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  • 51.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Matiushin's Colour Theory: Expanded Optics in Application: A comparison with Chevreul, Ostwald, and Albers2015In: Colour is Optics / [ed] Serge-Aljosja Stommels, Albert Lemmens, Eindhoven: Van Abbemuseum , 2015, p. 24-37Chapter in book (Other academic)
  • 52.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Matiúsjins färglära1994In: Färgnotiser, ISSN 0283-507Xf, no 35Article in journal (Other (popular science, discussion, etc.))
  • 53.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Matiúsjins färglära1993In: Paletten, ISSN 0031-0352, Vol. 212, no 1, p. 28-29Article in journal (Other (popular science, discussion, etc.))
  • 54.
    Tillberg, Margareta
    Växjö universitet, Sverige.
    Michail Matjuschin und das Studium der Farbe2005In: Licht und Farbe in der russischen Avantgarde: die Sammlung Costakis aus dem Staatlichen Museum für Zeitgenössische Kunst Thessaloniki / [ed] Miltiades Papanikolaou, Köln: DuMont-Literatur-und-Kunst-Verl. , 2005, p. 194-202Chapter in book (Refereed)
  • 55.
    Tillberg, Margareta
    Växjö University, Sweden.
    Reception of Wilhelm Ostwald in Soviet Russia2005In: 10th Congress of the International Colour Association: Proceedings Book / [ed] Juan L. Nieves, Javier Hernández-Andrés, Granada, Spain: Comité Español del Color , 2005, Vol. 2, p. 1615-1616Conference paper (Refereed)
  • 56.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Stalins regissörer: om bröderna Stenbergs massparader på Röda Torget i Moskva1999In: Månadsjournalen, ISSN 0349-4225, Vol. 2Article in journal (Other (popular science, discussion, etc.))
  • 57.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Laws Governing the Variability of Colour Combinations: Colour Handbook. Excerpts2015In: Colour is Optics / [ed] Serge-Aljosja Stommels, Albert Lemmens, Eindhoven: Van Abbemuseum , 2015, p. 38-50Chapter in book (Other academic)
  • 58.
    Tillberg, Margareta
    Centre for Baltic and East European Studies (CBEES), Södertörn University, Sweden.
    Tsvet i forma: M. Matiushin i V. Kandinski2012In: Vozvraschenie avangarda: materialy mezhdunar / [ed] A.E. Parnis, A.L. Yavorskaya, Odessa: Izd. tsentr Deluxe , 2012, p. 263-269Chapter in book (Refereed)
  • 59.
    Tillberg, Margareta
    Södertörns högskola, Sverige.
    Utan perspektiv blir föremålen stumma2012In: Svenska dagbladet, ISSN 1101-2412, no 10 marsArticle in journal (Other (popular science, discussion, etc.))
  • 60.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Weiss: Komposition. Spannung. Balance. Licht2014In: Der Weisse Abgrund der Unendlichkeit: Kandinsky, Malevitsch, Mondrian / [ed] Marion Ackermann & Isabel Malz, Köln: Snoeck , 2014, p. 57-77Chapter in book (Refereed)
  • 61.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    White: Composition. Tension. Balance. Light2014In: The Infinite White Abyss: Kandinsky, Malevich, Mondrian / [ed] Marion Ackermann & Isabelle Malz, Köln: Snoeck , 2014, p. 247-260Chapter in book (Refereed)
    Abstract [en]

    »The white, free abyss – infinity lies before us«, according to Kazimir Malevich in 1919 when describing his use of white as a monochrome ground in »Suprematist painting« and as a surface in front of which his geometric shapes seem to float weightlessly. For Wassily Kandinsky, the compositional white area in his expressive abstractions was the all-important opening of pictorial space through which the complexity of the world was to be reflected synaesthetically and thereby art simultaneously ranked alongside science. Piet Mondrian, for his part, tried to find universal harmonies through the depiction of mathematical problems behind visible phenomena. His exploration of »non-colour« in his grids of black lines and primary coloured surfaces forms a »neoplastic system« devoid of any representational function and is unique in the history of painting. On the occasion of the 2014 Quadrennial, the Kunstsammlung Nordrhein-Westfalen will premiere an attractive synopsis the work of these three great artists, considered the most prominent pioneers of the avant-garde and of abstraction in the twentieth century. The show will focus upon selected major works and the complex issue of white surfaces, all which is meticulously recreated the catalogue. The discussion of materiality and immateriality of the colour white arising here is also reflected in the latest research results from the restoration process. This leads to some surprising answers that are treated separately. If the colour white provided an umbrella for art, science and parareligions, did it necessarily have to function as a symbol of a future world?

  • 62.
    Tillberg, Margareta
    School of Design, Linnaeus University, Växjö, Sweden.
    Why is design "Made in the USSR" invisible in design history2013In: Crafting the Future: 10th European Academy of Design Conference: Proceedings, 2013, p. 1-12Conference paper (Refereed)
    Abstract [en]

    The invitation text to this conference asks whether the "core activities" of design and designing have changed over time. But is there even any common platform shared by design historians from where such a question can be asked? In order to find out this out, we need to look closer at what constitutes that very canon of design history.

    This presentation will explore why design made in the USSR has hitherto been little visible in the literature of design history. Is the exclusion of design made in the Eastern Bloc from the design history canon due to a belief that little existed apart from inept copies made from blueprints of western originals, thus not interesting enough to analyse? Or is the reason for the due to a concept that design did not play an important role in the Soviet Union?

    Founded in Moscow in 1962, VNIITE, the Russian abbreviation for the All-Union Scientific Research Institute for Technical Aesthetics, quickly expanded to include thousands of collaborators into what became the biggest institute for industrial design worldwide, and promoted a new attitude towards industrial production. Thus with design then obviously having implications in the Soviet Union, - what tools would be required to make this design as it was developed in the USSR, visible on its own terms? And could it even be so that there is something for us to be learned from the design experience from behind the iron curtain?

  • 63.
    van Dam, Bianca
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Disney's Fashionable Girls: Signs and symbols in the costume dress of Disney's female characters.2014Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject. 

  • 64.
    Vernier, Michelle
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Design i cirklar: En studie i cirkulär designs inverkan på klädindustrin.2018Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
  • 65.
    von Wachenfeldt, Paula
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Fashioning the Self in Pre-Modern and Post-Modern Society2012In: Proceedings CIMODE 2012: 1º Congresso Internacional de Moda e Design / [ed] A. C. Broega, K. Castilho, J. Cunha, B. Providência, Guimarães: Universidade do Minho , 2012, p. 1362-1371Conference paper (Refereed)
  • 66.
    von Wachenfeldt, Paula
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Myth of Luxury in a Fashion World2018In: Fashion, Style & Popular Culture, ISSN 2050-0726, E-ISSN 2050-0734, Vol. 5, no 3, p. 313-328Article in journal (Refereed)
    Abstract [en]

    If luxury is more relevant today it is perhaps due to its ubiquitous presence. This study examines the meaning of luxury and the myth that surrounds the exclusive goods. How do we classify luxury in relation to fashion? And how can we recognize a luxury item when most of the houses apply the same selling strategies as the ones of the fashion industry? A semiotic analysis of three luxury houses helps us to map out this blurry landscape and this by looking first at the sociocultural signs that are characteristic of a luxury brand, and second, by exploring today’s representations of luxury brands on the market. Findings indicate that the luxury label today can in reality only be restricted to a few houses while the myth of luxury is still trying to blow life in the consumer’s mind.

  • 67.
    Vänskä, Annamari
    Stockholm University.
    Seducing children?2011In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, ISSN 1100-2573, Vol. 16, no 2–3, p. 69-101Article in journal (Refereed)
  • 68.
    Wallenberg, Louise
    et al.
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Nordic Fashion Studies2012Book (Other academic)
  • 69.
    Wang, Jinyi
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Crafting Movement: Moving Image Collections for Interaction Design2018Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    This thesis conceptualises, investigates, and reflects on the moving image design space in Human-Computer Interaction (HCI). Motivated by the increasing number of videos, films, and animations produced in the field, the thesis recognizes moving image making as a designerly way of inquiry across research and practice, and argues for the importance of moving image as a research topic in interaction design. 

    The first contribution of this thesis is the conceptualization of the moving image design space. The growing body of moving images, varying in forms and purposes, can be held together to establish a foundation of knowledge that informs and generates new research and practice. We identify four collections of existing works and their different roles, namely moving image as design technique, design element, design exhibit, and design promotion. The second contribution is the manifestation of moving image making through concrete design studies. These exemplars empirically demonstrate how they investigate, enrich, and challenge the four established collections, and ultimately expand the moving image design space. 

    These contributions not only provide new knowledge on moving images for better understanding their various roles in interaction design and making works that respond to emerging design opportunities, but also foreground the discussion on the mediation aspect of moving image in HCI.

  • 70.
    Wang, Jinyi
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Juhlin, Oskar
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Fashion, Fiction, Function: Mediating Wearable Design Through Fashion Film2017In: NORDES 2017: DESIGN+POWER, 2017Conference paper (Refereed)
  • 71.
    Werner, Jeff D
    Stockholm University, Faculty of Humanities, Department of Art History.
    Blond design2014In: Skiascope, ISSN 2001-8738, no 6Article in journal (Other academic)
12 51 - 71 of 71
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