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  • 201.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology.
    Dravins, Christina
    Riga Stradins Univ, Riga, Latvia.
    Bresin, Roberto
    KTH Royal Institute of Technology.
    Active Listening and Expressive Communication for Children with Hearing Loss Using Getatable Environments for Creativity2012In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 41, no 4, p. 365-375Article in journal (Refereed)
    Abstract [en]

    This paper describes a system for accommodating active listening for persons with hearing aids or cochlear implants, with a special focus on children at an early stage of cognitive development and with additional physical disabilities. A system called the Soundscraper is proposed and consists of a software part in Pure data and a hardware part using an Arduino microcontroller with a combination of sensors. For both the software and hardware development it was important to always ensure that the system was flexible enough to cater for the very different conditions that are characteristic of the intended user group. The Soundscraper has been tested with 25 children with good results. An increased attention span was reported, as well as positively surprising reactions from children where the caregivers were unsure whether they could hear at all. The sound synthesis methods, the gesture sensors and the employed parameter mapping were all simple, but they provided a controllable and sufficiently complex sound environment even with limited interaction. A possible future outcome of the application is the adoption of long-time analysis of sound preferences as opposed to traditional audiological investigations.

  • 202.
    Hansen, Kjetil Falkenberg
    et al.
    KTH Royal Institute of Technology.
    Hiraga, Rumi
    Tsukuba University of Technology, Tsukuba, Japan.
    Li, Zheng
    KTH Royal Institute of Technology.
    Wang, Hua
    KTH Royal Institute of Technology.
    Music Puzzle: an Audio-Based Computer Game That Inspires to Train Listening Abilities2013In: Advances in Computer Entertainment: 10th International Conference, ACE 2013, Boekelo, The Netherlands, November 12-15, 2013. Proceedings / [ed] Reidsma, Dennis, Haruhiro, Katayose, Nijholt, Anton, Springer, 2013, Vol. 8253, p. 540-543Conference paper (Other academic)
  • 203.
    Hansson Grönroos, Tove
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Creating Urbanity – Destroying Cultures: Relationships Between Public and Private in Kathputli Colony, New Delhi2017Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Through the story of Kathputli Colony, thiss essay; Creating Urbanity – Destroying Cultures, Relationships Between Public and Private in Kathputli Colony, New Delhi, India, discusses various degrees of public and private in urban architecture. It compares the architecture of the former Kathputli Colony with the new architecture proposed for the site.

    Striving to become a “world class city”, Delhi has, through the Master Plan 2021, decided to raze all informal settlements and replace them with high-rises. Kathputli Colony was such an informal settlement; an urban environment built up by an architecture that responded to the needs and economic means of its inhabitants. Its design was the result of network connections and personal relationships merging public and private life.

    The essay concludes that Kathputli Colony consisted of a heterogeneous architecture, that had more in common with pre-industrial urbanism and village-architecture, than with the modernist architecture of the high-rises with its clear separation between public and private, work and leisure.

  • 204.
    Hansson, Per-Arne
    Södertörn University College, School of Culture and Communication.
    Edsvik konsthall och drömmen om Sveriges kulturella hjärta2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The study analyses the planning of the Edsvik Konsthall in Sollentuna and the first 14 years after the opening 1996 until late 2010. The study focused on the cultural discourses that have influenced the Edsvik as result of the choice of managers, the public figures and actions taken by different actors around the art gallery.

    The influence by different actors is analyzed in the art field terminology defined by Pierre Bourdieu.

    I have demonstrated how the head of Edsvik Konsthall, because of different social capital and habitus, raised different types of conflicts on the local art field.  

  • 205.
    Hegardt, Johan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Från hem till hemland: Historiens hemvist och funktionärernas uppgift2016In: Historiens hemvist III: Minne, medier och materialitet / [ed] Johan Hegardt & Trond Lundemo, Göteborg: Makadam Förlag, 2016, p. 221-246Chapter in book (Refereed)
  • 206.
    Hegardt, Johan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Historiska museet och framtiden: Från Oscar Montelius typologiska tidsvågor till det goda samhället2017In: Ad Marciam / [ed] Hans Ruin & Jonna Bornemark, Huddinge: Södertörns högskola, 2017, p. 255-264Chapter in book (Other academic)
  • 207.
    Hegardt, Johan
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Lundemo, Trond
    Inledning2016In: Historiens hemvist III: Minne, medier och materialitet / [ed] Johan Hegardt & Trond Lundemo, Göteborg: Makadam Förlag, 2016, p. 15-30Chapter in book (Other academic)
  • 208.
    Hellstrand, Hellstrand
    Södertörn University, School of Culture and Education.
    Jacobsberg - Lustträdgård och begravningsplats: En dokumentation, trädgårdshistorisk studie och funktionsanalys2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay, Jacobsberg – a Landscape Garden and a Cemetery is a documentation and a historical analyze where I’ve been focusing on the development of the landscape garden in Sweden in relation to a garden called Jacobsberg. The garden was built close to Visby on Gotland in the early 1800s by the assessor Jacob Dubbe, but has since been almost forgotten. My survey aims to depict the circumstances surrounding the creation of Jacobsberg. In what purpose was it built? I’ve also been examine the historical context of the garden’s origins with the intention to define and confirm its architectural style.

    The essay comprises two major parts, where the first part deals with the history behind Jacob Dubbe and Jacobsberg, and contains an illustration of the assessor’s life and of the garden’s original structure and shape. The chapter also comprises basic descriptions of the flora and of the different buildings in the area, and shows how the shape of the garden has been changing over the years.

    The second part begins with a presentation of the present state of Jacobsberg. The review applies experiential dimensions and other observations that haven’t been visible during the literal examinations. The monuments and the fundamental structure of the garden are analyzed and explained in relation to the coeval context. The landscape garden as architectural idea, its development and variations are discussed, including its relation to the graveyard and the tomb. The section also deals with specific traditions and tendencies, such as the increasing enthusiasm for the nature and the altered attitude to the cemetery and the grieving, which were developing in Sweden and Europe during the current period.

    In the final part of the second chapter I discuss the relation between Jacobsberg and the mansion Rosendal, which were the home of Jacob Dubbe and his wife. In this section I use Michel Foucaults concept heterotopia to understand and disclose concealed characteristics of the garden and to understand its function as a both reflecting and critical sphere.

    The essay shows that Jacobsberg originally was a landscape garden with organized parts and a cemetery at the same time. Such structure were common in the Swedish version of the landscape garden, except from the cemetery-part, which is a quite unique component in this national form. The examination also shows that it is possible that Jacob Dubbe was the architect of his own park.

  • 209.
    Hemby, Elisabeth
    Södertörn University, Centre for Baltic and East European Studies (CBEES), Baltic & East European Graduate School (BEEGS).
    Historiemåleri och bilder av vardag: Tatjana Nazarenkos konstnärskap i 1970-talets Sovjet2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis focuses on the Soviet painter Tatyana Nazarenko and her position as an influential artist in the Soviet Union of the 1970’s, a decade when Nazarenko depicted everyday life and events from Russian history. The main purpose of this thesis is to shed light upon the importance of especially these motifs in their historical, political and aesthetic context. In this way, the thesis is a study of the artist’s work in a contextual perspective. In order to understand the general conditions for Soviet Art in the 1970´s, and Tatyana Nazarenko´s picture world, the official State-regulated Art is given attention, as Socialist Realism came to be the normative frame of reference for artistic life and the individual artists. Artistic life in the Soviet Union was well regulated and official Art dominated from the early 1930´s until the collapse of the Soviet Union, while especially during the 1970´s, became subjected to so-called unofficial Art, also known as underground. The unofficial, as well as the official Art, became important for Tatyana Nazarenko, for, while not belonging to either side, she came to have a constant relationship with them. She belonged, however, to a small art circle, balancing between the official direction and criticism of the system, later known as permitted. This thesis clarifies the relationship between what is defined as official, permitted and unofficial Art. In exposing her aesthetic strategies, it is shown in what way she deviates from the official and how far the artist could extend the permitted limitations. On the question of her aesthetic strategies a further question arises of how an awareness of history is expressed in motif and form. Finally, the importance of women’s experience in her picture world is discussed. Picture material in this thesis is composed partly of some thirty works from Tatyana Nazarenko´s own production and partly of works with a contextualized and comparative function, encompassing some fifty works taken from Soviet Art History. A few examples from Western Art History constitute further comparative material. The motifs consist mainly of depictions of historical events and pictures of everyday life i.e. genre pictures.

  • 210.
    Hjertström Lappalainen, Jonna
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge.
    Att reflektera över det som ännu inte sagts2014In: Methodos: Konstens kunskap, kunskapens konst / [ed] Magnus William-Olsson, Linderöd: Ariel , 2014, p. 63-84Chapter in book (Other academic)
  • 211.
    Hjertström Lappalainen, Jonna
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge.
    Innan erfarenheten: estetiska lärprocesser i ljuset av John Deweys estetik2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 29-46Chapter in book (Refereed)
  • 212.
    Hjertström Lappalainen, Jonna
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge.
    Konstens roll i vårdarbetet ur ett existentiellt perspektiv2018In: Konsten en värdeskapande faktor i vårdmiljö: En seminarierapport från Konstenheten i Västra Götalandsregionen 2017 / [ed] Ann Magnusson, Göteborg: Västra Götalandregionen , 2018, , p. 67p. 7-14Chapter in book (Other academic)
  • 213. Holly, Michael Ann
    et al.
    Karlholm, Dan
    [Review of] Aby Warburg, The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance2000In: CAA Reviews, ISSN 1543-950X, no JanuaryArticle, book review (Other (popular science, discussion, etc.))
  • 214.
    Hvalgren, Alexandra
    Södertörn University, School of Culture and Communication.
    Gränslandet, dubbelheten och collagets undanträngda natur: En bildanalys av Lisa Jonassons verk Existentiell #62011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines the relationships between the different elements in Lisa Jonasson’s collage Existentiell Progg #6 and her very detailed technique. The essay has as its aims to understand and analyze both the details and the wholeness of the artwork and to try to put the collage in an art historical context. The thesis finds that Existentiell Progg #6 has a connection to the imagery of Africa and other collage artist such as Hannah Höch and Nancy Spero, which also gives the paper a perspective of feminism in the arts. The paper continues to create an understanding for the collage work by putting it in to Theodor Adorno’s theories about nature, the human being and the animal kingdom. The paper then comes to the conclusion that many of the elements in Existentiell Progg #6 are a part of its underlying meaning and purpose.

  • 215.
    Hydén, Malin
    Södertörn University College, The School of Culture and Communication.
    Den stygga trädgården: En sinnlig tolkningsansats med utgångspunkt i Helen Chadwicks Cacao och Bad Blooms2006Independent thesis Basic level (degree of Bachelor), 20 points / 30 hpStudent thesis
    Abstract [en]

    The purpose of this essay is to discuss what a sensual interpretation of art is and what it should include. The discussion is based on an attempt to do a sensual interpretation of the Greek-British artist Helen Chadwick’s Cacao and Wreaths to Pleasure. Chadwick was an artist working with well-known materials in new and unexpected ways. An interpretation of her works should include the fact that her art affect us on different levels, both intellectually and sensually. The history of art includes very few examples of interpretations engaging all senses. Therefore this essay is based on literature in adjacent disciplines like aesthetics, inter art studies and synaesthesia. The thesis of The bad garden is that an art experience includes interplay between senses. This interplay which creates additive sensations, a fact that is not taken into consideration in an interpretation based on only vision. The conclusion is that a sensual interpretation should be a merge of traditional disciplines and must be characterised by subjectivity, contextuality, and intersensuality.

  • 216.
    Hydén, Malin
    Södertörn University College, School of Culture and Communication.
    Sanning och konsekvens: En studie av den estetiska intentionen hos tre verk av Felix Gmelin2009Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    You could say that the Swedish artist Felix Gmelin in his art uses media to get closer or further away from what we consider to be the reality and also truth. The purpose of this study is to discuss what this means for the intention of his art works. The starting point is my own aesthetic experience of his painting and the installations A Gentleman’s agreement (1996), Farbtest, Die Rothe Fahne II (2003) and Tools and Grammar 2.5 (2007). Each of these works of art consists of different kinds of prefabricated material such as articles, films and documents. These kinds of material are often considered to stand in the way of the aesthetic experience, maybe because they are supposed to be closer to reality and therefore to truth. The thesis of this study is that the truth in art is inscribed in the aesthetic framework of each art piece and also in the technical support it uses. If for example the support consists of an investigative journalist’s documentary research, in Rosalind Krauss’ description, the truth might be found in the authenticity of the documentary material. If the technical support has to do with sampling instead, as in the re-use of existing materials to create new works of art, the truth can probably not be found in the different pieces of material but in the work ofart in itself. It does not matter then if the different pieces of material it consists of is traditionally considered unaesthetic. The conclusion of this study is that Gmelin’s Gentleman’s agreement, Farbtest, Die Rothe Fahne II and Tools and Grammar 2.5 actually discuss what truth is and if there is an aesthetic truth.

  • 217.
    Hyvönen, Joni
    Södertörn University, School of Culture and Communication.
    En dekonstruktion i ljud: J.O. Mallanders Extended Play2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    J.O. Mallander’s Extended Play (1968) is a sound recording, a readymade, of the counting of votes in two presidential elections in Finland, during 1962 and 1968. A voice repeats monotonously: “Kekkonen, Kekkonen, Kekkonen, Kekkonen, Kekkonen…” Although the Finnish president Urho Kekkonen represents, almost personifies, the politics of the post World War II period in Finland, Extended Play does not explicitly address the political. Rather, as this essay argues, it engages in the discourses of power and politics by providing a temporalization of its fixedness, or what Jacques Derrida terms the proper.

    Extended Play is, in parallel with Derrida’s critique of western metaphysics, a deconstruction in sound that challenges the state ideologies conveyed in the process of the counting of votes, where the presuppositions of the presence of the voice characterizes the ambiguities of power that Kekkonen’s politics of neutrality represent.

    Mallander’s readymade emerges as a double of the game theory strategies of the Cold War, a mimetic surplus of the administrative control mechanisms of sound recording. Through overturning the dialectics of the original and the copy, where repetition of sound also temporalizes the representation of the proper, it does not unequivocally reproduce its content. As an aural document, repeated and mass-produced as a record, it devalues, therefore, presumptions of origin. Derrida’s idea of “sous rature” initiates, in the discussion of Extended Play as a specific form of conceptual sound art, the notion of sound under erasure, which is not reducible to an auditory or medium-specific practice.

  • 218.
    Hyvönen, Joni
    Södertörn University, School of Culture and Education.
    Ett brev från Herr P: om det personliga hos Björn Lövin2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    For the Swedish artist Björn Lövin, the personal was a problem. In his first exhibition in Moderna Museet, Lövin observed through the fictitious character Mr. P (for »Personality«) the ruptures in the Swedish welfare state. The exhibition Konsument i oändligheten och Herr P:s penningar (Consumer in Infinity and Mr. P’s Money) (1971) was composed of two environments, through which a veridical working class apartment and a high street with life-sized mannequins and furniture characteristic of its time, visualized the societal discrepancies in the welfare state as well as the art world of the early 1970s. Lövin was as much a dystopian observer as a utopian thinker, where art must, according to him, engage the whole of society, and in essence change reality rather than act upon aesthetic experience.

    The personal is always contemporary, this essay argues. It concerns a question about the now, what Michel Foucault called »the ontology of actuality«, which means that, for Lövin, art must engage in the historical and critical questioning on how the present is configured, in its blind spots and hidden potentialities. Here, another element in the exhibition foregrounds the ontological questioning of the now: the fact that the two environments were designed as archaeological excavations in the future, representing an era before a catastrophic event. Lövin challenged us to look upon our times as if struck with amnesia. This remarkable displacement of perspective makes it possible for Lövin to not only reveal the inherent contradictions in the social conditions of the 1970s, through the harsh conditions that Mr. P represents, but to regard potentially everything, the consumer culture and all ephemeral expressions of our society – through the eyes of the future scientists – as art.

    Challenging the problematic notions of persona, socially determined beings or citizens, we are guided by Lövin, in a way that is not unusual of his time, to look upon »the art of the people« as synonymous with »the life of the people«. In this essay, which is one of the first in-depth analysis of Lövin, who Lars Nittve has called »the creator of some of the most important Swedish exhibitions in the last decades«, the allegorical meaning of »the art of the people« is seen as the nexus where the personal is pushed through its boundaries, to its ostensibly opposite meaning, the impersonal, in which a social utopia of the now emerges.

  • 219.
    Hällgren, Anna-Maria
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Konsten att lyssna när skogen ropar2019In: Konstperspektiv, ISSN 0347-4453, no 1, p. 31-37Article in journal (Other (popular science, discussion, etc.))
  • 220.
    Håkansson, Fredrik
    Södertörn University College, The School of Culture and Communication.
    Att välja perspektiv: "Arkitektur i Sverige - Funktion, konstruktion och estetik genom tiderna".2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    This essay tries to show how The Swedish Museum of Architecture, Stockholm, with the exibition Architecture in Sweden - Function, Design and Aesthetic through the Ages, presents and represents architecture. It is stated that this is done in a multi-perspectival, multimedial fashion, with the aid of, for example, photography, models and mixed material surrounding the wide concept of ’architecture’. One chapter discusses the relationships between the exhibition on site, the exhibition catalog and the museum´s website. Another chapter argues that there can be no essential or perfect representation of architecture, although this utopian wish most certainly exists even today. A general idea is that the problems regarding architectural representation has something to do with its double position within art history as well as its multi-dimensional characteristics. In addition to this, our daily encounters with architecture is also said to contribute. Furthermore, it is argued that exhibitions understood as site-specific and temporal events, need further research.

  • 221.
    Ilorah, Miriam
    Södertörn University, School of Culture and Education.
    Paul Gauguin och den koloniala blicken: En receptionsanalys av Paul Gauguins konst i Sverige år 1926 och 19702017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study is about the reception of Paul Gauguin’s art in Sweden in 1926 and 1970. I chose these dates because of the exhibitions displaying Gauguin’s art in Stockholm then, as it is the reception in Sweden I’m concerned with. The reception will be examined by studying relevant material as exhibition catalogues and newspaper articles. The study starts with a biography on Gauguin’s life to provide relevant background information. Then, a semiotic analysis of the painting Manao tupapau (1892) that Gauguin painted during his first stay on Tahiti (1891-1893). I feel that this paining really represents the imperial gaze Gauguin used to view and portrait the local population on Tahiti with. Throughout my study I use postcolonial theory in my analysis and I also draw parallels between Gauguin’s art and the racial photography of indigenous populations that Åsa Bharathi Larsson writes about. I feel that the production of photos have a lot in common with the production of Gauguin’s art and the result also shows that this racial photography helped establish the imperial gaze that the Swedish art critics later viewed Gauguin’s art with, especially in 1926. In 1970, the gaze had evolved and Gauguin’s lifestyle was criticized. Still, In spite of this critic, Gauguin’s art can still be exposed today (2017-18), without any mentioning of the circumstances under it was made, nor its exotifying traits.

  • 222.
    Johansson, Sofia
    et al.
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Werner, Ann
    Södertörn University, School of Culture and Education, Gender Studies.
    Åker, Patrik
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Goldenzwaig, Gregory
    Södertörn University, School of Social Sciences, Journalism. Moscow State University, Russia.
    Streaming Music: Practices, Media, Cultures2017Book (Refereed)
  • 223.
    Jonsson, Stefan
    Södertörn University, School of Culture and Education, Aesthetics.
    Forms of Collectivity: George Simmel's Mass Theory and the Transformation of Social Philosophy in Weimar Germany2014In: Time and Form: Essays on Philosophy, Logic, Art, and Politics / [ed] Marcia Sá Cavalcante Schuback, Luiz Carlos Pereira, Stockholm: Axl Books, 2014, p. 99-124Chapter in book (Other academic)
  • 224. Jonsson, Stefan
    The Ivory Towers in California2008In: Global cities / [ed] Ana Betancour, Stockholm: Arkitekturmuseet , 2008, p. 5-18Chapter in book (Other (popular science, discussion, etc.))
  • 225.
    Josephson, Agneta
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge. Linköpings universitet.
    Kunskap genom gestaltning och reflektion: om forumteater och forumspel som kunskapande handling2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 311-332Chapter in book (Refereed)
  • 226. Kaipainen, Mauri
    Dynamics of musical knowledge ecology: knowing-what and knowing-how in the world of sounds1994Doctoral thesis, monograph (Other academic)
  • 227. Kaipainen, Mauri
    Prospects for ecomusicology: inner and outer loops of the musical mind-environments system1997In: Brain, mind, and physics / [ed] P Pylkkänen, P Pylkkö, Antti Hautamäki, Amsterdam: IOS Press, 1997, p. 266-278Chapter in book (Other academic)
  • 228. Kaipainen, Mauri
    Representing and remotivating musical processes: modeling a recurrent musical ecology.1996In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 25, no 2, p. 150-178Article in journal (Refereed)
  • 229.
    Kapari, Maria
    Södertörn University, School of Culture and Communication, Art history.
    Dans som utställningsobjekt: Upplevelser och erfarenheter av tid och rörele i Dansmuseets permanenta utställning2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay concerns dance as an exhibition object by examining the permanent exhibition at The Museum of Dance in Stockholm, Dansmuseet. Due to its dependence on the temporality and movement of the lived body, dance does not easily lend itself to being exhibited in a traditional exhibition display; and since the live dance performance itself is ostensibly absent at the exhibition display, other means of representation must be relied upon in order to evoke the exhibition visitors’ experiences of time and movement as well as the feeling of dance. Starting from a phenomenological first-person perspective, as an exhibition visitor, I present three ways in which such experiences may come about. The cross-section of the experience evoked and the means that trigger them are intermedial, spatial, and performative taking their departure in the visitor’s pre-understanding of dance.

  • 230.
    Kapari, Maria
    Södertörn University, School of Culture and Education.
    Om du lyder: En studie av interaktivitetens villkor och verkningar utifrån tre performancebaserade verk2013Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to examine interactivity in the context of performance-based interactive art. The questions asked are: what are the conditions of interactivity, how interactivity happens, and what artistic results it may yield. The method is an analysis based on close studies of three performance-based interactive artworks by applying theories of interactivity, audience participation, and collaboration.

    First, current theories are outlined, after which, the three artworks are introduced in detail. Next, the artworks are examined, thematically rather than individually, expanding on parameters such as the degree of artistic direction of the artwork, the degree of agency allowed to the spectator in their interaction with the work, and the idea of the “passive” spectator as being “activated” by interactive art. It is shown that the actualization of the interactive gesture inscribed within the work depends on the spectator’s subjectivity and obedience to said gesture. Thus, the conditions of the interaction are not decided by the work/artist alone, but also and equally, by the spectator. Consequently, the actualized interactivity may not immediately correspond with the (possible) authorial intent and may even be unexpected or "infelicitous."

    The problematic of the thesis falls within the scope of current discourse concerning the striving for interactivity between the work of art and its spectator/audience. While that discourse has often been focused on authorial intent or has implied an ideal spectator, this thesis points to the significance of subjectivity with regards to interactivity and thereby adds increased complexity to the concept of interactivity.

  • 231.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Action Drawing: Notes on the (dis)Revelatory Nature of Drawing2009In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, no 2, p. 92-103Article in journal (Refereed)
    Abstract [en]

    The article discusses some basic elements of drawing, along with some equally basic behavior with respect to drawing. Considering one of the most repeated assumptions or stereotypes of the Western drawing discourse, namely that drawings are characterized, and cherished, by their potential for revelation, i.e. to disclose something beside them, something other than and prior to them, which may account for their appearance, I sketch an argument away from that assumption. To regard a drawing as revealing is to charge it or have it re-enact itself, although any attempt to ontologize drawing through a distinction between a previous act and a posthumous fact is too simplistic. By considering the ways in which drawing has been compared to painting and photography, how it relates to shadows and projection, I bring up a number of issues of relevance in coming to terms with drawing: lines and dots, signs and marks, figure and ground, space and erasure. Examples range from van Gogh and Rembrandt to Oldenburg, Michaux and Rauschenberg. Action drawing applies, most Importantly to Our interpretative activities faced with the drawing as a fact, although no clean temporal or conceptual cut exists between act and fact; the act is still there in the result.

  • 232.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Aesthetics: Art and Non-Art2014In: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 37, no 5, p. 1005-1009Article, book review (Other academic)
    Abstract [en]

    Review of Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of the Arts, London & New York: Verso, 2013

  • 233.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    After Contemporary Art: Actualization and Anachrony2016In: Nordic Journal of Aesthetics, ISSN 2000-1452, E-ISSN 2000-9607, no 51, p. 35-54Article in journal (Refereed)
    Abstract [en]

    Departing from a critical assessment of the most widespread and initiated definitions of Contemporary Art from the last decade and a half, sustaining a world-wide discourse on contemporary art and contemporaneity, by Arthur Danto, Hans Belting, Peter Osborne and Terry Smith respectively, I will concentrate this talk on two aspects of an immodest proposal captured by the keywords actualization and anachrony. While current discussions on contemporary art are arguably reproducing modernist assumptions on the primacy of novelty and innovation, bolstered by a veiled avant-garde logic, the proposal to regard contemporary art as actualized art upsets not only ideas on what art after postmodernism might mean, but the whole edifice of historicist historiography. An anachronic perspective, a bi- or polychronic situatedness of the work of art, could be used to liberate art from being defined according to its unique descent, and to embrace, instead, a chronologic open to art’s continuous “life” through its successive aesthetic accessions and actualizations in time.

  • 234.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Art of illusion: the representation of art history in nineteenth-century Germany and beyond2004 (ed. 1. uppl.)Book (Other academic)
  • 235.
    Karlholm, Dan
    Södertörn University, School of Culture and Education.
    Arte contemporáneo y práctica crítica antes y después de la modernidad2013In: Critica(s) de arte: discrepancias e hibridaciones de la Guerra Fria a la globalización / [ed] Paula Barreiro López & Julián Díaz Sánchez, Murcia: Cendeac , 2013, 1, p. 373-390Chapter in book (Refereed)
  • 236.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Den möjliga bilden2017In: Ad Marciam / [ed] Hans Ruin & Jonna Bornemark, Huddinge: Södertörns högskola, 2017, p. 265-273Chapter in book (Other academic)
  • 237. Karlholm, Dan
    Det tomma monumentet2001In: Vad betyder verket?: konstvetenskapliga studier kring måleri, skulptur, stadsplanering och arkitektur / [ed] Thomas Hall, Ewa Kron, Lempi Borgwik, Stockholm: Konstvetenskapliga institutionen, Univ. , 2001, p. 43-52Chapter in book (Other academic)
  • 238.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Developing the Picture: Wölfflin's Performance Art2010In: Photography and Culture, ISSN 1751-4517, E-ISSN 1751-4525, Vol. 3, no 2, p. 207-215Article in journal (Refereed)
  • 239.
    Karlholm, Dan
    Södertörn University, School of Culture and Communication, Art history.
    Does it Work?: A Note on Pragmatic Parts and Global Wholes2007In: Is art history global? / [ed] James Elkins, New York: Routledge, 2007, p. 227-232Conference paper (Other academic)
  • 240.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Don’t Believe what you Read: The Critical Suicide of Hans Haacke2003In: Merge : sound, thought, image, ISSN 1402-6570, no 2Article in journal (Other (popular science, discussion, etc.))
  • 241.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Estetisk rensning2007In: Dagens Nyheter, ISSN 1101-2447, no 9 decemberArticle in journal (Other (popular science, discussion, etc.))
  • 242.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Ett lågt perspektiv på konstvetenskap och pedagogik på högskolan2003In: Valör, ISSN 0283-751X, no 4Article in journal (Other academic)
  • 243.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Filtering Futures: La Biennale di Venezia. 56th. International Art Exhibtion 2015. All the World's Futures. Artistic Director and Curator: Okwui Enwezor.2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 4, p. 248-251Article in journal (Other academic)
  • 244.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Från Museum till konstmuseum till konsthall2015In: Offentliga och privata museer i Sverige: Traditioner och visioner / [ed] Kurt Almqvist & Louise Belfrage, Stockholm: Axel och Margaret Ax:son Johnsons stiftelse för allmännyttiga ändamål , 2015, 1, p. 21-29Chapter in book (Other academic)
  • 245.
    Karlholm, Dan
    Södertörn University College, School of Culture and Communication, Art history.
    Gijsbrechts baksida2010In: Det åskådliga och det bottenlösa: tankar om konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Tomas Björk, Lempi BorgWik m.fl., Stockholm: Konstvetenskapliga institutionen, Stockholms universitet , 2010Chapter in book (Other academic)
  • 246. Karlholm, Dan
    Handböcker i allmän och svensk konsthistoria2000In: 8 kapitel om konsthistoriens historia i Sverige  / [ed] Britt-Inger Johansson, Hans Pettersson, Stockholm: Raster , 2000Chapter in book (Other academic)
  • 247.
    Karlholm, Dan
    Uppsala universitet.
    Handböckernas konsthistoria: om skapandet av ”allmän konsthistoria” i Tyskland under 1800-talet1996Doctoral thesis, monograph (Other academic)
  • 248. Karlholm, Dan
    Histografins konsvetenskap: diagnos av grundutbildningen och förslag till en historiotopisk reform2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 70, no 1-2, p. 32-39Article in journal (Refereed)
    Abstract [en]

    The article argues that academic art history, as it is taught in undergraduate courses throughout the Western world, is based on an obsolete assumption. The very heart of art-historical education - the grand narrative tour of the survey course - amounts to the student's inculcation and symbolic duplication of the great journey of Art through the ages. The curriculum's tacit goal is typically to establish a habitus for responding to art, and to expose the student to a certain kind of experience, rather than to a proper education in the "art of art history" (Preziosi) or the analysis of visual culture, old and new. The latter task would arguably serve today's students better, regardless of whether or not they will pursue academic careers. My brief proposal for a reformation of the conventional education aims to subsume historiography, in an extended sense of the word, as well as a meta-historical reflection into the art history introductory course. The key pedagogical strategy, which reflects elementary research procedures, would be to begin each carefully selected historical inquiry with what is considered - or contested - knowledge of the object of study (work of art, period, artist, problem, etc.) today. To proceed, one could, for instance, compare a current position (alluding to both place and point of view) with an older position or "historiotopy," in order to systematically dramatize the discursive production of art-historical objects through history, as well as convey the fact that knowledge is situated, prespectival and essentially preliminary. The point is, ultimately, to exchange a largely passive reception of a quasi-Heglian meta-narrative overview for a meta-historical insight, and to initiate active, critical engagement with the production/interpretation of images, contemporary as well as historical.

  • 249.
    Karlholm, Dan
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Icons and Idols: On the Role of Representation in the Practice of Interpretation2003In: Subjectivity and methodology in art history / [ed] Margaretha Rossholm Lagerlöf, Dan Karlholm, Stockholm: Konstvetenskapliga institutionen, Univ. , 2003, p. 33-44Chapter in book (Other academic)
  • 250.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Is History To Be Closed, Saved, or Re-Started?: Considering Efficient Art History2018In: Time in the History of Art: Temporality, Chronology, and Anachrony / [ed] Dan Karlholm & Keith Moxey, New York & Abingdon, Oxon: Routledge, 2018, 1, p. 13-25Chapter in book (Other academic)
    Abstract [en]

    Rather than recourse to historicism’s investments in determinative causes, “efficient” history, it is argued, should take its cue from the after-life or the history of the artwork following its creation at a specific moment in time. The perceived temporal crisis of art history today has much to do with developments on the scene of contemporary art related to the idea of contemporaneity more broadly. Post-history and post-future are criticized here for their rather facile dismissal of history. Whereas post-history is predicated upon a teleological philosophy of history, post-future is ultimately indebted to the concept of history it purports to abandon. The concept of the past is turned on its heels and used to characterize the present, which withers away, while the past remains and accumulates into a “present past.” Martin Heidegger and Gilles Deleuze, alongside Bruno Latour, are mobilized to form a future-oriented history model, in which anachronic quasi-objects are traced, linked, and associated in actual patterns of interconnection, in part reminiscent of the model set by the catalogue raissonné rather than the established developmental narrative of the history of art.

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