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  • 51.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Art, geographies and values: thinking sámi contemporary art archipelagically2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 153-171Chapter in book (Refereed)
  • 52. Bydler, Charlotte
    Brottsliga relationer1999In: Aftonbladet, ISSN 1103-9000, no 09/06Article, book review (Other (popular science, discussion, etc.))
  • 53.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Cease Identification With Territory, Gender, Race, And Class2019In: Baltic Worlds, ISSN 2000-2955, E-ISSN 2001-7308, Vol. XII, no 1, p. 52-53Article in journal (Other academic)
  • 54. Bydler, Charlotte
    Cyberrymdens nybyggare2000In: Hjärnstorm, ISSN 0348-6958, Vol. 71/72, p. 36-47Article in journal (Other academic)
  • 55.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Decolonial or Creolized Commons?: Sámi duodji in the expanded field2017In: Sámi Art and Aesthetics : Contemporary Perspectives / [ed] Svein Aamold; Elin Haugdal; Ulla Angkjær Jørgensen, Aarhus: Aarhus Universitetsforlag, 2017, p. 141-162Chapter in book (Other academic)
  • 56. Bydler, Charlotte
    Douglas Gordons ...head och döden.1996In: Hjärnstorm, ISSN 0348-6958, no 56/57, p. 110-113Article in journal (Other academic)
  • 57. Bydler, Charlotte
    Fritt för forskning i konst?2002In: Hjärnstorm, ISSN 0348-6958, Vol. 76/77, p. 18-20Article in journal (Other academic)
  • 58.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Global contemporary?: The global horizon of art events2010In: Globalization and Contemporary Art / [ed] Jonathan Harris, Chichester: Wiley-Blackwell , 2010, p. 464-478Chapter in book (Other academic)
  • 59. Bydler, Charlotte
    Hela sanningen och inget annat än sanningen: Ann Hamilton och USA på Venedigbiennalen1999In: Hjärnstorm, ISSN 0348-6958, no 67/68Article in journal (Other academic)
  • 60.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Hoppa hage2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull och Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 82-84Chapter in book (Other (popular science, discussion, etc.))
  • 61.
    Bydler, Charlotte
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Isaac Julien skuggboxas mot exotismens spöke2006In: Paletten, ISSN 0031-0352, Vol. 265, no 3, p. 26-33Article in journal (Other (popular science, discussion, etc.))
  • 62.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Klingon och Dammen2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull och Dan Karlholm, Huddinge: Huge fastigheter , 2007, 1, p. 68-69Chapter in book (Other (popular science, discussion, etc.))
  • 63. Bydler, Charlotte
    Konst, alkemi och Internet: en hemlig historia2000In: Konstperspektiv, ISSN 0347-4453, no 2, p. 24-25Article in journal (Other (popular science, discussion, etc.))
  • 64. Bydler, Charlotte
    Man + Space2000In: Nu. The Nordic Art Review, ISSN 1404-207X, no 3/4, p. -86Article, book review (Other academic)
  • 65.
    Bydler, Charlotte
    Uppsala universitet.
    Markerat kroppslig: Om fysiska möten med digital konst2003In: Från modernism till samtidskonst: Svenska kvinnliga konstnärer / [ed] Yvonne Eriksson & Anette Göthlund, Lund: Bokförlaget Signum, 2003, p. 129-154Chapter in book (Other academic)
  • 66. Bydler, Charlotte
    Markerat kroppslig: Om fysiska möten med digital konst2003In: Från modernism till samtidskonst: svenska kvinnliga konstnärer / [ed] Yvonne Eriksson & Anette Göthlund, Lund: Bokförlaget Signum, 2003, p. 129-154Chapter in book (Other academic)
  • 67. Bydler, Charlotte
    Möte i Marsvinsland = Encounter in Guineapigland2003In: Landskap = Landscape / [ed] Evalena Lidman, Kirse Junge-Stevnsborg, Helsingborg: Dunkers kulturhus , 2003Chapter in book (Other (popular science, discussion, etc.))
  • 68.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    När blir det svenska svenskt i det nationella kulturarvet?2015In: Kulturarv: att skapa historia för framtiden / [ed] Charlotte Bydler; Katarina Wadstein MacLeod, Stockholm: Axelius , 2015, p. 95-110Chapter in book (Other academic)
  • 69.
    Bydler, Charlotte
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    Pax Anglo-Americana: A plea for a cosmopolitan history of contemporary art2006In: Ethnic marketing / [ed] Tirdad Zolghadr, Zurich: JRP/Ringier , 2006Chapter in book (Other (popular science, discussion, etc.))
  • 70.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Pengarnas ikonografi2006In: Ord och bild, ISSN 0030-4492, E-ISSN 1402-2508, no 5, p. 80-85Article in journal (Other (popular science, discussion, etc.))
  • 71.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Postkolonial klagan2008In: 00tal : litteratur, konst, samtidsdebatt, ISSN 1404-823X, Vol. 27, p. 58-61Article in journal (Other academic)
  • 72.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Postsocialist Bakhtin Burlesque: Young-Hae Chang Heavy Industries performing 'Cunnilingus in North Korea'2019In: Words, Bodies, Memory: A Festschrift in honor of Irina Sandomirskaja / [ed] Lars Kleberg; Tora Lane; Marcia Sá Cavalcante Shuback, Huddinge: Södertörns högskola, 2019, p. 213-229Chapter in book (Other academic)
  • 73.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Revisiting the Past: A Brief Introduction to Nordic Art2014In: Nordic Contemporary: Art from Denmark, Finland, Iceland, Norway, Sweden / [ed] Hossein Amirsadeghi, London: Thames & Hudson, 2014, p. 10-19Chapter in book (Other academic)
  • 74.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Samisk-svenskt kulturarv2015In: Kulturarv: att skapa historia för framtiden / [ed] Charlotte Bydler; Katarina Wadstein MacLeod, Stockholm: Axelius , 2015, p. 121-141Chapter in book (Other academic)
  • 75.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    Signora Canedottos VII:e sortering i XXVI:e uppordningen av all världens ting och företeelser2007In: Offentlig konst i Flemingsberg / [ed] Håkan Bull och Dan Karlholm, Huddinge: Huge fastigheter , 2007, p. 72-75Chapter in book (Other (popular science, discussion, etc.))
  • 76.
    Bydler, Charlotte
    Södertörn University, Institutionen för medier, konst och filosofi, Art history.
    The Art world and the collected knowledge of the world’s art = Konstvärlden och det samlade vetandet om världens konst2005In: Samtidskonst för lärare och andra intresserade / [ed] Karin Malmquist, Matilda Olof-Ors, Stockholm: Lärarförbundets förlag , 2005Chapter in book (Other (popular science, discussion, etc.))
  • 77. Bydler, Charlotte
    The artist in the age of post-colonial theory: Jamelie Hassan according to Gayatri Chakravorty Spivak1998In: Art Orbit, Vol. 1Article in journal (Other academic)
  • 78.
    Bydler, Charlotte
    Södertörn University College, Institutionen för medier, konst och filosofi, Art history.
    The Global Art World Inc.: On the globalization of contemporary art2004Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This study examines certain segments of the art world-system in which geographical distances seemed to vanishing as a result of faster and more intense interaction levels. This particular art world-system has been conceptualized in contradictory ways. It has been called a “global village”, and has been seen as homogenized and diversified, as well as both expanding, and contracting. Experiences of mutual understanding and shared artistic values underly the possibilities of particular art world expanding. This premise was identified as a “western art concept”, so-called institutional art theory. However, the expectations of audiences, critics, and artists are changing. The widening cultural labour-market supplies new and unfamiliar historical references to the authoritative literature and artworks of the “western art concept”. I have sought out both shared and diverse authorities through case studies of contemporary art biennials held in Venice, Havana, Istanbul, and Kwangju, as well as the itinerant Manifesta. All of the above constitute an important labour-market for the increasing numbers of freelancing art world professionals.

    The thesis derived from these examples is that the identification of the art concept as a western phenomenon, which is based on claiming the origins and even the ownership of practices represented within historical (historicist) institutions, is untenable. The avant-garde art world, in contrast, attempts to globally break with art concepts. It seeks out resistance to art world discourse, that which sits on the walls of educational institutions, museums, and the knowledge represented therein. Art worlds, however, are connected regionally. They are not stable, and are even less identifiably western. It is thus difficult to historicize the art concept in order to create this resistance. Nevertheless, it may be legitimate to attempt this, in order to provide a means of inspection and comparison. Individuals within the art world-system are nevertheless interpelled as subjects of history in reference to institutionalized precedents. This calls for a re-writing of art history, taking into account multiple discontinuities instead of relying on chronology.

  • 79. Bydler, Charlotte
    The monster of memory1999In: Nu. The Nordic Art Review, ISSN 1404-207X, no 1, p. 66-71Article in journal (Other academic)
  • 80.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Gedin, AndreasSödertörn University, School of Culture and Education, History and Theory of Art.Ringarp, JohannaSödertörn University, School of Historical and Contemporary Studies, Institute of Contemporary History.
    Pontus Hultén på Moderna Museet: Vittnesseminarium Södertörns högskola, 26 april 20172018Collection (editor) (Other academic)
    Abstract [sv]

    Den 9 maj 1958 invigdes Moderna Museet i marinens gamla Exercishall på Skeppsholmen i Stockholm. Museet var inte en självständig institution utan Nationalmuseums avdelning för modern konst med Bo Wennberg som chef. Året därpå tog Pontus Hultén över.

    Under Hulténs ledning blev Moderna ett av Europas viktigaste museer för modern konst. Men det var också något av stockholmarnas kulturhus, bland annat inspirerat av Stedelijk Museum i Amsterdam, med plats för film, musik, teater, happenings och modevisningar.

    Efter de första årens framgångar möttes Hultén av ett kulturpolitiskt motstånd mot slutet av 1960-talet. Hultén kritiserades för ointresse för den svenska konsten, för bristande politiskt engagemang och för att gå den amerikanska imperialismens ärenden.

    Den 26 april 2017 anordnade Samtidshistoriska institutet tillsammans med forskningsprojektet Levande arkiv: Pontus  Hultén på Moderna Museet (1957-73), fiansierat av Vetenskapsrådet och placerat vid ämnet Konstvetenskap, Södertörns högskola, ett vittnesseminarium om Pontus Hulténs tid på Moderna Museet.

  • 81.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Karlholm, Dan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Functions of realist art in Sweden circa 1970: Lena Svedberg & Olle Kåks2016In: Baltic Worlds, ISSN 2000-2955, Vol. IX, no 4, p. 70-82Article in journal (Refereed)
    Abstract [en]

    The concepts of social realism and new realism are developed in relation to the artworks of Lena Svedberg and Olle Kåks. A comparison between the artists’ uses of the concepts of social realism and function is presented. How the realist approach during the years around 1970 played out in the force field of society and the psyche, the collective realm and the individual, is exemplified by our two very different case studies. Svedberg’s political narratives compose mon-tages in which fictional, metaphorical figures are inserted side by side with political leaders drawn from newspaper clips. Kåks’s allegory-like oil painting shows a stone worker working in the face of his imminent disappearance. They both reveal myths as opposed to historically manifested commodity relations.

  • 82. Bydler, Charlotte
    et al.
    Lira, Rodrigo Mallea
    Malm, Magdalena
    Svenska hjärtan: folkdräkt eller tvångströja?2004Book (Other (popular science, discussion, etc.))
  • 83.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Introduction2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 9-20Chapter in book (Other (popular science, discussion, etc.))
  • 84.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, CeciliaSödertörn University, School of Culture and Education, Aesthetics.
    Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization2014Collection (editor) (Refereed)
    Abstract [en]

    The title of this anthology, Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization, signals the regional dimension inherent in the globalization of the arts. Rejecting a comprehensive theory of globalization, the texts in this anthology instead circumscribe a situated understanding of the production and interpretation of the arts, which serves to condition cultural translatability. The texts of the anthology argue that cultural translatability should be considered through the concept of regionality, that is, the quality of being both territorially and relationally situated. Bypassing the abstract and politically charged category of “nationality,” regionality addresses human relations in and through the more tangible physical environment in and by which they are configured. As seen in the work on archipelagic thinking by the Martinican writer and philosopher Édouard Glissant, both the cultural and physical aspects of one’s immediate environment are used to articulate a form of self-understanding in the face of cultural and economic expansion, the particular character of which is indicated by the term mondiality. This concept derives from the French word for “world” or “people,” and thus affirms the fundamentally social and cultural character of experiences thought of as global. Each of the eleven contributions in this volume brings its own perspective on arts and aesthetics, producing world-views that still share a keen awareness of their partialness.

    The contributors are: Charlotte Bydler, J. Michael Dash, John Drabinski, Martin Svensson Ekström, Anthony Gardner and Charles Green, Christina Kullberg, Lisette Lagnado, André Lepecki, Patricia Lorenzoni, Cecilia Sjöholm, and Terry Smith.

  • 85.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Wadstein MacLeod, Katarina
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Editorial2016In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 85, no 3, p. 205-207Article in journal (Other academic)
  • 86.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Wadstein MacLeod, KatarinaSödertörn University, School of Culture and Education, History and Theory of Art. Konstfack.
    Kulturarv: att skapa historia för framtiden2015Collection (editor) (Other academic)
  • 87.
    Callahan, Sara
    Södertörn University, School of Culture and Education.
    Tracing Shadows: The “analogue” and  the indexical sign-status of the photographic object2012Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay looks at the way the photograph functions as a sign, and how an interest in analogue technique and related sensitivities can be analysed and understood in selected works by Maria Miesenberger, Lotta Antonsson, Vera Lutter, Joachim Koester, Walid Raad, Simon Starling and Tacita Dean. A number of thematic, technical and conceptual interests and sensitivities are approached under the term “analogue”, in order to differentiate the “analogue” as a sign-function from the analogue as mere technique.  Using Charles Sanders Peirce's semiotic system as a base, it is the indexical aspect of the photographic sign that appears to be highlighted and separated from the other sign-functions in the examples used. The notion of the photograph as indexical is looked at in the light of Susan Sontag's and Roland Barthes' writing on the subject where terms like 'death mask', 'foot print', 'stencil', or 'umbilical chord' are indications of a direct link between the photographic image and the object or person depicted. The “analogue” as focus on a unique photographic object is discussed, as well as how this relates to the notion of 'aura'. The material and temporal aspects of the trace make it particularly useful as a medium to explore themes such as memory, loss, identity, time, death and history. The essay argues that the key characteristics of the “analogue” is a concern with the indexical, often not deliberately explored by the artists but observable nonetheless. 

  • 88.
    Cleve, Moa
    Södertörn University, School of Culture and Communication.
    Smärta och extas: En studie om det abjekta och groteska i Nathalie Djurbergs verk2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 89.
    Contreras Nässel, Sabina
    Södertörn University, School of Culture and Communication.
    All animals were hurt during the making of this art: En uppsats om döda djur i konsten med utgångspunkt i Nathalia Edenmont, Marco Evaristti och Guillermo Vargas verk2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    My essay, All animals were hurt during the making of this art – En uppsats om döda djur i konsten med utgångspunkt i Nathalia Edenmont, Marco Evaristti och Guillermo Vargas verk, deals with dead animals in art. It is a comparative study with a starting point based on the work Star, 2002 by Nathalia Edenmont, Helena, 2000 by Marco Evaristti and Eres lo que lees, 2007 by Guillermo Vargas. I examine why dead animals in art upsets and provokes us, and why the artists choses to use dead animals as material in their artworks. I do this by the help och Steve Baker and Anthony Julius theories concerning animals in art and transgressive art. Was the use of animals just for the shockeffect, to get the attention from the media or did the artworks have a deeper meaning. I also discuss the ambivalent relationship we have towards animals and what they represent in art.

  • 90. Curman, Sofia
    et al.
    Larsson, Camilla
    Klara Kristalova2012Collection (editor) (Other (popular science, discussion, etc.))
  • 91.
    Cuypers, Koenraad Frans
    et al.
    Norwegian University of Science and Technology, Levanger, Norway.
    Skjei Knudtsen, Margunn
    Nord-Trøndelag County Council, Steinkjer, Norway.
    Sandgren, Maria
    Södertörn University, School of Culture and Communication, Psychology.
    Krokstad, Steinar
    Norwegian University of Science and Technology, Levanger, Norway.
    Wikström, Britt Maj
    Akerhus University, Lilleström, Norway.
    Theorell, Töres
    Stockholm University.
    Cultural activities and public health: research in Norway and Sweden. An overview2011In: Arts and Health, ISSN 1753-3015, E-ISSN 1753-3023, Vol. 3, no 1, p. 6-26Article in journal (Refereed)
  • 92.
    Dahl, Ulrika
    Södertörn University, School of Culture and Education, Gender Studies.
    Heta Mulari, New Feminisms, Gender Equality and Neoliberalism in Swedish Girl Films 1995– 2006: Review2015In: Historiallinen Aikakauskirja, ISSN 0018-2362, Vol. 113, no 2, p. 217-219Article, book review (Other academic)
  • 93.
    Dahlborg, Bi
    Södertörn University, School of Culture and Education, Aesthetic Learning Processes. Södertörn University, School of Culture and Education, Teacher Education.
    Modet att mötas genom vänskap och konst2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 269-289Chapter in book (Refereed)
  • 94.
    Dahlerus, Jarl
    Södertörn University College, School of Culture and Communication.
    Vad är konstverket värt: Värdet av konst mot bakgrund av verkets aura och konstnärens kanonisering2009Student paper second term, 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    Värdet av ett konstverk på auktionsmarknaden kan bestämmas av ett antal faktorer såsom marknad, trender, smak mm. Även begreppen aura och konstnärens kanonisering kan spela en stor roll för värdet. Syftet med uppsatsen är att ge en inblick i hur aura och kanonisering kan påverka värdet av konst. Det är troligt att det inte finns någon tidigare forskning i större utsträckning som har inriktat sig på detta specifika problem.

    Tillvägagångssättet är att uppsatsen inleds med en genomgång av begreppen aura och kanonisering samt en kort analys av hur konstvärdering går till i praktiken. Därefter analyseras tre verk, som har sålts till ett lågt pris på kvalitetsauktion i Stockholm, med avseende på konstnärens kanonisering och verkets aura för att försöka utröna hur detta har påverkat värderingen.

    De tre verken är Carl Johansson, Strandlandskap i aftonljus, Dirck van Baburen (hans efterföljare) Dryckesbroder samt Edv. Stengel, Hamnbild i månsken.

    Kanon har här definierats som en "kändislista" över väl etablerade konstnärer. Den klassiska kanon bygger på tanken att kvaliteten hos konst objektivt kan bestämmas. Det finns emellertid ett högst subjektivt element i konsten som kan beskrivas som verkets aura. Denna kan beskrivas som det element som finns i ett original men inte i en kopia, dess historia, slitage mm. Till detta hör även konstnärens uttryck av något sinnligt och estetiskt som förmedlar en upplevelse när man betraktar verket.

    Slutsatsen är att de tre analyserade verken med låg aura och låg kanonisering har sålts till ett förhållandevis lågt pris. Ett av de analyserade verken hade en kanoniserad konstnär (Carl Johansson) men det räckte inte till för att ge en högre värdering.

  • 95.
    Danius, Sara
    et al.
    Södertörn University, School of Culture and Communication, Aesthetics.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Communication, Aesthetics.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Communication, Philosophy.
    Aisthesis: Estetikens historia, del 12012Book (Other academic)
  • 96.
    Demény, Bernadette
    Södertörn University College, The School of Culture and Communication.
    Alphonse Mucha och art nouveau: En undersökning om influenser hos samtida illustratörer2007Student paper second term, 5 points / 7,5 hpStudent thesis
  • 97.
    Dubus, Gaël
    et al.
    KTH Royal Institute of Technology.
    Hansen, Kjetil Falkenberg
    KTH Royal Institute of Technology.
    Bresin, Roberto
    KTH Royal Institute of Technology.
    An overview of sound and music applications for Android available on the market2012In: Proceedings of the 9th Sound and Music Computing Conference, 2012, p. 541-546Conference paper (Refereed)
    Abstract [en]

    This paper introduces a database of sound-based applications running on the Android mobile platform. The longterm objective is to provide a state-of-the-art of mobile applications dealing with sound and music interaction. After exposing the method used to build up and maintain the database using a non-hierarchical structure based on tags, we present a classification according to various categories of applications, and we conduct a preliminary analysis of the repartition of these categories reflecting the current state of the database.

  • 98.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    A Radical Academy of Fine Art?: Power and social dimensions in recruitment to the fine art professorships at the Royal College of Art in Stockholm, Sweden 1938-20002015In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, no 36, p. 117-138Article in journal (Refereed)
  • 99.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    Att sätta sitt konstnärliga arbete i perspektiv = Placing artistic work in perspective: Konstnärlig forskning på Valand vid decennieskiftet 1990 = Artistic research at Valand around the turn of the 1990s2010In: Omskakad spelplan = A disarranged playing board: konsten i Göteborg under 1980- och 1990-talet = art in Gothenburg during the 1980s and 1990s / [ed] Jeff Werner & Kristoffer Arvidsson, Göteborg: Göteborgs konstmuseum , 2010, p. 138-159Chapter in book (Other academic)
  • 100.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    En tvångströja för måleriet?: Några reflektioner över den akademiska konstteorins historia2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1-2, p. 88-92Article in journal (Refereed)
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