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  • 1. Arzyutov, Dmitry
    Samoyedic Diary: Early Years of Visual Anthropology in the Soviet Arctic2016In: Visual Anthropology, ISSN 0894-9468, E-ISSN 1545-5920, Vol. 29, no 4-5, p. 331-359Article in journal (Refereed)
  • 2.
    Dahlberg, Leif
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Annlee: or, Transposition as Artistic Device2018In: Transpositions: Aesthetico-Epistemic Operators in Artistic Research / [ed] Michael Schwab, Leuven: Leuven University Press , 2018, p. 97-115Chapter in book (Refereed)
    The full text will be freely available from 2019-08-07 12:01
  • 3. Frichot, Hélène
    A Work in Ten Parts: Gathering and its Forms2009Other (Other academic)
    Abstract [en]

    A Work in Ten Parts: Gathering and its Forms, was a set of 'philosophical' instructions that I wrote and provided to Elizabeth Presa, Centre for Ideas, VCA, University of Melbourne as part of a collaborative work participating in Hans Ulrich Obrist's ongoing Do It project. The instructions were followed by a number of VCA art students as part of a studio project, and the work was exhibited at  George Paton Gallery, Union House The University of Melbourne, Parkville (6-16 October, 2009). A catalogue published by The Centre for Ideas, VCA, The University of Melbourne, Melbourne was produced called Do It, which likewise contributes to the ongoing collaborative series curated by Hans Ulrich Obrist.

  • 4.
    Frichot, Hélène
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    All in the Production: Conversation with Nicolas Bourriaud, Somewhere in Paris2009In: Design Reporter, no 1, p. 12-13Article in journal (Other academic)
  • 5. Frichot, Hélène
    Becoming Woman, Old Man2008In: Bureau, Melbourne: VCA Margaret Lawrence Gallery, Faculty of the Victorian College of the Arts, The University of Melbourne , 2008Chapter in book (Other academic)
  • 6. Frichot, Hélène
    David Ralph: In Captivity2008In: Landscape Architecture Australia, ISSN 1833-4814, Vol. 118, p. 31-32Article in journal (Other academic)
  • 7. Frichot, Hélène
    Folds for Marion Manifold2010Other (Other academic)
    Abstract [en]

    Deep Mapping for the Stony Rises is an assemblage of the topographies and topologies encountered in the making of a cross-landscape environment for six particular places in the Stony Rises of Victoria and the Flinders Ranges of South Australia. It is an experiment in the superpositioning of gathered and invited material interleaved with a stratigraphy of text – as a kind of writing over writing over writing where points once separated in time are made adjacent2 – through the medium of the gridded mat. The ten elements for a deep map are guides for peripatetic travelling through stony terrains shaped by curatorial fine-tuning further informed by instructions from collaborators, when such advice exists. Arrangements of collected, invited and offered fragments of impressions gathered across these landscapes are ordered and layered onto conceptual ground – the deep mapping mat to be laid out, reorganised, folded up and carried about as necessary. At the invitation of Gini Lee, who was one of the cited artists of 'The Stony Rises Project', I submitted a set of drawings to be used and composed at her discretion as part of her curated contribution, 'Deep Mapping.'

  • 8.
    Frichot, Hélène
    RMIT University, Melbourne Australia.
    Olafur Eliasson and the Circulation of Affects and Percepts: In Conversation2008In: Architectural Design, ISSN 0003-8504, E-ISSN 1554-2769, p. 30-35Article in journal (Refereed)
    Abstract [en]

    The work of Danish-Icelandic artist, Olafur Eliasson is suffused with an internal atmospheric that profoundly impacts upon the experience of those who apprehend his projects. Through an array of manufactured weather conditions, wild and moody landscapes improbably enter the framed interiors that he creates. Eliasson’s atmospheric works have become increasingly compelling for interior and architectural designers alike as he activates a mobile circulation of affects and percepts creating an intimate relay between the artwork and those who enter into a zone of indiscernibility with the work. Through the manipulation of the colour, transparency, and reflection of light, Eliasson dissolves the material of interior space into the immaterial qualia of atmosphere and captures the fragile visitor in this embrace. Here I hope to go in search of a tentative theory of affect for the artist’s work in order to discover how he has enacted the mutual transformation of space, time and inhabitant. The immaterial materials of atmosphere that Eliasson manipulates move beyond mere surface effect and open up the possibility of new forms of sociality. This brief essay will recount a collective conversation that erupted in the midst of a midsummer forum held at Studio Olafur Eliasson, next to the Hamburger Bahnhof, a reputable museum of contemporary art in Berlin. The leitmotifs of the longest day of the year included temporality, or the inexorable sensation of the passing of time; the status of reality; objecthood, specifically the place of the art-object in contemporary art, but also the medium of the model or maquette; and the perception of colour and light, for example, in the phenomenon of the after-image. The event was named: Life in Space, and was attended by a series of culinary delights that culminated in a BBQ to which all the family was invited.

  • 9. Frichot, Hélène
    Sangeeta Sandrasegar2004In: New04 / [ed] Juliana Engberg, Melbourne: Australian Centre for Contemporary Art , 2004, Vol. March, p. 63-Chapter in book (Other academic)
  • 10.
    Frichot, Hélène
    KTH, School of Architecture and the Built Environment (ABE).
    Simone Slee, On2003In: Melbourne International Arts Festival: Visual Arts Program, p. 26-31Article in journal (Other academic)
  • 11. Frichot, Hélène
    Your Mobile Expectations2008In: Artichoke, ISSN 1442-0953, Vol. 22, p. 74-75Article in journal (Other academic)
  • 12.
    Gabrielsson, Catharina
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    Förebyggande2017In: Glas är massa i rörelse / Glass is moving mass / [ed] Axel Andersson, Stockholm: Konstfrämjandet , 2017, p. 195-201Chapter in book (Other academic)
  • 13.
    Grillner, Katja
    KTH, School of Architecture and the Built Environment (ABE), Architecture, Critical Studies in Architecture.
    Att drömma om regnbågens slut och horisontens faktiska vara.1996In: Arkitektur, Vol. 1996:2, s. 49-51 : ill.Article in journal (Refereed)
  • 14.
    Grillner, Katja
    KTH, School of Architecture and the Built Environment (ABE), Architecture, Critical Studies in Architecture.
    När arkitektur är arkitektur är arkitektur konst2001In: Det transparenta huset: Om glas och ljus i konst och arkitektur ... / [ed] Tomas Lauri, Stockholm: Statens konstråd , 2001Chapter in book (Other academic)
  • 15.
    Gullberg, Anders
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment. KTH, School of Computer Science and Communication (CSC), Centres, School of Architecture and the Built Environment (ABE), Centres, Centre for Sustainable Communications, CESC.
    Företal: Stockholmsfotografer2012In: Stockholmsfotografer: En fotografihistoria från Stockholms stadsmuseum / [ed] Forsmark, Ann-Sofi,, Stockholm: Stockholmia förlag , 2012, p. 8-10Chapter in book (Other academic)
  • 16.
    Handberg, Leif
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Ödlundh, Christine
    Time and Simultaneity: Adjusting Time2012Other (Other (popular science, discussion, etc.))
  • 17.
    Hietala, Jan
    KTH, School of Architecture and the Built Environment (ABE), Architecture, Critical Studies in Architecture.
    Eat Work Rest: The Exhibition2011Other (Other (popular science, discussion, etc.))
    Abstract [en]

    Eat Work Rest is a project about an artist’s private and public spheres.  The artist Prince Eugen of Sweden, Duke of Närke (1865-1947) is set in focus.  The prince’s life, as all other artists’, was separated in a private and a public sphere, and perhaps even more evidently so in his case due to his birth.  The difference between the private and the public cut through the prince’s work as an artist, his social life, his official tasks and even in what was served in his home the palatial villa Waldemarsudde on the sea just outside the city centre of Stockholm.

      The project Eat Work Rest, consisting of a book and an exhibition, originates from a few sentences 1st curator Göran Söderlund at Prince Eugen’s Waldemarsudde uttered early on the New Year of 2009.  We were in his office in the villa. He told that they – the management of the palace – had harboured plans to re-make the Prince’s study on the ground floor for some time.  He said it almost as if en passant.  The book includes texts by Charlotte Birnbaum, Power Ekroth and Christina Wistman.

      To give some understanding of the context, it should be mentioned that the interiors of three private chambers in the palace are missing since 1947, and of several guest rooms.  These were removed, all according to the provisions of the Prince’s will.

     The exhibition consists of an installation piece, an associative reconstruction of the vanished study on the first floor and the Prince’s bedchamber, emptied from their original contents soon after the Prince’s death 1947.  The chambers are re-constructed as moving digital images based on C.G. Rosenberg’s pictures of 1947, and excerpts from the documentary ‘A Summer Day at Waldemarsudde’, shot by Lennart Bernadotte in 1943, in form of back-projections on silver screen walls, which makes it possible for a viewer to experience the imagery from the inside too.  The projections are 3 x 4 m and the installation covers an area of some 500 m2.  I recognise both these colleagues as contributors to the final result, in a inter-textual sense.

      Objects and furniture essential for the original rooms, are on lone from Stopalo AB Stockholm.  These furniture are set in new unorthodox positions not unlike large assemblages.  In the room Eat we meet a kitchen table, some dining room chairs from the 18th century, a couple of pheasants, an egg-box and an IKEA lamp from the 1970.  In the room Work we find a desk from the 18th century, and early 19th century lamp and rake for a tennis court.  In the room Rest we find a pair of riding boots, a gentleman’s hat-box, a chair, an electrified chandelier, and an finally a 18th century cast iron dolphin.  The objects were presented on 18th century rugs.

     

  • 18.
    Karami, Sepideh
    KTH, School of Architecture and the Built Environment (ABE), Architecture, Critical Studies in Architecture.
    Stories We Can't Tell2017Conference paper (Other academic)
  • 19.
    Karlsson, Ulrika
    et al.
    KTH, School of Architecture and the Built Environment (ABE).
    Gow, Marcelyn
    KTH, School of Architecture and the Built Environment (ABE).
    Purveyance Practices in Collaborative Design2003In: Reshape!: Ann-Sofie Back, Magnus Bärtås, Peter Geschwind & Gunilla Klingsberg, SERVO / [ed] Sara Arrhenius, Stockholm, Lund: IASPIS, Propexus , 2003Chapter in book (Other (popular science, discussion, etc.))
  • 20.
    Lindström, Kati
    KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment. University of Tartu.
    Protection Policies through a Lens: The Role of Representations in the Environmental Protection of Japanese Agrarian Landscapes2014In: Framing Nature: Signs, Stories and Ecologies of Meaning. Abstracts, Tartu: University of Tartu, 2014, p. 122-123Conference paper (Refereed)
    Abstract [en]

    Environmental discourse and natural imagery hold a special place in national self-descriptions, and different visual and verbal representations of nature, that is nature through a lens or a pen, play a crucial part in establishing which elements belong to the “desirable national environment” and what parts of landscape are rather negated or ignored. Without underestimating the emotional bonds of each individual with their home landscapes, the present paper will address the role of visual (both photo and cinematographic) and verbal representations of landscapes in shaping public discourse on nature and environmental protection policies.

    The discussion will focus on the representation of traditional rice agriculture landscapes at Lake Biwa, Japan, and their role in shaping local environmental consciousness and protection policies. Framing nature in beauty images has been crucial in Japanese environmental protection already from the establishment of early national parks that was carried out hand in hand with big publicity campaigns of major train companies. Well framed visual representations that cut off today’s industrial or urban everyday landscapes are central to the discourse on national landscapes in today’s Shiga Prefecture, where photographic and cinematographic works of Imamori Mitsuhiko have highlighted near-dissappeared traditional rice agriculture ecosystems. In a skillful montage, beautiful traditional villages are depicted as embodiments of traditional Japanese wisdom about co-existance with nature and have found ardent fans among middle-aged town people who happily immerse themselves in further “framing activities”: nature walks, food tasting, ecotourism etc. “The biggest challenge was to keep garbage out of the shot,” says the framer, Imamori Mitsuhiko himself about shooting “Satoyama”, the NHK and BBC co-produced film on water cycles in traditional rice farming villages at lake Shiga. For the consumer of framed images and experiences, it is the correspondence between the first-hand experience and neat images that matters most, appears from the interviews with participants at various tourist events in traditional agricultural villages. And even though the contact of these participants with the real Shiga prefecture remains largely on the level of framed nature, thus excluding the majority of the prefecture’s present reality, the conscious popularization activity of Imamori Mitsuhiko and subsequent satoyama boom has considerably increased the popular awareness about landscape heritage both on local and national level and has in fact helped to preserve several landscape elements that had already almost dissappeared.

  • 21.
    Lundgren, Staffan
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    Note on Malevich2005In: Site, ISSN 1650-7894, no 13-14Article in journal (Other (popular science, discussion, etc.))
  • 22.
    Lundgren, Staffan
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    Note on Rembrandt2004In: Site, ISSN 1650-7894, no 12Article in journal (Other (popular science, discussion, etc.))
  • 23.
    Lundgren, Staffan
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    Notes on “Notes on the Creation of a Total Art”2004In: Site, ISSN 1650-7894, p. 9-10-Article in journal (Other (popular science, discussion, etc.))
  • 24.
    Pitt, Christine
    et al.
    KTH, School of Industrial Engineering and Management (ITM), Industrial Economics and Management (Dept.), Industrial Marketing and Entrepreneurship.
    Kietzmann, Jan
    Simon Fraser Univ, Beedie Sch Business, 8888 Univ Dr Burnaby, Vancouver, BC V5A 1S6, Canada..
    Botha, Elsamari
    Univ Stellenbosch, Business Sch, Stellenbosch, South Africa..
    Wallström, Åsa
    Lulea Univ Technol, Lulea, Sweden..
    Emotions and sentiment: An exploration of artist websites2018In: Journal of Public Affairs, ISSN 1472-3891, E-ISSN 1479-1854, Vol. 18, no 2, article id e1653Article in journal (Refereed)
    Abstract [en]

    Artists of all genres express their emotions through their creations and market their works online. We argue that in marketing their work online, it is important to understand not only the emotional responses of the artistic works themselves but also that the sentiment evoked on their websites matters. Developing the correct website sentiment can have favorable consequences. It can increase the interest of potential consumers, assure that appropriate expectations are set for the actual consumption experience, and lead to increased sales and word of mouth marketing. Online sentiment that is ill-aligned to the emotions the actual offering evokes can have adverse consequences, including disappointment with the actual offering and buyer's remorse. To better understand the online sentiment of artists' websites, we begin by briefly revisiting the interplay between art, emotions, and the issue of online sentiment. Then, we describe a study of a sample of artists' websites that had the objective of gauging both the nature of and the extent of the emotions present in its text, as well as gaining an indication of the sentiment of the website. We describe the use of a relatively new content analysis tool to do this. Following this, we explore the data gathered, with the specific purpose of determining whether the emptions expressed on artists' websites can significantly predict sentiment, if so, which emotions tend to be the strongest predictors. We conclude by discussing some managerial implications of the results and by identifying avenues for future research.

  • 25.
    Romero, Mario
    et al.
    KTH, School of Computer Science and Communication (CSC), Computational Science and Technology (CST).
    Andrée, Jonas
    Peters, Christopher
    KTH, School of Computer Science and Communication (CSC), Computational Science and Technology (CST).
    Thuresson, Björn
    KTH, School of Computer Science and Communication (CSC), Computational Science and Technology (CST).
    Designing and Evaluating Embodied Sculpting: a Touching Experience2014Conference paper (Refereed)
    Abstract [en]

    We discuss the design and evaluation of embodied sculpting, the mediated experience of creating a virtual object with volume which users can see, hear, and touch as they mold the material with their body. Users’ digitized bodies share the virtual space of the digital model through a depth-sensor camera. They can use their hands, bodies, or any object to shape the sculpture. As they mold the model, they see a real-time rendering of it and receive sound and haptic feedback of the interaction. We discuss the opportunities and challenges of both designing for haptic embodiment and evaluating it through haptic experimentation.

  • 26. Smith, Adam M
    et al.
    Romero, Mario
    Georgia Institute of Technology.
    Pousman, Zachary
    Mateas, Michael
    Tableau Machine: A Creative Alien Presence.2008In: AAAI Spring Symposium: Creative Intelligent Systems, AAAI , 2008, p. 82-89Conference paper (Refereed)
    Abstract [en]

    We present the design of Tableau Machine (TM), an AIbased,interactive, visual art generator for shared livingspaces. TM is an instance of what we call “alien presence”:an ambient, non-human, embodied, intelligent agent. Fromoverhead video in key public spaces, TM interprets itsenvironment, including its human audience, and expressesits interpretation by displaying a sequence of abstractimages of its own design. This paper is a case study in thedesign of an art generator with deep and long-termconnections to its physical and social environment.

  • 27.
    Stenberg, Erik
    KTH, School of Architecture and the Built Environment (ABE), Architecture, Architectural Design.
    Grid 6 (Five Chairs) av Rachel Whiteread2011In: Katalog 40: Statens konstråd 2010 / [ed] Anna Nyström, Stockholm: Statens Konstråd , 2011, 40, p. 166-171Chapter in book (Other (popular science, discussion, etc.))
  • 28.
    Sörlin, Sverker
    et al.
    KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science and Technology.
    Holmstedt, Erik
    Inte längre mitt hem: Malmberget 1969-1978 - 2007-20082008Book (Other (popular science, discussion, etc.))
  • 29.
    von Heland, Jacob (Cinematographer)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    Ernstson, Henrik (Cinematographer)
    Philosophy and History, KTH, School of Architecture and the Built Environment (ABE), Philosophy and History of Technology, History of Science, Technology and Environment.
    One Table Two Elephants2018Artistic output (Refereed)
1 - 29 of 29
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