Doctoral thesis/Doktorsavhandlingar/Konstnärliga fakulteten
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Item Att skapa ordning för det estetiska i skolan. Diskursiva positioneringar i samtal med lärare och skolledare(2006) Lindgren, MonicaRecent rhetoric on aesthetic activities of the school has gained an increasingly large scope over the last few decades in Swedish texts on educational politics and educational science. In relation to the questioning of the Government-controlled school, the fi eld of school and aesthetics is studied from an interest in how ideals of knowledge are created and preserved through specifi c control strategies. The starting point of the study is that the fi eld of aesthetics and school is created in discursive practices through linguistic interaction by way of specifi c power techniques. The aim is to identify and describe current discourses relating to the aesthetic activities in compulsory school, and to problematise these with regard to power and control. Data-collection included individual and group interviews with 55 teachers and head teachers from seven compulsory schools during the years 2002–2004. The participants conducted the discussions concerning “the aesthetic activities of the school” by themselves. In the analysis, fi ve discourses concerning the construction of legitimacy surrounding the aesthetic activities of the school were identifi ed and subsequently fi ve discourses concerning the construction of legitimacy surrounding the aesthetic competence of the teachers. The result shows that the discourses might be construed as being based on more comprehensive discourses signifi cant to our time; education for freedom and exercising social control in the name of aesthetics. The idea of the inherent power of aesthetic activities to alter a person’s character and capability of leading a “good life” may be said to fi t in well with a time of striving for free and harmonious citizens in tune with an accepted social behaviour. In conclusion, from this message the teachers are portrayed not as more or less competent professionals but as free and exemplary persons.Item Paper-Composite Porcelain. Characterisation of Material Properties and Workability from a Ceramic Art and Design Perspective(2006) Kim, Jeoung-ahPaper-composite porcelain is a type of paper clay which is made by combining any kind of porcelain with paper. Paper is added to clay to improve low green strength and plasticity - two of the main practical problems of working with porcelain. Despite widespread interest in the material, the characteristics of paper- composite porcelain have remained undetermined. The purpose of this research was to understand the artistic applicability of, and obtain reliable knowledge of the properties of paper-composite porcelain. The research involved a combination of practical artistic experiments and laboratory experiments used within material science. The artistic experiments investigated the workability and applicability of paper-composite porcelain with different amounts of paper in various casting models. The technical studies qualitatively investigated the material characteristics and microstructures using Xray diffraction and scanning electron microscopy. The qualitative physical properties tests involved different casting body recipes, production methods and firing temperatures. Quantitative studies were used to measure and analyse the properties of porcelain and paper-composite porcelain. The artistic experiments involved the development of a slip casting method which recycled the excess water from the process. Slip casting of various tableware models showed that there was significantly less cracking, warping, bending and deformation of the paper-composite porcelain than of the mother porcelain. Furthermore, sharp angles and fine lines and surfaces were obtained even with the highest paper-fibre content used (90% in volume). Paper-composite porcelain had the same whiteness as ordinary porcelain, but it had a silkier lustre and was more translucent when glazed. Fibrous structures were identified in both green and fired states. It was proved that the presence of paper fibre, the paper type and the paper-fibre content were the factors behind the increased green strength of the paper-composite porcelain. In comparison, paper-composite porcelain has higher green strength, lower shrinkage, lower deformation degree and wider firing range. The results provide new knowledge of paper-composite porcelain by identifying the reinforcement role of paper fibre in the formation and fabrication stages. They also demonstrate a practically tested and documented method for slip casting which shows some of the potential application of paper-composite porcelain in artistic practice.Item "Sweetenings" and "Babylonish Gabble". Flute Vibrato and Articulation of Fast Passages in the 18th and 19th centuries(2008) Bania, MariaTitle: Sweetenings and Babylonish Gabble : Flute Vibrato and the Articulation of Fast Passages in the 18th and 19th centuries Language: English Keywords: Historical Performance Practice, Flute, Vibrato, Articulation, Double-tonguing, Artistic Research, Flattement, Johann Joachim Quantz, Johann George Tromlitz, Morten Raehs, Johan Helmich Roman, Charles Nicholson, Louis Drouët ISBN: 978-91-975-911-7-1 During the 18th and 19th centuries, vibrato as well as the articulation of fast passages was often not indicated in the musical scores, but was left to the players discretion within prevailing practice. A finger-vibrato technique that this study names the flattement technique was the most recommended vibrato technique in Western classical music throughout the 18th century. Another finger-vibrato technique used was called martellement or Schwebungen. During the first half of the 19th century the flattement technique coexisted on equal terms with chest vibrato, which was during most of the period under investigation slow and controlled, typically four waves on a long note.The syllables and spellings documented for double-tonguing on the flute can be categorized in three techniques, d-g/t-k, d-r/t-d and d-l/t-tl, where d-g, d-r and d-l represent softer nuances. During the 18th and first half of the 19th century, d-l/t-tl was the most common double-tonguing technique in England and Germany, whereas in France it was not much used. Legato could be applied when not indicated; during the late 18th century and the first half of the 19th the articulation patterns paired slurs and two slurred, two tipped were commonly recommended. In France, d-g/t-k was the dominating double-tonguing from the late 18th century and on, and the embracing of this technique also in Germany and England in the second half of the 19th century reflects a transition from the 18th century ideal of a rounder execution of an articulated fast passage towards a shorter staccato ideal.The playing techniques recommended in the sources have been tested and evaluated in musical practice by the author. For a more complete understanding of the problem areas, sounding examples from concerts and recordings are integrated in the dissertation.Item Imagination, Form, Movement and Sound: Studies in Musical Improvisation(2008) Tandberg, Svein ErikHow does one improvise? How can one learn the art of improvisation? By considering these two questions this thesis aspires to make a contribution towards a greater understanding of what the production of improvised music actually involves. The organ has long traditions as an instrument on which music is improvised, and this study aims to focus primarily on organ improvisation. It is assumed that spontaneous impulses, rational thought and an extensive array of physical movements have their origins in the emotional, intellectual and physical aspects of a person. These different facets of a person, which continually interact with and influence each other, form a complex series of behaviour patterns. It can be useful to experience the interactive energy between these facets in order to approach an understanding of improvisation. This hypothesis is based on an assumption that improvised music is created by an interaction between large numbers of internalised concepts of musical sound, along with a corresponding array of precise physical movements. The sounds are expressed through the actions of the improviser. Ideally these actions will have their origins in more or less welldefined aesthetic concepts. Thus the hypothesis of this research is that it is in the light of the improviser’s different perceptions of the words “imagination” and “form” that the musical train of events is set in motion. This study should be regarded as artistic research. The term “artistic” defines a research position that is related to an actual artistic practice. The work incorporates elements which can be described as creative research. This means that researches do not only form a subject for discussion, but have actually resulted in the creation of three different recording projects presented on four CDs. These musical manifestations are intended to serve both as demonstrations of working methods whilst also functioning as reference points. Since art both consists of deeds and thoughts the aim here is to probe the links between practical and theoretical aspects of improvisation. The recordings should thus be regarded as a medium to emphasise and give added weight to the arguments. The study is divided into two main sections. The first part focuses on the art of organ improvisation as practised during different periods of history, whilst the second part considers the aesthetical and practical aspects involved. The question as to how differing forms of an improvisatory “vocabulary” can be acquired, assimilated and developed will occupy a prominent position in this latter section.Item Off the grid(2008) Bode, Mike; Schmidt, StaffanOff the grid is an artistic research thesis which puts a Swedish housing estate in a video interview dialogue with homeowners in the Northeastern US through focusing on three topics: travel, self-definition, and community. Based on the situated, visual and conceptual image the project merges seemingly incompatible experiences: eight residents in Husby, an immigrant community outside Stockholm, and eight households not connected to the utility grid, in upstate areas of New England and New York State – and two artistic researchers at University of Gothenburg. The interviewees are paired together and handed unedited copies of each other’s reflections. We asked them for their comments, elucidating the practical and metaphorical consequences of travel, self-definition, and community. Even though backgrounds, stories and current conditions differ, an understanding of common interests and similarities are clearly identified. Among the three questions discussed the right to self-definition stands out as central: it is opposed, delayed in its implementation, violated or threatened – still, all participants individually and/or collectively struggle to uphold it. In thinking with the visual and conceptual image Off the grid also offers new perspectives on the significance of artistic research, contributing to its further contextualization.Item Fashion-able. Hacktivism and engaged fashion design(2008-09-22T09:32:02Z) Busch, Otto vonThis thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a form of social activism. This social design practice can be called the hacktivism of fashion. It is an engaged and collective process of enablement, creative resistance and DIY practice, where a community share methods and experiences on how to expand action spaces and develop new forms of craftsmanship. In this practice, the designer engages participants to reform fashion from a phenomenon of dictations and anxiety to a collective experience of empowerment, in other words, to make them become fashion-able. As its point of departure, the research takes the practice of hands-on exploration in the DIY upcycling of clothes through “open source” fashion “cookbooks”. By means of hands-on processes, the projects endeavour to create a complementary understanding of the modes of production within the field of fashion design. The artistic research projects have ranged from DIY-kits released at an international fashion week, fashion experiments in galleries, collaborative “hacking” at a shoe factory, engaged design at a rehabilitation centre as well as combined efforts with established fashion brands. Using parallels from hacking, heresy, fan fiction, small change and professional-amateurs, the thesis builds a non-linear framework by which the reader can draw diagonal interpretations through the artistic research projects presented. By means of this alternative reading new understandings may emerge that can expand the action spaces available for fashion design. This approach is not about subverting fashion as much as hacking and tuning it, and making its sub-routines run in new ways, or in other words, bending the current while still keeping the power on.Item Actor-Spectator in a Virtual Reality Arts Play(2008-12-10T09:49:04Z) Ljungar-Chapelon, MagaliThis doctoral project brings to the fore the specificity of the artistic experience when the Virtual Reality Cube, a medium based on immersive virtual reality technology, is used as artistic virtual space, where the stage and the auditorium blend into one and spectators and actors no longer have distinctive roles. It consists of three integrated parts: a written thesis, a VR artwork and a DVD, which illustrates the text, the production process of the VR work, and which also presents an interpretation of the research results in filmic and photographic form. Gadamer’s concepts of play and experience of art, Aristotle’s conception of drama and Ricoeur’s theory of metaphor are used as points of departure in order to coin the term virtual reality arts play or VR arts play that characterises this kind of immersive journey in between illusion and reality. Empirical and theoretical functions interweave in a chorus of voices representing the experience of all actors involved: the audience, the production team and experts from several art fields, computer-games and media. Audience surveys show that all the respondents but one, children as well as adults, thought that this type of VR artwork opens up new ways for an artist to give shape to an artistic vision and for an audience to communicate with and experience an artwork from within. What appears as the most worthwhile and unique aspect of the experience is the opportunity to experience fictive, imaginary worlds and characters that cannot be represented by other means than through an immersive virtual reality medium, i.e. within a physical space where the audience becomes physically immersed and participant “on stage”. The essence of such an experience is to be found in the notion of “play in between”, at the crossover of several art forms and computer games, for audiences which consider themselves as both actor/participants and spectators. Research results, exposed and illuminated through semiotics and hermeneutics, show that such experiences may develop in the form of intimate experiences for a little group of spectators or within new social contexts for broader audiences and with several possible applications within the fields of art and entertainment.Item Musiklärares val av undervisningsinnehåll. En studie om musikundervisning i ensemble och gehörs- och musiklära inom gymnasieskolan(2009-03-10T13:52:44Z) Zimmerman Nilsson, Marie-HeleneThe way in which music teachers choose and use the subject content in ensemble and music theory in the upper secondary school is focused in this study. The point of interest is the everyday classroom teaching of music teachers. The intentions that music teachers have with their teaching is also studied. This thesis is a study of music teaching and is a subject-didactic investigation, inspired by variation theory. The overarching aim of the thesis is to study how music teachers in upper secondary school choose teaching content when teaching ensemble and music theory. The teachers’ use of the teaching content implies that they choose to focus and teach certain parts in their teaching. This choice of content and how it is used is in focus in this study. The research questions are: How do music teachers choose teaching content when teaching ensemble and music theory in upper secondary school? How do music teachers use the teaching content in their teaching? The data collection includes video-documented lessons and qualitative interviews with five music teachers in upper secondary school in 2004. The analysis reveals two different choices of content. When the teachers have music and theory as the content of their teaching, it is the content that guides the teaching methods, where the teacher uses a fixed content, which is then presented in different ways; this was mainly in music theory. When the content is music activities, the music teachers adjust the activity-based content in accordance with the level of the pupils’ skills in ensemble. The differences that occur in the variation theory results are closely related to the teaching content. The foundations of the two different choices of content that are made by the music teachers, as well as the significance of the learning objects, are finally discussed.Item Spaces of Encounter: Art and Revision in Human-Animal Relations(2009-03-13T09:54:19Z) Snæbjörnsdóttir, BryndisThis PhD project explores contemporary Western human relationships with animals through a ‘relational’ art practice. It centres on three art projects produced by Snæbjörnsdóttir/Wilson – nanoq: flat out and bluesome; (a)fly; and seal – all utilize lens-based media and installations. Discourses on how humans construct their relationship with animals are central to all three projects. The first one looks at polar bears, the second at pets, and the third at seals, in a variety of different sites within clearly defined contexts and geographical locations. The thesis explores the visual art methodologies employed in the projects, tracing in turn their relationship to writings about human-animal relations. This includes both writings researched in the making of the works and those considered retrospectively in the reflections on each art project. These artworks engage their audiences in a series of ‘encounters’ with the subject through simultaneous meetings of duality, e.g. haunting vs. hunting, perfection vs. imperfection and the real vs. the unreal. These dualities are important in theorizing this relational space in which the eclipse of the ‘real’ animal in representation occurs and in formulating questions embedded in and arising from the artworks on the construction and the limits of these boundaries. The ‘three registers of representation’, as put forward by the artists Joseph Kosuth and Mary Kelly, have further helped to frame and develop the thinking, concerning both the mechanisms within the works and their perceived effects.Item Free Ensemble Improvisation(2009-05-14T15:33:05Z) Stenström, HaraldThe aim of this doctoral project has been to study so-called non-idiomatic improvisation in ensembles consisting of two or three musicians who play together without any restrictions regarding style or genre and without having predetermined what is to be played or how they should play. The background to this thesis has been the author’s own free improvising, which he has pursued since 1974, and the questions that have arisen whilst music-making. The thesis takes three of these questions as its point of departure: – what is free ensemble improvisation, what characterizes free ensemble improvisation and how can it be defined – how does free ensemble improvisation relate to: – – instrumental technique – – idiomatic improvisation and stylistic influences – – composition – – interpretation – – aleatorics and indeterminacy – – different types of sytems (e.g. biological, social, dynamic/chaotic systems) – what might a conceptual model as a theoretical base for free ensemble improvisation look like? The artistic/performative part of this research project has primarily consisted of public concerts, as a result of longer/shorter periods of cooperation with four permanent and a number of temporary (ad hoc) ensembles. The results provide a better understanding of what free ensemble improvisation is, in what respects it differs from other forms of music-making and how it can be defined. Free ensemble improvisation’s relations to the points mentioned above were found to be more multifaceted than expected. However, it was possible to attain a basic twolayered conceptual model as a theoretical base for free ensemble improvisation and, in its extension, as a basis for the analysis of free ensemble improvisation. The study includes numerous concert projects, of which several are recorded and included in this book on two CDs with MP3 files.Item Musik som handling. Verkanalys, interpretation och musikalisk gestaltning. Med ett studium av Anders Eliassons Quartetto d'Archi(2009-05-25T11:45:55Z) Tykesson, AndersThe aim of the dissertation is to illustrate the potential musical analysis has in the development of artistic questions with regard to the interpretation and performance of western art music. The analyses of the dissertation focus on Quartetto d’Archi, by the Swedish composer Anders Eliasson, and discussions of music as action, music as emotional expression, music as motion and music as mimesis are based on the four movements of this string quartet. The methods which are used are the very ones the project examines, namely the analysis of and the reflection on the musical work. The author has attempted to gain a deeper knowledge of the work and its possible interpretations by means of a comparative study of other music and literature within the theory of music and within philosophical thinking. The hermeneutics of Hans–Georg Gadamer and Paul Ricoeur are significant to the thesis. For example, the author claims that Ricoeur’s concept of interpretation, in which understanding interacts with explanation, and where the interpreter “appropriates” the text, could be applied to musical interpretation. References in music, or in artworks in general, to phenomena, actions and concepts may be explained through the concept of mimesis. Within the doctoral project, the author has worked with chamber ensembles in the form of seminars at the Academy of Music and Drama, the University of Gothenburg. One of the central claims of the thesis is that the musical work opens up to the possibilities of interpretation through its own way of being, in the way it expresses itself in its structures. Questions of the significance of music must be posed to the musical work itself, which answers through different categories of interpretation; it is by means of these categories of interpretation that the meaning and significance of a musical work can be interpreted. Four categories are presented: processual interpretation, narrative interpretation, characterial interpretation and emotional interpretation.Item Att ge form åt musikaliska gestaltningar. En socialsemiotisk studie av körledares multimodala kommunikation i kör(2009-08-27T15:17:40Z) Sandberg Jurström, RagnhildThe purpose of this thesis is to identify and describe how musical interpretations and performances are semiotically designed and realised by choir conductors in their interaction with choir singers during rehearsals and concerts, and also to find methods for how these actions can be analysed and described. The data consists of video-recorded rehearsals and concerts with six Swedish professional choir conductors and their choirs. The video films are transcribed in detail, with focus on how semiotic modes, such as gestures, gazes, body movements, singing, printed score and piano-playing, are used when choir conductors in their interaction with choir singers work with a musical composition. The study uses a multimodal and social semiotic theory, which implies that communication and learning is seen as a social process of transformative sign-making. The concept design is central since it is a way for sign-makers to create different communicative conditions for meaning-making, based on their interests and choices of modes. The analyses focus on how choir conductors in their use of different modes perform and illustrate the music, how they interact with the choir singers, and how their actions are realised in different designs. The analyses also focus on what cultural conventions surround the actions that occur. The thesis brings light to the complexity and multiplicity of an audiovisual culture, where choir conductors in their use of different repertoires of action and designs constantly vary how they perform and illustrate the music. The results show how these actions afford various choices and conditions for the choir singers to learn and perform the music, how a collective and local musical language is constructed and how the dominant positionings of the conductors can be seen as productive leadership.Item Art and the Real-time Archive: Relocation, Remix, Response(2009-09-11T15:33:15Z) Crawford, DavidIf Internet artists have recently relocated their work to galleries and museums, there has meanwhile been an increasing engagement on the part of gallery artists with the media. While these migrations are often discussed in aesthetic if not economic terms, this essay asks what such phenomena can tell us about the changing nature of subjectivity in relation to media and technology. Three main themes are introduced: the aura of information, inscription technologies, and the real-time archive. The themes extend across subsequent chapters addressing: the relocation of net art, the remix as an art method, and the capacity of the subject to respond to technology. !e idea that technologies alter subjects (produce subject-effects) plays a central role in the arguments advanced. Examples are drawn from both the author’s own art practice as well the practice of others, including Phil Collins and Steve McQueen. Theorists including Lewis Mumford and Bernard Stiegler are used to interpret the questions raised by this practice. It is concluded that relocation and remixing can respectively aid in the apprehension of subject-effects and support subjective autonomy.Item Concrete Fashion: Dress, Art, and Engagement in Public Space(2009-12-11T11:41:02Z) Eriksson, Kajsa G.This dissertation is an example of artistic research that explores the border between fashion design and contemporary art, in order to place situated bodily practices within the larger field of exploration and ideology, and to discover new formats. The activities engaged in explore the dressed body as a contemporary art medium, and the performances are carried out in public space and within everyday life. The research utilizes ‘the itinerary’, put forward by Certeau, as a metaphor for its prevailing methods. Three extensive art projects are presented within the dissertation: THREE, the Mirror Brooch, and Transformers. The first project concerns exhibition of the intermediate art form of the dressed body in the institutions of art, in this example, the gallery space; the second involves the presentation and use of the Mirror Brooch and examines art as an everyday life experience; and the third entails performances, staged in various locations and featuring the Transformer Jackets, and which are viewed as explorations into public space. The relationship between experience, on one hand, and representation and documentation, on the other, is treated as a translation; a translation meant to be ‘haunting’, and one which feeds energy back into the ongoing artistic process. The conclusion is that, both, performances and translations can be used to strengthen identity and engagement in public space.Item Kroppar under träd - en miljö för konstnärlig forskning(2010-02-02T10:45:27Z) Benesch, HenricThis dissertation in the field of artistic research is an articulation, in words and images, on the experience of working with a notional environment for artistic research. It is not a reflection on or a description of the process which the work has involved, but above all an articulation, characterisation and development, in words and images, of the conceptual and pictorial world constituted during, through and in the course of the actual work on an environment for artistic research in Vasaparken, Göteborg. The work is the design of a design process or, in the words of Aristotle, a form of poetic, in which great importance has been attached to making the special relationship between the concrete project and the text as clear as possible. Underlying this concrete work is an interest in the fundamental issue of the dynamic relation between activities (people), environments (buildings) and outward circumstances in perspectives of change. These issues are of a general nature but are especially relevant in relation to the emergence of new fields and practices, as in the case of artistic research. That is to say, fields, activities and practices which are more open by nature and more amenable to change than is usually the case with established fields, activities and practices. This work can also be viewed as a form of travel report, both general and specific, in the hope that it can be used as a form of guide book, to be read by those similarly interested and wishing to undertake corresponding journeys, but it can also serve as travel literature for those interested in the places or in travel as such.Item Samtal om samspel. Kvalitetsuppfattningar i musiklärares dialoger om ensemblespel på gymnasiet(2010-03-15T15:32:02Z) Zandén, OlleThe purpose of this thesis is to analyse music teachers’ collegiate discourses on ensemble playing with regard to dialogically expressed criteria and conceptions of quality, and to relate these criteria and conceptions to the national governing documents for upper secondary ensemble education. The study has two theoretical perspectives, that is, a didactical perspective and a dialogical perspective. The research setting as well as the research questions are clearly didactical, whilst dialogical theory is used both as a foundation for the research method and as an ontology against which the findings are interpreted. Topic analysis, which is based on a dialogical theory of sense-making according to which meaning is constituted in a double dialogical process between interactants, situation and socio-cultural traditions is the method used. Four groups of music teachers have discussed video excerpts of popular music ensembles from ensemble classes, and these discussions have been analysed with respect to topics displaying conceptions of musical and didactical quality. Topics are created through communicative projects, in which two or more people display a mutual understanding of what they are talking about. Thus, all conceptions of quality elicited from the participant groups of ensemble teachers are the result of intersubjective sense-making. The results show that the ideal of informal music-making is so strong that the groups describe teacher intervention as detrimental to musical progress. Very little is said about the sounding music, whereas physical expressivity, autonomy and joy of playing are prominent topics. The apparent lack of music-specific, “contextual” criteria and the low valuation of the teachers’ work are discussed as possible threats to the existence of music as a subject in the national curriculum.Item Sångaren på den tomma spelplatsen - en poetik. Att gestalta Gilgamesheposet och sånger av John Dowland och Evert Taube(2010-04-23T10:33:47Z) Kristersson, SvenThe aim of this doctoral project is to explore an expanded role of the singer in an artistic field situated between poetry, theatre, music and reflection. The project consists of three parts: Firstly, three performances of songs and poetry: (a) Me, Me and None but Me!, a blank-verse monologue connecting songs of John Dowland, (b) Gilgamesh – The Man Who Refused to Die, a musical version of the Babylonian Gilgamesh Epic, and (c) The Poet and Time, interpretations of works by the Swedish chansonier Evert Taube. As artistic methods, I use the Shakespearean traditions described in Peter Brook’s The Empty Space. Within these traditions, scenic communication is established using verbal imagery instead of a stage set. Secondly, a thesis, where I describe the working process of the performances as a series of problem-solving. I also compare my performances to performances by contemporary artists. In the thesis, I also apply a method of inquiry in which I use the Orpheus myth as a means of understanding the expanded role of the singer. Thirdly, a film by Lars Westman. The DVD contains excerpts from the performances and interviews with me, conducted by Westman and by the Norwegian singer and researcher Astrid Kvalbein. The results of my research are firstly manifest in the performances themselves. Secondly, the written descriptions articulate a synthesis of artistic knowledge which has not previously been collected in one publication. Thirdly, the comparing of the Dowland performance with other performances constitutes a mapping of new forms of presenting lieder on a national level. The comparison with a Palestinian Gilgamesh performance gives new knowledge about how Western theatrical traditions are combined with Arabian storytelling tradition in an international context. Fourthly, the Taube performance implies new results in literary scholarship. Finally, the inquiries into the use of the Orpheus myth show that the mythic figure can be seen as an embodiment of “knowing-in-action”. Thus, the thesis establishes a link between practice-based research and mythology as embodied knowledge.Item You Told Me – work stories and video essays / verkberättelser och videoessäer(2010-05-06T10:32:45Z) Bärtås, MagnusYou Told Me is a practice-based research project and consists of three video biographies (the Who is…? series), and two video essays (Kumiko, Johnnie Walker & the Cute (2007), Madame & Little Boy (2009), an introduction with a contextualization and methodology of the field, and three essays. The dissertation is an observation and analysis of certain functions and meanings of narration and narratives in contemporary art, as well as being an experiment with roles, methods, actions, and narrative functions in an artistic medium – the video essay. Using the methods of “pilgrimage” (Chris Marker) and essayistic practices, and by revisiting and retelling biographies, this work tries to find a place in between collective and personal memory. During the practical process and the reflective theoretical work the different elements or instances of the video essay are identified: the subject matter, the images (the representation), the artist/author, the narrative/text, and the narrator/voice. In documentary film the lack of natural correspondence between these entities is often dissolved or denied – this work instead exposes the instances as separate units. A question arises: What alternative roles can be established between these elements, for example by negotiation and transference between them? The methodological part of the text focuses on the conceptual invention made during the process, which I have called work story [verkberättelse]. A work story is a written or oral narrative about the forming of materials, immaterial units, situations, relations, and social practices that constitutes, or leads to, an artwork. By discussing analogies between storytelling, collecting, and biographical accounts together with examples from conceptual art, the dissertation shows how the work story is not only crucial for the understanding of the artwork but that the act of making and the very order or sequence in which the making proceeds often have symbolic, metaphorical, metonymical, political, and even epistemological meanings. In an extended form a work story disseminates meaning rather than capturing it. This is the essayistic work story that permits a writer/artist to wander off and touch upon a subject as if in passing, reproducing its neglected genealogy and destiny in the detailed materiality of the work story.Item Att peka ut det osynliga i rörelse: En didaktisk studie av taktart i musik(2010-09-30) Wallerstedt, CeciliaThe aim of this study is to examine what constitutes being able to discern time in music, as seen from the learner’s perspective. Listening is not only regarded as a higher mental process but also as a core skill in musical ability. Participants in the empirical study are 3 teachers and 27 children in a preschool class and in primary school. Three lessons aimed at facilitating children’s ability to discern time are analysed. The data also consists of interviews with the children. The theoretical framework for the study is variation theory. Four critical aspects of the object of learning have become apparent: to be able to discern stressed beats, the auditory meaning of keeping time and the continuous aspect of pulse; of critical importance is also to be able to separate the metrical aspect of the music from different forms of representing it, such as clapping or drumming. It is suggested that mediating tools, such as time, constitute important learning objects in music education. The teacher’s task is to point out what is invisible in the music and also what is invisible to the children. This can be done with the help of visual representations of auditory aspects, patterns of variation and verbal dialogue.