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  • 1.
    Ehrnberger, K.
    et al.
    KTH.
    Räsänen, Minna
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology.
    Börjesson, E.
    Högskolan i Halmstad.
    Hertz, A. -C
    Högskolan i Halmstad.
    Sundbom, C.
    Högskolan i Halmstad.
    The Androchair: Performing Gynaecology through the Practice of Gender Critical Design2017In: Design journal, ISSN 1460-6925, E-ISSN 1756-3062, Vol. 20, no 2, p. 181-198Article in journal (Refereed)
    Abstract [en]

    This paper highlights the important role that design plays when it comes to women’s overall experiences of ther gynaecological examination. It exemplifies how the examination can become renegotiable through the practice of a critical design. We will reflect this in the design of the contemporary gynaecological examination chair (GEC). We used women’s experiences as a starting point for the design of an Androchair (a conceptual male equivalent of the GEC), in order to make the experiences critically visible. Inspired by the view of the gynaecological examination as a performance where the Androchair is represented as a prop and was placed on a stage as a discussion object during a public seminar. The Androchair allowed for both critical and multiple readings of the GEC and through that, the gynaecology examination at large. Moreover, it stimulated a discussion about alternative ideas towards achieving a more positive experience.

  • 2.
    Ehrnberger, Karin
    et al.
    School of Industrial Engineering and Management, Royal Institute of Technology.
    Räsänen, Minna
    Södertörn University, School of Communication, Media and it, Media technology.
    Ilstedt, Sara
    School of Industrial Engineering and Management, Royal Institute of Technology.
    Visualising Gender Norms in Design: Meet the Mega Hurricane Mixer and the Drill Dolphia2012In: International Journal of Design, ISSN 1991-3761, E-ISSN 1994-036X, Vol. 6, no 3, p. 85-98Article in journal (Refereed)
    Abstract [en]

    This article highlights how a gender perspective can be performed by design as critical practice. Two common household appliances – a drill and a hand blender – were used as a starting point. Inspired by Derrida’s term deconstruction, the product language of the tools was analysed and then switched in two new prototypes: the hand blender Mega Hurricane Mixer and the drill Dolphia. The prototypes were shown at exhibitions and lectures. The comments by the audience show that a switching of product language entails that their relationship to the artefact itself also changes. Overall, the elements, which previously had been perceived as ‘lacking transparency’, were now visible. For example, the drill was identified as a "drill for women" and considered inadequate for drilling, and the mixer revealed needs and functions that the traditional mixer did not satisfy. This implies that design should not only be seen as ‘final products’ but as a part of a social process that takes place between the user, the artefact and the norms of society. By switching the product languages it was possible to highlight how gender values are connected to each design and each artefact. This means that the design of the artefacts around us is not fixed, but can be renegotiated and situated in time, place, and context.

  • 3.
    Koenitz, Hartmut
    et al.
    HKU University of the Arts Utrecht, Utrecht, The Netherlands.
    Eladhari, Mirjam Palosaari
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology.
    Ludocriticism: Steps Towards a Critical Framework for Games2019In: DiGRA '19 - Abstract Proceedings of the 2019 DiGRA International Conference: Game, Play and the Emerging Ludo-Mix, 2019Conference paper (Refereed)
  • 4.
    Kürth-Landwehr, Sophie
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies.
    Reflections on YU: introducing project management tools into the design process2013Independent thesis Advanced level (degree of Master (One Year)), 40 credits / 60 HE creditsStudent thesis
    Abstract [en]

    This article discusses the understanding of the design process in research projects by taking specific tools from project management into account. Explorative and creative design projects often run the risk of loosing focus on project goals during the process. This article aims to provide a novel approach to the ongoing discussion of the clash between creativity and efficiency during the creation of artifacts. By discussing the self-conducted case study – project „Yu‟ – this article reflects on the design process as well as the relationship between the designer and the user. The model created and presented includes two techniques; the active user dialogue and the goal and user needs definition. Both are inspired by similar approaches in project management, which illustrate the importance of the designer's responsibility for the final design outcome. The article identifies and discusses similar approaches in design theory and is aiming to emphasize the positive possibilities for an elaborate design approach. 

  • 5.
    Lundmark, Sofia
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology. Uppsala University.
    Learning Design: Empowerment and Participation in Children’s Creative Design Activities at the Design Lab2019In: Proceedings of NERA 2019: The Annual Conference of the Nordic Educational Research Association, 2019Conference paper (Refereed)
    Abstract [en]

    This paper draws on data from a recent study of children’s design activities in a leisure time design lab setting. The notion of design lab has become popular in recent years in areas outside science and technology development, such as educational or leisure time settings (see Kavousi & Miller, 2014). These labs are designate institutions dedicated to change and experimentation, or open collaborations between stakeholders, sharing a mutual interest in design research in a particular field (Binder & Brandt, 2008) to experience learning experiences based on self-reflection (Kavousi & Miller, 2014). However, the focus in this specific study is on how the children involved in the design activities make sense of their experiences of participating in the design lab after that the design lab has closed due to financial and administrative issues. 

    Drawing on a six months ethnographical study, consisting of video and audio recordings of the design activities and interviews with the participating children, it has been possible to study both how the activities are structured, and how the participants make sense of the activities over time. An ethnomethodological approach is used as a means to explore the local practices of participation in the design activities from the members’ perspective (Button & Sharrock, 1996; Garfinkel, 1967; Luck, 2012). The participants’ involvement and reflections on the design activities are mainly performed in the studio setting when participating in design workshop but also in how they discuss their experiences in the interview material. The study addresses aspects of participation and empowerment in design activities (cf. Druin, 2002; Lundmark, 2016) and it is found that the design lab and its location, engagement, and emancipatory agenda are crucial for the children and their development of design knowledge and craftsmanship in the situated learning practice.

    The findings show how the children involved in the activities at the design lab develop new skills and knowledge and how the children and young people's participation in various forms of design activities contribute to increased empowerment and empowerment. The study of the design activities in the suburb also demonstrate how these activities become important tools and resources to strengthen the youth in their identity creation. Furthermore, the study shows that the design activities that the children are committed to provide tools for changing their situation as well as their surroundings.

  • 6.
    Lundmark, Sofia
    et al.
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology. Uppsala universitet.
    Evaldsson, Ann-Carita
    Uppsala universitet.
    Click-guides and panic buttons: Designed possibilities for youth agency and user empowerment in online youth counselling services2017In: Childhood, ISSN 0907-5682, E-ISSN 1461-7013, Vol. 24, no 2, p. 260-278Article in journal (Refereed)
    Abstract [en]

    This study examines how possibilities for agency are designed into online youth counselling services, as well as how such possibilities are addressed by young prospective users during the design of the services. The data are drawn both from the design of a national website for youth clinics in Sweden and from a design project developing e-services for local youth clinics in a Swedish municipality. The agency of young users is here treated as a key concern for understanding how user empowerment is accomplished through the design of websites and e-services. Using combined research materials (i.e. two websites and focus group meetings), this study demonstrates how design features may both facilitate and restrict young people’s involvement and control over sensitive and private issues. In addition, we demonstrate how the designed possibilities for empowerment may allow young users to critically approach and effectively use such services.

  • 7.
    Rosén, Anton
    et al.
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology.
    Lundmark, Sofia
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology.
    Jonsson, Fatima
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology. Stockholms Universitet.
    Håkansson, Jesper
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology.
    Control and reward in online dating practices: a study of users’ experiences of Tinder2017In: The 18th annual meeting of the Association of Internet Researchers (AoIR 2017): Networked Publics, 2017Conference paper (Refereed)
    Abstract [en]

    This paper is based on a study of users experiences and practices of meeting potential new partners online through the use of the mobile dating service Tinder. The aim of the study is to explore how users experience design features and functionalities for online dating practices. By exploring the use of functionalities and features in the location-based mobile application Tinder, we offer a broad understanding of the relationship between designed functionalities and dating practices that users experience through these features. The empirical material presented in the paper is drawn from a study based on a mixed method approach, combining an initial observational study, an online survey, with focus group interviews. Four specific designed functions are highlighted in our empirical data: the connection with Facebook, the profile cards of users, the swipe-centered mutual match function, and geographical proximity. These functions contribute to the specific user experiences of control and reward. Our findings indicate that online dating practices are formed by an inseparable interplay of design functionalities, users attitudes and the use of specific mobile applications that taken together contributes to the overall online dating experiences.

  • 8.
    Stoenescu, Arina
    Södertörn University College, School of Communication, Technology and Design, Media technology.
    Typography serving ideology: typography of the Romanian newspapers before and after the communist takeover2008In: Studia Universitas Babes Bolyai. Philologia, ISSN 1220-0484, E-ISSN 2065-9652, no 2Article in journal (Refereed)
  • 9.
    Tillberg, Margareta
    Royal Institute of Technology.
    Atomdesign: Die Kontrollräume von Tschernobyl2009In: Atombilder: Ikonografie des Atoms in Wissenschaft und Öffentlichkeit des 20. Jahrhunderts / [ed] Charlotte Bigg, Jochen Hennig, Göttingen: Wallstein Verlag , 2009, p. 186-196Chapter in book (Refereed)
  • 10. Tillberg, Margareta
    Collaborative Design: The Electric Industry in Soviet Russia 1973–792008In: "Focused": current design research projects and methods, Genève: Swiss Design Network (SDN) , 2008, p. 233-253Chapter in book (Refereed)
    Abstract [en]

    What are our first associations when we hear “Russian” or “Soviet” design? We probably do not have many, if then perhaps sputniks and weapons: Kalashnikovs, Molotov cocktails and the like. In addition to cosmic travel and the military, names from the Russian avant-garde could turn up: Rodchenko’s advertisements, Tatlin’s clothes, maybe even Alexandra  Exter’s constructivist plastic costumes for the 1924 science fiction film Aelita.

    This  paper will give an entirely different perspective on design practice in the Soviet Union. I will present the working methods of the innovative and groundbreaking design program “ElektroMera” (Russian for “Electric Measurement Instruments”) proposed for the “Electric Measurement Instruments Association” (“SouizElektroPribor”).

    The  ElektroMera program developed a rigid state industry conglomeration into a Western-style company in the Soviet Union between 1973 and 1979. With the logo “M” reminiscent of an electric impulse diagram, its competitors were giants such as Siemens.

  • 11. Tillberg, Margareta
    Elena Guro’s ‘Organic Eye’ Generates Leningrad Colour Scheme2005In: Understanding Russian Nature: Representations, Values and Concepts / [ed] Arja Rosenholm & Sari Auti-Sarasmo, Helsinki: Aleksanteri Institute , 2005, p. 343-370Chapter in book (Refereed)
  • 12. Tillberg, Margareta
    Farbe als Erfahrung: Experiment und praktische Anwendung in Kunst und Wissenschaft an der Moskauer GAChN und am Leningrader GINChUK2013In: Form und Wirkung: phänomenologische und empirische Kunstwissenschaft in der Sowjetunion der 1920er Jahre / [ed] Aage Hansen-Löve, Brigitte Obermayr, Georg Witte, München: Fink Verlag , 2013, p. 209-221Chapter in book (Refereed)
  • 13. Tillberg, Margareta
    Glödlampor och semaforer i rymden: färgidéer i mellankrigstiden2006In: Forskare och praktiker om färg, ljus, rum / [ed] Karin Fridell Anter, Stockholm: Formas , 2006, p. 33-54Chapter in book (Other academic)
  • 14. Tillberg, Margareta
    Konstruktivismens teori och begrepp1999In: Material : konst-fanzine, ISSN 1102-7762, no 37-38, p. xiv-xviiiArticle in journal (Other (popular science, discussion, etc.))
  • 15.
    Tillberg, Margareta
    KTH.
    Made in the USSR: Design of electronic/electrical systems in the Soviet Union from Khruschev's thaw to Gorbachev's perestroika2010In: Baltic Worlds, ISSN 2000-2955, Vol. 3, no 2, p. 34-40Article in journal (Refereed)
  • 16. Tillberg, Margareta
    Matiushin i muzyka2008In: Avangard i teatr 1910–1920-kh godov / [ed] G.F. Kovalenko, Moskva: Nauka ; Gosudarstvennyi institut iskusstvoznaniia, RAN , 2008, p. 321-346Chapter in book (Refereed)
  • 17. Tillberg, Margareta
    Mikhail Matiushin and the Study of Colour2005In: Light and Colour in the Russian Avant-Garde / [ed] Tsantsanoglou, Maria, Cologne: Dumont , 2005, p. 473-475Chapter in book (Refereed)
  • 18.
    Tillberg, Margareta
    Södertörn University, Centre for Baltic and East European Studies (CBEES).
    Soviet Design 1950-19802013In: Baltic Worlds, ISSN 2000-2955, no 1, p. 28-29Article in journal (Other (popular science, discussion, etc.))
  • 20. Tillberg, Margareta
    You are now leaving the American Sector: The Russian Group Dvizhenie, 1962-19782008In: Place Studies in Art, Media, Science and Technology: Historical Investigations on the Sites and the Migration of Knowledge / [ed] Andreas Broeckmann, Gunalan Nadarajan, Weimar: Verlag und Datenbank für Geisteswissenschaften, VDG , 2008, p. 147-165Chapter in book (Refereed)
    Abstract [en]

    Dvizhenie (Movement) 1962-1972 was the first art group in the Soviet Union who worked with cybernetics. In 1964 the collective had more than 30 participants: fine artists, actors, musicians, atomic- and electrical engineers, physicists and psychologists, poets, mimes, architects and technicians. Their cybernetic art took the form of kinetic light-colour-sound environments with "life-transforming" content. In 1967 their Cyberevents was shown in the engineering block of the Peter and Paul fortress in Leningrad, followed by Little Eagle, a cybernetics pioneer game-amusement camp in Odessa, and Cybertheater. The Artificial Bio-Kinetic Environment from 1969, was a utopian virtual reality project presenting a future city of 35-40 million people. Paradoxically enough, Dvizhenie's members were able to move in the spaces of both the extremely official (propaganda produced for international trade shows, military and space research, design for control rooms at airports  and big industries) and un-official (free jazz, long hair, drugs, existentialism and Hemingway) - that the people interested in cybernetics, new technology, design, art, bionic-architecture and future urbanism and city planning frequented. Dvizhenie was the first group in the Soviet Union that succeeded in realizing big exhibitions "without content" from the point of view of Socialist Realist ideology. How did they manage this? This paper will give a historical context for the visual traces and present concrete strategies to realise them.

    Comments: The author requests this paper to be considered as part of a panel of three papers, "Technics of Soviet Space", unless the committee wish to accept the paper as an individual submission without the other. The other papers have been submitted separately.Technics of Soviet Space (organizers: Simon Werrett; Margareta Tillberg; Margarete Voehringer)The October Revolution of 1917 inaugurated a new regime which demanded a vital reconfiguration of the arts, science, and media in order to construct the â new manâ of Soviet culture. Critical to this endeavour was the exploration, articulation, and construction of new spaces â a novel environment would conjur novel citizens, composed from new architectures, new boundaries for the disciplines, and new experiences and perceptions of space worked out by Soviet artists, scientists, musicians, technicians, and ideologues. The papers in this panel set out to map some of the key sites and spatial practices of Soviet media, arts, and technosciences in the twentieth century, beginning with a discusssion of the perceptual experiments of revolutionary experimenter Nikolai Ladovskii, and passing to cybernetic renegotiations of the boundaries of official and unofficial culture in the 1960s, and state constructions of festive, communal space in the 1970s. The presenters argue such exp eriments need to be situated in historical context to be properly appreciated, and considering their precedents and impact, assert the significance of the spatial dimensions of media, arts, and science in Soviet culture.

  • 21.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Dam i Landskap - Siri Derkert i modernismen2001In: Siri Derkert: modernist och modetecknare / [ed] Annika Öhrner, Borås: Centrum för textilforskning, Högskolan i Borås , 2001, p. 47-67Chapter in book (Other academic)
  • 22.
    Öhrner, Annika
    Uppsala universitet, Konstvetenskapliga institutionen.
    Siri Derkerts förnekade måleri2003In: Artes (Stockholm), ISSN 0345-0015, no 1, p. 38-47Article in journal (Other academic)
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