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  • 1.
    A. Aljundi, Rachelle
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Bildklassresa mellan konststilar och epoker: om bildlärares konstsyn och teknikval i grundskolans bildundervisning2014Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study was to to examine what teachers think about visual art and how the learning process in this subject does look like. To answer these issues, I made interviews with five teachers of visual art from different schools, and I examined several examples of pupils’ artworks. The stories of the teachers were analyzed in relation to governing documents and with assumptions from sociocultural theory, postmodernism and pedagogical - aesthetic research as theoretical point of view.

    By the qualitative interview method, the observations of the pupil’s artworks, and by the analysis of the interviews with the teachers, I have come to the conclusion that teachers think differently about art but they try to keep themselves in line with the national governing documents. Its affects aspects of disciplines, styles, techniques and medium that is exemplified by the pupil’s art works, and it points out similarities and differences between the pupil’s art works and between the teachers when teaching visual art.

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    Slutfärdig. Rätt version
  • 2.
    Bates, Tarsh
    University of Western Australia, Perth, Australia.
    Queer microbiopolitics2021In: Sex ecologies / [ed] Stephanie Hessler, Cambridge: MIT Press, 2021, p. 65-69Chapter in book (Refereed)
  • 3.
    Berríos-Negrón, Luis
    Konstfack and KTH Royal Institute of Technology, Stockholm, Sweden.
    Breathtaking greenhouse parastructures2020In: Agropoetics reader / [ed] Elena Agudio; Marleen Boschen, Berlin: The Institute for Endotic Research , 2020, p. 181-199Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    This is an early draft excerpt from the "convolutes" included in the author's later PhD titled "Breathtaking Greenhouse Parastructures." The work is related to the author's exhibition at Savvy Contemporary in Berlin (31.08.– 06.10.2019). The focus of the research is on exploring the technology of the greenhouse as a specimen, display, and virtual reality. The author believes that the greenhouse plays a significant role in shaping the industrial, misogynist, and ethnocentric conception of natural science and history. The greenhouse acts as a dividing force between humans and nature, perpetuating the illusion of interior and exterior spaces. The author aims to break free from this binary understanding by reticulating away from the messianic promises and colonial violence associated with "greenhouse." They seek to uproot the colonial drive embedded in their externalization of knowledge and explore alternative paths for relating to the object of colonial-industrial capitalism. The presented excerpt offers a glimpse into the author's perspective as a Puerto Rican & Caribbean artist and invites further exploration of the PhD work.

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  • 4.
    Berríos-Negrón, Luis
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture. Umeå University, Umeå Centre for Architecture, Design and the Arts (UmArts).
    The golden spike is not the nuclear bomb2023In: Greenhouse stories: a critical re-examination of transparent microcosms / [ed] Laura Drouet; Olivier Lacrouts, Eindhoven: Onomatopee , 2023, 1, p. 27-39Chapter in book (Other academic)
    Abstract [en]

    This essay looks to decolonise the technological history of the greenhouse through arts research. My decolonial research approach is rooted in the forms and forces, the geoaesthetics that shape my life and upbringing on the colony that still is my home-island of Puerto Rico, as part of the broader Caribbean milieu and diaspora. Over time, from that life and research, an intuition emerged, one that led me to sense how the greenhouse strongly represents man’s misleading delusion of mastery over, and disconnection from nature. It is from that intuition and ensuing research that I set-forth the following hypothesis: if the greenhouse metaphor embodies the dissociative, colonial reflex driving global warming, then the invention of the greenhouse must be one of the beginnings to the geological timeline of the Anthropocene. 

  • 5. Berríos-Negrón, Luis
    et al.
    Bach, Patrizia
    Eiland, Howard
    MIT, Literature Section.
    Methods of Indirection: A trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project2020In: Journal for Artistic Research, no 22Article in journal (Refereed)
    Abstract [en]

    Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] “the theatre of all my struggles and all my ideas.” As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that ‘theatre’ to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around ‘greenhouse’ as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers ‘indirections’ urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that ‘theatre-laboratory’ with you—the reader and exposition visitor—the actors look for cues that encourage further procedures of experimentation and reflexion.

  • 6.
    Boestad, Nora
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Skogsdjuret2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
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    Skogsdjuret
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    Björn
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    Skalbaggen
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    Väggdel
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    Översikt
  • 7.
    Borg, Albin
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Inside sparkles, rushing water through history or just abstract painting to be afraid2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
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    Inside sparkles, rushing water through history or just abstract painting to be afraid
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    Inside sparkles, rushing water through history or just abstract painting to be afraid
  • 8. 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.

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  • 9.
    Bugge, Oliver
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    The Rhythmic Rise and Fall of Currents2023Independent thesis Advanced level (degree of Master of Fine Arts (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I am interested in the role of the past in the present. In "The Rhythmic Rise and Fall of Currents", I explore the multifaceted nature of the Renaissance. This was an era when ideas from antiquity were revived in humanism and a new view of nature. However, it was also a period of centralised power and warfare with imperialist aspirations that involved the instrumentalisation of people and the exploitation of nature through mining and logging. I want to offer a critique of the sacrifices on the altar of progress as well as a tribute to the flowers of the human mind.

    I have cast this 70 kilo bronze sculpture with inspiration drawn from a putto, a typical Renaissance motif, from the wreck of the Swedish warship Riksäpplet that sank in 1676 in the waters of the Stockholm Archipelago. The bronze piece is displayed on a pallet made of wood from the same underwater wreck as the original putto. I was able to buy the wood from a retired carpenter, who in turn had bought it from a so-called pilot, a guide and often an administrator of a coastal area, Oscar Fagerlind, who had used his position as pilot in the Stockholm Archipelago to procure vast amounts of wood from shipwrecks.

    Craftsmanship and knowledge of materials are fundamental to my artistic practice. I combine this with an idea-based approach and with theory of history. In essence, I strive to connect opposites to achieve a synthesis through my art.

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    The Rhythmic Rise and Fall of Currents
  • 10.
    Byrkjeland, Linn
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    A Slender Arc of Light2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
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    A Slender Arc of Light
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    A Slender Arc of Light
  • 11.
    Carlsson, Göran
    Umeå University, Faculty of Arts, Bildmuseet.
    Xet och Norrland: Sven Xet Erixson 10 mars-5 maj 19961995Collection (editor) (Other academic)
  • 12.
    Carlsson, Göran
    et al.
    Umeå University, Faculty of Arts, Bildmuseet.
    Åman, AndersUmeå University, Faculty of Arts, History and Theory of Art.
    Norrländska landskap: landskapsbilder av 50 målare och 10 fotografer under 200 år1989Collection (editor) (Other academic)
  • 13.
    Carpenter, Ele
    Goldsmiths University of London.
    Carrying the nuclear home2018In: Second suns: Julian Charriere / [ed] Nadim Samman, Germany: Hatje Cantz Verlag, 2018, p. 118-123Chapter in book (Other academic)
    Abstract [en]

    Walking around the perimeter of the Atomic Weapons Establishment (AWE) at Aldermaston, England, along with a group of artists and researchers—we peer through the fence, at industrial facilities shielding the construction of nuclear weapons. From this site, just an hour's drive from London, weapons are transported by road to Her Majesty's Naval Base on the Clyde, in Scotland, where they function as Britain's Trident nuclear 'deterrent'. Time is confused, here, oscillating between the Cold War, the banal reality of the nuclear economy, and a potentially apocalyptic future.

    There's nothing romantically sublime about hanging around in the wet English countryside with a radiation monitor. This is a suburban landscape. Yet, behind the fence, plutonium is being milled into components for warheads capable of realizing even greater megatons of nuclear spectacle than demonstrated in the mid-twentieth century, at the Marshall Islands, and Semipalatinsk. The women at the Peace Camp explain that AWE is currently applying to the Environment Agency to increase its radioactive emissions to air.

  • 14.
    Carpenter, Ele
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Bildmuseet.
    Coal-powered Craft: A Past for the Future2011In: Journal of Modern Craft, ISSN 1749-6772, E-ISSN 1749-6780, Vol. 4, no 2, p. 147-160Article in journal (Refereed)
    Abstract [en]

    In the spirit of steampunk this paper juxtaposes ideas about craft, technology, and labor from the seventeenth to the twenty-first century to explore new ways of thinking about contemporary making. Richard Sennett's concept of open-source software as “public craft” is investigated through the history of free speech and free software, as a precursor to the integration of crafter and hacker culture. These concepts are embodied in the recent work Coal Fired Computers (2010) by YoHa, and FLOW, a watermill by Ed Carter and the Owl Project (2010–12). The integration of technology and the handmade is considered as a form of contemporary craft.

  • 15.
    Carpenter, Ele
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture. Umeå University, Umeå Centre for Architecture, Design and the Arts (UmArts). Institute of the Arts, University of Cumbria, UK.
    Collapsing deep time responsibility2023In: Takeuchi Kota / [ed] Koya Ryohei, Tokyo: Museum of Contemporary Art Tokyo , 2023, p. 120-129Chapter in book (Refereed)
    Abstract [ja]

    Nuclear legacies can last for millions of years, and artists will continue to investigate them within the contemporary conditions of our time. In the twenty first century Kota Takeuchi is interested in how we physically view and perform images of nuclear events and their memory. His practice investigates relationships between media and social memory by revisiting historical monuments and creating media archaeologies of nuclear industrial legacies. He also has a powerful ability to collapse the visual and emotional distance between the viewer and the subject, perhaps because he has chosen to live in the context of his work, to be located and engaged in the complex social, economic and aesthetic processes of the post-Fukushima event. Takeuchi’s embedded artworks draw us closer to the contaminated site of the dilapidated Fukushima Daiichi Nuclear Power plant, and trace connections with nuclear sites across the planet. 

  • 16.
    Carpenter, Ele
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture. Umeå University, Umeå Centre for Architecture, Design and the Arts (UmArts).
    Contested definitions of artistic research: re-establishing art as a form of knowledge2023In: Artistic research within creative studies / [ed] Anders Lind; Lotta Lundstedt, Umeå: Umeå University , 2023, Vol. 19, no 19, p. 9p. 9-17Chapter in book (Other academic)
    Abstract [en]

    This paper aims to identify a number of challenges arising from the separation of artistic and scientific research, and how they are being addressed through the establishment of the new UmArts research centre. Through a discussion of research principles and questions, the paper will start to articulate the value of interdisciplinary research practices where artists and curators have the freedom to develop all kinds of knowledge and disseminate it in many different forms. This debate has many synergies with decolonial discourse in challenging the empirical traditions of science, opening up space for new kinds of knowledge and new (or very old) ways of knowing. 

    UmArts takes an interdisciplinary approach both between the arts subjects, and between arts and humanities/sciences which embraces all the different artistic and scientific research criteria with the arts subjects. Whilst the definitions of art and science may seem somewhat arbitrary semantics for most hybrid researchers, their differences are constantly instituted within university and state research funding bureaucracies. With each bureaucratic inscription the characteristics of artistic research are in danger of being narrowed by trying to defend itself against the academization of its subject. 

    Whilst many artists will be glad to know that their subject is receiving due care and attention, the separation of art and science produces many semantic, intellectual and discursive problems. There is a danger that separating out art as an exception, can create a research hierarchy with art as a second tier within the academy, reducing its intellectual capacity and agency. A more relaxed and flexible approach is needed to develop a rigorous culture of arts research which can operate in hundreds of different ways. There are as many artistic research methods as there are artists, and not every artwork is a doctorate in itself, so a clear set of research principles are needed as a basic rubric for evaluation. Fortunately these already exist within the wider discourses and practices of research. 

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  • 17.
    Carpenter, Ele
    Goldsmiths University of London.
    Open Source Embroidery2012In: Connection: artists in communication / [ed] Susanne Bosch; Andrea Theis, Belfast: Interface , 2012, p. 68-77Chapter in book (Other academic)
    Abstract [en]

    The Open Source Embroidery project explores how creative participation can lead to interdisciplinary collaborative working, bringing together groups and individuals with shared methods and ethics but different practices to make new work. The communities of computer programmers and needle-crafters have established methods of working collectively and developing structures for participatory production, and quickly find synergies in their work.

  • 18.
    Carpenter, Ele
    Goldsmiths University of London.
    Open Source Embroidery: curatorial facilitation of material networks2012In: The textile reader / [ed] Jessica Hemmings, London New York: Berg Publishers, 2012, p. 336-346Chapter in book (Refereed)
    Abstract [en]

    Over the last ten years the connective and collaborative characteristics of digital media have re-introduced the language of participatory production-and-distribution into the cultural sphere. New media art has contributed to the rehabilitation of discourse on the nature of the commons, materiality and open methodologies. Although these ideas are informed by new media systems they have older histories in collectives, community organisation, folk and craft culture. Digital art and socially engaged art, along with craft, are historically on the margins of the modern 'fine' art world, also functioning within spheres of popular and folk culture. 

  • 19.
    Carpenter, Ele
    Goldsmiths College, University of London.
    Shifting the nuclear imaginary: art and the flight from nuclear modernity2016In: Cold War legacies: systems, theories, aesthetics / [ed] John Beck; Ryan Bishop, Edinburgh: Edinburgh University Press, 2016, p. 116-133Chapter in book (Refereed)
    Abstract [en]

    Drawing on Mackenzie & Spinardi's research into the potential un-invention of nuclear weapons through the loss of tacit knowledge, this chapter explores a range of artistic responses to the 2011 Fukushima Dai-ichi Nuclear Power Plant disaster. Mackenzie & Spinardi's work on nuclear weapons design, testing and computing, allows us to think about a new mode of nuclear aesthetics, providing conceptual frameworks relevant to contemporary art practice and discourse such as: the contested nature of sameness in the repetition of objects; the importance of the slowness of tacit knowledge; of the human eye, making and learning with others; the limits of code; and the erosion of nuclear belief systems. Recent artistic practices in Japan and internationally, explore counterfactual possibilities across time; where aspects of nuclear culture are made visible or possible in a world where apocalyptic scenarios are streamed live. The responsibility for nuclear materials is shifting from state weapons production to the privatized nuclear energy industry, and into the public realm of nuclear accidents and public consultation on long-term waste disposal. Artists are concerned with how the networks are interrupted, looped, mapped, slowed down for reflection on how things are made, how stories are told, and how knowledge is consolidated.

  • 20.
    Carpenter, Ele
    Umeå University, Faculty of Arts, Humlab. Goldsmiths University of London.
    Social making2011In: The power of making: the importance of being skilled / [ed] Daniel Charny, London: Victoria & Albert Publications, 2011, p. 48-55Chapter in book (Other academic)
  • 21.
    Carpenter, Ele
    Umeå University, Faculty of Arts, Bildmuseet. Goldsmiths University of London.
    The smoke of modernity drifts through the anthropocene2016In: X-10: power in the land / [ed] Helen Grove-White, Anglesey, Wales: A+A Online , 2016, p. 17-29Chapter in book (Other academic)
    Abstract [en]

    Working with the nuclear economy and nuclear aesthetics is a complex ethical process, one that twists and turns through spirals of technical jargon, nuclear utopianism and deep psychic fear. In this culture of extremes, artists engaging with contemporary nuclear culture walk a political tightrope interrogating how nuclear aesthetics are reproduced whilst avoiding the simplifying tropes of industry and activism. In parallel to artistic practices, this essay explores some of the constructions of nuclear modernity, and the means of escape and betrayal, which contribute to rethinking nuclear aesthetics in the early twentieth century.

    If we look back at Maholy Nagy's 'Nuclear' paintings, also made as a contemporary response to the nuclear culture of his time, we can see how an interrogation of atomic visual affects are deeply rooted in the politics of nuclear modernity. In contrast artistic practices today are engaging with social contexts, the lived experience of radiation, sensing, and deep time cultures of folklore, ritual, archiving and site marking. Today questions of radioactive visibility are articulated through: print, sound and data capture technologies sensing radiation in the landscape; an investigation of materials and geological mapping; and traditional forms of care and solidarity in the advent of disaster. In theoretical terms, artworks can bring us closer to the nuances of nuclear culture, perhaps making visible the moments in which we might try to escape nuclear modernity, or at least make visible its totalizing effect.

  • 22.
    Costas Martín, Noa
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    The Animal Language2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
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    The Animal Language
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    The Animal Language
  • 23.
    Dunn, Stuart
    et al.
    King's College London, London, United Kingdom.
    Earl, Graeme
    King's College London, London, United Kingdom.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab. DH Uppsala, Department of Archives, Museums and Libraries, Uppsala University, Uppsala, Sweden.
    Wootton, Will
    King's College London, London, United Kingdom.
    Spatial narratives in museums and online: the birth of the digital object itinerary2019In: Museums and digital culture: new perspectives and research / [ed] Tula Giannini; Jonathan P. Bowen, Springer, 2019, , p. 19p. 253-271Chapter in book (Refereed)
    Abstract [en]

    Museums represent complex layers of place. From carefully managed curatorial spaces, to exhibition environments, to the layout of display cases, to the representation of distant parts embodied in the collections of the great encyclopedic collections, the negotiation, representation and presentation of place has always been central to the mission of any museum. This chapter will examine the history of how museums (especially museum catalogues) present place, from early origins to the Internet. A set of case studies will be examined as a means of exploring how, where and in what form art objects and artefacts first began to be transported from non-Western to Western nations for display in the museums of Western capitals, thus representing the origins of what Cuno has called our "basic and inevitable cultural interrelatedness"; and what others have called "object itineraries" or "object biographies". A comparison will be made of the same museums' online representation of the same places today. It will thus be possible to present a framework for considering object itineraries—historic and modern—as a subject of both history and historiography.

  • 24.
    Eillert, Gideon
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Separating art from idea: an argument for art's inherent autonomy from the world of ideas2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
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    Separating Art from Idea
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    To Have No Need For Answers - 50x40 - 2023 - Oil on canvas 1
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    To Meet You On Your Own Terms - 220x120 - 2023 - Oil on canvas 1
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    To Welcome It Back - 250x150 - 2023 - Oil on canvas 1
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    Gideon Eillert Overview 1
  • 25.
    Eklöf, Lisa
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Visuella analyser i skolan: Om bildanalysens betydelse och funktion i gymnasie- och högstadieskolans bildkurser2012Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Texten undersöker hur bildlärare och bildlärarstudenter använder sig av bildanalysen inom ämnets undervisning. Metoder, begrepp och inställningar till bildanalys granskas ur ett lärarperspektiv. Dess innebörd i undervisningen utforskas med hjälp av kvalitativa intervjuer och textanalyser av teorier inom bildanalys vilket grundlade en insamlad empiri om bildanalysens funktion och innebörd i högstadie- och gymnasieskolans bildkurser. Skolans betydelsefulla styrdokument har analyserats i relation till empirin. Därtill är ett förslag utformats till bildanalytiskt lärarmaterial som kan användas som ett grundläggande redskap för planering av bildanalytisk undervisning.

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    Visuella analyser i skolan
  • 26.
    Elg, Eva-Marie/Emie
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    A sexual Series: Visningsex2023Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The art series A Sexual Series is based on posthumanist theory and asexual experience. Shapes of performative alter egos materialized from a queer cyborg position of technologically enhanced crip experiences (the strong symbolical constructing process of straightening scoliosis surgery). From the position of a glitch reflecting a postindividualist future, the AI sexbot is a metaphoric, elevated cyborg drag version of the artist to embody asexuality and queer Otherness. Based on multitudes of contradictions to encourage self-reflection, the series explores the complexities of ob/scene and on/scene performances; the position of a sex positive asexual as well as questions of belonging as a naturally artificial rebel. This essay touches upon rituals as well as performative methods of disidentification as a tool to reimagine shame, to ghost the own body and to stop being a pleaser.

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    bild
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    bild
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    bild
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    bild
  • 27.
    Engqvist, Carl-Erik
    Umeå University, Faculty of Arts, Humlab.
    The Sacredness of Performative Technology2010Manuscript (preprint) (Other (popular science, discussion, etc.))
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  • 28. 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.

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  • 29. Ferreira de Carvalho, Nuno
    et al.
    Jansson, AndersUmeå University, Faculty of Arts, Bildmuseet.
    Ângela Ferreira: Pan African unity mural2018Collection (editor) (Other academic)
  • 30.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab.
    The digital aesthetic in 'Atlantis: the evidence' (2010)2018In: Ancient Greece on British television / [ed] Fiona Hobden and Amanda Wringley, Edinburgh, Scotland: Edinburgh University Press, 2018, p. 187-202Chapter in book (Refereed)
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  • 31. Hadji-Culea, Ana-Maria
    Tripping, ontological abstraction as hypersimulation2009In: It's about time: ah, I like time : once I had a really good one : masters of fine arts graduating class of 2009, Academy of Fine Arts, Umeå University, Umeå: Umeå Academy of Fine Arts , 2009, p. 22-27Chapter in book (Other (popular science, discussion, etc.))
  • 32.
    Hedin, Klara
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Puttefnask och världen2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
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    Puttefnask och världen
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    Puttefnask och världen
  • 33.
    Hjelm, Emma
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Oviss Väntan: - En animerad film om ensamhet, längtan och väntan2021Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis deals with my master’s degree project "Suspense" with the Swedish title “Oviss väntan". The project resulted in a video installation consisting of animated loops displayed on screens with headphones and a sound-shower at Bildmuseet in Umeå, Sweden in May 2021.

    My essay begins with a presentation of myself and my background as an animator. I describe my artistic practice, how I work and what I have been influenced by. This is followed by a presentation of the project itself, where I discuss important parts of the project, such as themes and atmosphere, materials, form and visualization. This essay will be completed before the exhibition at Bildmuseet. Therefore, the images in the essay will focus more on the process than on the finished work.

    "Suspense" is based on the idea that all fictional characters exist in real life. The characters live together in a fictional house where they are waiting to be used. The film portrays this house, where the characters are housed in the different rooms, with a variation in materials and animation techniques. The film conveys a mood of waiting but also of longing. I believe that these themes have been enhanced by the current pandemic. A suspense we do not know when it will end - if it even ends. Another of my themes is loneliness. This loneliness that can exist in an apartment even though only walls and floors separates us from others. The characters in the film will move in loops. Through these loops, along with music, sounds and voices, the film moves forward. The rhythm and its feeling will create a form, with a non-narrative structure. A moving painting.

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    "Oviss Väntan" - En animerad film om ensamhet, längtan och väntan
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    English version of the essay: "Suspense" - An animated film about loneliness, longing and waiting
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    Trailer till Oviss Väntan av Emma Hjelm
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    Bild från installationen av Oviss väntan på Bildmuseet
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    Stillbild ur Oviss Väntan
  • 34.
    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.

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    ePub, e-book with sound and film
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    PDF, e-book with sound and film
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    PDF, for print
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    spikblad
  • 35.
    Hurtig, Therése
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Bo Peep? Ah ha ha ha!2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
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    Bo Peep? Ah ha ha ha!
    Download full text (pdf)
    Bo Peep? Ah ha ha ha!
  • 36.
    Hällgren, Anna-Maria
    Institutionen för kultur och estetik, Stockholms universitet, Stockholm, Sverige.
    Därför vill vi arbeta även om det inte behövs2017In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 37.
    Höglund, Erik
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    Med nya öron, hör upp!2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
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    Med nya öron Hör upp
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    Modermål 1
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    Modermål 2
  • 38. Isaksson, Hans
    et al.
    Torell, LisaUmeå University, Faculty of Arts, Umeå Academy of Fine Arts.Williamsson, Jonas
    Floran: mammas hus i Lainio2021Collection (editor) (Other (popular science, discussion, etc.))
  • 39.
    Johansson, Anders
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Förord / Preface2013In: Vissa dagar känns det mesta ganska meningslöst. Ibland känns det precis  tvärtom / [ed] Upphovsman: Patrick Nilsson, Uppsala: Fistofobia förlag , 2013Chapter in book (Other (popular science, discussion, etc.))
  • 40.
    Jonsson Widén, Anna
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Bildundervisning i möte med samtidskonst: bildlärares professionella utveckling i olika skolformer2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this thesis is to describe and review the visual art teaching profession from a wider cultural perspective. This can lead to a better understanding of how teachers in 2000s Sweden manage change and relate to their task. This is a starting point for the formation of question areas that are of concern: the importance of their own specific interests in various visual art media for the development of their professional knowledge; what conditions different types of schools provide for the development of the subject and the strategies visual art teachers (in the study) use to develop their teaching on the theme of contemporary art. The theoretical framework is based on a socio-cultural perspective. Analysis combine cultural semiotic and frame factor models. Institutional art theory focuses on art’s audience and the art institutions which are central to contemporary art manifestations. The thesis is based on two case studies conducted by three separate teacher-training days at Bildmuseet in Umeå. 14 Visual Art teachers from four different types of schools: compulsory school, years 7-9, upper secondary school, folk high school and volountary art school (Swe. kulturskola) participated in the study. The investigations has generated data produced through interviews, observation, self-reports and images. Contemporary Art is involved in society's constant change and mix of new medias. The changes concernes the visual art educational field. The opportunities different school contexts provides for education, has an impact on how knowledge is transformed. Conformity, solid structures, formes of assessment and low legitimacy shape resistance. Teaching in visual art is highly based on teachers' own choices. A fragmented knowledge-culture with focus on manual or digital mediations leads to different knowledge-selection. This study highlights resistances that affect applying contemporary art on its own terms. Contemporary art’s starting points and new perspectives represent other paradigms than traditional art classifications. This sigifies tension between the artworld and the educational field. To reducie the tension, a dialogue and interaction between the fields on equal terms is recommended. The study identifies a lack of procedures and resources for formal continuing professional development. There is a need of developing the collective body of knowledge, covering both the theoretical and practical knowledge in the visual art teacher culture.

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    fulltext
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    spikblad
    Download (pdf)
    omslag
    Download (pdf)
    errata
  • 41.
    Jørgensen, Finn Arne
    Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies.
    Why Look at Cabin Porn?2015In: Public culture, ISSN 0899-2363, E-ISSN 1527-8018, Vol. 37, no 3, p. 557-578Article in journal (Refereed)
    Abstract [en]

    The rise of cabin porn—images of beautiful cabins in nature—as a visual genre reflects a growing international interest in cabins, shedworking, and rustic, exurban living off the grid, most of it romanticizing rural and low-tech lifestyles. On the surface, the digitally mediated and disembodied architecture of cabin porn seems to be a form of nostalgia, where the dream of the cabin becomes an arena for resolving an ambivalent relationship to technology and all the bothersome things of modern life. Delving deeper into the cabin porn phenomenon, however, can also reveal something about the mediated experience of nature through digital media.

  • 42. Kouhia, Harri
    et al.
    Lundström, Jan-ErikUmeå University, Faculty of Arts, Bildmuseet.
    Annika von Hausswolff1998Collection (editor) (Other academic)
  • 43.
    Larsson, Jasmine
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Bild- och formlära: Gjutning och digitala läromedel i bildämnet2014Independent thesis Advanced level (professional degree), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Studiens syfte var att skapa ett digitalt läromedel inom gjutning i skolämnet bild och form samt att undersöka hur lärarstudenter och en nyutexaminerad lärare såg på det skapade läromedlet och blogg som läromedel. De frågeställningar som studien utgick ifrån var ”hur kan en blogg som läromedel i gjutning utformas?” och ”vad tycker lärarstudenter och nyexaminerade lärare i bildämnet om det färdiga läromedlet?”. För att besvara dessa frågor genomfördes ett gestaltande arbete genom att utforma en blogg som ett läromedel i skolan. Temat på detta läromedel var gjutning, där två gjutningstekniker presenterades; tvådelad gipsform och alginatform. I avsnittet ”Begrepp” förklaras de steg som ingår i gjutning, de delar som var med i bloggen samt de överväganden som gjordes. Därefter gjordes intervjuer med tre lärarstudenter och en verksam lärare som fick kommentera bloggen och ge konstruktiv kritik. Resultatet av intervjuerna visade att informanterna var positiva till att använda blogg som läromedel, men att det också finns svårigheter med att använda digitala läromedel. I diskussionskapitlet diskuteras hur bloggen går att använda med olika inlärningsmetoder med utgångspunkt i Lars Lindströms teori om lärande.

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  • 44.
    Lazaridis, Georgios
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    The intention for a preference: Aimless venture2021Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    In search of, the current and urgent, accompanied with our guiltless but potentially not agencies, we fight for the intelligence of reality. A zeitgeist that we try to ghostbust, that we hope to understand. A pandemonium circulated around the event, the now, the branches of time that flicker the possibilities and variations of expressions, that we as trajectories might solidify into a reality.

     "So, one can start from a simple question, at which one does not care to conclude  with an answer: "why do we mark/trace a surface? Or for that matter, sculpt, think,  animate etc." What is the inclination behind it? And more importantly, why do we  cling to a specific preference?"

    In this essay I attempt a brief brush through from a number of familiar questions about art. And attempt to provide my own understanding, of art, creativity, society, and the ever newer intentions of the human expressive trajectories, that provide variations of possibilities and potentialities.

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  • 45.
    Liljedahl, Elna Dani
    Umeå University, Faculty of Arts, Umeå Academy of Fine Arts.
    inte klar2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    vi följde en linje utan riktningelna dani

    tusch, ljud (16 min, 30 sek), performance

    rörelse förkroppsligad, lagrad, ett varv till, ett lager till. en till ring, ett nytt hål. en bäck som hittat nya vägar att rinna en brusten damm, frisläppt flod

    ett lager till. lagad, lagrad, lagen

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    inte klar
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    inte klar 1
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    inte klar 2
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    inte klar 3
  • 46.
    Lind, Anders
    et al.
    Umeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Lundstedt, LottaUmeå University, Faculty of Arts, Department of Creative Studies (Teacher Education).
    Artistic research within creative studies2023Collection (editor) (Other academic)
    Abstract [en]

    This Tilde publication is the first from the Department of Creative Studies to focus on artistic research by gathering together our past, ongoing as well as future artistic research processes. The intention is to showcase the position we are currently in as a department navigating the field of artistic research. The theme of the publication is processes. The starting point is that we must be patient. We cannot rush such a process. Still, challenges need to be met with actions. In so doing, questions arise. We stumble, we fall, we rise, analyse, and move forward. We believe that we learn through experience, which is not linear. Sometimes, we learn from actions in the past. Other times, we learn in the moment of creating. An artistic action will trigger a reflective reaction. An artistic failure may be a research breakthrough. We believe that the artistic actions, the doing, the process of practising our art is the key parameter for feeding an artistic research process. Namely, the artistic activity must be embraced and the skills and knowledge embodied by the artist seen as a tool in the research activity. There is a long tradition at the Department of Creative Studies of conducting research within educational science in visual art, crafts/sloyd and music. Accordingly, our previous educational research has often included interdisciplinary approaches to our art subjects. In recent years, artistic research has grown in importance at the department. Besides the aim of artistic research to generate new knowledge to an artistic practice, it holds the potential to add new insights to the educational scientific field regarding practical, embodied and tacit knowledge, and new understandings of aesthetic activities and experiences.

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    fulltext
  • 47.
    Lundström, Jan-Erik
    et al.
    Umeå University, Faculty of Arts, Bildmuseet.
    Jonsson, Stefan
    Lite my fire: Martin Sjöberg : Bildmuseet Umeå 29.3-10.51998Other (Other academic)
  • 48.
    Lundström, Jan-Erik
    et al.
    Umeå University, Faculty of Arts, Bildmuseet.
    Pierre, KatarinaUmeå University, Faculty of Arts, Bildmuseet.
    Demokratins bilder: fotografi och bildkonst efter apartheid1998Collection (editor) (Other academic)
  • 49.
    Lundström, Jan-Erik
    et al.
    Umeå University, Faculty of Arts, Bildmuseet.
    Pierre, KatarinaUmeå University, Faculty of Arts, Bildmuseet.Vejbrink, HelenaUmeå University, Faculty of Arts, Bildmuseet.
    Visual cultures in dialogue2002Collection (editor) (Other academic)
  • 50.
    Lundström, Jan-Erik
    et al.
    Umeå University, Faculty of Arts, Bildmuseet.
    Sjöström, JohanUmeå University, Faculty of Arts, Bildmuseet.
    The politics of place2002Collection (editor) (Other academic)
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