used to re-play gamers’ high jinks or record performances (Lowood 2005; Lowood 2006; Nitsche 2007) – in a process already cinematic in its Lumiére Brothers-esque recording of game reality (Burke 2012). Such “high-performance play” (Lowood 2005, 11) morphed into narrative cinema with The Rangers’s hacking of Quake (id Games 1994) to make Diary of a Camper in October 1996 (Lowood 2006), as the gamers appropriated the game’s camera perspective (from FPS to an independent viewpoint), edited disparate shots and formulated visual narrative with its sequences. As machinima evolved, other media forms drove its format, language and aesthetics. Well-known machinima such as Red vs Blue and Bill and John, for example, adapt the episodic format of comedy television and rely on theatrical comic timing and voice acting, even to a certain Brechtian absurdism (Avers), for their success. Michael Nitsche directly links machinima with live performance “acted out inside the virtual world and presented in different formats to the audience.” (Nitsche, Film Live) Other scholars see works such as The Edge of Remorse (Hancock and Ingram 362) and Rise of the Living Dead (Pigott 2011) as particularly cinematic. Elements of older media are not only integrated, but are subverted: Jeffrey Bardzell discusses a “resistance stance” in machinima that “seeks to subvert the reality of the game or subordinate it to the vision or meanings that the machinimator seeks to express” (Bardzell 2011, 208).

    There is thus already much scholarship in studying machinima with respect to screen media and performance. Yet, one aspect of machinima that has not been discussed as much so far is how machinima is also very much a made object, composed both as a technology and as a thing. In making machinima, game technologies are modified, subverted, adapted, even re-created.[i] However, that form of making is merely one part of the story – creating machinima also involves drawing up and building virtual objects, creating and dressing avatars (often with custom-made clothes, accessories and skins), designing or selecting sets, writing scripts and recording acting voices. In that respect, machinima is also a thing – an object – constructed through a series of processes and fashioned with a whole set of skills. This crafting of machinima, in the sense of it being formed as a complex digital artefact, is often overshadowed by its more dominating importance of it being a media object. We propose that prioritizing process over object not only presents an alternative perspective to understanding machinima, but also deflects attention onto the contingency of media and, by extension, new methods of making and extracting meaning. As Nicholas Thoburn argues, media is transformed as “they enter into new external relations, new ecologies – and traversed by a multiplicity of forces and struggles” (2012, 817). Shifting the theoretical focus to the making of media taps into this fluid placing of media in its flux of relations and ecologies so that we may further understand how the creating of media itself can become a space of political and social transformation.

    At first glance, the connection between machinima and craft appears tenuous. As Oliver Morton, editor-in-chief of Wired magazine (Europe), first observed in 1995, computer technologies remove the aspect of “hands-on” making in craftwork. (Dormer 1997, 137) The common notion of craft involves a tangible object – “the thing made by human hands” (Paz) – such as a pottered water jug or a handwoven basket, invoking sensuality, physicality, and the organic. Craft also implies elements of physical skill, of “cumbersome manual techniques” (Turim, 51) which gives rise to a slow, tactile and responsive process of creation. Images from Denis Diderot’s Encyclopédie, for example, depict craftsmen hunched at large tables, bent over their tools in workshop-like environments, hands busily working away at unfinished products. On the other hand, machinima, like all digital objects, is fundamentally immaterial. It may be contained in something tangible such as a DVD (indeed, the CD-ROM accompanying Machinima for Dummies contains, among others, some of the authors’ “top ten Machinima films”) or a thumb drive containing a demo file, both of which may, in different ways, provide access to the game movies they store. However, its basic ontology – as a film – is binary code, strings of zeros and ones, which as an artefact or object do not take any humanly recognizable material form. Furthermore, with so many computer processes in the making of machinima – moving avatars, recording onscreen captures, editing digitally, uploading and distributing online – there appears to be little “hands-on” making, save for perhaps the prodigious controlling of a computer mouse. How, then, might machinima be seen as craftwork?

    Yet, we see this linkage as an important one. The connection between making and understanding is a close and well-known one, whereby it is acknowledged that we often understand something best by actually making it. Machinima as craft thus formulates also a means to the learning of knowledge and skills. As we will argue, the process of making imparts valuable skills and places learning in different frameworks, re-formulating concepts and ideas so as to make them more memorable and allowing for more effective analysis. In a wider scale, machinima thus also offers pedagogy the possibility of making – and learning – in numerous media contexts, such as film, music video, theatre, design, architecture and performance, and in relatively cheap and efficient ways, without the need for costly equipment, such as physical cameras, or complicated logistics of onset filming and recording.

    This chapter proceeds as follows. We first discuss how machinima may be deemed to be craft through canvassing its definition, before examining the characteristics of making machinima and comparing them to those for traditional craftwork. The next section explicates the connection between craft and teaching, primarily as it is used in HUMlab, Umeå University. We then describe a case study from the lab which uses precisely those qualities of craft in machinima as a teaching method for a second-year media and culture course, Cultural Analysis. In the process, we also examine these questions: what were the motivations of using the aspect of “making” in machinima as part of the course? How was it done? What did it achieve?

    [i] Although this is being increasingly qualified with machinima-specific software such as The Movies and Moviestorm, and with embedded machinima software in games such as Halo.

  • 144. Beck, Jordan
    et al.
    Stolterman, Erik
    Examining Practical, Everyday Theory Use in Design Research2016Ingår i: She Ji: The Journal of Design, Economics, and Innovation, ISSN 2405-8726, Vol. 2, nr 2, s. 125-140Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This paper discusses how theories (as objects) are used in articles published in Design Studies. While theory and theory construction have been given time and attention in the literature, less is known about how researchers put theories to work in their written texts about practical, everyday theory use. In the present paper, we examine 32 articles and synthesize six models of theory use based on our examination.

  • 145. Beck, Jordan
    et al.
    Stolterman, Erik
    Examining the Types of Knowledge Claims Made in Design Research2016Ingår i: She Ji: The Journal of Design, Economics, and Innovation, ISSN 2405-8726, Vol. 2, nr 3, s. 199-214Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    While much has been written about designerly knowledge and designerly ways of knowing in the professions, less has been written about the production and presentation of knowledge in the design discipline. In the present paper, we examine the possibility that knowledge claims might be an effective way to distinguish the design discipline from other disciplines. We compare the kinds of knowledge claims made in journal publications from the natural sciences, social sciences, and design. And we find that natural and social science publications tend to make singular knowledge claims of similar kinds whereas design publications often contain multiple knowledge claims of different kinds. We raise possible explanations for this pattern and its implications for design research. Examining the Types of Knowledge Claims Made in Design Research.

  • 146.
    Behzadnia, Anahid
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Nynäspoolen2013Studentarbete övrigt, 12 hpStudentuppsats (Examensarbete)
  • 147.
    Bengtsson, Simon
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Där drömmar korsar2016Självständigt arbete på grundnivå (konstnärlig kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 148.
    Bergbom, Joakim
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Institutionen Designhögskolan.
    HOME DIALYSIS: HOW COULD THE DIALYSIS TREATMENT BE OPTIMIZED IN ORDER TO MINIMIZE THE AFFECT TO THE PATIENTS LIVES?2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    2006 my mother had to start her dialysis treatment due to renal failure caused by a congenital defect on her kidneys. With this mandatory readjustment to her life she accepted all changes that were made. 

    Patients with renal failure (when the kidneys fail to adequately filter the blood from waste) are increasing all over the world and 2020 it is calculated to exceed 3.8 million. The cause for renal failure could be one of many, but it is often seen as an outcome of heavy dehydration, severe infection or long-term diabetes which could explain the increasing number of patients.

    The most common treatment for renal failure is hemo dialysis. This treatment is an effective way to clean the blood outside the body in an artificial kidney connected to the patient by a hemo dialysis machine. The patients are spending 6-7 hours 4 days a week at hospitals to clean their blood which is comparable with an 80% employment. By adapting the hemo dialysis to where the patient live, I want to show that there are better ways to effectively treat patients.

  • 149.
    Berggren, Karin
    et al.
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Altés Arlandis, Alberto
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    From Berlin to the polar circle: a conversation with Francesco Apuzzo and Axel Timm from Raumlabor2013Ingår i: Intravention, durations, effects: notes of expansive sites and relational architectures / [ed] Alberto Altés and Oren Lieberman, Baunach, Germany: Spurbuchverlag , 2013, 1, s. 46-63Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    Raumlabor, or ‘space laboratory’, is a collective of 8 trained architects based in Berlin (Germany), that work in the intersection of architecture, city planning, art and urban intervention. They have been exploring alternative and playful modes of architectural production since 1999 when they started working together, usually proposing temporary projects that transform the urban landscape through what they call ‘urban prototypes’. Their works include the temporary transformation of the metro station Eichbaum (Essen/Mülheim, Germany) into an opera house, the temporary Officina Roma entirely built out of trash for the RE-cycle exhibition at the MAXXI museum, and the mobile building laboratory ‘The Generator’ that welcomes the public to interact around the construction of modular furniture. 

    During the autumn semester of the 2011-2012 academic year, we invited Axel and Francesco from raumlabor to come to the Laboratory of Immediate Architectural Intervention for a week to develop a collaborative workshop aimed at designing and building “something” that could be placed in public space as an intervention.

  • 150.
    Bergh Lopes Da Costa, Isa
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet.
    Wall E - Alternativ skola för konst och hantverk2016Självständigt arbete på grundnivå (konstnärlig kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
1234567 101 - 150 av 1201
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