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  • 1.
    Dahlberg, Leif
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Factoring out Justice: Imaginaries of Community, Law, and the Political in Ambrogio Lorenzetti and Niccolo Machiavelli2013In: Lychnos, ISSN 0076-1648Article in journal (Refereed)
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    Factoring out Justice: Imaginaries of Community, Law, and the Political in Ambrogio Lorenzetti and Niccolo Machiavelli
  • 2.
    Dahlberg, Leif
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Inledning: Mot ett transmedialt berättande2008In: Berättande i olika medier / [ed] Leif Dahlberg & Pelle Snickars, Stockholm: Statens ljud- och bildarkiv , 2008, p. 7-34Chapter in book (Refereed)
  • 3.
    Dahlberg, Leif
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Kvinnoperspektiv: Intervju med Linda Nochlin1992In: Kvinnovetenskaplig tidskrift, ISSN 0348-8365, no 1, p. 54-57Article in journal (Refereed)
    Abstract [en]

    This article contains an interview with professor Linda Nochlin, Department of History of Art, Yale University. The interview was made in New Haven, Connecticut, on September 24, 1991. Professor Nochlin responds to questions on her published works, and in particular on her essay "Why have there been no Great Women Artists?” (1971). She discusses the position of feminism within the academic institution, her own position within the same institution, and her understanding of the documentary status of her essays. She reflects on critique she has received for her 1971 essay, on sources for the same essay, and on her present and future projects. Professor Nochlin also addresses the questions of how different discourses interact and how painting becomes an integral part of the social construction of reality. 

     

  • 4.
    Dahlberg, Leif
    KTH, School of Electrical Engineering and Computer Science (EECS), Human Centered Technology, Media Technology and Interaction Design, MID.
    Peter Weiss's The Aesthetics of Resistance (1975–1981): Classical Book Review2023In: Journal of Resistance Studies, ISSN 2001-9947, Vol. 9, no 2, p. 113-132Article in journal (Refereed)
  • 5.
    Edman, Victor
    et al.
    KTH, School of Architecture and the Built Environment (ABE), Architecture, History and Theory of Architecture.
    Arfvidsson Womack, Anna
    Nordiska museet.
    Paradsängkammaren från Ulvsunda som musealt projekt2018Conference paper (Refereed)
    Abstract [en]

    The State Bedroom from Ulvsunda as a Museological Project

    A major undertaking for Swedish cultural historians at the turn of the century 1900 was to map the indigenous built heritage. Here the Nordiska museet was a leading actor, not least when it came to investigating castles and manor houses. At the inauguration of its new building in 1907, the museum displayed a magnificent series of Swedish period rooms. This paper focuses on one of these – the State Bedroom from Ulvsunda castle. Through this example, the presentation aims at highlighting the period rooms at the Nordiska museet, their role in a museological context and how they relate to the museum’s knowledge production.

    The modernization of society strongly affected the estates of the Swedish nobility. Ulvsunda outside of Stockholm was swallowed by the urban expansion already around 1900, when its land was exploited and its seventeenth-century castle turned into a nursing home. At this instance, the museum acquired some of the castle’s elaborate baroque fittings. This is also typical for the time, as the old elite culture was considered equally threatened by modernity as the peasant culture. The Nordiska museet developed an expertise within the history of Swedish domestic culture, including collections, research projects, publications and exhibitions.

    The Ulvsunda bedchamber became part of the period rooms that formed the backbone of the museum’s upper-class department, illustrating the homes of the privileged classes from the sixteenth century to present days. The galleries can be regarded as physical representations of the museum’s expertise within the field. Eventually the period rooms became obsolete, and they were dismantled and put into storage in the 1970s. Completely different museological ideals characterised the sequel within this area; Swedish House and Home. However, the Ulvsunda interior was included in the new installation. After 111 years the room is now one of Nordiska museet’s most long-lived attractions.

  • 6.
    Ekström, Anders
    Uppsala universitet.
    Bättre smak, bättre sinnen, bättre människor?: Om utställningsmediets estetik och pedagogik i slutet av 1800-talet2007In: Förfärligt härligt / [ed] Helena Kåberg, Stockholm: Nationalmuseum , 2007, 1Chapter in book (Other academic)
  • 7.
    Grillner, Katja
    KTH, School of Architecture and the Built Environment (ABE), Architecture, Critical Studies in Architecture.
    Tomaskyrkan i Vällingby: en analys av Peter Celsings byggnad : proseminarieuppsats i Konstvetenskap vid Stockholms universite...1992Book (Other academic)
  • 8.
    Hinders, Johan
    Universitetsbiblioteket, Stockholms universitet.
    Oväntat möte i biblioteket2011In: Kompassriktning: 2000-talet: Festkrift till Catarina Ericsson-Roos / [ed] Eva Enarsson, Leif Friberg, Wilhelm Widmark, Stockholm, 2011, p. 195-204Chapter in book (Other (popular science, discussion, etc.))
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    Oväntat möte i biblioteket
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  • 9.
    Hogenboom, Katja
    Umeå universitet, Arkitekthögskolan vid Umeå universitet.
    And/Other: Estrangement and The Possibility of an emancipatory Architecture2015Conference paper (Other (popular science, discussion, etc.))
  • 10.
    Hogenboom, Katja
    Umeå universitet, Arkitekthögskolan vid Umeå universitet.
    From Visual to Image from Illustration to Time-Image2013Conference paper (Other (popular science, discussion, etc.))
  • 11.
    Knauff, Kristina
    KTH, School of Architecture and the Built Environment (ABE), Architecture, History and Theory of Architecture.
    Metropolitan facades and 1920s decoration2015In: Swedish Grace: The forgotten modern / [ed] Peter Elmlund & Johan Mårtelius, Stockholm: Axel and Margaret Ax:son Johnson Foundation , 2015, p. 90-101Chapter in book (Other academic)
  • 12.
    Knauff, Kristina
    KTH, School of Industrial Engineering and Management (ITM), Learning, Language and communication.
    Swedish architecture published and discussed in Germany: Reception of Swedish architecture by German traditionalism before 19302023In: Kunstgeschichte, ISSN 1868-0542Article in journal (Refereed)
    Abstract [en]

    This article examines the German reception of Swedish classicism in the late 1920s through the lens of several German publications, highlighting the similarities and differences between Swedish and German architecture of the time, as well as the cultural and intellectual exchanges between the two countries. By analyzing the values and themes that emerge in the texts on Swedish architecture in the German publications, this article sheds light on the reception and interpretation of Swedish architecture in a broader European context.

  • 13.
    Lindborg, PerMagnus
    Nanyang Technological University, Singapore.
    Singapore Voices: An interactive installation about languages to (re)(dis)cover the intergenerational distance2011In: IM Interactive Media, E-ISSN 1833-0533, no 6Article in journal (Refereed)
    Abstract [en]

    Singapore Voices is an interactive installation, integrating sound and image in aseries of touch-sensitive displays. Each display shows the portrait of an elderly person,standing with the hand turned outwards, as if saying: “I built this nation”. Two displayscan be seen in Figure 1 below. When the visitor touches the hand or shoulder, they heara recording of the speaker’s voice. Chances are that the visitor will not be able tounderstand the language spoken, but she or he will indeed grasp much of all that is, in amanner of speaking, “outside” of the words - elements of prosody such as phrasing andspeech rhythm, but also voice colour that may hint at the emotional state of the person.Then there is coughing, laughing, a hand clap and so forth. Such paralingual elements ofvocal communication are extremely important and furthermore, their meaning is quite universal.

  • 14.
    Lundgren, Staffan
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    Samtidig konst2011In: Kunstkritikk, E-ISSN 1504-0925Article in journal (Other (popular science, discussion, etc.))
  • 15. Milevska, Sozana
    Bristfälliga och fulländade ready-mades1998In: Index Magazine, no 22, p. 60-62Article in journal (Refereed)
  • 16.
    Olsson, Gertrud
    KTH, School of Architecture and the Built Environment (ABE), Architecture, History and Theory of Architecture.
    Colour and Architecture2010In: Colour in Art / [ed] Michael Juul Holm & Helle Crenzien, Köpenhamn: Louisiana Museum of Modern Art , 2010, p. 120-131Chapter in book (Other academic)
  • 17.
    Olsson, Gertrud
    KTH, School of Architecture and the Built Environment (ABE), Architecture, History and Theory of Architecture.
    Colour–Light–Expressions in Byzantine Mosaics2011In: Medelhavsmuseet. Focus on the Mediterranean, ISSN 1652-4535, no 6, p. 55-58Article in journal (Other academic)
  • 18.
    Olsson, Gertrud
    KTH, School of Architecture and the Built Environment (ABE), Architecture, History and Theory of Architecture.
    Möte med det historiska rummet2012In: Ikaros, ISSN 1796-1998, no 1, p. 38-39Article in journal (Refereed)
  • 19.
    Olsson, Gertrud
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    The Visible and the Invisible: Color Contrast Phenomena in Space2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This study deals with the changes in color that arise in space, primarily simultaneous contrast in three dimensions. The typical account of simultaneous contrast is that the contrast phenomenon occurs between two or more color surfaces seen together, thus affecting one another. The overarching question of the study is: How do we perceive the phenomenon of simultaneous contrast in space? The work analyzes how the concept of simultaneous contrast is used historically, and also examines its importance in a cultural context. A theoretical starting point for the study of simultaneous contrast is the French chemist M.E. Chevreul’s (1786–1889) laws governing visual color blending. Three time periods are examined in the dissertation: a) the middle of the 19th century, when Chevreul’s scientific research became well known and began to be put into practice by Impressionists and Neo-Impressionists; b) the time when early modernism manifested aninterest in color contrasts, perception, and a new kind of vision and simultaneity; and c)the present, with a focus on contemporary Swiss architecture, primarily that designed by Gigon/Guyer, Herzog & de Meuron, and Bonnard Woeffray. The study of color contrast phenomena includes color as a material, as well as the visual perception of color, and is based on three philosophical theories, one per chapter. Chapter I is rooted in Merleau-Ponty’s idea of perception as an unreflected experience, applied in the 19th century context. Chapter II investigates how Bergson’s concept of simultaneity has repercussionsin early modernism. Chapter III applies Wittgenstein’s idea of aspect seeing to contemporary Swiss architecture. In addition, via close studies of selected buildings and artworks, the purpose is to follow the changes in color and the way colors appear in architecture. Three separate ways to apply color are observed: a) colors applied in a dot technique; b) colors applied as whole surfaces; and c) colors created as luminous colored light. How one perceives a color or a phenomenon depends, the results show, on a number of factors: how the surfaces are angled, the chemical composition of the color material, illumination, the viewer’s location, the distance between the color and theviewer, and the viewer’s background knowledge and experience. What we see and perceive in and through space is an optical mixture. Systems of small points or dots mix(together) at a distance to form entire surfaces and new colors. When complementary colors are used, juxtaposed in small dots, they cancel each other in the optical mixture to neutral gray hues and muddy tones. On the other hand, when complementary colors are juxtaposed in whole surfaces, they add power to each other and can even be perceived as solid colors. Color in the form of light can be perceived as transparent and luminous; in a small room, a thick light color can alter the contours of the space. The following eleven color phenomena have been noted: the phenomenon of simultaneous contrast, the phenomenon of contrast enhancement, the phenomenon of afterimage, the phenomenon of simultaneous transparency, the phenomenon of the moiré effect, the phenomenon of colored space, the phenomenon of chemical aging, the phenomenon of motion, the phenomenon of changeability, the phenomenon of structural color, the phenomenon ofcolored mist. The observer’s active participation in an experience of space is noticed, for example in the Byzantine mosaic rooms, in Sonia Delaunay’s simultaneous contrasts, and in Moholy-Nagy’s simultaneous transparent layers in his stage design. Color is a material regardless of whether it is painted, a construction element, a dyed fabric, or acolored piece of Plexiglas. In the transformation of a contrast phenomenon, the conclusion must be, colors change shape and can instead appear as light. Color thus becomes immaterial. The color manifests an uncertainty in that it can be transformed from a painted layer to immaterial transparency. This inconstancy provides the color with tension and a certain charge.

  • 20. Poggi, Christine
    Den futuristiska bullermaskinen2010In: OEI, ISSN 1404-5095, no 46-47, p. 12p. 239-251Article in journal (Refereed)
  • 21.
    Sand, Monica
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    Space in motion: the art of activating space in-between2008Doctoral thesis, monograph (Other scientific)
    Abstract [en]

    As a contribution to the emerging field of practice-based research in the arts, this thesis aims to activate space, experience and the concept in-between. As the in-between cannot be defined ahead of the rhythmic process it carries out and of which it is a part – a rhythm inherent in the city itself and in knowledge production – it is necessary to produce rhythmic relations between bodies, sites and concepts. An art experiment, a forty-two meter high swing mounted on the bridge, Älvborgsbron, in Gothenburg harbour, Sweden, serves as the point of entry to the thesis. A dancer in the swing moved slowly between the bridge and the ground, captured in a rhythmic experience of being earthbound and then weightless.

    The swing project, together with other rhythmic processes such as walking, weaving and acting physics, activate spatial, temporal and theoretical dimensions of the in-between. Merging my roles as an artist, teacher and researcher by pragmatic production, perception and concepts it becomes possible to transform the rhythms between the examples:

     

    1. A swing mounted on a bridge; one of my art projects.

    2. Walking and mapping strategies; as developed in my

    courses taught at the School of Architecture.

    3. The myth about Penelope weaving.

    4. Rhythmic relations between bodies and machines at

    CERN, the particle physics laboratory outside Geneva, a

    place that is important for several of my art projects.

     

    Creative production aims to expand the capacity of the body.  By employing a bridging structure, spaces in-between are activated thus revealing the power and danger in-between. In that production collective processes merge, creating “social and collective machines” and another reality between:

     

    1. bridge/swing/dancer,

    2. map/walking/site,

    3. war/loom/weaving,

    4. theory/detector/bodies.

     

    These rhythmic processes oscillate between representation and the complex forces of daily activities. However, it is not the rhythm itself that activates spaces in-between but, rather, the changing of directions of the rhythm: from moving to be in motion; from walking forward to walking and falling; from weaving cloth to producing time; from doing physics to acting physics. Activating in-between spaces means activating differences and another way of producing knowledge, a well-known strategy in contemporary art: a production of potential realities, in a constant interaction between concepts and spatial transformations.

     

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  • 22.
    Stevanovic, Tijana
    KTH, School of Architecture and the Built Environment (ABE), Architecture.
    Faculty in Withdrawal: Not to Know and the Uncertainties of Self-institutionalisation2013In: Pedagogies of Disaster / [ed] Vincent van Gerven Oei, Adam Staley Groves, Nico Jenkins, New York: Punctum Books, 2013, p. 400-422Chapter in book (Refereed)
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    Faculty in Withdrawal
  • 23.
    Stevanovic, Tijana
    KTH, School of Architecture and the Built Environment (ABE).
    (small memorials)2020Other (Refereed)
  • 24. Stevanovic, Tijana
    The Grand Domestic Revolution Goes On2013In: Architectural Research Quarterly, ISSN 1359-1355, Vol. 17, no 1, p. 15-18Article in journal (Refereed)
  • 25.
    Szymanska, Joanna
    KTH, School of Architecture and the Built Environment (ABE), Urban Planning and Environment, Urban and Regional Studies.
    Space to Place: Effektivisera markutnyttjande både fysiskt och digitalt inom svensk stadsplanering2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Cities around the world are expanding at an ever faster pace to enable tomorrow's needs and demands, which takes place within the framework of sustainable development in several coherent dimensions. At the same time as digitalisation and new post-industrial values proceeds, this results in a shift in the physical resources. Many urban environments are therefore facing the paradox of having too much space but losing content and lack of accessibility. The city's exponential allurement thus needs to be able to change parallelly with society in order to maintain continuous use. An alternative planning solution is to streamline land-use with the help of digital tools to enable multifunctional buildings and shared use of premises.

    The purpose of this study is therefore to map the streamlining of land-use in the form of shared use and multifunctional Swedish urban planning, in addition, examine existing digital tools to promote this change.

    To achieve positive urban development by streamlining land-use, several different factors need to work together, including the connection between public and private, analysis of clusters in urban flow systems, citizen participation and a well-founded trust between parties. For lasting development, governance and densification, it is required that property actors develop towards including more businesses in the same premises and multifunctional construction in order to create good conditions for sustainable districts. This can be made possible with the help of existing digital tools such as Cityscope, but where the focus in the future is that authorities in urban planning must combine correct, consistent and impartial city data and review in-depth legislation to enable more space-efficient cities that could change in real time.

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  • 26.
    Sörlin, Sverker
    KTH, School of Architecture and the Built Environment (ABE), Philosophy and History, History of Science, Technology and Environment.
    Konstnärer och forskningsexpeditioner: En historisk tillbakablick2021In: Expedition konst / [ed] Johan Pettersson & Karin Sidén, Stockholm: Prins Eugens Waldemarsudde , 2021, p. 32-59Chapter in book (Other academic)
  • 27.
    Wennberg, Teresa
    KTH.
    Virtual Reality-Virtual Brain Questioning Reality2018In: Leonardo: Journal of the International Society for the Arts, Sciences and Technology, ISSN 0024-094X, E-ISSN 1530-9282, Vol. 51, no 5, p. 453-459Article in journal (Refereed)
    Abstract [en]

    The author's multimedia art is inspired by memory and cognitive processes. This paper discusses certain human brain functions, including a reflection on the evolution from individual human memory to collective computer memory and the role of the artist in this vital change.

  • 28.
    Yu, Zhangwei
    KTH, School of Engineering Sciences (SCI), Applied Physics, Laser Physics.
    Untitled2016In: Electronics Letters, ISSN 0013-5194, E-ISSN 1350-911X, Vol. 52, no 19, p. 1576-1576Article in journal (Refereed)
1 - 28 of 28
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