Browsing by Author "Westin, Jonathan"

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Challenge the past / diversify the future - proceedings
(Critical Heritage Studies, University of Gothenburg, 2015-03-05) Westin, Jonathan; Foka, Anna; Chapman, Adam; Critical Heritage Studies; Centre for Digital Humanities; HUMlab, Umeå; Visual Arena Research; LinCS; Malmö Museer
Challenge the Past / Diversify the Future is a multidisciplinary conference for scholars and practitioners who study the implementation and potential of visual and multi-sensory representations to challenge and diversify our understanding of history and culture. This volume contains an overview of all the presentations.
Craft Sciences
(Acta Universitatis Gothoburgensis, 2022) Almevik, Gunnar; Groth, Camilla; Westerlund, Tina; Westin, Jonathan; Hjort-Lassen, Ulrik; Källbom, Arja; Eriksson, Lars; Nyström, Ingalill; Palmsköld, Anneli; Knutsson, Johan; Høgseth, Harald Bentz; Rafnsson, Magnús Rannver; Seiler, Joakim; Holmberg, Annelie; Leijonhufvud, Fredrik; Botwid, Katarina; Holmquist, Anna Lovisa; Nordström, Birgitta; Medbo, Mårten; Thane, Gustav; Molander, Bengt; Westerlund, Tina; Groth, Camilla; Almevik, Gunnar
The ﬁeld of ‘Craft Sciences’ refers to research conducted across and within diﬀerent craft subjects and academic contexts. This anthology aims to expose the breadth of topics, source material, methods, perspectives, and results that reside in this ﬁeld, and to explore what unites the research in such diverse contexts as, for example, the arts, conserva-tion, or vocational craft education. The common thread between each of the chapters in the present book is the augmented attention given to methods—the craft research methods—and to the relationship between the ﬁeld of inquiry and the ﬁeld of practice. A common feature is that practice plays an instrumental role in the research found within the chapters, and that the researchers in this publication are also practitioners. The aut-hors are researchers but they are also potters, waiters, carpenters, gardeners, textile artists, boat builders, smiths, building conservators, painting restorers, furniture designers, il-lustrators, and media designers. The researchers contribute from diﬀerent research ﬁelds, like craft education, meal sciences, and conservation crafts, and from particular craft subjects, like boat-building and weaving. The main contribution of this book is that it collects together a number of related case studies and presents a reﬂection on concepts, perspectives, and methods in the general ﬁelds of craft research from the point of view of craft practitioners. It adds to the existing academic discussion of crafts through its wider acknowledgement of craftsmanship and extends its borders and its discourse outside the arts and crafts context. This book provides a platform from which to develop context-appropriate research strategies and to associate with the Craft Sciences beyond the bor-ders of faculties and disciplines.
Negotiating ‘Culture’, Assembling a Past: the Visual, the Non-Visual and the Voice of the Silent Actant
(2012-09-12) Westin, Jonathan
The aim of this thesis is to describe and analyse the processes surrounding the creation of a scientific visual representation, where, both in the practical creation of this visualisation and in the way it is communicated, those actants which amount to what we call ‘culture’ or cultural value, are enrolled or ignored. Trying to answer if a broader set of non-visual cultural properties can be identified and their influence described, and if history can be visualised without displacing our knowledge of the past in favour of a popular representation thereof, I trace the interaction between client, artist, technology and target audience. Although the audience is not permitted to take part in the meetings and walk the floors of the studios, and thus seem to remain silent, I argue nonetheless that their voices are heard during the assembling of a visual representation. Furthermore, offering the audience a tool is not enough to entice them to form their own ideas and exercise influence: although often presented as a visitor-empowering pedagogic technique which invites different interpretations of the material at display, the interactive technology offered by museums and educators is a tool of conformity which disciplines the audience and must therefore be treated as such. An object is not an entity which can be separated into artefact and context, but a hybrid made up of associations spread over both space and time. To describe this, and capture how visual representations can represent ‘culture’, I have developed an analytical vocabulary where the absolute limitations of an artefact or phenomenon is the point of departure. As the vocabulary of limitations demonstrates, limitations constitute the borders of an expression and permit an explanation of how associated actants are shaped by these borders into what we have come to refer to as ‘culture’.