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Genomförda disputationer

2017

Ariana Amacker
HDK - Högskolan för design och konsthantverk

Titel
Embodying Openness: A pragmatist exploration into the aesthetic experience of design form-giving

Opponent
Maria Hellström Reimer, Professor, School of Arts and Communication (K3), Malmö University

Betygsnämnden
Clemens Thornquist, Professor in Fashion Design, Department of Design, University of Borås. 
Camilla Damkjaer, Senior lecturer in dance theory and Head of research education at Stockholm University of the Arts.
Catharina Garielsson, Associate Professor in Urban Theory, School of Architecture, KTH. 

Tid och plats
Fredag 1 september 2017 kl. 13.00, HDK - Academy of Design and Crafts, Konstbiblioteket, Kristinelundsgatan 6-8

Nyckelord
Design research, pragmatism, aesthetic experience, form-giving,
arts-based learning

Abstract
This thesis explores the tension between a reflective view of design and design as an embodied, aesthetic experience. Most research exploring the nature of design follows a tradition of practice-based design research, which aims to empirically establish what constitutes design by studying what designers do and say. The challenge with this observational approach is that it depends on design as an object of study and can therefore only deal with its rational or cognitive dimension. The inherently aesthetic and subjective dimension of the immediate perception of designing remains largely unexplored in design research. To address this lack of research, this project builds on the Classical Pragmatist non-dualistic view of experience and knowledge. In particular, drawing on Dewey’s thesis in Art as Experience, I explore the embodied, aesthetic dimension of design through investigating in detail my experience of the activity of form-giving. This methodological perspective maintains continuity between thinking-feeling in action and in terms of subject-object relations. From this non-dualist view, I critique the specific claim made by researchers and design practitioners who advocate that designers exhibit an attitude of openness that contributes to creativity. Assuming that openness is a quality that can be felt, I ask how this quality is felt in my experience of designing, and what openness means practically with regard to direct sensory and physical engagement and what it conceptually means in the way a designer approaches the world. To explore an integrated experience of designing in the present, I follow an artistic method of movement improvisation called Butoh. Butoh provides a specific context of inquiry for exploring perceptual and physical engagement in the present through a heightened state of somatic awareness. The empirical work is comprised of four direct experiences from my Butoh training that are examined through the lens of Pragmatism and embodied cognition. Together, they show how I actually engage my ‘self’ through concrete sensory, emotional, and feelingful frames of experience of form-giving in the present. This research makes theoretical and methodological contributions through developing an embodied, aesthetic perspective of practice-based and artistic approach to design. It suggests the potential of openness-capacity as a concept for understanding and actually practicing the type of creative approach attributed to a designer’s attitude of openness. It provides a critique of rational mechanisms underlying the contexts of design inquiry, as well as having practical implications for design education and the kinds of teaching and learning that support the creative, self-directed, exploratory capacities of designers.

Språk: English with a Swedish summary

ISBN: 978-91-982423-6-2 (printed version)
ISBN: 978-91-982423-7-9 (digital version)

Hämta hem avhandling.

 


2016

Mårten Medbo, Design

HDK - Högskolan för design och konsthantverk

Titel
Lerbaserad erfarenhet och språklighet

Opponent

Jonna Bornemark, docent Södertörns Högskola
 
Betygsnämnden
Ingela Josefson, Professor, Stockholms konstnärliga högskola

Kjell Rylander, Førsteamanuensis, Kunsthøgskolen i Oslo
Gunnar Almevik, PhD, Senior Lecturer, Institutionen för kulturvård, Göteborgs universitet

Tid och plats
Onsdag 14 december 2016, 13:00, HDK, Kristinelundsgatan 6-8

Nyckelord
crafts, artistic research, practical knowledge, clay-based, language-ness, concept-crafting, theory-practice, craft, applied arts, beyond-the-conceptual

Abstract
During the course of the twentieth century, a doubt emerged – first within visual arts, and later also within crafts – where the relevance of the traditional way of making art was addressed, as were thoughts on what was termed ‘empty shape’. The notion that shape in itself was no longer artistically valid is closely linked to notions of materiality as hindrance, and immateriality as freedom – all of which have had a major influence on contemporary visual arts and crafts, in general, and, more specifically, on what I term ‘theory-practice’ within the field of crafts. During the past few decades, increasing proof of this influence on the field of crafts as a whole has also been experienced. As a ceramist expressing myself through clay, form has never been empty, and clay never a hindrance, and my dissertation is an attempt to put materiality as hindrance, and immateriality as freedom, in context, as well as to reflect upon questions related to their emergence and what impact they have within the field of crafts. My point of departure here is my own experience as an artist and ceramist, where inquiring and exploring takes places through practical knowledge. I argue that there is no such thing as immateriality in art and that all artistic expression requires bodily-situated craft skill of some kind in order to be materialised and communicated, as well as to take place in the world. I also argue that art should be seen as what I term ‘language-practice’. Through this practice I craft the concept of ‘clay-based language-ness’ and ‘language- like-ness’ in order to come as close as possible to describing, in words, the kind of communication I wish to create as a ceramist, as well as what art-making (‘art-crafting’) constitutes when conceptual artists create their art. Regarding crafts as a language-practice, however, conflicts with the theory that is setting the tone as well as leading the field of crafts today. I therefore wish, and propose, to find a way out of this conflict-ridden situation. As part of this endeavour, I present the text-based part of the dissertation and the clay-based part of the dissertation – side by side.

Språk: Svenska

ISBN: 978-91-982423-4-8 (Printed version)
ISBN: 978-91-982423-5-5 (Digital version)

Hämta hem avhandling.


Märtha Pastorek Gripson, Estetiska uttrycksformer med inriktning mot utbildningsvetenskap

Högskolan för scen och musik

Titel
Positioner i dans - om genus, handlingsutrymme och dansrörelser i grundskolans praktik

English title: Positions in dance- on gender, agency and dance movements in primary school practice

Opponent
Tone Pernille Östern, Professor in Arts Education with Focus on Dance, Norwegian University of Science and Technology

Betygsnämnden
Håkan Larsson, Professor, Göteborgs universitet
Elisabet Öhrn, Professor, Göteborgs universitet
Anna Lindqvist, Fil dr, Umeå universistet

Tid och plats
Torsdag 27 oktober 2016, 13:00, Högskolan för scen och musik.

Nyckelord
Genus, fysisk aktivitet, dansundervisning, estetiskt lärande, kroppslig kommunikation, femininiteter och maskuliniteter, grundskola

Abstract
This doctoral thesis examines gender and dance practice in primary school. More precisely it investigates how gender influences the way dance teachers address their pupils, but also the way that pupils organize and understand themselves and carry out tasks and activities in dance education and dance composition. Accordingly, the thesis takes its starting point in the way that participating schools in Sweden introduce ideas on dance, gender and democracy in education. Theoretically a social constructionist framework is used, mainly drawing upon Butler’s concepts of performativity, the heterosexual matrix and the gaze. The study consists of two parts. The first part focuses on the way that dance education is organized and carried out from a gender perspective. The second part deals with the way pupils carry out a composition task that gives them relatively more freedom to make their own choices. Lessons have been video recorded and analyzed with a focus on the interaction between individuals as well as on a more structural level. The results indicate that many boys enact a limited dance repertoire. They tend to avoid investing in “feminine” movements and they are not used to being observed as bodily symbols. Many girls, on the other hand, are informed by extracurricular dance activities, which give them tools to carry out tasks, but they are also limited by the male gaze. Most of them seem to expand their movements in space by using lines through the body and by interacting with “the audience”. Different genres and educational practices contribute in different ways to the possibility of positioning oneself as two-dimensional or three-dimensional. Dance is presented in mainly two ways, as something and about something. In conclusion, gender plays a crucial role and both restricts and opens up for girls´ and boys´ movements in school dance practice.

Språk: Svenska

ISBN: 978-91-982422-6-3 (printed version)
ISBN: 978-91-982422-7-0 (PDF/GUPEA)

Hämta hem avhandling.


Andrew Whitcomb, Design

HDK - Högskolan för design och konsthantverk

Titel 
(re)Forming Accounts of Ethics in Design: Anecdote as a Way to Express the Experience of Designing Together.

Opponent
Clive Dilnot, Professor, School of Art and Design History and Theory, Parsons, New York.

Betygsnämnden
Johan Redström, Professor, Umeå Institute of Design, Umeå universitet
Mat Rosengren, Professor, Litteraturvetenskapliga institutionen, Uppsala universitet
Kristina Lindström, PhD och universitetslektor, Institutionen för Konst, Kultur och Kommunikation, Malmö Högskola

Tid och plats
Fredag 14 oktober 2016 kl. 13:00, HDK, Kristinelundsgatan 6-8, Room 350

Abstract
Designers and design researchers routinely engage other people in shaping preferred futures. Despite a growing recognition of designing as a social practice, however, the ethics of engagement often only appear ‘between the lines’ of the accounts design researchers provide about their experiences designing together. In a practice that often dances between exploration and exploitation, design researchers who overlook the ethics permeating their work can easily perpetuate systems that do more harm than good. To tackle perils that often appear subtly and ambiguously in designing together, the design research community needs to enhance ethical learning. On the ground, ethics does not present itself as dilemmas of principle, but as part of experience. Common forms of accounting for experience, however, often leave out the qualities, feelings, and emotions that play an essential role in guiding the conduct of design researchers. Through this research project, I highlight potential for the artistic — as a form communication that brings forward the qualitative dimension of experience through expression — to open up new avenues for reflecting on the ethics of designing together. The investigation addresses the ethics of everyday conduct — ethics in practice — and how to account for experiences of it. Based on three practice-based design research projects, I use creative writing to develop a series of anecdotes that express the interconnections among experience, engagement, and ethics in designing together. Building on the work of pragmatist philosopher John Dewey, I develop an approach to accounting that emphasizes qualitative experience in practice and in communication. The outcomes of the investigation contribute to design research by showing that, if designers want to communicate experience, they need to express it. Three parts of the thesis support this overall contribution. First, I show that the design research community has neglected the expression of experience. Second, I make a pragmatist theoretical framework accessible to design researchers, who can use it as support for maintaining the unity of experience in their own expressive accounts. Third, I make a methodological contribution by providing concrete examples of how to express experience through the development of anecdotes based on particular moments. Ultimately, this research investigation shows that matching the unruly ethics of designing together requires communicating experience through expressive forms that can broaden the ethical sensitivities of design researchers.

Hämta hem avhandling.


Cecilia Grönberg, Fotografisk gestaltning

Akademin Valand

Titel
Händelsehorisont || Event horizon. Distribuerad fotografi.

Opponenter
Solveig Jülich, professor vid Institutionen för idé- och lärdomshistoria Uppsala universitet
Trond Lundemo, docent i filmvetenskap, Institutionen för mediestudier, Stockholms universitet

Betygsnämnd
Anna Dahlgren, professor i konstvetenskap, Institutionen för kultur och estetik, Stockholms universitet
Nils Olsson, fil dr i litteraturvetenskap, Institutionen för litteratur, idéhistoria och religion, Göteborgs universitet
Emma Kihl, konstnär, forskare

Tid och plats
Fredag 7 Oktober kl. 13:00, Glashuset, Chalmersgatan 4

Abstract
Fotografin som teknologi har under de senaste decennierna genomgått en rad transformativa förändringar – förändringar som har medfört skilda omförhandlingar av fotogra ns funktioner som bild eller information, som inskription eller transmission. Inom ramen för en sådan större omvandling insisterar denna avhandling i fotografisk gestaltning, Händelsehorisont || Event Horizon. Distribuerad fotografi, på att sondera analoga fotografiers fortsatta effekter inom digitala ekologier. ’Händelsehorisonten’ används
här som en bild och ett begrepp, som en projektionsyta och ett gränssnitt som gör det möjligt att reflektera kring olika sätt på vilka vi möter och umgås med fotografiska bilder i kontexter av digital produktion, publicering och cirkulation.

Den digitala fotografin är distribuerad. I sin undersökning av visuella och konstnärliga implikationer av en sådan utspridd belägenhet tar Händelsehorisont bland annat hjälp av bläckfisken, denna ’mjuka intelligens’ som här blir en utgångspunkt för en åttaarmad bild- och textessä som tentativt följer de komplexa blötdjurens tentakulära manifestationsformer genom historien och litteraturen, som livsformer och mediesystem.

Händelsehorisont är framförallt en fotograferad bok, men den fotografiska praktiken slutar inte vid den enskilda bilden, utan äger också rum i montage mellan bilder, texter, dokument och kontexter. I denna bemärkelse är Händelsehorisont en bok som genererar en mängd konstellationer för läsning, samtidigt som den ger upphov till speci ka gravitationsfält där cirkulerande eller ytande bilder kan fångas in med andra bilder och på så vis skapa nya densiteter och energifält. Ett sådant gravitationsfält utgörs till exempel av en längre essä som studerar former för montagebaserad ’visuell historieskrivning’.

Händelsehorisont lokaliserar sig mellan skilda bilder och system, teknologier och läsarter, människor, djur och mjukvaror, och uppehåller sig i denna rörelse gärna vid ytor och rum som kan erbjuda öppningar för kommande, ännu inte de nierade former av fotogra ska existenser.

OEI editör
ISBN: 978-91-85905-85-0

Händelsehorisont || Event Horizon. Distribuerad fotografi utgörs av en tryckt bok på 1012 sidor. Centralt för avhandlingsprojektet är arbetet med publicering som en konstnärlig praktik och med boken som medium. Tillgängligt i digital form finns bokens introduktion på 73 sidor.

Läs introduktion här.


Johan Petri, Scenisk gestaltning

HSM - Högskolan för scen och musik

Titel
The Rhythm of Thinking. Immanence and Ethics in Theater Performance

Opponent
Maaike Bleeker, Professor och Head of Theatre Studies, University of Utrecht

Betygsnämnden
Karmenlara Ely, Associate Professor and Artistic Director Acting, Akademi for Scenekunst (Høgskolen i Østfold)
Knut Ove Arntzen, professor i teatervetenskap, University of Utrecht
Anders Hultqvist, professor i komposition, Högskolan för scen och musik, Göteborgs universitet

Tid och plats
Filmvisning: Fredag 16 September kl. 09.30, Bio Valand, Chalmersgatan 4
Disputation: Fredag 16 September kl. 14:00, Glashuset, Chalmersgatan 4

Kort beskrivning
Avhandlingen The Rhythm of Thinking: Immanence and Ethics in Theater Performance är ett konstnärligt forskningsprojekt inom fältet teater, med regi och dramaturgi som fokus. Syftet med avhandlingen är att genom specifika problematiseringar av teaterskapande och av relationen mellan teaterföreställningen och dess publik, belysa frågor kring kollektivt skapande, regi, dramaturgi och komposition. Detta innebär att avhandlingen skriver fram två parallella undersökningsfält. Dels den kollektiva kreativa processen, dess förutsättningar, problem och framväxande, och dels frågor kring meningsskapande, perceptionsdynamik och affekt.

Projektets kritiska utgångspunkt är att de kollektiva skapandeprocesserna, såväl perceptionsprocesser, betraktas, undersöks och beskrivs som immanenta. Mer specifikt; en ansats att genomlysa vad som skulle kunna kallas immanenta processer, eller immanent teater. Undersökningsfrågorna och de kritiska observationerna spänner från konkreta erfarenheter av det kollektiva skapandet till teoretisk kritik inom diskurser som teatervetenskap (performance studies), filosofi, perceptionsteori och musikteori. Den övergripande ambitionen är att bidra till teorier om relationen mellan teaterns struktur – dramaturgiskt och kompositoriskt – och erfarenheten av meningsskapande. Denna intention kan sägas vara indelad i en rad frågeställningar om; hur filosofiska koncept och resonemang kan omvandlas till konkreta kompositoriska strukturer; hur dramaturgiska diskurser bortom ett semantiskt språk kan formuleras; hur den binära relationen mellan konceptualiseringar och en intuitiv och emotionell kreativ kraft kan problematiseras och upplösas; hur hierarkiska strukturer, både vad gäller uttryckets form och kreativt inflytande, kan undersökas; hur regissörens kreativa process kan kartläggas; och avslutningsvis, hur en möjlig relation mellan kompositionens struktur och en etisk hållning kan formuleras.

Grunden för samtliga undersökningsfrågor är att det kollektiva skapandet – och den för publik presenterade föreställningen – växer fram genom slump och ögonblickliga kreativa beslut. Så är förutsättningarna i de tre teaterföreställningar som forskningen bygger på och som genomgående används som referenser. Föreställningarna är på olika sätt baserade på material och metoder hämtade från och inspirerade av den amerikanska tonsättaren och konstnären John Cage (1912-1992), men de består av olika komponenter, de är gjorda under olika produktionsförhållanden, har olika dramaturgiska strukturer, och de skådespelare, dansare och musiker som medverkar skiljer sig åt. Det är dock tre aspekter som föreställningarna delar och som är avgörande för analysen och för hur undersökningsfrågorna lyfts fram. Den första och mest avgörande är vad som alternativt benämns som mångfald (multiplicities), individuella uttrycksbanor (individual expressive trajectories), överlagringar (superimpositions), polyfoni (expressive polyphony), och överbelastning (overload). Dessa termer och fenomen beskriver en instabilitet, vilket återspeglar idén om att föreställningarnas uttryck konsolideras genom en oförberedd process, en process i vilken en mångfald av relationer slumpmässigt uppstår, utvecklas och förvandlas, och inte som ett resultat av en genomkomponerad struktur. Den andra aspekten som är gemensam mellan föreställningarna är att de på ett avgörande sätt är beroende av de medverkandes kreativa investering – deras förmåga att uppfinna och improvisera. Detta eftersom föreställningarnas konceptuella struktur bygger på de medverkandes kreativa ansvarstagande. Den tredje aspekten är att de alla tre är formade kring musikaliska kompositioner. Detta är inte enbart avgörande för de dramaturgiska strukturerna och intensiteten i föreställningarna, utan påverkar även hur kritiken tar form och vilka koncept och termer som används i undersökningen. De tre föreställningarna heter John och svamparna, vorschläge och Ryoanji – ett möte.

Den estetiska domän som föreställningarna rör sig i – befolkad av skådespelare, dansare, musiker och publik – formas i avgörande grad av att den kollektiva processen och det performativa styrs av oförutsägbarhet och slump snarare än ett fastlagt och repeterat manuskript. Detta får som följd att uttrycket domineras av en icke-narrativitet i vilken en mångfald av individuellt formade improvisationer skapar en polyfonisk samhörighet. Det är dynamiken i denna kreativa och perceptiva process, hur den vecklas ut, som är undersökningens fokus och som belyses utifrån fyra olika perspektiv. Det första perspektivet kan sägas ligga till grund för de andra och koncentreras kring frågan om hur stimuli och uttryck utbyts och växelverkar inom ett kollektivt skapande där slump och improvisation är dominerande faktorer. Det andra perspektivet belyser hierarkiska aspekter – kreativa och konstnärliga likväl som sociala – och undersöker hur dessa visar sig och påverkar samspelet. Det tredje perspektivet riktar in sig på frågan om meningsskapande. Hur kan erfarenheten av meningsskapande definieras i en polyfonisk, icke-narrativ dramaturgisk struktur? Det fjärde perspektivet är en kritisk ansats, ett försök, att formulera och diskutera en möjlig korrelation mellan föreställningarnas estetiska struktur och en etik grundad på begreppet – och idén om – potentialitet.

Det som undersöks är teaterföreställningar och de frågor som forskningen rör sig kring springer ur kreativa och perceptuella processer fast förankrade i skapandet och upplevelsen av teater. Men, i undersökningen och i den kritiska bearbetningen är det inte i huvudsak teatervetenskapliga perspektiv som används utan istället är det olika filosofiska diskurser som sätts i rörelse. Denna filosofisk-kritiska strategi företräds främst av den franske filosofen Gilles Deleuze (1925-1995), men också av den kanadensiska filosofen Brian Massumi (1956-), och den italiensk-australiensiska filosofen Rosi Braidotti (1954-). Den sekundärlitteratur som arbetet använder sig av domineras av författare som utvecklar Deleuze’s teorier kring konst och teater, men ett visst teatervetenskapligt inslag förekommer. Mest förekommande är filosofen och teatervetaren Laura Cull, filosofen och Deleuze-experten Claire Colebrook, konstteoretikern och Deleuze-kännaren Simon O’Sullivan, teatervetaren Erika Fischer-Lichte och filosofen och Deleuze-experten Manuel Delanda.

Avhandlingen publiceras dels i bokform men också som en multimediaplattform tillgänglig via: www.gupea.ub.gu.se. Denna plattform ger tillgång till filmade dokumentationer av föreställningarna, ljud/musikinspelningar, partitur och manuskript.
 


Annica Karlsson Rixon, Fotografisk gestaltning

Akademin Valand

Titel
Queer Community through Photographic Acts. Three Entrances to an Artistic Research Project Approaching LGBTQIA Russia.

Opponent
Nina Wakeford, docent, Goldsmiths University of London

Betygsnämnden
Alyssa Grossman, fil dr, forskare, Akademin Valand, Göteborgs universitet
Jan Kaila, fotograf, vetenskaplig rådgivare i konstnärliga forskning, Vetenskapsrådet/forskare vid Konstuniversitetet Helsingfors
Marianne Liljeström, Professor i Gender Studies, Åbo universitet

Tid och plats
Fredag 26 augusti 2016 kl. 14:00, Världskulturmuseet, Södra vägen 54, Göteborg

Nyckelord
queer community, photographic acts, fotografisk gestaltning, photography, feminist theory, queer theory, community, embodied position, movement, performativity, intersectionality, situated knowledge, in-between, insider, outsider, Russian LGBTQIA, artistic research, Trinh T. Minh-ha.

Abstract
The compilation thesis is made within the field of fotografisk gestaltning (photography) and is a study of the potential for queer community to emerge through photographic acts. It consists of two artworks that have been presented in a series of exhibitions, published texts, workshops, and lectures. The artworks are the photography-, video-, and sound-based installation State of Mind, and the photographic series At the Time of the Third Reading/Vid tiden för den tredje läsningen/Во время третьего чтения, which is presented as framed images as well as in book form.

The publication Queer Community through Photographic Acts introduces the research through three entry points: photography, queer, and artworks. The first two entries highlight how these concepts are used in the research as practices and theories. The latter is a written visit to the artworks that takes place from different temporal and situational positions, and reflects on the work with LGBTQIA issues and community over borders.

The focus is on the emergence of community within, and through, the artworks, and how this may produce recognition of certain identities. At the same time, the artworks may destabilize what is taken for norms. How community emerges in the process of making art, as well as when activating the finalized works through exhibitions, workshops, and other presentations, is also explored.

The subject of the artworks is lesbian living in St. Petersburg, a Russian women’s camp, and how one may navigate through society as queer identities. Group portraits and community form the overall foundation for the gestaltning of the artworks. The conditions for making art with the Russian LGBTQIA community as an artist from abroad are taken into consideration, as well as other shared embodied positions such as queerness and whiteness. This is performed through notions of positions and movement, as well as paying attention to an in-between – Trinh T. Minh-ha’s concept which opens for a space of change and resistance to fixed positioning.

ISBN: 978-91-88031-03-7 (tryck version)
ISBN: 978-91-88031-30-3 (digital version)

Hämta hem avhandling här.

Avhandlingsutställningen State of Mind - Queer Lives in Russia pågår på Världskulturmuseet från 8 juni - 4 september, 2016.
 


Thomas Laurien, design

Högskolan för design och konsthantverk

Titel
Händelser på ytan - shibori som kunskapande rörelse

English title:
Events on the Surface – Shibori as Knowledge-Forming Motion

Tid och plats
Torsdag 2 juni 2016 kl. 13:00, HDK, Kristinelundsgatan 6-8, sal 350

Opponent
Cilla Robach, Vice-chancellor, Beckmans Designhögskola

Betygsnämnd

  • Cheryl Akner Koler, Fil dr, professor Konstfack
  • Staffan Appelgren, Fil dr, universitetslektor, Institution för globala studier, Göteborgs universitet
  • Åsa Stahl, Fil dr, postdoc Designhögskolan, Umeå universitet
     

Nyckelord
shibori, surface, form event, knowledge-forming motion, artistic research, artistic practice, art-making, textile craftscape, curating, cultural heritage, performativity, cabinet of curiosity, wonder, affect, sensation

Abstract
In present times, shibori, though originally a Japanese word, is an international umbrella term for craft techniques related to the dyeing of textiles. In an artistic context, shibori signifes the act of (e)laborating by way of compressions – in order to create patterning and/or three dimensionality.

In and through a practice-based artistic research project, the question: What is shibori, and what does shibori do? acts as my guide, where the initial focus is on the introduction and development of shibori as an artistic practice in a Swedish context. Here, Japan takes on a main role, albeit in the form of a backdrop – subtly but noticeably in uencing the events being staged.

Shibori comes to take the shape of a vehicle, and I, the researcher, have set the vehicle and myself in a knowledge-forming motion, where interviews are conducted with artists in Sweden, courses in shibori are observed and taken part in, group shows are performed in Japan and Sweden, as well as addressed through the written work that comes into being. Curatorial experiences are also re ected upon in a number of closely-connected essays. A space, in the format of an essay, is created as part of the nal stage – where shibori meets concepts such as wonder, affect and sensation, and where questions on the role and impact of discursive language in art-making and art experience are raised.

Answers to the research question “What is shibori, and what does shibori do?” gradually surface and highlight an abundance of aspects and insights. These include: discovering that artists approach shibori in independent ways, whilst still safeguarding Japanese material and immaterial cultural heritage; shibori becoming a space of possibles, characterised by the presence of strong intention and the appreciation of chance, side-by-side, in mutual interaction; and curatorial experience acting to highlight shibori in its role to enhance the experience of plenitude. Shibori thus comes to signify the forming, as well as the experiencing, of knowledge – in motion between theory and practice – where broader issues, such as the construction of identity, the creation of acting spaces through performative negotiations, as well as curating as both an artistic research method and an artistic act of making, are also revealed.

Beholding and re ecting, I perceive that the envisioning and staging of Events on the Surface have enabled, and continue to enable me, in my quest to find a way into the conceptual, bodily and material constituents of shibori-making, in particular, and artistic practice, in general.

Hämta hem avhandlingen

 


2015

Elke Marhöfer, fri konst

Akademin Valand

Titel
Ecologies of Practices and Thinking

Tid och plats
Onsdag 17 december - torsdag 17 december 2015

Onsdag 16 december, kl. 18:00, filmvisning
No, I am not a Toad, I am a Turtle! (44 minutes, South Korea and China, 2012)
Plats: Bio Valand, Akademin Valand

Torsdag 17 december, kl. 10:00, filmvisning
The films prendas — ngangas — enquisos — machines {each part welcomes the other without saying} (25 minutes, Cuba, 2014), Nobody knows, when it was made and why (10 minutes, England, 2012-15), and Shape Shifting (18 minutes, Japan, 2015, in collaboration with Mikhail Lylov)
Plats: Bio Göta 3, Götaplatsen

Disputation kl. 13:30
Plats: Glashuset, Akademin Valand

Opponent
Dr Silke Panse, Reader in Film, Art and Philosophy, Fine Art, School of Fine Art, University for the Creative Arts, Canterbury

Betygsnämnd

  • Dr Erling Björgvinsson, professor vid HDK - Högskolan för design och konsthantverk, Göteborgs universitet
  • Dr Felicity Colman, professor of film and media art, Manchester School of Art, Manchester Metropolitan University
  • Dr Matts Leiderstam, professor vid Konsthögskolan i Malmö, Lunds universitet

Nyckelord
new materialism, film, image, matter, nonhuman, more-than-human, other-than-human, not-so-human, ecology, agriculture, otherness, storytelling, enunciation, post-context, post-history, animism, colonialism, becoming with, seeing together, lines of flight, modes, animals, plants, things, territories, multiplicities, chaos, expressive continuum, relational aesthetics, radical empiricism, Baruch Spinoza, Gilles Deleuze, Félix Guattari, Isabelle Stengers, Donna Haraway, Anna Lowenhaupt Tsing, Brian Massumi, Danièle Huillet, Jean Marie Straub


Abstract
Hur ser en nymaterialistisk filmpraktik ut? För att närma sig frågan utforskar denna praktikorienterade och materialdrivna forskning dynamiska och ekologiska relationer, tankeprocesser och praktikprocesser. Den tillämpar en animistisk metodologi som gör det möjligt att relatera till det ickemänskliga som en aktiv deltagare, snarare än ett passivt föremål för en undersökning. På så vis aktiveras en öppning mot materialitet och kunskapsproduktion som skiljer sig från konventionella, antropocentriska epistemologier och som fördjupar samhörigheten med och banden till det annat-än-mänskliga. Genom att inrätta särskilda förbindelser med materia och genom att situera sig inom specifika relationer, mobiliserar och mobiliseras projektet av affekter, intryck och förnimmelser av det mer-än-mänskliga. Det första kapitlet undersöker gängse vetenskapliga, tekniska, sociala, politiska och filosofiska epistemologier som ofta grundar sig i koloniala och antropocentriska antaganden om och beskrivningar av världen.

Forskningen strävar emellertid inte efter att skriva om eller återta till exempel en viss historia eller plats, istället skisserar den begrepp som blivande eller flyktlinjer som rör sig genom dessa lämningar, för att så skapa mer komplexa och fruktbara förhållanden och geografier. Skrivandet samarbetar ofta med Gilles Deleuze och Félix Guattari, eftersom deras filosofi uttryckligen bekräftar omänskliga krafter och mångtydiga ontologier. I det andra kapitlet flyttas fokus till olika slags processer där individer blir mångfalder, där djur, växter och ting förses med omänsklig kraft eller personlighet, där materia har entusiasm och territorier är mer än blott statiska kulisser. Härifrån bokstavligen färdas forskningen. Den färdas med specifika singulariteter och deras materialbaserade praktiker—en hel ekologi av praktiker som ofta bildar otaliga förbindelser och även landskap. Genom att situera sig inom det ekologiska och relationella fältet, utforskar forskningsprojektet metodologier för samarbete och blivande med det mer-än-mänskliga som praktiseras av trollkarlar och berättare från Kuba och Sydkorea, och av lantbrukare från Kina, Burkina Faso och Japan.

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Lisa Tan, fri konst

Akademin Valand

Titel
For every word has its own shadow: Sunsets, Notes From Underground, Waves

Tid och plats
Tisdag 15 december - onsdag 16 december 2015

Tisdag 15 december
Filmvisning: 18:00 - 19:15
Plats: Bio Valand, Akademin Valand, Storgatan 43

Onsdag 16 december
Två Filmvisningar: 9:30-10:45 and 10:45-12:00
Plats: Bio Valand, Akademin Valand

Disputationer kl. 13:00
Plats: Glashuset, Akademin Valand, ingang från Chalmersgatan 4

Opponent
Gertrund Sandqvist, professor, konsthögskolan Malmö samt Annika Wik, forskare

Betygsnämnd

  • Eva Zetterman, universitetslektor i Konst- och bildvetenskap, Humanistiska fakulteten, Göteborgs universitet
  • Nils Olsson, universitetslektor i litteraturvetenskap, Humanistiska fakulteten, Göteborgs universitet
  • Simon O'Sullivan, Reader in Art Theory and Practice, Visual Cultures, Goldsmiths University of London

Nyckelord
affect, becoming, Maurice Blanchot, displacement, dispossession, essay film, experimental video, geological time, liminal, Clarice Lispector, materialism, primordial obscurity, provisional, solitude, Susan Sontag, threshold, transformation, translation, video, video installation, Virginia Woolf

Abstract
Det här doktorandprojektet genomsyras av frågor om det liminala: Hur kan en erfarenhet av det liminala existera som ett konstverk? Vilka ting och erfarenheter kan orientera oss mot affekt och blivande? Lisa Tan knyter dessa problem till det synligörande av blivande som återfinns i Clarice Lispectors författarskap. Tillsammans med Maurice Blanchot och hans diskurs kring förlust och utsidan (analoga med blivande) etablerar sig Tans kritiskt engagerade undersökning inom en filmisk praktik. Avhandlingens primära utkomst består av en serie videos: Sunsets (2012), Notes From Underground (2013) och Waves (2014–15). På drift mellan dag och natt, ovan och under jord, land och hav, framträder de som rörelser mot det liminala löftets uppfyllelse: förvandlingen.

I Sunsets, samtalar solen med den kraft som heter Clarice Lispector. Videon återger en direktöversättning av en intervju med Lispector från 1977. Denna inspelning utgör videons ljudspår. Bildmaterialet består av scener som har filmats i Sverige klockan tre på morgonen under sommaren eller klockan tre på eftermiddagen under vintern. Notes from Underground förbinder Stockholms tunnelbana och Susan Sontags vistelse i Sverige med ett grottsystem i New Mexico, 800 mil därifrån. Genom varierande intensiteter av geologisk tid och genom skikt av personliga historier och kulturhistoria, fogar videon suggestivt samman resan med upplevelser av liminalitet. Med utgångspunkt i Virginia Woolf roman The Waves, föreställer sig Tans video Waves hur medvetandet tar form i relation till samhället och dess teknologier, men också i relation till uttryck för geologiska och hydrologiska processer. Filmad vid gränsen mellan land och hav, framträder en konversation mellan disparata vattenförbindelser, såsom Woolfs prosa, Courbets målningar av vågor, Googles datacentraler som kyls med vatten från Östersjön, osynliga maneter och transmarina kablar.

Avhandlingen består av videorna, en doktorsavhandling, en artist book som innehåller illustrerade transkriptioner av varje video, en dokumenterad separatutställning samt texter av Mara Lee, Lauren O’Neill-Butler, Natascha Sadr Haghighian, och Lisa Tan. Den del som är en artist book både dokumenterar och reflekterar över den forskning som bedrivits och inbegriper också andras röster, vilket ger en kritisk, intersubjektiv förståelse av det liminala.

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Helga Krook, litterär gestaltning

Akademin Valand

Titel
Minnesrörelser

Tid och plats
Fredagen den 24 april 2015 kl 13.00 i Glashuset, Akademin Valand

Opponent
Professor emeritus Arne Melberg

Betygsnämnd

  • Alexander Bareis, docent, institutionen för tyska, Lunds universitet
  • Sigrid Combüchen, författare, kritiker, Författarskolan, Lunds universitet
  • Åsa Arping, lektor, institutionen för litteratur, idéhistoria och religion, Göteborgs universitet

Abstract
The starting point of the doctoral project Minnesrörelser (Movements of Memory) is a documentary material, based on interviews, archival documents, letters, diaries and more, from Germany and Sweden from the 1930’s to present time focusing on childhood, upbringing, eugenics, bilingualism. The family as a place for historical writing, family stories inevitably connected with political history, and how they can be passed on or kept secret makes up the main subject matter, where questions of memory and postmemory, heritage and transgenerational consequences of oppression and guilt, as well as the role of silence, speaking and translation, are investigated.

The project is considered a very practice-based one but also a historical one, as a link in the life of stories in the material interwoven with the history of Germany in the 1930’s and 40’s and of Sweden in the period of Folkhemmet. The way the project has developed and come to a preliminary end, that is, this dissertation, is in itself a story, an open end narrative, where the roles of the author and the reader are focused on. The famous statement by Roland Barthes that the birth of the reader must be at the cost of the death of the author is used as an impulse, along with Novalis’ view on reading and writing as an ever continuing literary dissemination process.

Different perspectives and opposites like family album/reference book, memory/history, ruin/reconstruction, daughter/daughter are reflected upon through the reasonings of, among others, Aleida Assmann, Harald Welzer, Marianne Hirsch and Pierre Nora as well as through different works of art, literature and historical documentation, for example by Victor Klemperer, Irina Liebmann, Susan Hiller, David Chipperfield. The dissertation is an artistic way of focusing a complex of problems of narration, which remain, naturally, unsolved.

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João Segurado, musikalisk gestaltning

Högskolan för scen och musik, i samarbete med Institutionen för konst, kommunikation och lärande, Luleå tekniska universitet

Titel
Never heard before: a musical exploration of organ voicing

Tid och plats
Lördagen den 28 februari 2015 kl 11.00 i konsertsalen, Studio Acusticum, Piteå

Program:
11.00 Disputationskonsert. João Segurado, orgel
13.00 Framförande av João Segurados ljudkomposition
”The wind in the word”
14.00 Disputation

Opponent
Professor Hans Hellsten, Musikhögskolan i Malmö, Lunds universitet

Betygsnämnd

  • Førsteamanuensis Catharina Christophersen, Universitetet i Bergen, Norge
  • Professor Peter Peitsalo, Sibelius-Akademin, Helsingfors
  • Universitetslektor Joel Speerstra, Högskolan för scen och musik, Göteborgs universitet

Abstract
This dissertation examines the practice of voicing and its implications for musical performance. Organ sounds are shaped to suit the practice of musical performance, and they influence that practice in significant ways. This study seeks to describe precisely the role those sounds play
in the context of musical performance and interpretation. More broadly, it examines the visions and artistic perspectives of those who create the sounds and those who use them in performance— voicers and musicians.

Pipe sounds are shaped by a practitioner called a voicer, in a process that is essentially one of gradual transformation of sound; that process is called voicing. The task of voicing demands excellent manual dexterity, solid theoretical knowledge, and a keen sense of hearing.

The name voicing also suggests an approach to sounds that seems to transcend those aspects of the craft. Voicing means to give voice, and to give voice means to give life. The sounds of the organ are thus shaped with the intent to epitomize forms of human expression, and those forms of expression will be heard in the context of a musical practice. Thus: what exactly constitutes an organ voice? What type of concerns emerge during this process of voicing? In which ways do the voices that are created influence the music performed on the organ?

The answers to those questions were investigated in the context of a collaboration between a voicer and an organist (the author), over a period of roughly two years, while an organ was being built for the concert hall Studio Acusticum at Piteå, in northern Sweden. Since the researcher was a musician, the research questions are naturally approached from a musical stance.

This study comes under the umbrella of artistic research, and its results are not only articulated verbally, but also, and just as importantly, enacted through artistic content. The dissertation includes the creation of new artworks, and the exploration of artistic media. The ethnographic model is clearly felt within the text as well, as it deals mostly with examination of documents, dialogues, sounds, events, and the perspectives of different people.

The title of the dissertation—Never Heard Before—was originally the motto for the new Studio Acusticum organ, that served as a platform for the study. Here it serves to express the idea that the voicer-musician encounter has not previously been the subject of research, and that the
materials presented in the text—both the dialogues and the sounds collected during the process of voicing—were things never heard before.

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2014

Marie-Louise Hansson Stenhammar, estetiska uttrycksformer med inriktning mot utbildningsvetenskap

Högskolan för scen och musik (HSM)

Titel
En avestetiserad skol- och lärandekultur – en studie om lärprocessers estetiska dimension

Tid och plats
Fredagen den 27 mars 2014 kl 10.00 i Lingsalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Opponent
Professor Geir Johansen, Norges Musikkhøgskole

Betygsnämnd

  • Professor Anders Marner Umeå universitet
  • Professor Gunnar Åsén Stockholms universitet
  • FD Tarja Häikiö, Göteborgs universitet

Abstract
In this dissertation teaching and learning is studied based on the concepts of arts-based learning processes and the methods of art. I discuss the ontology of arts-based learning processes in relation to arts methods and how that relationship can be related to the learning processes that are made visible in the classroom work of a 5th grade class in a Swedish Primary school.Learning and knowledge are also addressed from a sociocultural perspective and within a social constructionist theoretical framework, based on Lev Vygotskij’s theories on the interplay between thinking and language, and the relationship between reproduction and creativity as a prerequisite for development and learning.The main study was preceded by a pilot study in which a portfolio method was tested in three classes in Primary school, grades 2-6. The experience gained from the pilot study led to an ethnographically influenced methodology and method in the main study. The main study is a case study where data from 33 participants were produced over a period of 4 weeks through daily field studies in all subjects on the schedule (with the exception of physical education and health), observations and teacher and student interviews. In order to deepen and gain a perspective on the analysis of the field notes and interviews, they are discussed in relation to artistic, psychological and teaching and learning perspectives, as well as in relation to a poststructuralist view of language.The results show evidence of a de-aestheticised school and learning culture in the sense that the teaching, regardless of the subject, primarily focuses and produces a way of thinking on learning and knowledge formation which is based on a reproducing process of quantitative character. The results also indicate that there are meaning-making actions where pupils describe learning that requires ingenuity, ability to illustrate and imagine, as well as to combine past experiences with new impressions through reflection. These descriptions are identified as innovative, configurative and reflective actions.

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Mara Lee Gerdén, litterär gestaltning

Akademin Valand

Titel
När andra skriver: skrivande som motstånd, ansvar och tid

Tid och plats
Fredagen den 28 november 2014 kl 13.00 i Lingsalen, Studenternas Hus, Götabergsgatan 17, Göteborg

Opponent
Lektor Lilian Munk Rösing, Institut for Kunst- og Kulturvidenskab, Københavns Universitet

Betygsnämnd

  • Ulrika Dahl, docent, Södertörns högskola
  • Annelie Bränström Öhman, professor, Umeå universitet
  • Andrej Slavik, fil dr, Humanistiska fakulteten, Göteborgs universitet

Abstract
How would a writer describe responsibility in writing, and in what ways could writing be conceived as resistance? One of the fundamental convictions in The writing of Others: writing conceived as resistance, responsibility and time, is that words do things, and that the definition of the performative qualities of literary and poetic language can not be confined to the mere act, but to an act that is also an event with the force to transform our relation the other. This dissertation is committed to doing theory, poetically, by engaging in the empirical experience of writing, and emphasizing the significance of bodily and sensory knowledge. The French literary tradition of écriture féminine with precursors Hélène Cixous and Julia Kristeva constitutes a crucial reference as this tradition stresses the importance of poetic language in knowledge production. But writing écriture féminine for the third millenium entails further thinking within this very tradition, as Other times are now prevailing. Others and times are precisely the keys to this elaboration of the tradition of écriture féminine, inscribing postcolonial thinking into the writing experience and focusing on the question of temporality. The writers Trinh T Minh-ha and Gloria Anzaldúa are both of vital importance for the articulation of a feminist point of view combined with postcolonial criticism that is steadily anchored in literary and linguistic grounds. Regarding the focus on temporality this study aims at two things: on the one hand displacing and analyzing “old” theoretical concepts as for instance das Unheimliche and mimicry, and on the other hand creating and coining new temporal figurations. These new figurations – the last hour, the tearing moment, the shared Schmertzpunkt and the arrested time – provide embodied theoretical concepts and point towards the intersection of resistance, responsibility and time. The question of responsibility is explored throughout this study – the question if and how the writing of Others might be a specific way of being responsible in writing.

Avhandlingen är utgiven på Glänta produktion.

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Tina Kullenberg, estetiska uttrycksformer med inriktning mot utbildningsvetenskap

Högskolan för scen och musik

Titel
Signing and Singing - Children in Teaching Dialogues

Tid och plats
Fredagen den 26 september 2014 kl 10:00, Lingsalen (A505), Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Opponent
Professor Monika Nerland, Universitetet i Oslo

Betygsnämnd

  • Professor Marléne Johansson, HDK - Högskolan för design och konsthantverk, Göteborgs universitet
  • Docent Oskar Lindwall, Institutionen för pedagogik, kommunikation och lärande, IPKL, Göteborgs universitet
  • Biträdande professor Bo Nilsson, Sektionen för lärande och miljö, Högskolan Kristianstad 

Abstract
The dissertation examines children’s dialogical sense-making in task-oriented teaching activities, the aim of which is to explore children’s values and ideas in musical learning, in order to investigate how musical knowledge is constructed collaboratively through different levels of dialogicality. Hence, the study addresses the organizational resources and values at stake when children take part in pedagogical dialogues. The four children studied are allocated the pre-given task of instructing each other, without the presence of adults, to sing songs in dyads (two and two). Five singing activities are video-documented, transcribed and analysed in depth through dialogical activity analysis, and group interviews with the children in pairs are also conducted, transcribed and analysed. A sociocultural perspective on learning and communication with an approach based on dialogue theory forms the analytical point of departure for the study, where constitutive relations between the mediating acts of the participants and the resources in use – in the shape of discourses, cultural tools, representations, interaction orders, activity frames and values – are focused upon, and where teaching and learning are viewed as primarily communicative activities, and where learning as a purely individual process is dismissed. The practice of musical teaching is seen to be an embodied and materialized practice, even though the young practitioners taking part in the study displayed different knowledge ideals, as well as different educational strategies, throughout the instructional phases of activity. In other words, they emphasized that there was a distinction between learning the songs and knowing the songs. The participants also used signing and singing with the help of artefacts, words and their bodies in a number of multi-functional, multi-semiotic and subtle ways. Moreover, the children organized their activities as traditional classroom teaching in several ways, and displayed skills in schooling as practitioners of a social practice. Accordingly, they established a school-specific task culture that took the form of a communicative activity type, where their orientation to double dialogicality, that is, the dialogue of the culturally established dimension on the one hand, and the interpersonal, local context on the other, is of significance.

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Carina Borgström-Källén, estetiska uttrycksformer med inriktning mot utbildningsvetenskap

Högskolan för scen och musik

Titel
När musik gör skillnad - genus och genrepraktiker i samspel

English title: When Music Makes a Difference – Gender and Genre Practice in Interplay

Tid och plats
Fredag 23 maj 2014 kl 10.00, Lingsalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Opponent
Petter Dyndahl, professor, Högskolen Hedmark, Norge

Betygsnämnd

  • Karin Johansson, docent, musikhögskolan i malmö, Lunds universitet
  • Johan Söderman, docent, institutionen för pedagogik, kommunikation och lärande, Göteborgs universitet
  • Hillevi Ganetz, professor institutionen för etnologi, religionshistoria och genusvetenskap, Stockholms universitet

Abstract
The specific aim of the thesis is to highlight and problematise how gender in interplay with practice of genre is expressed and constructed in musical action. I discuss the interplay between gender and genre practice in conjunction with music education based on the empirical findings from eight ensemble groups in Swedish upper secondary arts programmes.
The study has a gender theoretical framework based on social constructionist and poststructuralist perspectives. The thesis deploys an ethnographic methodology and approach, and data from 71 participants, aged 16 to 19, was produced within a period of one year through participant observations and interviews. Deconstruction is used in parts of the field notes and interviews, the intention of which is to offer a second opinion and deepen the analysis.

The results show that construction of gender in musical actions is salient in almost every situation where the participants make music together, but that it is performed in different ways depending on genre practice. The results also indicate that the informants, who all had music as their main subject, put gender at stake when it comes to relations of production, power and symbols. Furthermore, the choices the pupils were enabled to make in terms of educational content in their musical learning appear to contribute to a restricted acting space, since their choices are strictly gendered. The results also imply that norms of quality in genre discourses are closely tied to positions of gender, and that knowledge and cultural capital reduce the restricting effects of the heterosexual matrix. Findings suggest that teachers’ intentions towards informal learning settings seem to gender the conditions for musical learning, especially in popular music practice. Finally, the results show that genre practice that includes music unfamiliar to the pupils is least restricted by gender.

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Niclas Östlind, fotografi / photography

Akademin Valand

Titel
Performing History. Fotografi i Sverige 1970-2014

Tid och plats
Tisdag 3 juni 13.00, Hörsalen, Göteborgs konstmuseum, Götaplatsen, Göteborg

Opponent
Christine Hansen, docent, fil.dr i konsthistoria, konstnär (fotografi)

Betygsnämnd

  • Patrick Amsellem, fil dr, curator, chef för Skissernas museum, Lund
  • Milou Allerholm, konstkritiker, lektor i konsthistoria, Kungl. Konsthögskolan, Stockholm
  • Karin Wagner, docent i konst- och bildvetenskap, IT-universitetet (GU/Chalmers)

Nyckelord
Photography, curatorial practice, history, narrative, cultural sociology, field and narrative interviews

Abstract
Using curatorial practice as a method, this thesis maps and investigates photography in Sweden 1970–2014. The study deepens the knowledge of photography mainly exhibited in institutions and/or having been organised by actors that define themselves as photographic. It also contributes to producing new knowledge of the relationship between photography and art, and of the ways in which various social, economic and political spaces (in a broad sense), where the audience has encountered photography, have affected the production, display and reception of photography.

It is an investigation of photography, with photography and through photography, where the exhibition practice functions as an optics that defines and sharpens the perspective, and partly as a method with which the results are tested and visualized. The exhibitions contain an active display of the material. They form spatial and temporal narratives, which show a distinctly self-reflective perspective explicitly stating that the history put forward is one of several possible narratives.

The thesis gives answers to questions regarding the type of photography that has been exhibited, where and how it has been shown, who have been the driving forces behind photography exhibitions and how these aspects have changed or remained the same over time. It also examines and answers questions about the institutional and sociological conditions for photographic exhibition practices, and thereby also about a central aspect of the photographic field.

The structure of the study is made up of different coordinated parts, which are devoted to different perspectives. The theoretical narration as a point of departure and the narrative interviews – that constitute an important part of the study – give space to include and to accentuate, the different actors and their historical stories. It also points to the various ways in which history, seen through the categories of history theory, has been used and what kind of historical narrative the thesis itself is an example of.

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Ulf Friberg, scenisk gestaltning / Performance in Theatre and Music Drama

Högskolan för scen och musik

Titel: Den kapitalistiska skådespelaren - aktör eller leverantör?

Tid och plats
Måndagen den 7 april 2014
Kl 11.00 framförs akten ”Tystnad” i Studion, Stadsteatern, Göteborg
kl 13.00 hålls disputationsakten i Jacobsonteatern, Högskolan för scen och musik vid Göteborgs universitet, Artisten, Fågelsången 1, Göteborg

Opponent
Sven-Eric Liedman, professor emeritus i idé och lärdomshistoria, Göteborgs universitet

Examination Board

  • Carolina Frände, teaterchef och regissör, Stockholms Stadsteater, Skärholmen
  • Jens Stilhoff Sörensen, lektor i Freds-och Utvecklingsforskning, Globala Studier, Göteborgs universitet
  • Anders Hultqvist, kompositör och lektor i komposition, Högskolan för scen och musik, Göteborgs universitet

Abstract
The dissertation revolves around an actor’s craft as a changing craft. Theatre workers – like many other professions in sweden – have experienced major changes in the Labour market during a relatively short period of time. In what way has capitalistic ideology changed society over the last 25 years, and in what way has this affected the actor’s craft, and what impact has been experienced? What strategies can the field of the theatre, in general, and the actors, in particular, use to create space for the development of the craft of acting in a new era?

The different parts of the dissertation attack the questions mentioned above from a number of different angles. References from other disciplines such as philosophy, the History of Ideas and Sociology, which are placed in dialogue with the theatre in this dissertation project, are all-important. In the first part of the dissertation, the author positions the research and himself and also presents the methods used and the theories from other disciplines through which he discusses the issues to be addressed.

The next section discusses leadership and organisation through the 1990’s until today. The economic crises that affected sweden during this time not only produced fairly extensive changes for publicly funded theatres but also brought about a changing balance of power in theatres.

Theatrical craft is discussed in the next section, where the main questions addressed are: in what way do changes in power relations affect the actor’s craft? What is the actor’s craft and who is really portraying the role? Actors in fact need what the author would like to call “informal power” in relation to their craft; however, this informal space, the author argues, has been cut back.

The fourth act in this dissertation consists of the text of a play, which adopts a freer and more associative approach to the issues discussed, and, as part of the discussion, is staged in a publicly funded theatre in connection with the actual public defence of the dissertation. The epilogue carries and drives issues towards a changing future – if this future exists.

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Katarina Wetter Edman, design (business & design)

HDK - Högskolan för design och konsthantverk

Titel
Design for Service: A framework for exploring designers' contribution as interpreter of users' experience

Tid och plats
Fredagen den 4 APRIL 2014 kl 13.00, Aulan, HDK - Högskolan för design och konsthantverk

Opponent
professor Anna Meroni, Politecnico Milano

Betygsnämnd

  • Professor Mike Press, University of Dundee
  • Professor Steve Vargo, University of Hawaii at Manoa
  • Dr Lena Hansson, Göteborgs universitet

Abstract
During the past approximately 15 years designers have paid increasing attention to service and changes in our society, resulting in a new design discipline – service design. In parallel, designers’ contributions to service development and innovation have been brought forward, often emphasizing designers’ capability of involving users, acting in and through multidisciplinary teams and using visualization skills in these situations. Previously, most knowledge about development of new services has been treated within the service marketing and management discourse, where emphasis is put on customer integration in the process, and the co-creation of the value proposition - the service. Despite both knowledge spheres, design and marketing/management, have been deeply involved in the development of new service they have hitherto essentially remained unconnected.

The overall aim of this thesis is to further explore and develop the connections between design and service logic through development of the Design for Service framework. In addition, this thesis takes specific interest in designers’ contribution as intermediaries between users and organizations in service design and innovation. Pragmatist inquiry was used for interlacing theoretical comparisons and explorations in the field to advance the inquiry. A field study of a 10-month collaboration between a design firm and an industrial company, focused on a service design workshop with customers and the outcomes thereof. It was found that the designers worked with users’ stories as design material and rematerialized them as scenarios, instead of through anticipated visualization techniques. Narrative analyses brought forward how designers organized the users’ different accounts into coherent stories and in so doing they highlighted conflicts experienced in the users’ value creation practices. The capacity to propose possible futures is generally argued to be core in design practice, this was however not the strongest contribution in this case. Instead the re-materialization of existing situations was the real contribution. Through interpretation the users’ experience was made relevant and actionable for the industrial company.

This thesis connects research in design practice, user centered design and service logic through development and refinement of a framework - Design for Service. The framework articulates designers’ contribution in terms of value creation. Through this connection designers’ contribution and service design are repositioned from a specific phase of service development to an interpretative core competence for understanding users and value creation in service innovation.

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2013

Marcus Jahnke, design

HDK - Högskolan för design och konsthantverk

Titel
Meaning in the Making: Introducing a hermeneutic perspective on the contribution of design practice to innovation

Tid och plats
Fredagen den 20 september 2013 kl. 13.00 i aulan, HDK - Högskolan för design och konsthantverk, Kristinelundsgatan 6-8, Göteborg

Opponent
Professor Roberto Verganti, Politecnico di Milano

Betygsnämnd

  • Professor Maria Nyström, HDK, Göteborg
  • Professor Alexander Styhre, Handelshögskolan, Göteborg
  • Professor Bo Westerlundh, Konstfack, Stockholm

Nyckelord
design, innovation, design management, hermeneutics, meaning-making, design thinking, design practice

Abstract
Title: Meaning in the Making: Introducing a hermeneutic perspective on the contribution of design practice to innovation
Language: English
ISBN: 978-91-979993-7-3

In recent years interest has grown in how design can contribute to innovation in business and society, such as through the management concept of design thinking. However, up-close studies on design’s contribution to innovation are still scarce. This may be one reason why rhetoric arguing the benefit of design in innovation contexts is often related to pervasive innovation concepts, such as idea generation and problem-solving, rather than to concepts that capture tacit and embodied dimensions of design as an aesthetic practice.

The purpose of this study is to develop an understanding of the contribution of design practice to innovation. This has been achieved through an experimental research-approach in which five designers, through different interventions, involved multi-disciplinary groups of non-designers in experiencing design practice “hands-on” in five "non-designerly" companies. The aim of the interventions was to strengthen the innovativeness of the organizations. The interventions have been studied through ethnographically inspired methods and an interpretative and reflexive methodological approach.

In the interventions established product understandings in the companies were challenged, initially leading to friction. However, the immersion in design hands-on meant that established meaning-spaces were gradually expanded through processes of entwined conversation and hands-on making. In these processes new product understandings were developed through aesthetic deliberation and material practice, which in three cases lead to innovative concepts that could not have been developed within the meaning-space in the organization before the interventions. This study thus sheds light on how the emergence of innovative concepts can be understood as processes of meaning-making, and how design practice may provide processes for such innovation work in multi-disciplinary contexts. It also suggests that when design practice is abstracted away, as is common in design thinking rhetoric, relevant dimensions of design’s contribution to innovation may be lost.

The main theoretical contribution is to show the relevance of hermeneutics as an explicit concept for understanding the contribution of design practice to innovation. This can be seen as establishing a missing link between design theory, design management studies and innovation management theory. Beyond articulating the contribution of design practice to innovation, this thesis also supports the relevance of understanding meaning-making as central to innovation.

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Kim Hedås, musikalisk gestaltning

Högskolan för scen och musik

Titel
Linjer. Musikens rörelser – komposition i förändring

Tid och plats
Lindgrensalen, Artisten, Högskolan för scen och musik, Fågelsången 1, Göteborg

Opponent
Henrik Frisk, Musician, PhD in Fine Arts in Music, Research Associate at the Royal College of Music, Stockholm

Betygsnämnd

  • Magnus Bärtås, Artist, PhD in Fine Arts, Professor at Konstfack, Stockholm
  • William Brunson, Composer, Professor in Elektro Acoustic Composition at the Royal College of Music, Stockholm
  • Cecilia Roos, Professor in Dance Interpretation at University of Dance and Circus, Stockholm (DOCH)

Nyckelord
music, composition, relationship, connection, motion, movement, identity, time, memory, space, change, transformation, reflexivity, voice, meaning.

Abstract

Title: Linjer. Musikens rörelser – komposition i förändring
English title: Lines: Music Moving – Composition Changing
Language: Swedish, with an English Summary
ISBN: 978-91-979993-6-6

This dissertation takes the shape of a DVD, comprising the music in sixteen compositions, and a book, comprising the dissertation text.

Lines: Music Moving – Composition Changing is a dissertation that focuses on relationships in music. The main question posed in this dissertation is: How does music relate to what is not music? Through an artistic inquiry, where a reflexive movement between the different parts produces the method used, the dissertation addresses the act of composing with particular focus on how music moves and how relations in music change. Results are also in motion, and traces – lines – move, change direction, and connect the music with what is not music.

This inquiry embraces the following five themes: movement, identity, time, memory and space – which all relate to each other, and which, through composition, change, transform and reshape meaning as well as expression.

The aim of this study is to demonstrate the changes that arise as a result of the relationships that are activated between music and what is not music, since an understanding of how these relationships work enables opportunities for the composition of new music.

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Marco Muñoz, digital gestaltning

Akademin Valand

Titel
Infrafaces: Essays on the Artistic Interaction

Tid och plats
Fredagen den 23 augusti 2013, kl. 13.00 i Glashuset,
Akademin Valand, ingång från Chalmersgatan 4

Gestaltande inslag
Utställning av videokonstverk i Galleri Rotor 1, Akademin Valand:

EXHIBITION by Marco Muñoz
Infrafaces. The paradoxical division of physical and temporal spaces. Gallery Rotor, Valand Academy

OPENING
Wednesday 21st of August 17-21.

GALLERY OPENING HOURS
The exhibition will be shown until Sunday 25th of August.
Thursday - Friday 17-20
Saturday - Sunday 12-17

Opponent
Docent Ylva Gislén, gästprofessor i konstnärlig gestaltning, Lunds universitets konstnärliga fakultet

Betygsnämnd

  • Docent Karl Palmås, Teknikens ekonomi och organisation, Chalmers
  • Fil dr Monica Sand, konstnär, gästforskare vid Arkitekturmuseet, Stockholm
  • Fil dr Magnus Bärtås, konstnär, professor vid Konstfack, Stockholm

Nyckelord:
interaction, artistic research, digital art, infrafaces, interface, paradoxes, art and technology

Abstract

Title: Infrafaces: Essays on the Artistic Interaction
Swedish title: Infrafaces: Essäer om den konstnärliga interaktionen
Language: English, with a Swedish and Spanish summary
ISBN: 978-91-979993-5-9

The essays collected in this dissertation introduce a new concept in the field of interactive art: the concept of infrafaces.
This thesis shows how a new zone is discovered when two or more elements connect. In the space that arises, a contact area comes into being between the elements involved, and this takes place at the moment of their contact and information exchange – forming an interface. This interface can in turn be manipulated to generate a new space, which forms a contact zone that can be opened even further, thus creating new spaces. The new segments created within the practice of interactivity are named infrafaces.

Infrafaces are a series of interrelated interfaces within an interaction that adapt time and/or space to transform connecting elements into new spaces. These spaces act as an interface for the next transformation to take place before a new space is opened. The infraface is an artistic interpretation of the process of interactivity and has the ability to expand the time or the space in between the elements interacting, in order to embed new stories between them.

This dissertation explains how, by means of artistic experimentation – through video, installations and the design of interfaces – this new area was uncovered: an area that is an infinite zone, close to the paradoxical, but that offers endless opportunities to develop art, and instead of solving the paradoxes that arise in art or technology, develops a way to use these contradictions to create a different understanding of our relation to the world.

This thesis also proposes a new approach to the relationship between art and technology, hereby manifesting the ways in which our senses adapt to technology. Instead of pretending to define and change the world, this project proposes new forms of connectivity that produce different interactive applications and whose aim is to produce new knowledge.
This dissertation presents five essays interwoven with artistic exhibitions, and also includes the documentations of these experienced practices, demonstrating the literary and visual potential of the infraface – a new concept within artistic research.

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Fredrik Nyberg, litterär gestaltning

Akademin Valand

Titel
Hur låter dikten? - Att bli ved II

Tid och plats
Fredag 24 maj kl 13 i Schildknechtsalen (Teater 2), Artisten, Fågelsången 1, Göteborg

Fakultetsopponent
Fil. dr Jesper Olsson, forskarassistent vid Linköpings universitet

Betygsnämnd

  • Thomas Götselius – fil. dr i litteraturvetenskap, biträdande lektor vid Stockholms universitet.
  • Maria Bania – musiker och fil. dr i musikalisk gestaltning, lektor vid Högskolan för scen och musik.
  • Tommy Olofsson – författare, docent i litteraturvetenskap, lektor vid Linnéuniversitetet.

Nyckelord
Poetry reading, poetry performance, oral reading, silent reading, sound similarities, sound poetry, text-sound composition, ways-of-writing, self-representation, loop, the line of poetry

Abstract
Title: Hur låter dikten? Att bli ved II
English title: What is the sound of the poem. Becoming Firewood II
Language: Swedish, with an English Summary
Keywords: 
ISBN: 978-91-979948-2-8
This dissertation also includes the collection of poems Att bli ved and a CD-record.

This project revolves around the question raised by its title. The dissertation consists of an investigation of the culture of poetry-reading and how it has established itself in modern times, and what characterises this practice. The second half of the first chapter revolves around a number of poetry readings given by me some years ago. This chapter concludes by the concept of poetry reading being defined as something essentially different from other types of sonic poetic practices which goes under the name “poetry performance”. In the second chapter of the dissertation the focus shifts over to this kind of performative acts that became an important part of art and literary life during the 20th century. A movement is identified through which for example Ilmar Laaban and Sten Hanson abandons conventional modes of literary expression in order to seek out and stage various sound poetry and performance activities. In the concluding chapter, two of my own works are in focus. The first part is a discussion of the CD ADSR that just like the compositions on the record seeks to embrace a great many aspects. As it progresses, this essay also changes character and becomes more narrative in its mode. Since storytelling has always been something foreign to me as a writer, it is possible to regard this fragment of prose as yet another laboratory study of the significance of ways of writing in a practice aimed at producing knowledge. The last section of the dissertation discusses the collection of poems Att bli ved, where a number of key concepts such as: sound similarities; loops, metre and rhythm; and a line of poetry, act as a point of departure. All these elements constitute important contributions in the different attempts to produce the poems.
 


Per Högberg, musikalisk gestaltning

Titel
Orgelsång och psalmspel. Musikalisk gestaltning av församlingssång.

Tid och plats
Lördag 13 april 2013 i Vasakyrkan, Göteborg (kl. 11) och i Lingsalen (A505), Artisten (kl. 13)

Gestaltande inslag
Församlingssång inom ramen för liturgisk kontext i kyrkorummet

Opponent
Professor Peter Peitsalo, Sibelius-Akademin, Helsingfors

Betygsnämnd

  • Professor Oloph Bexell, Teologiska institutionen, Uppsala universitet
  • Fil. dr Karin Johansson, Musikhögskolan i Malmö, Lunds universitet
  • Professor Karin Nelson, Högskolan för scen och musik, Göteborgs universitet

Abstract
“Thus organs’ use in Swedish Zion also ought be praised/ So long as their pipes’ sound may guide the Church’s song.” (Hülphers 1773)
Abraham Abrahamsson Hülphers’ extolment of the organ as the leader of congregational song was formulated at a time when an independent, domestic organ building trade had gained a clear foothold in Sweden, as a result of a strongly growing need for the organ, which was tasked with supporting the singing of hymns in church services.

The hymnal in use today, the Swedish Hymnal from 1968, contains much material that has been included ever since our first official hymnal, the Carolingian hymnal of 1695. In spite of revisions made both to language and to melodies and harmonizations, we can still say that in our time and its liturgical context, we stand in an uninterrupted and living tradition of congregational song. In our time, however, the congregational song repertoire is marked by pluralism; it spans styles and genres. This being the case, does Hülphers’ statement about the organ’s “guidance” of congregational song still possess validity for the performance of hymns today?

The Lutheran church service tradition assigns the organ functions important from a use - that is, utilitarian-perspective: in liturgical use, most of all as a leader, a source of inspiration, and a conversational partner in the congregation’s song. Congregational song exhibits elements of conscious art, and at the same time engenders shared participation. This participation arises as that which is conscious of art (the text, the organ, and the trained organist) meets that which is unconscious of art (the singing congregation, the “folk”), and can itself be described as artistic beauty.

There is no question that the organ, its music, and its use for playing music in concerts all provide endless examples of conscious art. But how might shared participation in congregational song, which belongs to the perspective of the organ’s liturgical utility, be described in relation to the concept of conscious art? Using as a point of departure a description of the verticality and horizontality of congregational song, this dissertation seeks to formulate a pedagogical approach.

Bringing the liturgical use perspective into focus in relation to congregational song is essential to formulating a notion of this song in terms of artistic beauty, which, as it functions, and as its function, offers us a deepened understanding of that utility as tradition in motion, or motion in tradition.


Sten Sandell, musikalisk gestaltning

Titel
På insidan tystnaden - en undersökning

Tid och plats
Torsdagen den 7 mars 2013, kl. 13.00 i Lindgrensalen, Högskolan för scen och musik, Artisten

Opponent
Konstn dr Stefan Östersjö, biträdande lektor i konstnärlig forskning vid Musikhögskolan i Malmö, postdokforskare vid Orpheus Insitute, Gent, Belgien

Betygsnämnd

  • Fil dr Catharina Dyrssen, professor i arkitektur, institutionen för arkitektur, Chalmers
  • Efva Lilja, professor, Dans- och cirkushögskolan, Stockholm
  • Per Mårtensson, tonsättare, konstnärlig ledare för Gotlands tonsättarskola

Abstract
Title: På insidan av tystnaden – en undersökning
English title: Music On the Inside of Silence - a Study
Language: Swedish, with an English Summary
Keywords: Direction, the way of playing, character of a room, dialogue, process, sonic langu¬age, sensitivity, compositions, textual material, integration of text and music
ISBN: 978-91-979993-3-5
This thesis also includes a CD-box with music.

How can I through musical improvisation change the course of interaction between music, space and text? The aim of my doctoral project is, on the basis of the various conditions a room or a space has to offer, to study the uniqueness of improvised music to be able to chan¬ge the direction of a music composition in real time, with focus on the integration of text and music. The following questions are also addressed: how can one identify the effect a room has on how a voice or instrument sounds, and how can one create a unique world of sound in that same room with the intention of creating a new kind of aural drama. The main empirical data for this project will consist of a number of case studies in the form of: a series of experiments/ improvisations - that trigger a series of processes - that again trigger a series of methods. Free improvised music is the only form of music that allows me, as a musician, to be able to change direction at any time. Free improvised music is the only form of music where I can completely change my way of playing depending on the character of the room or the space. The room be¬comes a co-player that I can either go along with or resist. In my project I investigate different ways to explore and clarify how changes of direction in free improvisation can be performed and how the spatial conditions and other conditions affect the way the music is played. The form of improvised music I am examining is extremely dialogue-oriented, where action and reaction within the dialogue in the room play a vital role in the process. What I would like to try out and demonstrate is how a sonic language entirely based on the participants’ sensitivity can be moulded, i.e. a language that is altogether based on the listening and playing of a person in a particular space.
 


Ulrika Wänström Lindh, design

Titel
Light Shapes Spaces: Experience of Distribution of Light and Visual Spatial Boundaries

Tid och plats
Torsdagen den 13 december kl. 13.15 i Sal 10, universitetets huvudbyggnad, Vasaparken.

Opponent
Dr Kevin Mansfield, Course Director Msc Light & Lighting, Faculty of the Built Environment, The Bartlett School of Graduate Studies, London, UK

Betygsnämnd

  • Karin Sodergaard, Lektor, Institut 2 / Institut for Teknologi, Kunstakademiets Arkitektskole, Köpenhamn, DK
  • Karin Wagner, Universitetslektor, institutionen för Tillämpad IT, IT-fakulteten, GU/Chalmers
  • Jan Ejhed, Professor Linnéuniversitetet / lektor, Skolan för Teknik och hälsa, KTH

Abstract
Light enables us to experience space. The distribution of light is vital for spatial experience but has not been the main focus of previous research on lighting. The lighting designer’s professional knowledge is to a great extent experience-based and tacit. With design practice as the point of departure, this thesis aims to explore spatiality and enclosure in relation to the distribution of light – with the intention of increasing subjects’ understanding of what can be regarded as a space, and to show how spaces can be shaped by the distribution of light. By focusing on users’ experiences and interpretations, relationships between the distribution of light and perceived spatial dimensions and experienced spatial atmosphere have been investigated. The main contribution of this thesis is to widen the base of knowledge that lighting designers, architects and customers can use as a common reference.

This thesis is based on three studies: the Scale Model Study, the Auditorium Study and the Church Park Study. The thesis includes concept- and method development. The mixed methodologies comprise a range from introspective phenomenological observations to deep interviews and questionnaires. The experimental setups have also shifted from scale models to real-life interior and exterior settings. Consequently, a quantitative approach has complemented the mainly qualitative approach. Through artistically based research, patterns and relationships are dealt with in complex real spaces.

The findings of these studies lead to a discussion of when, why and how patterns of brightness and darkness influence spatial perceptions of dimensions. The findings also show that brightness not only contributes to our experiencing a space as more spacious than it really is, but in certain situations brightness can actually have the reverse effect. Furthermore, darkness can contribute to a spacious impression, which has hardly been discussed in previous research. What subjects regard as a space may shift between the clearly defined physical space and the perceived space, which include light zones. Light zones can create a sense of inclusion or exclusion for subjects, which affects their sense of community and their feeling of safety. Light topography, e.g. the height of luminaire positions, as well as light direction influence the way we experience the private and the public. Enclosure can, if related to visible spatial boundaries, facilitate reassurance and safety.
 


Anniqa Lagergren, estetiska uttrycksformer med inriktning mot utbildningsvetenskap

Titel
Barns musikkomponerande i tradition och förändring

Tid och plats
Fredag 7 september kl 10.00, Lingsalen (A505), Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Opponent
Professor Petter Dyndahl, Høgskolen i Hedmark, Norge

Betygskommitté

  • Sture Brändström, professor i musikpedagogik vid institutionen för musik och media, Luleå universitet
  • Fil dr Karin Nelson, lektor i solistisk orgel och orgelimprovisation vid Högskolan för scen och musik, Göteborgs universitet
  • Ingegerd Rydin, professor i medie- och kommunikationsvetenskap vid Högskolan i Halmstad

Abstract
This thesis focuses on education at Swedish community music and arts schools and at primary schools. The aim of the study is to contribute to knowledge formation within the field of music education by examining how children make music in an institutional context and how the development of new approaches in teaching and learning affect how children practise music. This is studied by observing what happens when children aged 9 to 12, compose music when they have access to digital tools in a community music and arts school and in a primary school – with specific focus on how composing tasks take shape under varying contextual and interpersonal conditions. 13 children from a community music and arts school and 21 children from a primary school participated in the study. In order to gather material for this study a survey was undertaken to examine the children’s experiences of music, instruments and digital tools. In order to observe and examine composing activities and the music the children had composed, these sessions were recorded on video. The theoretical framework for the study is based on a sociocultural perspective. The results indicate contextual-related differences between the activities in the community music and arts school and the primary school. The differences are observed in the activities and the music the children compose. By addressing interpersonal-related differences the reason why some groups of children undertake the task of composing and some groups of children do not undertake this task can be examined further.
 


Martin Avila, design

Titel
Devices. On Hospitality, Hostility and Design

Tid och plats
20 april 2012, kl. 13:00, Glashuset, Valands innegård

Opponent
Professor Andrew Morrison, Arkitektur- og designhøgskolen i Oslo (AHO)

Betygskommitté

  • Professor Barbara Czarniawska, Handelshögskolan, Göteborgs universitet
  • Professor Johan Redström, Designhögskolan i Umeå
  • Fil.dr Alex Wilkie, Goldsmiths University of London

Abstract
This thesis studies and speculates upon the interrelations of artefacts with human and nonhuman agents. These interrelations form assemblages, some of which have emergent properties, becoming manifestations of processes that we cannot fully control or understand.

The work started by exploring the theme of hospitality and hostility with the ambition to better understand the ecological complexity of the design process and its results.

As an assemblage, this work combines different literary, phil- osophical and theoretical discourses and traditions with experimental design in order to develop and articulate the concept of device. A device organizes, arranges, frames our environment and thereby defines and limits possibilities of relation.

Since relations can only be thought through a so-called natural language such as English, they must be taken into considera- tion through the process of languaging, understood by Humberto Maturana and Francisco Varela as “communication about communication”, and as the most characteristic feature of the human species. My focusing on linguistic and biological phenomena is a response to this concern, in an attempt to understand how this process influences our perception of the world.

Through a series of design projects, the thesis examines the potential range of an artefact’s relations. It does so by exploring grammatical associations that affect design conceptualizations, creating tools (prepositiontools) as well as studying and articulating forms of symbiosis that an artefact might develop in and with its environment (¡Pestes!).

Läs mer på HDK:s webbsida
 


Lena Dahlén, scenisk gestaltning

Titel
Jag går från läsning till gestaltning - beskrivningar ur en monologpraktik

Tid och plats
Måndagen den 30 januari 2012 kl 13.00, Högskolan för scen och musik, Schildknechtteatern, Fågelsången 1, Göteborg

Opponent

Professor Karin Helander, professor i teatervetenskap, Stockholms universitet

Betygsnämnd

  • Katarina Elam, Högskolan Väst
  • Ann Petrén, skådespelare vid Stockholms Stadsteater
  • Johannes Landgren, professor vid Högskolan för scen och musik 

Keywords
acts, art of acting, artistic research, detail, habitual practice, monologue, performing, performing space, practical knowledge, presence, reading

Abstract
English title: I go from reading to performing. Descriptions from a monologue practice
Language: Swedish

ISBN: 978-91-7844-840-1

I go from reading to performing. Descriptions from a monologue practice is a dissertation based on an actor’s work with monologues. The path of work is traced and described from a practitioner’s perspective. Concrete examples are used and examined in order to ‘sift out’ and expose the specific conditions this work involves.

The dissertation follows the path from reading to performing, where one person, as in a monologue, is the speaker. It consists of three parts. In the first part the given circumstances of the path to performance are described. The questions that are posed along the way include: What role does the audience play? What significance does the performing space have for performance expression? How is a written text read, lived through, reshaped and transferred to performance?

The second part is based on, and delimits, the search for a “living” performance. And what is that? What is presence? What different past and present acts does the actor have to relate to? What does rehearsing, what does ‘acquiring habitual practice’, involve? Habitual practice as a condition for change and as a condition for the unexpected and for the spontaneous is portrayed. The significance of detail for the performance and for the particularity of the performance is also described.

The dissertation’s first and second part lead on to the third part, which exemplifies the particular. This is followed by rehearsals of Samuel Beckett’s play Happy Days. Here, the actor’s searching sheds its light on the dissertation’s earlier reflections.

That reflection is based on practice and that it is examples that are used to capture, in writing, a fleeting path that disappears in an actor’s steps, is a part of the study’s task – and a result. To examine and convey something of the transient nature of this work from a practitioner’s perspective is its aim.
 


Katarina A. Karlsson, musikalisk gestaltning

Titel
Think’st thou to seduce me then? Impersonating female personas in songs by Thomas Campion (1567-1620)

Tid och plats
Fredagen den 9 december 2011 kl 13.00, Högskolan för scen och musik, Fågelsången 1, Göteborg

Opponent
Christopher R Wilson, professor, fil dr., University of Hull, Storbritannien

Betygsnämnd

  • Auður G. Magnúsdóttir, lektor, fil dr.,  Institutionen för historiska studier, Göteborgs universitet
  • Ingrid Elam, fil dr., docent, vicerektor Malmö Högskola
  • Anders Wiklund, professor, fil dr., Högskolan för scen och musik, Göteborgs universitet

Keywords
Thomas Campion, lute songs, female personas, gender, same sex desire, musical interpretation, Overbury, artistic research, arrangements for female vocal quartet

Abstract
Title: Think’st thou to seduce me then? Female personas in songs by Thomas Campion (1567-1620)
Language: English with a Swedish summary

This dissertation is in the field of Artistic Research in Music Interpretation. It is a study of songs with female personas written by Thomas Campion, investigated through performance practice and a critical reading of historical research carried out on the English Renaissance. The study is inspired by gender- and queer theory and looks at the function of the songs within their socio-cultural context. Since the songs seems to have been used and performed in a homosocial society, the study also discusses the possibility of male bonding and same-sex desire as part of the songs’ hidden or overt messages.

The dissertation consists of a thesis in two parts, a newly-made transcription from the original lute tablature of the fourteen chosen songs, and a CD-recording, documenting different modes of interpretation, including the following accompaniments for the songs: a clavichord, tuned in meantone, a positive organ tuned in meantone, a modern guitar and a female vocal quartet. Four of the arrangements for female vocal quartet are also included in the transcription appendix.

The aim of the dissertation is to find out how the songs worked in their society and what impact their historical function can have on a contemporary musical practice. The aim is also to find hidden layers of the songs and try to make these layers come alive in musical practice today.

The act of singing is used as means of inquiry. Part two of the thesis describes how a singer can work with contradicting stories behind the songs in order to make the music come alive.
In the transcriptions, discrepancies between earlier editions and Campion’s original music have also been found and corrected.
 


Per Anders Nilsson, musikalisk gestaltning

Titel
A Field of Possibilities: Designing and Playing Digital Musical Instruments

Tid och plats
25 november 2011 kl 13.00, Lindgrensalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Ingår en konsert den 24 november kl 19.00 på Nefertiti, Göteborg, se mer på Nefertitis hemsida

Opponent
Robert Rowe. Ph D. Professor of Music and Associate Director of the Music Technology program at New York University.

Betygsnämnd

  • Christian Munthe. Fil dr. Professor vid institutionen för filosofi, lingvistik och vetenskapsteori, Göteborgs universitet
  • Karin Nelson. Fil dr. Lektor vid Högskolan för scen och musik, Göteborgs universitet
  • Ingemar Fridell. Fil dr. Lektor vid Musikhögskolan i Malmö

Abstract
Den här avhandlingen behandlar ett antal digitala musikinstrument speciellt utvecklade för ensembleimprovisation. Utgångspunkten är inte att skapa ett generellt musikinstrument, snarare att skapa en samling instrument som vart och ett realiserar en musikalisk idé. Min forskning undersöker relationer mellan aktiviteter i design time och play time. Design time handlar om föreställningar, representation och artikulation av idéer och kunskap utanför tiden, medan play time är kroppslig kunskap, aktivitet och interaktion i realtid. Estetik är viktigt i detta arbete; i design time vägleds designprocessen av personliga estetiska värden, medan i play time är utgångspunkten att betrakta musikalisk improvisation som ett spel och/eller sport. En hypotes innebär att estetiska val gjorda under designprocessen av de digitala musikinstrument jag här diskuterar har en tydlig inverkan på interaktion och musikaliskt resultat vid improvisation. Givet att designer och utövare är identiska kan en dubbel influens iakttagas; i direkt interaktion, och indirekt genom instrumentens egenskaper. Varje instrument är i sig självt ett fält av möjligheter, och varje framförande aktualiserar dessa möjligheter, men är också endast komplementärt i förhållande till oändligt många tänkbara framföranden med detta instrument.
 


Tina Carlsson, fri konst

Titel
the sky is blue

Tid och plats
28 oktober 2011 kl 13.00, Stadsbibliotekets hörsal, Göteborg

En utställning ingår vilken visas 21 oktober-6 november på Stadsbiblioteket, Göteborg

Opponent
Milou Allerholm, lektor, Kungl. Konsthögskolan, Stockholm

Betygsnämnd

  • Ulla Holm, professor emerita i genusvetenskap vid institutionen för kulturvetenskaper/genusvetenskap vid Göteborgs universitet
  • Nils Olsson, Fil dr i litteraturvetenskap, Inst för litteratur, idéhistoria och religion, Göteborgs universitet
  • Mike Bode, Fil dr i fri konst, konstnär

Keywords
Feyerabend, story, subjective, sky, change

Abstract
Title: the sky is blue
English title: the sky is blue
Language: Swedish

the sky is blue vill genom sina verk visa att både institutionella och subjektiva begränsningar är närvarande i våra liv, men att vi genom våra drömmar fantasier och visioner har en förmåga att överskrida dessa begränsningar. Jag vill hävda att denna förmåga, som finns inbyggd i titelns envisa påstående att himlen är blå, bär på möjligheten att förändra det närvarande. Men för förändring krävs också kunskap och förståelse av det nuvarande. the sky is blue vill visa hur den subjektiva berättelsen och erfarenheten är en produktiv och nödvändig del av formandet av den kunskapen. Den partikulära, eller individuella erfarenheten, är central för verken i the sky is blue.

the sky is blue innehåller fotografi-, teckning- och textverk. De tre verken ”jag samlar på himlar, jag samlar på himlen”, ”1000 stories about a blue sky”, och ”under en himmel” är avhandlingens utgångspunkt och centrala verk. Runt verken formar sig en subjektiv berättelse som söker svar på frågan varför jag gör vad jag gör. Genom att välja samma metod i avhandlingsarbete som i min konstnärliga praktik låter jag den frågan intervenera med frågan vad jag gör när jag gör vad jag gör. Detta innebär att avhandlingen the sky is blue som blivit till i sökandet efter ett varför är ett implicit svar på frågan vad jag gör när jag gör vad jag gör.

I ”två bakgrundstexter” beskrivs hur två förluster har format förutsättningar för tillkomsten av the sky is blue. I relation till de två bakgrundstexterna finns en serie av mikroessäer, ”tolv betraktelser”, som istället för att blicka bakåt tar sin utgångspunkt i det närvarande. I ”tolv betraktelser” är det vardagliga flödet centralt, i texterna kommer de tankar och reflektioner till uttryck som tar plats när jag konfronteras med olika händelser i min vardag. Texterna i ”fyra verkbeskrivningar” är skrivna i tät relation till verken, och är istället för redogörelser av verkens material och tillkomst skildringar av det personliga ”tillstånd” som är verkens utgångspunkt.

Liksom den personliga erfarenheten, som aldrig formar sig linjärt utan snarare består av olika delar, eller irrfärder, som korresponderar med varandra, är the sky is blue uppbyggd av olika delar som befinner sig i en dialogisk situation med varandra. För att upprätthålla denna dialog mellan de olika delarna, har bokformatet, som oftast inbjuder till en linjär läsning, valts bort och istället finns de olika delarna placerade i en box. Den dialogiska situationen mellan verken svarar inte bara mot min konstnärliga praktik utan jag menar att den också bäst tar tillvara de metoder som används inom konsten för förmedling av kunskap och mening.
 


Lars Wallsten, fotografisk gestaltning,
Högskolan för fotografi 

Titel
Anteckningar om Spår

Tid och plats
Fredag 27 maj 2011 kl 13.00 i Sal 10, Vasaparken, Göteborg

Opponent
Per-Magnus Johansson, professor i idé- och lärdomshistoria (Göteborgs universitet), psykoanalytiker

Betygsnämnd

  • Lars O Ericsson, docent i praktisk filosofi (Stockholms universitet), författare, konstkritiker och konstskribent
  • Kent Klich, fotograf, Köpenhamn
  • Peter Ullmark, arkitekt, professor (Chalmers; Göteborgs universitet)

Keywords
Photography, evidence, trace, pattern, condensation, art, criminalistics.

Abstract
Titel: Anteckningar om Spår. Fotografi–Bevis–Bild.
English titel: Notes on Traces. Photography. Evidence. Image.
Language: Swedish
ISBN: 978-91-978477-3-5

Anteckningar om Spår (Notes on Traces) is a self-critical and self-reflective practice-based PhD project. It endeavours to make visible how artistic practice can create its content and context in relation to experience, reinterpretation and further progression.

The project is an inquiry into photography’s capacity to prove evidence. It is structured around photographic representation and written text. The dissertation consists of four photographic works together with an introduction, a list of contents, and a main text presented as an essay with numbered passages. The research effort is guided by a broad, selective inquiry. Contextualisation and conceptualisation have been identified through a process of bricolage, whereby creative use has been made of different discourses such as photography, film, art, philosophy, psychology, education, law, criminalistics, literature and cognitive science. Artistic strategies and practices that use forensic aesthetics are also discussed.

The method has the character of tracing a trail that leads the project forward. This creates a dialogue between the content and the form of the dissertation. Trace together with condensation and pattern are presented as productive concepts; these concepts, which in some respects have their roots in photography, not only provide others with the leads to understand a photograph as evidential proof but are also characterised by a suggestive quality, which is a recurring feature in the photographic projects.

The study contributes to overcoming the differences in the ways theoretical and practical knowledge are produced.
 


Andreas Gedin, fri konst

Titel
Jag hör röster överallt - Step by Step

Tid och plats
Lördag 28 maj 2011 kl 14.00 i Sjöströmsalen, Artisten, Fågelsången 1, Göteborg

Opponent
Jan Håfström, konstnär, Stockholm

Betygsnämnd

  • Gunnar D Hansson, författare, poet, essäist, översättare och docent i litteraturvetenskap samt professor i litterär gestaltning, Göteborgs universitet
  • Jan Kaila, professor, Bildkonstakademin, Helsingfors
  • Ulrika Ferm, curator och konstnär

Keywords
Mikhail Bakhtin, Michail Bachtin, curating, curator, exhibition, intertextuality, metalinguistics, carnival, dialog, essay, conceptual art, contemporary art, artistic research

Abstract
Title: Jag hör röster överallt – Step by Step
English title: I Hear Voices in Everything – Step by Step
Language: Swedish

ISBN: ISBN 978-91-978477-2-8

I Hear Voices in Everything – Step by Step, is a practise-based dissertation in fine arts. It includes three art exhibitions, several independent art works and an essay. It discusses the role of the artist and the making of art mainly through the ideas of the Russian philosopher Mikhail Bakhtin (1875-1975) but also by reflecting on similarities between the artist and the curator.

Being a dissertation in fine arts, the aim is not primarily to develop any certain philosophy but to use theory to discuss art, and vice versa.

In the first section, the methodological presuppositions are articulated and contextualised. The relevance of artistic research as a means to develop artistic practice and as a means to increase the understanding of artistic practice is also addressed, as is the reasonability of using the philosophy of Bakhtin in this specific context. Bakhtin is usually referred to as a literary theorist; however, his dialogical philosophy concerns man’s being as a whole, that is, it is through dialogical relations man is constituted. Here, man, and also art in general, is understood by Bakhtin as being temporary meeting places for art works, readers, artists, protagonists, history etc. The reflective text in itself also endeavours to be dialogical and polyphonic by including different voices such as fictional characters, real comments, emails, letters and quotes.

In the second section the practice of making art is discussed in relation to Bakhtin and other writers. One main topic is if one, by using Bakhtin, can also regard an art work as a meeting place for language (in its broad sense) so as to include physical material, skill, and experience; and hence, if one could, or should, regard the artist as a kind of curator, and vice versa. Bearing this in mind, is there then any relevant difference between organising language into an artwork or into an exhibition?

The third section focuses on the artworks that are a part of the PhD
project; these include an exhibition and two planned exhibitions. The
central theme of, or the catalyst for, the works of art is repetition.
Published as one exclusive copy, and also smuggled into the Lenin
library, Sleeper is a collection of essays on the ingredients of a tuna fish casserole. Thessaloniki revisited is a video of a reading of a short story.
Spin-Off is a video where a curse is read by an actor. Sharing a Square is a documentary-based video of a ritual drumming session in Calanda, Spain, and Erich P. is an artwork based on an embassy to Russia in 1673 and on contra-factual archaeology. As a final part of the dissertation project these artworks will be shown in a solo exhibition, and there will also be a curated exhibition, which will include only other artists.

The last part of the dissertation’s title “Step by Step” refers to a larger art project called Taking Over, which this dissertation is a part of. Taking Over deals with different aspects of power relations in five separate projects. Being an integral part of this larger and thematic art project, the dissertation also refers to different aspects of power, and even to the lack of power in relation to the artist’s position in research contexts, both inside and outside academia. It also underlines that artistic research is part of a wider artistic practice.
 


Elisabeth Belgrano, scenisk gestaltning

Titel
“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes. 

Tid och plats
Onsdag 1 juni 2011 kl 9.30 i Lindgrensalen, Artisten, Fågelsången 1, Göteborg

Opponent
John Potter, fil dr, sångare, Storbritannien

Betygsnämnd

  • Barbro Smeds, Stockholms dramatiska högskola
  • Magnus Tessing Schneider, Köpenhamn
  • Johannes Landgren, professor, Högskolan för scen och musik, Göteborgs universitet

Keywords
voice, singing, nothingness, je-ne-sais-quoi, 17th century opera, pure voice, lamentation, madness, passions, emotions, nightingale, transformation, ornamentation, observation, improvisation, vocal expression, embodiment, creative process, performance, repetition, movement, inner images, artistic research

Abstract
Title: “Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes.
Language: English with a Swedish summary
ISBN: 978-91-978477-4-2

This music research drama thesis explores and presents a singer’s artistic research process from the first meeting with a musical score until the first steps of the performance on stage. The aim has been to define and formulate an understanding in sound as well as in words around the concept of pure voice in relation to the performance of 17th century vocal music from a 21st century singer’s practice-based perspective with reference to theories on Nothingness, the role of the 17th century female singer, ornamentation (over-vocalization) and the singing of the nightingale. The music selected for this project is a series of lamentations and mad scenes from Italian and French 17th century music dramas and operas allowing for deeper investigation of differences and similarities in vocal expression between these two cultural styles.

The thesis is presented in three parts: a Libretto, a performance of the libretto (DVD) and a Cannocchiale (that is, a text following the contents of the Libretto). In the libretto the singer’s immediate inner images, based on close reading of the musical score have been formulated and performed in words, but also recorded and documented in sound and visual format, as presented in the performance on the DVD. In the Cannocchiale, the inner images of the singer’s encounter with the score have been observed, explored, questioned, highlighted and viewed in and from different perspectives.

The process of the singer is embodied throughout the thesis by Mind, Voice and Body, merged in a dialogue with the Chorus of Other, a vast catalogue of practical and theoretical references including an imagined dialogue with two 17th century singers.

As a result of this study, textual reflections parallel to vocal experimentation have led to a deeper understanding of the importance of considering the concept of Nothingness in relation to Italian 17th century vocal music practice, as suggested in musicology. The concept of Je-ne-sais-quoi in relation to the interpretation of French 17th century vocal music, approached from the same performance methodology and perspective as has been done with the Italian vocal music, may provide a novel approach for exploring the complexity involved in the creative process of a performing artist.
 


Christian Wideberg, estetiska uttrycksformer med inriktning mot utbildningsvetenskap

Titel
Ateljésamtalets utmaning - ett bildningsperspektiv

Tid och plats
Fredag den 10 juni 2011 kl 13.00 i Sal 10, Vasaparken, Göteborg

Opponent
Arnt Myrstad, professor i filosofi, Tromsø universitet, Norge

Betygsnämnd

  • Finn Thorbjörn Hansen, fil. dr, lektor i pedagogik vid DPU, Århus universitet
  • Gunilla Bandolin, professor i fri konst, Konstfack
  • Lars Mouwitz, docent i matematisk bildning vid Göteborgs universitet samt professor i yrkeskunnande vid Linnéuniversitetet

Keywords
Bildung, Educational Science, Fine Arts, Growth, Higher Education, Phenomenological Hermeneutical Method, Studio Art, Studio Critiques, Supervision

Abstract
Title: Ateljésamtalets utmaning - ett bildningsperspektiv
English Title: The Challenge of Studio Critiques – A Perspective of Growth (German: Bildung)
Language: Swedish with an English summary
ISBN 978-91-978477-5-9

The present study is in the field of Educational Science and is an investigation of the studio critiques i.e. the teacher/student studio interactions that take place as part of two higher education programmes in the Fine Arts in Sweden; these are the three-year Bachelor of Fine Arts programme and the two-year Master of Fine Arts programme.

The aim of the dissertation is to find out what is essentially important in a studio critique, to understand its context and integrity, as well as to examine how a teacher captures the opportunities and challenges that occur within the force field of the student’s intention, of his or her idea and his or her formal knowledge.

A phenomenological hermeneutical method is applied as the method of inquiry in the study, where several different collecting methods are used to gather empirical data. An historical overview, transcribed interviews, a log book and studio critiques make up the narrative text data, which have both practical and scientific relevance.

The core theme of the studio critique is to challenge the quality of the student’s artistic expression, thus contributing to involving him or her in a process of growth; this process embraces the potential of the studio critique to nurture and attain quality, which is the main result of the study.

Studio critiques are complex and interwoven interactions of two kinds: 1) interactions where the teacher and the student seek common ground in a mutual process of understanding and accord, and 2) interactions where the integration of intention and quality is strived for. In his or her role as supervisor, the teacher aims at finding the point of interface between the student’s intention and the material qualities of his or her work. Ultimately the goal of this form of growth (German: Bildung) is to maximise student potential, thus enabling him or her to develop the full range of his or her talents. When the main topic for the studio critique is found, another interaction begins. This process addresses the challenge of integrating concept and material, the ultimate goal of which must be a seamless fusion of the two if the finished work is to possess sublime qualities. One can regard the studio critique as a process where the student reaches a deeper knowledge of self and his or her artistic goals, where subjective and creative impulses are essential for the developmental growth of this form of living knowledge.
 


Cecilia Björck, musikpedagogik

Titel
Claiming Space: Discourses on Gender, Popular Music, and Social Change

Tid och plats
Fredagen den 25 februari 2011 kl. 10.00 i Lingsalen, Högskolan för scen och musik vid Göteborgs universitet, Artisten, Fågelsången 1, Göteborg

Fakultetsopponent
Professor Lars Lilliestam, Institutionen för kulturvetenskaper, humanistiska fakulteten, Göteborgs universitet

Betygsnämnd

  • Professor Petter Dyndahl, Avdeling for lærerutdanning og naturvitenskap, Institutt for kunstfag og informasjonsvitenskap, Högskolan i Hedmark, Norge
  • Professor Elisabeth Öhrn, Institutionen för pedagogik och specialpedagogik, Göteborgs universitet
  • Professor Hillevi Ganetz, Centrum för genusstudier, Stockholms universitet

Ordförande vid disputationen
Professor Claes Ericsson, Högskolan för scen och musik

Keywords
space, spatiality, popular music, girls, women, gender, social change, agency, music education, discourse analysis

Abstract
Title: Claiming Space: Discourses on Gender, Popular Music, and Social Change
Swedish title: Att ta plats: diskurser om genus, populärmusik och social förändring
Language: English
ISBN: 978-91-978477-1-1

This compilation (portfolio) thesis explores how language is used in the context of gender-equity music initiatives to construct ideas about gender, popular music, and social change. More specifically, it examines the use of spatial metaphors and concepts revolving round the idea that girls and women need to “claim space” to participate in popular music practices. The empirical material consists of recorded round-table discussions with staff and participants from four different initiatives in Sweden, all with the explicit aim to increase the number of girls and women involved in popular music production and performance. They include a time-limited project by a youth organization, a grass-roots network for young musicians, an adult education course, and a pop/rock music camp for girls. A Foucault-inspired discourse analysis method in six stages was used to examine the data in terms of discursive constructions, discourses, action orientation, positionings, practice, and subjectivity. The results are organized in four themes – Sound, Body, Territory, and Room – and are discussed in relation to the concepts of performativity (Judith Butler), feminine body spatiality (Iris Marion Young), and gaze (Michel Foucault and others). The idea of “claiming space” is found to be involved in two dialectics. The first dialectic is formed by space-claiming understood as on the one hand extrovert self-promotion to be seen and heard, and on the other hand, as introvert focus on the musical craft. A second dialectic is formed by an ongoing struggle between empowerment and objectification, i.e., between being an acting subject and being the object of a disciplining gaze.
 


Cecilia Wallerstedt, estetiska uttrycksformer med inriktning mot utbildningsvetenskap (musik)

Titel
Att peka ut det osynliga i rörelse. En didaktisk studie av taktart i musik

Tid och plats
Fredagen den 29 oktober 2010 kl. 10.00 i Lingsalen, Högskolan för scen och musik vid Göteborgs universitet, Artisten, Fågelsången 1, Göteborg

Fakultetsopponent
Professor Mikael Alexandersson, Utbildningsvetenskapliga fakulteten, Göteborgs universitet

Betygsnämnd

  • Lektor Monica Lindgren, Högskolan för scen och musik
  • Docent Sonja Sheridan, Institutionen för komminikation och lärande, Göteborgs universitet
  • Professor Christer Wiklund, Institutionen för musik och medier, Luleå tekniska universitet

Ordförande vid disputationen
Professor Bengt Olsson, Högskolan för scen och musik

Keywords
listening skills, early childhood education, music listening,
variation theory, learning study, children’s perspective, metre

Abstract
Title: Att peka ut det osynliga i rörelse: En didaktisk studie av taktart i musik.
English title: Pointing Out the Invisible in Motion: A Didactic Study on Time in Music.
Language: Swedish
ISBN: 978-91-978477-0-4

The aim of this study is to examine what constitutes being able to discern time in music, as seen from the learner’s perspective. Listening is not only regarded as a higher mental process but also as a core skill in musical ability. Participants in the empirical study are 3 teachers and 27 children in a preschool class and in primary school. Three lessons aimed at facilitating children’s ability to discern time are analysed. The data also consists of interviews with the children.

The theoretical framework for the study is variation theory. Four critical aspects of the object of learning have become apparent: to be able to discern stressed beats, the auditory meaning of keeping time and the continuous aspect of pulse; of critical importance is also to be able to separate the metrical aspect of the music from different forms of representing it, such as clapping or drumming.

It is suggested that mediating tools, such as time, constitute important learning objects in music education. The teacher’s task is to point out what is invisible in the music and also what is invisible to the children. This can be done with the help of visual representations of auditory aspects, patterns of variation and verbal dialogue.
 


Magnus Bärtås, fri konst

Titel
You Told Me - work stories and video essays / verkberättelser och videoessäer

Tid och plats
Fredagen den 28 maj 2010 kl. 13.00 i Hörsalen,
Göteborgs stadsbibliotek, Götaplatsen 3, Göteborg

Fakultetsopponent
Dr Suzana Milevska, professor vid Accademia Italiana, Makedonien

Betygsnämnd

  • Anna Sofia Rossholm, lektor Linnéuniversitetet, Kalmar/Växjö
  • Maria Lantz, lektor, Kungl. Konsthögskolan, Stockholm
  • Staffan Söderholm, professor, litterär gestaltning, Göteborgs universitet

Keywords
video essay/filmic essay, conceptual art, biography, storytelling, work story­/verkberättelse, narrator, voice-over, post-construction, narratology, reenactment, Chris Marker, Choi Eun-hee

Abstract
Title: You Told Me – work stories and video essays / verkberättelser och videoessäer
Language: Swedish and English
ISBN: 978-91-977758-8-5

You Told Me is a practice-based research project and consists of three video biographies (the Who is…? series), and two video essays (Kumiko, Johnnie Walker & the Cute (2007), Madame & Little Boy (2009), an introduction with a contextualization and methodology of the field, and three essays. The dissertation is an observation and analysis of certain functions and meanings of narration and narratives in contemporary art, as well as being an experiment with roles, methods, actions, and narrative functions in an artistic medium – the video essay. Using the methods of “pilgrimage” (Chris Marker) and essayistic practices, and by revisiting and retelling biographies, this work tries to find a place in between collective and personal memory. During the practical process and the reflective theoretical work the different elements or instances of the video essay are identified: the subject matter, the images (the representation), the artist/author, the narrative/text, and the narrator/voice. In documentary film the lack of natural correspondence between these entities is often dissolved or denied – this work instead exposes the instances as separate units. A question arises: What alternative roles can be established between these elements, for example by negotiation and transference between them? The methodological part of the text focuses on the conceptual invention made during the process, which I have called work story [verkberättelse]. A work story is a written or oral narrative about the forming of materials, immaterial units, situations, relations, and social practices that constitutes, or leads to, an artwork. By discussing analogies between storytelling, collecting, and biographical accounts together with examples from conceptual art, the dissertation shows how the work story is not only crucial for the understanding of the artwork but that the act of making and the very order or sequence in which the making proceeds often have symbolic, metaphorical, metonymical, political, and even epistemological meanings.

In an extended form a work story disseminates meaning rather than capturing it. This is the essayistic work story that permits a writer/artist to wander off and touch upon a subject as if in passing, reproducing its neglected genealogy and destiny in the detailed materiality of the work story.
 


Sven Kristersson, musikalisk gestaltning

Titel
Sångaren på den tomma spelplatsen – en poetik. Att gestalta Gilgamesheposet och sånger av John Dowland och Evert Taube

Tid och plats
Lördag 29 maj 2010  i Teater 2, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Fakultetsopponent
Professor Karin Helander, Stockholms universitet

Betygsnämnd

  • Professor Bo Göranzon, Kungliga Tekniska Högskolan, Stockholm
  • Artist Marie Bergman, Stockholm
  • Professor Anders Wiklund, Göteborgs universitet

Keywords:
Orpheus, empty space, performance, song, verse, Evert Taube, Gilgamesh, John Dowland

Abstract
Title: Sångaren på den tomma spelplatsen – en poetik. Att gestalta Gilgamesheposet och sånger av John Dowland och Evert Taube.
English title: The Singer in the Empty Space – a Poetics. Performing the Gilgamesh Epic
and Songs of John Dowland and Evert Taube
Language: Swedish, with an English summary.

ISBN: 978-91-977758-9-2

The aim of this doctoral project is to explore an expanded role of the singer in an artistic field situated between poetry, theatre, music and reflection. The project consists of three parts:
Firstly, three performances of songs and poetry: (a) Me, Me and None but Me!, a blank-verse monologue connecting songs of John Dowland, (b) Gilgamesh – The Man Who Refused to Die, a musical version of the Babylonian Gilgamesh Epic, and (c) The Poet and Time, interpretations of works by the Swedish chansonier Evert Taube. As artistic methods, I use the Shakespearean traditions described in Peter Brook’s The Empty Space. Within these traditions, scenic communication is established using verbal imagery instead of a stage set.

Secondly, a thesis, where I describe the working process of the performances as a series of problem-solving. I also compare my performances to performances by contemporary artists. In the thesis, I also apply a method of inquiry in which I use the Orpheus myth as a means of understanding the expanded role of the singer.

Thirdly, a film by Lars Westman. The DVD contains excerpts from the performances and interviews with me, conducted by Westman and by the Norwegian singer and researcher Astrid Kvalbein.

The results of my research are firstly manifest in the performances themselves. Secondly, the written descriptions articulate a synthesis of artistic knowledge which has not previously been collected in one publication. Thirdly, the comparing of the Dowland performance with other performances constitutes a mapping of new forms of presenting lieder on a national level. The comparison with a Palestinian Gilgamesh performance gives new knowledge about how Western theatrical traditions are combined with Arabian storytelling tradition in an international context. Fourthly, the Taube performance implies new results in literary scholarship. Finally, the inquiries into the use of the Orpheus myth show that the mythic figure can be seen as an embodiment of “knowing-in-action”. Thus, the thesis establishes a link between practice-based research and mythology as embodied knowledge.

Hämta hem avhandlingen


Olle Zandén, musikpedagogik

Titel
Samtal om samspel. Kvalitetsuppfattningar i musiklärares dialoger om ensemblespel på gymnasiet

Tid och plats
Fredag 16 april 2010 kl 10.00 i A505 (Lingsalen), Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Fakultetsopponent
Professor Petter Dyndahl, Högskolan i Hedmark, Norge

Betygsnämnd

  • Professor Göran Folkestad, Musikhögskolan i Malmö, Lunds universitet
  • Professor Cecilia Hultberg, Kungliga Musikhögskolan, Stockholm
  • Professor Lars Lilliestam, instituionen för kulturstudier, Göteborgs universitet

Keywords
assessment, criteria, music education, didactics, pedagogy, dialogical theory, upper secondary school, class room ensemble, rock and pop ensemble, teacher professionalisation.

Abstract
Title: Samtal om samspel: Kvalitetsuppfattningar i musiklärares dialoger om ensemblespel på gymnasiet
English title: Discourses on music-making: Conceptions of quality in music teachers’ dialogues on upper secondary school ensemble playing
Language: Swedish

ISBN: 978-91-977758-7-8

The purpose of this thesis is to analyse music teachers’ collegiate discourses on ensemble playing with regard to dialogically expressed criteria and conceptions of quality, and to relate these criteria and conceptions to the national governing documents for upper secondary ensemble education. The study has two theoretical perspectives, that is, a didactical perspective and a dialogical perspective.

The research setting as well as the research questions are clearly didactical, whilst dialogical theory is used both as a foundation for the research method and as an ontology against which the findings are interpreted. Topic analysis, which is based on a dialogical theory of sense-making according to which meaning is constituted in a double dialogical process between interactants, situation and socio-cultural traditions is the method used. Four groups of music teachers have discussed video excerpts of popular music ensembles from ensemble classes, and these discussions have been analysed with respect to topics displaying conceptions of musical and didactical quality. Topics are created through communicative projects, in which two or more people display a mutual understanding of what they are talking about. Thus, all conceptions of quality elicited from the participant groups of ensemble teachers are the result of intersubjective sense-making.

The results show that the ideal of informal music-making is so strong that the groups describe teacher intervention as detrimental to musical progress. Very little is said about the sounding music, whereas physical expressivity, autonomy and joy of playing are prominent topics. The apparent lack of music-specific, “contextual” criteria and the low valuation of the teachers’ work are discussed as possible threats to the existence of music as a subject in the national curriculum.
 


Henric Benesch, design

Titel
Kroppar under träd - en miljö för konstnärlig forskning

Tid och plats
26 februari 2010 kl 13 i Glashuset, Konsthögskolan Valand, Vasagatan 50 

Fakultetsopponent
Tekn dr Catharina Gabrielsson, London School of Economics and Political Science

Betygsnämnd

  • Professor Gunilla Bandolin, Konstfack, Stockholm
  • Professor Fredrik Nilsson, Instutitionen för arkitektur, Chalmers Tekniska Högskola
  • Professor Hans Hedberg, Högskolan för fotografi, Göteborgs universitet

Abstract
This dissertation in the field of artistic research is an articulation, in
words and images, on the experience of working with a notional environment for artistic research. It is not a reflection on or a description of the process which the work has involved, but above all an articulation, characterisation and development, in words and images, of the conceptual and pictorial world constituted during, through and in the course of the actual work on an environment for artistic research in Vasaparken, Göteborg. The work is the design of a design process or, in the words of Aristotle, a form of poetic, in which great importance has been attached to making the special relationship between the concrete project and the text as clear as possible. Underlying this concrete work is an interest in the fundamental issue of the dynamic relation between activities (people), environments (buildings) and outward circumstances in perspectives of change. These issues are of a general nature but are especially relevant in relation to the emergence of new fields and practices, as in the case of artistic research. That is to say, fields, activities and practices which are more open by nature and more amenable to change than is usually the case with established fields, activities and practices. This work can also be viewed as a form of travel report, both general and specific, in the hope that it can be used as a form of guide book, to be read by those similarly interested and wishing to undertake corresponding journeys, but it can also serve as travel literature for those interested in the places or in travel as such.

ISBN: 978-91-977758-6-1
 


Kajsa G. Eriksson, design

Titel
Concrete Fashion: Dress, Art, and Engagement in Public Space

Tid och plats
Fredagen den 22 januari 2010 kl. 15.00 i Lilla salen, Frölunda Kulturhus, Västra Frölunda

Fakultetsopponent
Fil dr Ylva Gislén, Dramatiska institutet, Stockholm

Abstract
This dissertation is an example of artistic research that explores the border between fashion design and contemporary art, in order to place situated bodily practices within the larger field of exploration and ideology, and to discover new formats. The activities engaged in explore the dressed body as a contemporary art medium, and the performances are carried out in public space and within everyday life. The research utilizes ‘the itinerary’, put forward by Certeau, as a metaphor for its prevailing methods.

Three extensive art projects are presented within the dissertation: THREE, the Mirror Brooch, and Transformers. The first project concerns exhibition of the intermediate art form of the dressed body in the institutions of art, in this example, the gallery space; the second involves the presentation and use of the Mirror Brooch and examines art as an everyday life experience; and the third entails performances, staged in various locations and featuring the Transformer Jackets, and which are viewed as explorations into public space.

The relationship between experience, on one hand, and representation and documentation, on the other, is treated as a translation; a translation meant to be ‘haunting’, and one which feeds energy back into the ongoing artistic process. The conclusion is that, both, performances and translations can be used to strengthen identity and engagement in public space.

ISBN: 978-91-977758-4-7
 


David Crawford, digital gestaltning

Titel
Art and the Real-time Archive: Relocation, Remix, Response

Tid och plats
8 oktober 2009 kl 13.00, Robert Frank-salen, Högskolan för fotografi, Storgatan 43, Göteborg

Opponent
fil dr, konstnär, Kristoffer Arvidsson, Göteborg

Betygsnämnd

  • Jonas Ingvarsson, lektor vid Karlstad universitet
  • Anna Orrghen, lektor vid Södertörns högskola, konstkritiker
  • Peter Hagdahl, professor i fri konst vid Kungl. Konsthögskolan, Stockholm, konstnär
     

Ordförande för disputationen
Fil dr, forskare Karin Wagner, handledare inom digital gestaltning vid Inst för tillämpad informationsteknologi, IT-universitetet och Högskolan för fotografi, Göteborgs universitet

Abstract
If Internet artists have recently relocated their work to galleries and museums, there has meanwhile been an increasing engagement on the part of gallery artists with the media. While these migrations are often discussed in aesthetic if not economic terms, this essay asks what such phenomena can tell us about the changing nature of subjectivity in relation to media and technology.

Three main themes are introduced: the aura of information, inscription technologies, and the real-time archive. The themes extend across subsequent chapters addressing: the relocation of net art, the remix as an art method, and the capacity of the subject to respond to technology. !e idea that technologies alter subjects (produce subject-effects) plays a central role in the arguments
advanced.

Examples are drawn from both the author’s own art practice as well the practice of others, including Phil Collins and Steve McQueen. Theorists including Lewis Mumford and Bernard Stiegler are used to interpret the questions raised by this practice. It is concluded that relocation and remixing can respectively aid in the apprehension of subject-effects and support subjective autonomy.
 


Ragnhild Sandberg Jurström, musikpedagogik

Titel
Körledares musikaliska gestaltning. En socialsemiotisk studie av multimodal kommunikation i kör

Tid och plats
Fredag 18 september 2009 kl 10.00
Lokal: Lingsalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg.

Opponent
Professor Staffan Selander från Institutionen för didaktik och pedagogiskt arbete vid Stockholms universitet

Betygsnämnd

  • Docent Claes Ericsson, Högskolan i Halmstad
  • Prof. Eva Nässén, Högskolan för scen och musik, Göteborgs universitet
  • Prof. Mikael Alexandersson, IPD, Göteborgs universitet

Ordförande för disputationen
Professor Bengt Olsson, ämnesansvarig för musikpedagogik vid Högskolan för scen och musik, Göteborgs universitet

Keywords
Choir singing, choir conductor, choir singer, musical interpretation and performance, learning, communication, interaction, video analysis, multimodality, social semiotics, metafunctions, design

Abstract
Title: Att ge form åt musikaliska gestaltningar. En socialsemiotisk studie av körledares multimodala kommunikation i kör.
English title: Shaping musical performances. A social semiotic study of choir conductors' multimodal communication in choir
Language: Swedish
ISBN: 978-91-977757-9-3

The purpose of this thesis is to identify and describe how musical interpretations and performances are semiotically designed and realised by choir conductors in their interaction with choir singers during rehearsals and concerts, and also to find methods for how these actions can be analysed and described.

The data consists of video-recorded rehearsals and concerts with six Swedish professional choir conductors and their choirs. The video films are transcribed in detail, with focus on how semiotic modes, such as gestures, gazes, body movements, singing, printed score and piano-playing, are used when choir conductors in their interaction with choir singers work with a musical composition.

The study uses a multimodal and social semiotic theory, which implies that communication and learning is seen as a social process of transformative sign-making. The concept design is central since it is a way for sign-makers to create different communicative conditions for meaning-making, based on their interests and choices of modes. The analyses focus on how choir conductors in their use of different modes perform and illustrate the music, how they interact with the choir singers, and how their actions are realised in different designs. The analyses also focus on what cultural conventions surround the actions that occur.

The thesis brings light to the complexity and multiplicity of an audiovisual culture, where choir conductors in their use of different repertoires of action and designs constantly vary how they perform and illustrate the music. The results show how these actions afford various choices and conditions for the choir singers to learn and perform the music, how a collective and local musical language is constructed and how the dominant positionings of the conductors can be seen as productive leadership.
 


Anders Tykesson, musikalisk gestaltning

Titel
Musik som handling. Verkanalys, interpretation och musikalisk gestaltning. Med ett studium av Anders Eliassons Quartetto d'Archi

Tid och plats
Torsdag 4 juni 2009 kl 10.30 håller Anders ett interpretationsseminarium kring Stenhammars andra stråkkvartett (Malvakvartetten, studentensemble vid HSM, spelar). Kl. 13 börjar disputationen. 

Ensemblesalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Opponenter
Søren Kjørup, forskningsprofessor vid Kunsthøgskolen i Bergen, och Jan Ling, professor emeritus, musikvetenskap, Göteborgs universitet

Betygsnämnd

  • Lasse Thoresen, kompositör, professor i komposition, Norges musikhögskola, Oslo
  • Lena Weman Ericsson, musiker, fil dr i musikalisk gestaltning, lektor vid Institutionen för musisk och medier, Luleå tekniska universitet
  • Gunnar D Hansson, författare, poet, essäist, översättare och docent i litteraturvetenskap samt professor i litterär gestaltning, Göteborgs universitet

Ordförande för disputationen
Fil dr, professor Eva Nässén,  ämnesansvarig för musikalisk gestaltning vid Högskolan för scen och musik, Göteborgs universitet

Nyckelord
musical analysis, musical gestures, musical interpretation and performance, musical meaning, musical narrative, music theory, music and emotion, music as emotional expression, music as action, music as motion, music as mimesis, music and language, musical hermeneutics, musical phenomenology, musical semiotics, artistic research, Anders Eliasson, Hans-Heinrich Eggebrecht, Hans-Georg Gadamer, Robert Hatten, Ernst Kurth, Paul Ricoeur, Bo Wallner.

Abstract
Title: Musik som handling. Verkanalys, interpretation och musikalisk gestaltning. Med ett studium av Anders Eliassons Quartetto d’Archi
English title: Music as Action. Analysis, Musical Interpretation and Performance of a Work. With a Study of Anders Eliasson’s Quartetto d‘Archi
Language: Swedish
ISBN: 978-91-977757-7-9

The aim of the dissertation is to illustrate the potential musical analysis has in the development of artistic questions with regard to the interpretation and performance of western art music.
The analyses of the dissertation focus on Quartetto d’Archi, by the Swedish composer Anders Eliasson, and discussions of music as action, music as emotional expression, music as motion and music as mimesis are based on the four movements of this string quartet. The methods which are used are the very ones the project examines, namely the analysis of and the reflection on the musical work. The author has attempted to gain a deeper knowledge of the work and its possible interpretations by means of a comparative study of other music and literature within the theory of music and within philosophical thinking. The hermeneutics of Hans–Georg Gadamer and Paul Ricoeur are significant to the thesis. For example, the author claims that Ricoeur’s concept of interpretation, in which understanding interacts with explanation, and where the interpreter “appropriates” the text, could be applied to musical interpretation. References in music, or in artworks in general, to phenomena, actions and concepts may be explained through the concept of mimesis. Within the doctoral project, the author has worked with chamber ensembles in the form of seminars at the Academy of Music and Drama, the University of Gothenburg.

One of the central claims of the thesis is that the musical work opens up to the possibilities of interpretation through its own way of being, in the way it expresses itself in its structures. Questions of the significance of music must be posed to the musical work itself, which answers through different categories of interpretation; it is by means of these categories of interpretation that the meaning and significance of a musical work can be interpreted. Four categories are presented: processual interpretation, narrative interpretation, characterial interpretation and emotional interpretation.

Anders Tykessons avhandling finns publicerad i GUPEA.


Harald Stenström, musikalisk gestaltning

Titel
Free Ensemble Improvisation

Tid och plats
Tisdag 9 juni 2009 kl 13 (inleds med en konsert), Ensemblesalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Opponent
Jari Perkiömäki, dr i musik, lektor vid Sibeliusakademin, Finland

Betygsnämnd

  • Cort Lippe, kompositör, biträdande professor i komposition, Buffalo University, USA
  • Mary Oliver, fil dr, improvisationsmusiker, USA/Amsterdam
  • Anders Wiklund, docent, professor, Högskolan för scen och musik, Göteborgs universitet 

Ordförande för disputationen
Fil dr, professor Eva Nässén, ämnesansvarig för musikalisk gestaltning vid Högskolan för scen och musik, Göteborgs universitet

Nyckelord
aleatorics, artistic research, attractor state, central tone, chaotic systems, collective understanding, comprovisation, conceptual model, directed motion, ensemble size, feedback and feedforward, free ensemble improvisation, gesture, importance of rhythm, indeterminacy, interactional skill, listening skill, musical evaluation, musical interaction, musical maturity, musical chemistry, musical interpretation, musical composition, nonidiomatic improvisation, rhythmic flow, sound properties, stylistic influences

Abstract
Title: Free Ensemble Improvisation
Language: English
ISBN: 978-91-977757-8-6

The aim of this doctoral project has been to study so-called non-idiomatic improvisation in ensembles consisting of two or three musicians who play together without any restrictions regarding style or genre and without having predetermined what is to be played or how they should play.

The background to this thesis has been the author’s own free improvising, which he has pursued since 1974, and the questions that have arisen whilst music-making. The thesis takes three of these questions as its point of departure:
What is free ensemble improvisation, what characterizes free ensemble improvisation and how can it be defined
How does free ensemble improvisation relate to:
– instrumental technique
– idiomatic improvisation and stylistic influences
– composition
– interpretation
– aleatorics and indeterminacy
– different types of sytems (e.g. biological, social, dynamic/chaotic systems)
What might a conceptual model as a theoretical base for free ensemble improvisation look like?

The artistic/performative part of this research project has primarily consisted of public concerts, as a result of longer/shorter periods of cooperation with four permanent and a number of temporary (ad hoc) ensembles. The results provide a better understanding of what free ensemble improvisation is, in what respects it differs from other forms of music-making and how it can be defined. Free ensemble improvisation’s relations to the points mentioned above were found to be more multifaceted than expected. However, it was possible to attain a basic two-layered conceptual model as a theoretical base for free ensemble improvisation and, in its extension, as a basis for the analysis of free ensemble improvisation. The study includes numerous concert projects, of which several are recorded and included in this book on two CDs with MP3 files.

Hela avhandlingen inkl 2 CD med musik (MP3-filer) finns i GUPEA.
 


Bryndis Snæbjörnsdóttir, fri konst

Titel
Spaces of Encounter: Art and Revision in Human-Animal Relations

Tid och plats
Fredag 27 mars 2009 kl 13.00 i Glashuset, Konsthögskolan Valand, Vasagatan 50, Göteborg.

Fakultetsopponent
Sarat Maharaj, Professor vid Konsthögskolan i Malmö, Lunds universitet, och professor i konsthistoria vid Goldsmith University College

Betygsnämnd

  • Fil dr Karin Wagner, IT-universitetet, Göteborg
  • Artist and PhD professor Martha Fleming, Creative Director, Biomedicine on Display Project, Medicinsk Museion, Institute of Public Health, Medical Faculty at the University of Copenhagen, även/also Visiting Senior Research Fellow, Materials Research Group, School of Physical Sciences and Engineering, King's College London
  • Lektor Henk Slager, Dean, Utrecht Graduate School of Visual Art and Design, Utrecht, The Netherlands 

Ordförande för disputationen
Dr Katy Deepwell, Head of Research Training at RNUAL, the Research Network of the University of the Arts London. Huvudhandledare för Bryndis Snæbjörnsdóttir vid Konsthögskolan Valand, Göteborgs universitet

Övrigt
En utställning visas i Glashuset i samband med disputationen (från kl 11) och under de efterföljande två veckorna:
"between you and me". Öppettider: 27 mars-12 april tis-fre kl 12-18, lör-sön kl 12-17

Nyckelord
animal studies, artistic research, conceptual art, contemporary art, contextual art, fine art research, installation art, photography, post-humanism, relational art, Snæbjörnsdóttir/Wilson, site-specific art, taxidermy

Abstract
Title: Spaces of Encounter: Art and Revision in Human-Animal Relations
Language: English

ISBN: 978-91-977757-6-2

This PhD project explores contemporary Western human relationships with animals through a ‘relational’ art practice. It centres on three art projects produced by Snæbjörnsdóttir/Wilson – nanoq: flat out and bluesome; (a)fly; and seal – all utilize lens-based media and installations.

Discourses on how humans construct their relationship with animals are central to all three projects. The first one looks at polar bears, the second at pets, and the third at seals, in a variety of different sites within clearly defined contexts and geographical locations. The thesis explores the visual art methodologies employed in the projects, tracing in turn their relationship to writings about human-animal relations. This includes both writings researched in the making of the works and those considered retrospectively in the reflections on each art project.

These artworks engage their audiences in a series of ‘encounters’ with the subject through simultaneous meetings of duality, e.g. haunting vs. hunting, perfection vs. imperfection and the real vs. the unreal.

These dualities are important in theorizing this relational space in which the eclipse of the ‘real’ animal in representation occurs and in formulating questions embedded in and arising from the artworks on the construction and the limits of these boundaries. The ‘three registers of representation’, as put forward by the artists Joseph Kosuth and Mary Kelly, have further helped to frame and develop the thinking, concerning both the mechanisms within the works and their perceived effects.

Avhandlingen är publicerad inom bokserien ArtMonitor.

Beställ avhandlingen 
 


Marie-Helene Zimmerman Nilsson

Titel
Musiklärares val av undervisningsinnehåll. En studie om musikundervisning i ensemble och gehörs- och musiklära inom gymnasieskolan

Tid och plats
Fredag 20 mars 2009 kl 10.00 i A505, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg

Fakultetsopponent
Professor Sture Brändström, Institutionen för musik och medier, Luleå tekniska universitet

Betygsnämnd

  • Lektor Eva Georgii-Hemming, Musikhögskolan, Örebro universitet
  • Professor Stig-Magnus Thorsén, Högskolan för scen och musik, Göteborgs universitet
  • Docent Karin Rönnerman, Institutionen för pedagogik och didaktik (IPD), Göteborgs universitet 

Ordförande för disputationen
Professor Bengt Olsson, Högskolan för scen och musik

Nyckelord
music education, upper secondary school, music didactics, variation theory, music teaching, teaching ensemble, teaching music theory, choice of teaching content, learning object

Abstract
Title: Musiklärares val av undervisningsinnehåll. En studie om musikundervisning i ensemble och gehörs- och musiklära inom gymnasieskolan.
English title: Music Teachers’ Choice of Teaching Content: A Study of the Teaching of Ensemble and Music Theory in Upper Secondary School.
Language: Swedish
ISBN: 978-91-977757-5-5

The way in which music teachers choose and use the subject content in ensemble and music theory in the upper secondary school is focused in this study. The point of interest is the everyday classroom teaching of music teachers. The intentions that music teachers have with their teaching is also studied.

This thesis is a study of music teaching and is a subject-didactic investigation, inspired by variation theory. The overarching aim of the thesis is to study how music teachers in upper secondary school choose teaching content when teaching ensemble and music theory. The teachers’ use of the teaching content implies that they choose to focus and teach certain parts in their teaching. This choice of content and how it is used is in focus in this study. The research questions are: How do music teachers choose teaching content when teaching ensemble and music theory in upper secondary school? How do music teachers use the teaching content in their teaching?

The data collection includes video-documented lessons and qualitative interviews with five music teachers in upper secondary school in 2004. The analysis reveals two different choices of content. When the teachers have music and theory as the content of their teaching, it is the content that guides the teaching methods, where the teacher uses a fixed content, which is then presented in different ways; this was mainly in music theory. When the content is music activities, the music teachers adjust the activity-based content in accordance with the level of the pupils’ skills in ensemble. The differences that occur in the variation theory results are closely related to the teaching content. The foundations of the two different choices of content that are made by the music teachers, as well as the significance of the learning objects, are finally discussed.

Avhandlingen är publicerad inom bokserien ArtMonitor.

Beställ avhandlingen


Magali Ljungar Chapelon

Titel
Actor-Spectator in a Virtual Reality Arts Play. Towards new artistic
experiences in between illusion and reality in immersive virtual environments

Tid och plats
Tisdag 27 januari 2009 kl 13.00 i Robert Franksalen, Högskolan för fotografi, Storgatan 43, Göteborg

Opponent
Pelle Ehn, professor i IT, design och nya medier på K3 ( Konst, Kultur och Kommunikation), Malmö.

Betygsnämnd

  • Willmar Sauter, professor i teatervetenskap, Stcokholms universitet
  • Eva Nässén, professor, Högskolan för scen och musik, Göteborgs universitet
  • Jan Bärmark, professor vid institutionen för idéhistoria och vetenskapsteori, humanistiska fakulteten, Göteborgs universitet

Nyckelord
Artistic crossover, actor-spectator, Virtual Reality Art, VR-Cube, immersion, interactivity, experience of art, audience experience, play, metaphor, illusion, reality, Gestalt, metaphorical journey, social interaction, performing arts, visual arts, computer games, adventure games, entertainment

Abstract
Title: Actor-Spectator in a Virtual Reality Arts Play: Towards new artistic experiences in between illusion and reality in immersive virtual environments
Language: English

ISBN: 978-91-977757-1-7

This doctoral project brings to the fore the specificity of the artistic experience when the Virtual Reality Cube, a medium based on immersive virtual reality technology, is used as artistic virtual space, where the stage and the auditorium blend into one and spectators and actors no longer have distinctive roles. It consists of three integrated parts: a written thesis, a VR artwork and a DVD, which illustrates the text, the production process of the VR work, and which also presents an interpretation of the research results in filmic and photographic form. Gadamer’s concepts of play and experience of art, Aristotle’s conception of drama and Ricoeur’s theory of metaphor are used as points of departure in order to coin the term virtual reality arts play or VR arts play that characterises this kind of immersive journey in between illusion and reality. Empirical and theoretical functions interweave in a chorus of voices representing the experience of all actors involved: the audience, the production team and experts from several art fields, computer-games and media. Audience surveys show that all the respondents but one, children as well as adults, thought that this type of VR artwork opens up new ways for an artist to give shape to an artistic vision and for an audience to communicate with and experience an artwork from within. What appears as the most worthwhile and unique aspect of the experience is the opportunity to experience fictive, imaginary worlds and characters that cannot be represented by other means than through an immersive virtual reality medium, i.e. within a physical space where the audience becomes physically immersed and participant “on stage”. The essence of such an experience is to be found in the notion of “play in between”, at the crossover of several art forms and computer games, for audiences which consider themselves as both actor/participants and spectators. Research results, exposed and illuminated through semiotics and hermeneutics, show that such experiences may develop in the form of intimate experiences for a little group of spectators or within new social contexts for broader audiences and with several possible applications within the fields of art and entertainment.

Avhandlingen är publicerad inom ArtMonitor.
 


Mike Bode och Staffan Schmidt, fri konst 

Titel
Off the Grid

Tid och plats
Tis 28/10 2008 kl 15 i Wallenstamsalen, Göteborgs stadsmuseum

Opponent
Professor Mark Nash, Royal College of Art, London

Betygsnämnd

  • Professor Bengt Kristensson Uggla, Åbo Akademi
  • Fil dr Edda Manga, Institutionen för idé- och lärdomshistoria, Uppsala universitet
  • Professor Esther Shalev-Gerz, Konsthögskolan Valand
  • Fil dr Maria Hellström Reimer, SLU och Malmö högskola (K3)
  • Fil dr Guy Baeten, institutionen för kulturgeografi och ekonomisk geografi, Lunds universitet

Ordförande för disputationen
Professor Mika Hannula, Konshögskolan Valand

Nyckelord
artistic research, visual concepts, situated image, dialogue, ecological and political engagement, off grid living, housing estate suburbia, travel, self-definition, community, institution,
isomorphic, lived third space.

Abstract
Title: Off the grid
Language: English

ISBN 978-91-977757-0-0

Off the grid is an artistic research thesis which puts a Swedish housing estate in a video interview dialogue with homeowners in the Northeastern US through focusing on three topics: travel, self-defi nition, and community. Based on the situated, visual and conceptual image the project merges seemingly incompatible experiences: eight residents in Husby, an immigrant community outside Stockholm, and eight households not connected to the utility grid, in upstate areas of New England and New York State – and two artistic researchers at University of Gothenburg. The interviewees are paired together and handed unedited copies of each other’s refl ections. We asked them for their comments, elucidating the practical and metaphorical consequences of travel, self-defi nition, and community.

Even though backgrounds, stories and current conditions differ, an understanding of common interests and similarities are clearly identifi ed. Among the three questions discussed the right to self-defi nition stands out as central: it is opposed, delayed in its implementation, violated or threatened – still, all participants individually and/or collectively struggle to uphold it. In thinking with the visual and conceptual image Off the grid also offers new perspectives on the significance of artistic research, contributing to its further contextualization.

Avhandlingen är publicerad inom ArtMonitor.
 


Otto von Busch, design 

Titel
FASHION-able: Hacktivism and Engaged Fashion Design

Tid och plats
Fredag 24/10 2008 kl 10 i Stora hörsalen, HDK - Högskolan för Design och Konsthantverk

Opponent

Professor John Wood, Goldsmiths, University of London

Betygsnämnd

  • Docent Lisbeth Svengren, institutionen för designvetenskaper, Lunds universitet
  • Fil dr Ylva Gisslén, Dramatiska institutet, Stockholm
  • Professor Ole Lützow Holm, Högskolan för scen och musik, Göteborgs universitetOrdförande för disputationen

Abstract
Title: FASHION-able: Hacktivism and Engaged Fashion DesignLanguage: EnglishKeywords: Fashion Design, Hacktivism, Hacking, Heresy, Small Change, Professional-Amateurs, Do-it-yourself, Action Spaces, Artistic Research, Practice-based researchISBN: 978-91-977757-2-4

This thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a form of social activism. This social design practice can be called the hacktivism of fashion. It is an engaged and collective process of enablement, creative resistance and DIY practice, where a community share methods and experiences on how to expand action spaces and develop new forms of craftsmanship. In this practice, the designer engages participants to reform fashion from a phenomenon of dictations and anxiety to a collective experience of empowerment, in other words, to make them become fashion-able.

As its point of departure, the research takes the practice of hands-on exploration in the DIY upcycling of clothes through “open source” fashion “cookbooks”. By means of hands-on processes, the projects endeavour to create a complementary understanding of the modes of production within the field of fashion design. The artistic research projects have ranged from DIY-kits released at an international fashion week, fashion experiments in galleries, collaborative “hacking” at a shoe factory, engaged design at a rehabilitation centre as well as combined efforts with established fashion brands.

Using parallels from hacking, heresy, fan fiction, small change and professional-amateurs, the thesis builds a non-linear framework by which the reader can draw diagonal interpretations through the artistic research projects presented. By means of this alternative reading new understandings may emerge that can expand the action spaces available for fashion design. This approach is not about subverting fashion as much as hacking and tuning it, and making its sub-routines run in new ways, or in other words, bending the current while still keeping the power on. 

Avhandlingen är publicerad inom ArtMonitor.
 


Svein Erik Tandberg, musikalisk gestaltning

Titel
Imagination, Form, Movement and Sound: Studies in Musical Improvisation.

Tid och plats
Torsdag 28 augusti 2008
Inleds med en lunchkonsert kl. 12.00-12.30
Artisten, Orgelsalen, Högskolan för scen och musik, Fågelsången 1, Göteborg

OBS! Svein Erik Tandberg håller dagen innan ett seminarium: Källor ur improvisationshistorien (onsdag 27/8 kl 13-15). Artisten, Orgelsalen, Högskolan för scen och musik, Fågelsången 1, Göteborg

Opponent
Fil. dr., professor Gustav Adolf Krieg
Professor Gustav Adolf Krieg är en av de ledande auktoriteterna inom forskningen kring orgelimprovisation och orgelmusikens roll i en teologisk kontext. Krieg är både kyrkomusiker, teolog och musikforskare och representerar en mångsidig kompetens inom orgelmusikens område och hans publikationslista omfattar verk inom såväl orgelmusikens och liturgins område som inom det teologiska fältet. Krieg undervisar f.n. i liturgiskt orgelspel, hymnologi, liturgik och musikhistoria vid Musikhögskolorna i Düsseldorf och Köln samt tjänstgör som professor i praktisk teologi vid Bonns universitet.

Betygsnämnd

  • Mats Malm, professor, fil dr, litteraturvetenskapliga institutionen, Göteborgs universitet
  • Kati Hämäläinen, professor och dr i musik vid Sibeliusakademien, Helsingfors
  • Stefan Therstam, professor, organist och prefekt för institutionen för klassisk musik vid Kungliga Musikhögskolan i Stockholm

Ordförande för disputationsakten
Professor, fil dr, Johannes Landgren

Nyckelord
Aesthetic, chronology versus phenomenology, organ, processes, style

Abstract
Title: Imagination, Form, Movement and Sound: Studies in Musical Improvisation
Language: English

ISBN: 978-91-975911-8-8

How does one improvise? How can one learn the art of improvisation? By considering these two questions this thesis aspires to make a contribution towards a greater understanding of what the production of improvised music actually involves.

The organ has long traditions as an instrument on which music is improvised, and this study aims to focus primarily on organ improvisation. It is assumed that spontaneous impulses, rational thought and an extensive array of physical movements have their origins in the emotional, intellectual and physical aspects of a person. These different facets of a person, which continually interact with and influence each other, form a complex series of behaviour patterns. It can be useful to experience the interactive energy between these facets in order to approach an understanding of improvisation. This hypothesis is based on an assumption that improvised music is created by an interaction between large numbers of internalised concepts of musical sound, along with a corresponding array of precise physical movements. The sounds are expressed through the actions of the improviser. Ideally these actions will have their origins in more or less welldefined aesthetic concepts. Thus the hypothesis of this research is that it is in the light of the improviser’s different perceptions of the words “imagination” and “form” that the musical train of events is set in motion. This study should be regarded as artistic research. The term “artistic” defines a research position that is related to an actual artistic practice. The work incorporates elements which can be described as creative research. This means that researches do not only form a subject for discussion, but have actually resulted in the creation of three different recording projects presented on four CDs. These musical manifestations are intended to serve both as demonstrations of working methods whilst also functioning as reference points. Since art both consists of deeds and thoughts the aim here is to probe the links between practical and theoretical aspects of improvisation. The recordings should thus be regarded as a medium to emphasise and give added weight to the arguments.

The study is divided into two main sections. The first part focuses on the art of organ improvisation as practised during different periods of history, whilst the second part considers the aesthetical and practical aspects involved. The question as to how differing forms of an improvisatory “vocabulary” can be acquired, assimilated and developed will occupy a prominent position in this latter section.

Avhandlingen är publicerad inom ArtMonitor.
 


Maria Bania, musikalisk gestaltning

Titel
"Sweetenings" and "Babylonish Gabble": Flute Vibrato and Articulation of Fast Passages in the 18th and 19th centuries

Tid och plats
Tisdag 10 juni 2008, kl. 15.00
Artisten, Ensemblesalen, Högskolan för scen och musik, Fågelsången 1, Göteborg

Opponent
Fil. dr. Samantha Owens
Lecturer in musicology. She holds a BMus and PhD from Victoria University, Wellington, NZ. Lectures in music history and historical performance practice. Her research interests are focussed on music of the late 17th and 18th centuries. Also a baroque oboist.
Läs mer på hennes egen sida vid universitetet i Queensland, Australien: http://www.uq.edu.au/~uqsowens/

Betygsnämnd

  • Anders Jonhäll
  • Ruth Steinsland
  • Alf Björnberg

Keywords
Historical Performance Practice, Flute, Vibrato, Articulation, Double-tonguing, Artistic Research, Flattement, Johann Joachim Quantz, Johann George Tromlitz, Morten Raehs, Johan Helmich Roman, Charles Nicholson, Louis Drouët

Abstract
Title: “Sweetenings” and “Babylonish Gabble”: Flute Vibrato and the Articulation of Fast Passages in the 18th and 19th centuries
Language: English

ISBN: 978-91-975-911-7-1

During the 18th and 19th centuries, vibrato as well as the articulation of fast passages was often not indicated in the musical scores, but was left to the players’ discretion within prevailing practice. A finger-vibrato technique that this study names the flattement technique was the most recommended vibrato technique in Western classical music throughout the 18th century. Another finger-vibrato technique used was called martellement or Schwebungen. During the first half of the 19th century the flattement technique coexisted on equal terms with chest vibrato, which was during most of the period under investigation slow and controlled, typically four waves on a long note.The syllables and spellings documented for double-tonguing on the flute can be categorized in three techniques, d-g/t-k, d-r/t-d and d-l/t-tl, where d-g, d-r and d-l represent softer nuances. During the 18th and first half of the 19th century, d-l/t-tl was the most common double-tonguing technique in England and Germany, whereas in France it was not much used. Legato could be applied when not indicated; during the late 18th century and the first half of the 19th the articulation patterns paired slurs and two slurred, two tipped were commonly recommended. In France, d-g/t-k was the dominating double-tonguing from the late 18th century and on, and the embracing of this technique also in Germany and England in the second half of the 19th century reflects a transition from the 18th century ideal of a rounder execution of an articulated fast passage towards a shorter staccato ideal.The playing techniques recommended in the sources have been tested and evaluated in musical practice by the author. For a more complete understanding of the problem areas, sounding examples from concerts and recordings are integrated in the dissertation.

Avhandlingen är publicerad inom ArtMonitor.
 


Vidar Vikøen, musikalisk gestaltning

Titel
Studier omkring artikulasjon i tysk romantisk orgelmusikk, 1800-1850. Med et tillegg om registreringspraksis.

Tid och plats
Tisdag 2 oktober 2007, kl. 12.15
Artisten, sal A505, Högskolan för scen och musik,
Fågelsången 1, Göteborg

Opponent
Kati Hämäläinen, professor och dr i musik vid Sibeliusakademien, Helsingfors.

Betygsnämnd

  • Stefan Therstam, professor, organist och prefekt för institutionen för klassisk musik vid Kungliga Musikhögskolan i Stockholm
  • Anders Wiklund, fil dr och professor vid Högskolan för scen och musik vid Göteborgs universitet
  • Ola Stockfelt, docent i musikvetenskap vid institutionen för kultur, estetik och medier, Göteborgs universitet

Nyckelord
Organ, performance practise, articulation, legato, non legato, slurring, fingering, registration

Abstract
Title: Studier omkring artikulasjon i tysk romantisk orgelmusikk, 1800–1850. Med et tillegg om registreringspraksis.
English title: Studies on Articulation in German Romantic Organ Music, 1800–1850. With a supplement on Regi
Language: Norwegian

ISBN: 978-91-975911-6-4

The starting point of this study concerns the problems connected to articulation and phrasing in early nineteenth-century organ music. It is generally accepted that legato was the basic articulation of the romantic period, and the aim is on one hand to describe the legato of the early nineteenth century as opposed to the legato we know from the late nineteenth and twentieth centuries, and on the other hand, to determine what features in the music could guide different types of articulation in a score with no articulation signs. Another problem concerns slurring and the study will try to generate some alternative solutions to the existing ones.

Early nineteenth-century Germany saw the emergence of a vast number of organ schools and it is a representative selection of these organ schools that constitute the basic source material for the study. The information that was gained from these sources was also applied to relevant music from the period, and in this way brought forward as important vehicles in an artistic performance presented on a CD-recording.

The organ music in this period was divided between two major styles: the bound style (gebunden) and the free style (freie). The bound style was literally bound to strong rules concerning harmony and counterpoint, and the articulation was generally legato. But the non legato articulation of the eighteenth century could still be used as articulation for music written in the free style and “with a lively character and a fast motion.”

The study showed that the fingering that was used for playing music in the bound style was identical with the polyphonic fingering we know from the early eighteenth century, e.g. using finger continuation instead of finger substitution. Consequently, legato in connection with finger continuation has to be created with a subtle form of release, implying that the finger stays in contact with the key until the key has ended its upward motion, before it moves to the next key. This creates a less uniform legato, and adds structure and nuance to playing, which could otherwise not be obtained using a traditional modern legato technique.
 


Kaja Tooming, design

Titel
Toward Poetics of Fibre Art and Design. Aesthetic and Acoustic Qualities of Hand-tufted Materials in Interior Spatial Design

Time and venue
2007-06-08, 13.30, Jonsereds herrgård

Opponent
Professor Chris Rust, Head of the Arts & Design Research Centre, Sheffield Hallam University

Examining Committee

  • Dr Catherine Harper, Head of School of Architecture and Design, University of Brighton
  • Tekn dr Mendel Kleiner, Chalmers Teknisk akustik
  • Tekn dr Fredrik Nilsson, Chalmers Arkitektur

Nyckelord
Fibre art, acoustics, interior design, hand tufting, sculpture, practice-based research, productive science, poetics, emotional expression, unity

Abstract
This inquiry explores the aesthetic and acoustic qualities of fibre art and design. The goal is to understand how the manner of hand tufting, the selection of fibre materials, and the creation of two- and three-dimensional forms can work together to solve problems of interior design. The strategy of the inquiry is “productive science” or “poetics.” The strength of this approach is the combination of analysis and synthesis. It begins with analysis of the functional elements of fibre art. This includes a description and explanation of the technique of hand tufting as well as scientific and technical studies of the aesthetic and acoustic properties of a variety of fibre materials. It then proceeds to consider the problem of creative artistic synthesis by focusing on the integration of all of the functional elements that are involved in creating works of fibre art and design. The centrepiece of this research is the creation of an ensemble of three fibre art works for the Jonsereds herrgård, a manor house of historical importance in Göteborg, Sweden. One work is a large fibre art hanging installed on the central wall of the grand dining room of the Manor. The other works are two fibre art sculptures, also sited in the dining room. These are innovative examples of fibre art as a functional design art. The inquiry concludes with a reflection on the nature of unity in art and design. One of the central claims of this research is that perception, meaning, and emotional expression work together in creating the unity or wholeness of the products of art and design. The discussion develops this idea through consideration of the work of Maurice Merleau-Ponty, Roland Barthes, and John Dewey. This leads to a discussion of the intelligibility of emotional expression and the criterion of the compelling correctness of an artist’s decisions in creating a work of art or design.

ISBN: 978-91-975911-5-7
ISBN: 978-91-975911-5-7
In English
Disputerade:2007-06-08
Avhandlingen är publicerad inom ArtMonitor
 


2006

Kim Jeoung-Ah, design

Titel
Paper-Composite Porcelain. Characterisation of Material Properties and Workability from a Ceramic Art and Design Perspective
ISBN: 91-975911-2-2

Tid
2006-08-25

Opponent
Ken Friedman, Institute for Communication, Culture and Language
at the Norwegian School of Management in Oslo, Norway

Abstract
Paper-composite porcelain is a type of paper clay which is made by combining any kind of porcelain with paper. Paper is added to clay to improve low green strength and plasticity - two of the main practical problems of working with porcelain. Despite widespread interest in the material, the characteristics of paper- composite porcelain have remained undetermined. The purpose of this research was to understand the artistic applicability of, and obtain reliable knowledge of the properties of paper-composite porcelain.

The results provide new knowledge of paper-composite porcelain by identifying the reinforcement role of paper fibre in the formation and fabrication stages. They also demonstrate a practically tested and documented method for slip casting which shows some of the potential application of paper-composite porcelain in artistic practice.

Avhandlingen är publicerad inom ArtMonitor.
 


Monica Lindgren, musikpedagogik

Titel
Att skapa ordning för det estetiska i skolan. Diskursiva postitioneringar i samtal med lärare och skolledare
ISBN: 91-975911-1-4

Tid
2006-03-17

Abstract
Avhandlingen visar att skolan, liksom andra institutioner i samhället, är en normaliseringsarena, där dominerande diskurser sätter ramar för handlingsutrymmet för både lärare och elever. Kategoriseringen av lärare, elever och barn i skolan existerar trots läroplanens skrivningar om alla elevers lika rättigheter. Å andra sidan skulle man också kunna säga att kategoriseringen av lärare och elever i skolan existerar på grund av skrivningar om allas lika rättigheter. Om alla elever ska ha samma rätt till kunskapande måste kunskapandet differentieras utifrån varje elevs specifika förutsättningar. I annat fall grundas lika rättigheter till kunskap utifrån en fastlagd syn på vad kunskap är och den kunskapssynen ses idag som förlegad.

En av förutsättningarna för utvecklingen av estetik i skolan är, som författaren ser det, att ständigt utmana hegemoniska strävanden inom fältet genom att identifiera och kritiskt granska den kunskap som för tillfället är dominerande. Denna avhandling kan därmed sägas vara ett bidrag till den ständiga produktionen av vetande inom fältet skola och estetik.

In Swedish with an English summary and abstract.
Avhandlingen är publicerad inom ArtMonitor.

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