Change search
Refine search result
45678910 301 - 350 of 2324
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 301. Burke, Michael
    et al.
    Kuzmičová, Anežka
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Mangen, Anne
    Schilhab, Theresa
    Empathy at the confluence of neuroscience and empirical literary studies2016In: Scientfic Study of Literature, ISSN 2210-4372, E-ISSN 2210-4380, Vol. 6, no 1, p. 6-41Article in journal (Refereed)
    Abstract [en]

    The objective of this article is to review extant empirical studies of empathy in narrative reading in light of (i) contemporary literary theory, and (ii) neuroscientific studies of empathy, and to discuss how a closer interplay between neuroscience and literary studies may enhance our understanding of empathy in narrative reading. An introduction to some of the philosophical roots of empathy is followed by tracing its application in contemporary literary theory, in which scholars have pursued empathy with varying degrees of conceptual precision, often within the context of embodied/enactive cognition. The presentation of empirical literary studies of empathy is subsequently contextualized by an overview of psychological and neuroscientific aspects of empathy. Highlighting points of convergence and divergence, the discussion illustrates how findings of empirical literary studies align with recent neuroscientific research. The article concludes with some prospects for future empirical research, suggesting that digitization may contribute to advancing the scientific knowledge of empathy in narrative reading.

  • 302.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Albert Löfgren (1872−1930)2016Other (Other academic)
    Abstract [sv]

    Gustaf Albert Löfgren (f. Andersson Gren) föddes 21 september 1872 i Hasslösa, Västergötland, och dog i närliggande Eggby 4 januari 1930. Han var musiker, dirigent, tonsättare och arrangör. På klarinett var den mångsidige instrumentalisten Löfgren en av sin tids mest framstående solister. Han skolades inom militärmusiken, medan kompositionerna utgick från folkmusiken. Rapsodierna SlåttergilleSvensk fantasi och Forna dar fick ett brett erkännande i samtiden.

  • 303.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Björn Schildknecht (1905-1946)2015Other (Other academic)
    Abstract [sv]

    Björn Albert Schildknecht, född 7 juni 1905 i Stockholm och avliden där 10 juli 1946, var tonsättare, arrangör och kapellmästare. Hans kompositionsverksamhet utvecklades huvudsakligen inom film- och teatermusik, men han komponerade även symfonisk orkestermusik, piano- och kammarmusik, schlager, sånger och visor. Hans symfoni tillhör de mer experimentella symfoniska verk som skrevs i Sverige under 1930-talet. Operan Giorgione väntar fortfarande på sitt uruppförande.

  • 304.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    En aktuell vetenskap om musiken: Är musikvetenskaplig forskning om nutidens musiksamhälle möjlig?2016In: Musikliv i snabb förändring – hur förändras forskningen?: Konferensbidrag, 2016, p. 10-10Conference paper (Refereed)
    Download full text (pdf)
    fulltext
  • 305.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Experimentell musikproduktionsvetenskap som kulturforskande musikvetenskap: Ett produktionsperspektiv på musik2015In: Dansk Musikforskning Online, E-ISSN 1904-237X, p. 7-27Article in journal (Refereed)
    Abstract [en]

    The article discusses how musicological research on recorded music and “Music Production Studies” perspectives, respectively, together can help shape a media and production-centered research paradigm in musicology. It begins with an overview of how the production of music has been studied as a scientific object. A proposal is presented on how the interdisciplinary field of research – studying production of music and the mediatization of recorded music – can be developed into a broader media paradigm in musicology as a discipline. “The production perspective”, which includes production as a method, is then introduced. It is exemplified by a case study. 

    Download full text (pdf)
    Experimentell musikproduktionsvetenskap som kulturforskande musikvetenskap
  • 306.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gullö, Jan Olof (red). Elva studier om kreativitet I musikproduktion. Till invigningen av Kungl. Musikhögskolans nya campus 2017. Utgiven av Kungl. Musikhögskolan, 2017. 142 s. ill.  ISBN 978-91-983869-0-52018In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 100Article, book review (Other academic)
  • 307.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gunnar Malmström (1892−1961)2016Other (Other academic)
    Abstract [sv]

    Erik Gunnar Malmström, född i Uppsala 25 mars 1892 och död i Stockholm 4 februari 1961, var tonsättare, arrangör, kapellmästare, musikdirektör och pianist. Hans viktigaste musikaliska insatser gjordes inom filmmusikens område, först inom stumfilm och sedan ljudfilm, både som arrangör och tonsättare. Han var en varm anhängare av konsekvent tillämpad wagneriansk ledmotivteknik i filmmusiken. Som tonsättare av konstmusik skapade han också flera kammarmusikverk och melodramer.

  • 308.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Helmer Alexandersson (1886-1927)2015Other (Other academic)
    Abstract [en]

    Karl Helmer Alexandersson, born on 16 November 1886 and died in Stockholm on 24 December 1927, was a composer and violinist. During his life he gained considerable success both with his second symphony and his film music, although without achieving true recognition. Within film music he was one of the most important Swedish pioneers. However, he died early, at the age of 41 in extreme poverty.

  • 309.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hjalmar Meissner (1885-1940)2015Other (Other academic)
    Abstract [en]

    Carl Hjalmar Meissner was born 1 March 1865 in Helsinki, Finland and died 28 May 1940 in Stockholm. He was a Finnish-Swedish pianist, conductor, arranger, composer and author. As a conductor, he worked mainly as a bandleader for military music and theatre ensembles, but also as an opera and symphony orchestra conductor. His profession as a composer arose mostly from his work as pianist and conductor. He was married to operetta singer Emma Meissner in 1899.

  • 310.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hugo Alfvén och Hans Peter Kempe: en musik- och produktionsrelation under 1950-talet med tonvikt vid körinspelningarna 19522022In: Hugo Alfvén 150 år: Ett forskningssymposium / [ed] Mattias Lundberg; Per-Henning Olsson; Anne Reese Willén, Uppsala: Uppsala universitet , 2022Conference paper (Refereed)
    Abstract [sv]

    År 1952 kontaktade musikproducenten Hans Peter Kempe, ägare till skivbolaget Discofil, Hugo Alfvén med en önskan om att han skulle leda Kempekören för några inspelningar av deras repertoar till körens tjugofemårsjubileum den 18-19 oktober 1952. Kempekören (eller - körerna) hade initierats av disponenten för Mo & Domsjö Carl Kempe – Hans Peters far – och bestod av sångare värvade bland arbetare på bolagets olika sågverk i Västerbotten och Ångermanland. Inspelningarna planerades noga av Discofil och genomfördes på ett utmärkt sätt av inspelningsteamet i Husum, Ångermanland. Alfvéns fosterländska sång ”Sveriges flagga”, med text av K.G Ossiannilsson och komponerad till Sveriges flaggans dag 1916,spelades in liksom minst tre andra sånger som ”Härlig är jorden”, ”Olav Trygvason”, och "Champagnevinet". Inspelningarna släpptes i en liten upplaga och beskrevs ett år senare, 1953, som "ryktbara" och med "en vokal glans, som återspeglas på ett ypperligt sätt i inspelningarna." Med dessa produktioner inleddes ett professionellt samarbete mellan den unge Kempe och Alfvén i rollen som dirigent, som varade under resten av 1950-talet och resulterade i ett flertal utmärkta, i vissa fall banbrytande inspelningar, utgivna på 78-, ep- och lp-skivor. I presentationen diskuteras några aspekter av de mindre kända inspelningarna för kör och orkester, som producerades av Hans Peter Kempe med Alfvén, under hans sista decennium i livet.

  • 311.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Lång-Kalles och Edvins sånger: Muntligt traderad och medialiserad proletär musikkultur från skillingtryck och 78-varvsskiva till rullband och digitaliserat ljud2019In: Puls Musik- och dansetnologisk tidskrift, ISSN 2002-2972, Vol. 4, p. 47-79Article in journal (Refereed)
    Abstract [en]

    Lång-Kalle’s and Edvin’s Songs: Orally Transmitted and Mediatised Proletarian Music Culture from Chapbooks and 78’s to Tape and Digitised Sound

    In this article, etic-emic problems in the study of early 20th century Swedish working class culture are examined through the analysis of two Swedish and Norwegian proletarian songs; the navvy song “Järnvägsvisa”, from the Ofoten railway project in northern Norway in 1898–1903, and the strike song “Hamnarbetarnes Strejkmarsch”, from 1907. The songs are studied as orally transmitted and mediated tradition as well as technologically mediatised cultural artefacts. My perspective in this study is double: the songs represent working class history and the early labour movement in Sweden, but they are also a part of my own family history. The song tradition stems from Karl-Wilhelm “Lång-Kalle” Larsson, who was a navvy in Norway in 1902. Lång-Kalle learned the “Järnvägsvisa” song there, maybe from the songwriter Edvard Unger, and eventually taught his daughter Ragnhild the song, which later was recorded on reel-to-reel tape recorder in a family environment in 1970. Lång-Kalle and his brother Edvin Larsson were both well-known dockers in the Örebro port in the early 20th century. In that context the Larsson brothers were key individuals in organising the first dockers’ trade union in the town, and the strike song, “Hamnarbetarnes Strejkmarsch”, is probably connected to a conflict with English blacklegs. The “Järnvägsvisa” song was digitised from tape in 2017, and “Hamnarbetarnes Strejkmarsch” was reinterpreted as a song in 2018.

  • 312.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Minnesord: Tommy Johansson, Frösön2018In: Östersunds-Posten, ISSN 1104-0386, no 18 majArticle in journal (Other (popular science, discussion, etc.))
  • 313.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Mobile Classical Music – Recording, Innovation and Mediatization: Three Swedish case studies from the 1940’s to 20212022In: Innovation in Music 2022 17-19 June / [ed] Jan-Olof Gullö, Stockholm: Kungliga musikhögskolan , 2022Conference paper (Other academic)
    Abstract [en]

    Mobile recordings and the changing methods for producing them are as old as recording technology itself. The earliest mobile recording studios of the early 20th century found their logical technological continuation in the network studio of the 1990s and the mobile DAW (Digital Audio Workstation), where practices have evolved in the years before and after the global pandemic that began in 2020. Mobile recordings of “classical music” have been produced under various conditions using acoustic and electric, analog and digital equipment. In this paper I present and compare three Swedish cases of the mobile recording of “classical music” – interpreting the concept in its broadest sense – from the 1940s to 2021. Keywords: innovation, mobility, networks, and mediatization.

    My first case study is the record label Swedish Society Discofil and their recording tours of the 1940s. They traveled Sweden by bus and car,31producing innovative recordings of amateur choirs and orchestras performing Swedish classical music. Swedish Society Discofil first recorded on 78’s and then started to use reel-to-reel tape recorders and microphones of the highest quality. Along with labels such as Metronome, they marked the beginning of a more self-aware and confident Swedish music industry after World War II. I will focus on the lesser-known 78 recordings.

    My second case study is BIS Records, which began as a one-man Swedish company producing advanced low-budget recordings with a mobile studio. In the 1970s and 1980s, BIS made mobile recordings of international repertoire that they released first on LP and then, as one of the first companies in the world to do so, on CD. This laid the foundation for BIS to become one of the few globally successful record companies specializing in classical music. I will discuss the early LPs.

    My third case study is a modern one. During the Covid-19 pandemic, many musicians, composers and producers/engineers have tried to find new, safe ways to make music together: composers with their own labels, networks, and the formation of distance orchestras producing and releasing music through digital but non-physical distribution channels like Bandcamp. I examine a case in which aleatory symphony orchestras recorded different parts of newly written compositions in different places, after which the parts were edited by the composer/producer into electro-acoustic compositions without the musicians ever having met. Such personal flexibility is not new per se, but the combination of advanced composing techniques, mobility, flexible networks, and digital mediatization of the musical material is a progressive step forward.

    This study thus investigates the relations between mobile recording technologies and practices, innovation, networks, mediatization, and classical music in a historical context. It asks, how have all these factors affected the music? At the same time, it presents and discusses questions about the long-term impact of musical and technological innovation as well as mediatization on recorded music.

  • 314.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musik av Urminnes Hävd: perspektiv på Norrlåtars fonogramproduktion 1974-19942015In: Musikk, folk og landskap / [ed] Paal Fagerheim & Ove Larsen, Stamsund: Orkana Forlag, 2015, 1, p. 201-236Chapter in book (Refereed)
    Abstract [no]

    Denne boken belyser ulike musikkpraksiser i nordområdene. Bidragene i artikkelsamlingen kommer fra norske og svenske forskere innen musikkvitenskap og spenner fra forskning på nyere samisk musikk, rock, rap, reggae til folkemusikk.

    • Når kom egentlig The Beatles til Korgen?
    • Er Nord-Norge og Nord-Sverige preget av mer musikalsk kreativitet enn sentrale strøk?
    • Hva betyr verdensmusikksjangeren for sørsamisk identitet?
    • Kan man spille samisk musikk, uten å være same?
    • Hvorfor blir rap og reggae ofte knyttet til Bodø?
    • Hva er sammenhengen mellom følelser av vemod og nordsvensk populærmusikk?

    Alle disse spørsmålene berøres og diskuteres i denne boken, i tillegg til andre tema. Det gis ingen entydige svar, men sammenhenger mellom musikk og geografi er sentralt for mange av tekstene.

  • 315.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musik och spatialitet i 2000-talets amatör- och semiprofessionella musikproduktion2015In: Konferensbidrag: Vidgade vyer över musiken: Stockholms Universitet, november 2015, 2015, p. 8-9Conference paper (Refereed)
  • 316.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sounds and Songs from the Amateur Super Sonic Scientist(s): The Tape Recorder and Home Tape Recording Culture in Sweden 1950– 19702017Conference paper (Other academic)
  • 317.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Svedbom, Pehr Jonas Fredrik Vilhelm, Kompositör, Litteraturhistoriker, Musikhistoriker (1843 – 1904)2016In: Svenskt biografiskt lexikon, H. 168, De Suremain-Svedelid / [ed] Åsa Karlsson, Stockholm: Svenskt biografiskt lexikon , 2016, , p. 5Chapter in book (Other academic)
  • 318.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sven Sköld (1899−1956)2016Other (Other academic)
    Abstract [sv]

    Sven Josua Sköld föddes på Lidingö, Stockholm, 20 juli 1899, och avled på samma ort 23 oktober 1956. Han var cellist, dirigent och tonsättare. Sina mest betydande musikaliska insatser gjorde han som tonsättare, arrangör och kapellmästare vid Radiotjänst och som kompositör av musik till svensk ljudfilm. I båda medierna tillhör han de mest produktiva och inflytelserika musikskaparna i Sverige under 1940- och 1950-talen.

  • 319.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Svensk hifi-kultur: Alf Björnberg, 2020. En trovärdig illusion av musik. Den svenska hifi-kulturens uppgång och nedgång. Mediehistoriskt arkiv 46. Lund: Föreningen Mediehistoriskt arkiv2021In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 103, p. 129-132Article, book review (Other academic)
    Abstract [sv]

    Hifi, vad är det, varför är det viktigt? Förkortningen står för ”High Fidelity”, ”hög trohet” eller på svenska, ”hög naturtrohet”. Titeln på Alf Björnbergs bok En trovärdig illusion av musik. Den svenska hifi-kulturens uppgång och nedgång är tagen från en tidskriftsläsares definition av hifi som en ”illusion av musik”: ”Musik är live. Hifi är en plastbit och en mängd elektronik. Därav illusionen” (s. 202). De teknologier, idéer och diskurser som utgör hifi-begreppets centrala nätverk av innebörder, handlar om koncentrerat lyssnande till inspelad musik med för ändamålet dedikerad apparatur med föreställd hög ljudkvalitet eller naturtrohet vad gäller avläsning/uppspelning av mjukvara, signalbehandling, kablage och återgivning genom högtalare eller hörlurar – ett av 1900-talets centrala och särpräglade bidrag till musikens receptionspraktiker.(...)

  • 320.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The cretation (and re-creation) of virtual spatiality: Surround sound mixing in King Crimson's back catalog box sets2019In: Proceedings of the12th Art of Record Production Conference Mono: Stereo: Multi / [ed] Jan-Olof Gullö, Stockholm: Kungliga Musikhögskolan (KMH) , 2019, p. 37-53Chapter in book (Refereed)
  • 321.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The making of virtual space in the King Crimson Box sets Larks tongues in aspic: Complete recordings, Starless, Road to Red, On [and off) the Road and Thrak Box: Live and Studio Recordings 1994–19972017Conference paper (Refereed)
    Abstract [en]

    When the founding fathers of progressive rock, British (-American) group King Crimson, produced their groundbreaking LP In the Court of the Crimson king in 1969, they established an eclectic yet recognizable style, with a strong musical and production virtuosity. Continuing for four decades, they became the only band of its generation to continually developing and expanding it’s style and techniques. Their music is not easily categorized: from the advanced rock music inspired by modern jazz and art music on the first four LP albums – and a lot of changes in the band personnel and set up of instruments – the music developed in the mid 1970’s to a dynamic, experimental hard rock with an art music attitude, containing sound worlds of percussion, violins and softer melodic elements blended with heavy, rhythmically complex, asymmetrical guitar riffs: The albums Larks tongues in aspic (1973), Starless and bible black (1974) and Red (1974) was highly influential. When the band was reformed with partly new musicians in 1981, they arrived with a different, of New wave and minimalism, influenced style. In a short span of three years, 1981–1984, they released albums Discipline, Beat and Three of a perfect pair, and reformed once more in 1994 to release the CD Thrak.   

    Importantly, in the same period they managed to take total creative and commercial control of all their recorded output, and it put them in a uniquely strong independent artistic position, connected to their loyal followers. Guitarist Robert Fripp, together with producer David Singleton, started up the company Discipline Global Mobile (DGM), and took care of all the recorded material of King Crimson and their spin off projects. As a consequence, they were able to release a lot of older recordings, partly through their ”Collector’s Club”.

    From 2010 and onwards all of their back catalogue was systematically re-released, some of their albums was also re-packaged in deluxe box sets: In the court of the crimson king, Larks tongues in aspic: Complete recordings, Starless, The Road to Red, On (and off) the Road and Thrak Box: Live and Studio Recordings 1994–1997. They all covering both studio recordings and live recordings that was produced in and around the period of the original recording sessions, in a various set of mixes, alternate takes and sound codec’s. In this presentation the focus is on sketching out an analysis of the mixing strategies on the surround mixes in DTS-HD Master Audio and LPCM 5.1 Surround of the studio recordings and live recordings, as it can be heard, using models for analysis of recordings, the Representation Model and the Room Model (Burlin 2008, 2012, 2015), showing how emerging conventions for surround mixing of experimental rock music is connected to recording ideals of documentarism and hyper realism.

    Download full text (pdf)
    fulltext
  • 322.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tidig fonografi i globalt perspektiv: Elodie A. Roy och Eva Moreda Rodríguez, red., 2021. Phonographic encounters. Mapping transnational cultures of sound, 1890–1945. London & New York: Routledge Taylor and Francis Group2021In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 103, p. 167-171Article, book review (Other academic)
    Abstract [sv]

    När musik- och medieforskare vill beskriva den tidiga eran av musikproduktion och musikindustri, som enligt sedvanlig historieskrivning tog sin början med Thomas Edisons uppfinning the Phonograph (fonografen), fortsatte med Emile Berliners väsentligt utvecklade innovation Gramophone (grammofonen) och den kring detta medium uppbyggda globala musikindustrin i början av 1900-talet, har det ofta funnits en ”occidental” bias: Europa och särskilt USA har uppfattats som inte bara självklara centra i denna utveckling, utan också som de platser där de väsentligaste teknologiska utvecklingsstegen tagits och de viktigaste inspelningarna gjorts. De lokala insatser på andra platser som tidigt gjordes för att spela in musik – från Kina till Skandinavien till Afrika eller Sydamerika – har bara partiellt, om alls, blivit beskrivna och inte på egna villkor. Kanske beror snedvridningen på den occidentala laddningen i det ord, fonografi, som beskriver ”inskrivandet” av ljudvågor i ett material.

  • 323.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Till minne av Tommy Johansson: "Han glömde aldrig ursprunget i Örebro"2018In: Nerikes Allehanda, ISSN 1103-971X, no 11 majArticle in journal (Other (popular science, discussion, etc.))
  • 324.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Trådspelaren och rullbandspelaren: Interaktivitet och konvergens i tidig magnetisk amatörinspelning 1949–19752019In: Musikens medialisering och musikaliseringen av medier och vardagsliv i Sverige / [ed] Ulrik Volgsten, Lund: Mediehistoria, Lunds universitet , 2019, p. 71-104Chapter in book (Refereed)
  • 325.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Vilhelm Svedboms solosånger2018In: Levande musikarv, no 368-376Article in journal (Other academic)
    Download full text (pdf)
    fulltext
  • 326.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    “What my dream is beautiful, you are so young and warm and bright, the sun in your hair, a farewell at your house”.: The sentimental romantic songs of Calle Jularbo2023Conference paper (Other academic)
    Abstract [en]

    In Sweden, accordionist and popular music composer Calle Jularbo (1893–1966) is one of the bestknown musicians of the 20th century. This paper will present selected perspectives – on composition, lyrical content, production and mediatisation – on a smaller part of his output, namely, Jularbo’s sentimental songs.

    Download full text (pdf)
    fulltext
  • 327.
    Burlin, Toivo
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Fredriksson, Daniel
    Hållbus Totte, Mattsson
    Calle Jularbo och gammeldansen: musik, nätverk, medialisering2022In: Musikforskning idag 2022 13–15 juni 2022: Program och abstrakt, Falun: Svenska samfundet för musikforskning , 2022Conference paper (Refereed)
    Abstract [sv]

    Vad kan vi lära oss om musikens förändringsprocesser genom att studera Calle Jularbo och gammeldansen? Calle Jularbo (1893–1966) var en central musiker, kompositör och artist i populärmusikens och musikindustrins första period med inflytande under hela 1900-talet. Som framstående virtuos på dragspelet förenade han roller som svensk ”storspelman” med romska rötter, turnerande musiker och storsäljande grammofonartist, i en konstnärligt och kommersiellt framgångsrik medie-anpassad musik på internationell grund – därtill verksam i radio, film och television. I en tät kontakt med samtiden formades både artistkarriären och musikskapandet. I detta nystartade forskningsprojekt, med finansiering från Vetenskapsrådet 2022–2025, använder vi Jularbo som ett ”nyckelhål” för att undersöka hur villkoren för musikskapande förändrades med nya instrument och inspelningsteknik, nya medier och arenor samt nya förhållningssätt till komposition och upphovsrätt. Med utgångspunkt i begreppen nätverk och medialisering studeras förändringsprocesser i 1900-talets musiksamhälle. Syftet är att undersöka hur synen på musikerskap, komposition, musikalisk tradition kontra innovation, representationsformer (”levande”, inspelningar, noter) och medialisering av musik (dvs., inspelningar, radio, tv, framföranden), samverkade med hur Jularbos “Kultis” och Gammeldans uppstod och utvecklades – från det folkliga ursprunget till musikindustrins populärmusik. Målsättningen är att undersöka Jularbo och gammeldansen på både sina egna villkor och utifrån relationen till annan musik och musikindustrins framväxt, före ”det svenska musikundret”. Vi kommer kort presentera våra tre huvudteman:

    Music Production and the “Birth of Gammeldans”

    Calle Jularbo har rekord i antal utgivna grammofonskivor. Hur producerades musiken, vilken musikindustri, nätverk och miljöer möjliggjorde dem? Hur lanserades musiken i olika medier?

    Jularbo’s Musical Groove: Composition, Community, Copyright:

    Kompositioner, nätverk och upphovsrätt – hur kan Jularbos kompositioner förstås musikaliskt och upphovsrättsligt? Hur förhåller de sig till gammeldans-traditionen, hur tolkas de idag?

    Technological and Conceptual Perspectives on the Swedish Accordion:

    Jularbo populariserade i hög grad dragspelet. Vad hände sedan? Vi undersöker några av dragspelets omvandlingar intill nutiden.

  • 328.
    Burlin, Toivo
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hyltén-Cavallius, Sverker
    Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Ethnology.
    Norsk musikproduktionshistoria: Thomas Bårdsen, 2019. Sporfinnere: En undersøkelse av norsk musikkproduksjons teknologiske utvikling i et bevaringsperspektiv2020In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 102Article, book review (Other academic)
  • 329. Burman, Anders
    et al.
    Sanner, IngaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Upplysningskritik: Till Bosse Holmqvist2014Collection (editor) (Other academic)
  • 330.
    Burman, Miro
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hantverkets autenticitet: Traditionell kunskap som kulturarv i Skansens bokbinderiverkstad2021Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats handlar om autenticiteten i bokbinderiverkstaden på Skansen som immateriellt kulturarv. I uppsatsen analyseras hur autenticitet förmedlas i hantverket och hur det skapas autentiska upplevelser på platsen. Autenticiteten bevaras i hantverket och förmedlas och kommuniceras av hantverkarna. Detta förmedlingssätt förändras över tid. Autenticiteten överfördes mellan generationer genom de yrkesverksamma hantverkarna. Detta sätt analyseras inom dagens globala kontext, genom att jämföra med överföringen av hantverkskunskap inom japansk immateriellt kulturarv. Skansen är idag mer medveten om hantverkets kunskap och autenticitetsöverföring i museiverksamheten. Deras medvetenhet är ett sätt att bevara hantverkets autenticitet och att anpassa det till förändringar i samhället.

    Download full text (pdf)
    fulltext
  • 331.
    Bystedt, Britt-Marie
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Krigaren på scen: Krigarens makt och maktens krigare sedda genom scenkonstens prisma2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The warrior has played an important role in most societies, often representing power. The military/ defence system is founded more or less on the ideal of the good and noble warrior. The aim of the thesis is to examine how the warrior's power has been expressed on stage in different times and different contexts. Three perspectives are discussed: 1) The warrior in society, 2) The warrior's self-image (ethos and warrior virtues), 3) The warrior in drama and on stage. In society, warriors in uniform are one means to increase dignity and give credibility to ceremonies. Society uses the same actions as theatre – music, choreography and costumes (parade uniforms). In the thesis there are some examples from the cultural history of the warrior (uniforms, gestures, music etc.). The principal part of the thesis is a study of the warrior as theatrical motif and a discussion of a series of warrior figures in literature and drama on stage. These figures are analysed from the perspectives of masculinity, play and historiography.

    The warrior in literature and drama is rarely a hero. The thesis gives examples under the following headings. The submissive warrior: Catherine de Medici used the warrior as a pliable tool to reduce internal court quarrels, when they were commanded to participate in the court ballets. A different kind of docility in warriors is found in the nineteenth century English melodrama. The false and coward warrior: Ancient writers often used satire in their plays, and warrior figures were easy prey for this. Miles Gloriosus and the Capitain in Commedia dell’arte are two examples. The weak warrior: Anthony, in Anthony and Cleopatra by Shakespeare, is a warrior hero who abandons his wife and family to live with the Egyptian queen, attracted by the luxury and refined lifestyles at her court. The oppressed warrior: The Good Soldier Schweik, created by Bertolt Brecht after a story by Jaroslav Hasek, is an oppressed ordinary soldier in the Czech army, who faces oppression by doing exactly as he is told, and consequently is creating confusion. Georg Büchner’s drama Woyzeck contains an altogether deeper darkness. The outmanoeuvred warrior: The captains in August Strindberg’s two plays The Father and The Dance of Death are both in conflict with their wives but lose their fights. The optimistic warrior: Chekhov introduces in the play Three Sisters two warriors with bright visions of the future but also tells the audience that life can be a tragedy.

    To portray the good and noble warrior is of course possible but it is seldom dramatic, whilst weak and lovesick, false and treacherous warriors are dramatically effective. The theatre's tradition of subversion is a variety of the ancient custom of 'turning society upside-down' during Lent, analysed by Michail Bakhtin in Rabelais and his World. The theatre is also a microcosm. The performing arts make use of the individual to criticize the whole. In drama, it is the individual warrior who bears the responsibility without the need to say anything about the armed forces. Sometimes this is done through the mirror of laughter. When the warrior is seen through the theatre's lens, the picture is enlarged and – according to physical principles, at a certain distance – shows the warrior as part of the upside-down world.

    Download full text (pdf)
    Krigaren på scen
    Download (jpg)
    Omslagsframsida
  • 332.
    Bäckbro, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Samtidens museum i det historiska Rom: En historisk analys av MAXXI och dess relation till arkitekturtypen konstmuseum2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    De senaste trettio åren har det samtida museet präglats av dramatisk arkitektur och utmanande utställningsytor. Ett av dem är konstmuseet MAXXI i nordvästra Rom från 2010. Denna uppsats formas av intresset hur samtida arkitektur relaterar till en historisk utveckling av arkitektur, form och design.Syftet med denna kandidatuppsats är att undersöka MAXXI och dess relation till arkitekturtypen konstmuseums utveckling och ideal. De tre grundläggande frågeställningarna berör de historiska referenserna i arkitekturen, hur de relaterar och skiljer sig gentemot två andra utmärkande arkitektoniska verk av samma typ och hur arkitekturen påverkar konstens performativa förutsättningar på MAXXI.Utifrån Andrew McClellans översiktsverk på museibyggnadens historia och Carol Duncans institutionskritiska perspektiv analyseras MAXXI i relation till arkitekturtypens historiska kontext utifrån en formanalys. Resultatet visar på hur dess historiska referenser i estetiken hänvisar till en förlängning av Roms aarkitekturhistoria samtidigt som det pekar på arkitekturtypens olika arkitektoniska principer genom historien. I en komparativanalys med Museo Guggenheim Bilbao och Centre Pompidou Paris upptäcks flera likheter som berör estetik, ideologi och samhällelig påverkan. Den stora skillnaden upptäcks vara relationen mellan exteriör och interiör. I dialog med Charlotte Klonks forskning diskuteras skillnaden i förhållande till arkitekturens performativa egenskaper och arkitekturtypens kontext och utveckling. Resultatet visar på en skillnad mellan olika samtida museer och hur mer forskning på arkitekturtypens utveckling är nödvändig.I förhållande till de två analyserna och resonemanget om förhållandet mellan exteriör och interiör, går Mieke Bal och Carol Duncans performativa teorier på arkitektur och konst i dialog med varandra. Resultatet påvisar att konstens performativa förutsättningar på MAXXI formas av arkitekturens performativa egenskaper och ramverk. Det skapar en kommunikation mellan konst, arkitektur och betraktare.

  • 333.
    Bäckman Sanne, Alva
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    No postmodernist goes to heaven: En analys av döden som tematik i tre samtida konstverk2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

     Art history is riddled with existential questions hiding just beneath the surface of the subject matter, that is, the physical objects being created. This is true for the centuries-old, as well as the contemporary, and picking apart the materiality of works of art can reveal the value of using art as a medium to understand and work through the concept of death in relation to our own human existence. This paper constitutes a thorough, material analysis of three works of art created (or finished) in the last 20 years, specifically focused on the topic of death. The works examined are Roman Opalka’s conceptual lifetime project 1 to Infinity, Morgan Quaintance’s video artwork Efforts of Nature and El Anatsui’s site-specific sculpture Fresh and Fading Memories in Venice, Italy. As well as materiality, contextual aspects of the works are considered for this analysis, this to help make concrete and coherent the narratives and stories that make up the works themselves. These narratives are what this paper is aiming to decipher.

    Download full text (pdf)
    fulltext
  • 334.
    Bäckström, Anders
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Spelrum gatan: Strategier, gränser och motsättningar i spelhändelser genomförda på 2010-talets Södermalm i Stockholm2023Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of the thesis is to shed light on the processes produced when collective performances, here conceptualized as playing events, are performed in urban space in a specific city area, Södermalm in Stockholm between 2012 and 2017. By analyzing urban space as a changing and contradictory space, the study shows how playing events transform everyday space into a playing space. The transformation is decoded through the observation of playing strategies, embodied in the visual and auditory markings of the participating bodies. The study proposes the use of terms based on the verb playing. The term playing event is used in the thesis to refer to collective performances outside a regular theatre context. The use of the term broadens the understanding of what can be included in the concept of theatre. A theoretical pillar is formed by the theatre scholar Willmar Sauter's theory of the theatrical event, developed in the thesis through the concept of playing event. The second framework is provided by sociologist Henri Lefebvre's theories of social space and the right to the city. The study discusses the question of intervention, legality and civil disobedience and how embodied collectivity can emerge as an alternative to the gentrified lifestyle, which is growing strong, in terms of individualization and commodification, in Södermalm in the 21st century. The material of the thesis consists of four mobile playing events: The Supporter´s March, which is a football supporter´s event, secondly, a Catholic procession called Lord of the Miracles of Nazarenas, thirdly, the bicycle manifestation Critical Mass and finally The Pride Parade, a well-known street parade celebrating the hbtqi-community. These four events occupy the urban street with different strategies, thereby producing a variety of border crossings and contradictions. The thesis decodes communication processes between players and spectators and uncovers the dynamic processes between everyday life and playfulness that is produced during performances. The study is the first in the Swedish language to consistently use designations based on the verb playing for collective performances. It is the first study in the Swedish language to analyze, from a perspective of theatre studies, strategies, boundaries and contradictions in urban space when playing events are performed. 

    Download full text (pdf)
    Spelrum gatan
    Download (jpg)
    presentationsbild
    Download (pdf)
    errata
  • 335.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Art + Archive: Understanding the Archival Turn in Contemporary Art2022Book (Refereed)
    Abstract [en]

    Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.

  • 336.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Critique and Post-critique in Contemporary Art History: Excessive Attachment to Suspicion in Academia and Beyond2021In: Arts and Humanities in Higher Education, ISSN 1474-0222, E-ISSN 1741-265X, Vol. 20, no 1, p. 42-65Article in journal (Refereed)
    Abstract [en]

    This essay offers a broad look at the way critique as amode,method, and attitude in postwarart history research and teaching intersects with occurrences of critique in humanitiesscholarship and teaching generally, but also how distorted forms of critique occur incontexts outside the academic field. The essay outlines concerns raised by humanitiesscholars with what they consider to be an over-reliance on critique as a negative skill,resulting in scholarship that tears down without building up, and self-satisfied debunkingof anything that does not stand up to the current era’s identity politics. The essay arguesthat the question of critique is of particular urgency to the field of contemporary art.Here critique is embedded in the material studied—artworks, artistic practices, anddiscourses—and therefore in dire need of being understood, challenged, and decenteredas a method.

  • 337.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Depletion of Identity, Productive Uncertainty, and Radical Archiving: New Research on the Archival Turn2017In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 86, no 4, p. 330-338Article, review/survey (Refereed)
  • 338.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Exhibitions and Conferences Looking Outside the Cathedrals. CAA Annual Conference, New York City, 11-14 February 20152015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 4, p. 239-243Article in journal (Refereed)
  • 339.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    I efterklangen av det omtumlande 60-talet2021In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 340.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Please Take it & Re-use It: Muybridge’s Motion Studies at Work in Present-day Visual Culture2022In: Media Theory, ISSN 2557-826X, Vol. 6, no 1, p. 45-72Article in journal (Refereed)
    Abstract [en]

    This essay examines three instances where Eadweard Muybridge’s motion studies have been referenced and reused in present-day visual culture—a scientific experiment that encoded a GIF of a galloping horse into bacterial DNA (2017); a project where multiple frames from the horse-in-motion series were tattooed onto eleven different people (2014); and an activist video that used images of animals from the series to argue for the urgency of species extinction and environmental catastrophe (2019). The author’s central argument is that, in addition to the more or less clearly stated intentions of this image-use, these transmediations of Muybridge’s historical photographic images also activate and extend questions and concerns from recent media theory: contributing to notions such as image ecology and image liveness, and proposing challenges to established distinctions between new/old media, still/moving images, and material/immaterial media qualities. A further suggestion is that their ability to carry out complex theoretical work relating to present-day media practices can help explain why these images have come to have such staying power in visual culture a century and a half after they were first made.

    Download (pdf)
    please take it
  • 341.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Referenshantering: lager, ekon och reflektioner i Lina Selanders Model of Continuation2019In: Kontextualisering: teoretiska tillämpningar i konstvetenskap 2 / [ed] Hans Hayden, Stockholm: Stockholm University Press, 2019, p. 171-202Chapter in book (Refereed)
    Abstract [sv]

    I ”Referenshantering: Lager, ekon och reflektioner i Lina Selanders Model of Continuation” diskuterar Sara Callahan ett samtida konstverk utifrån tre olika kontext- och referenslager. Som titeln antyder ligger fokus på Lina Selanders videoverk Model of Continuation (2013) som i texten fungerar som ett typexempel på en samtida konstpraktik som bearbetar och re-kontextualiserar existerande bilder och filmfragment, i det här fallet varvat med konstnärens nyfilmade material. Denna praktik kan sägas bygga vidare på 1970- och 80-talets approprieringspraktiker, men med en tydligare fokus på bilders funktion i historieskrivning och en komplex själv-reflexivitet där bilden blir synlig som just konstruerad bild, alltid filtrerad genom visuella teknologier. Här innefattar och innefattas varje bild av olika ramar, temporaliteter och referenser, vilket innebär en rad specifika utmaningar för den konstvetenskapliga tolkaren. Kapitlet diskuterar hur ett verk blir betydelsebärande genom att kontextualiseras utifrån tre olika infallsvinklar. Den första delen diskuterar kontextualisering i relationen mellan text och bild i verket. Den andra delen använder begreppet montage för att dels diskutera sammansättningen av olika bilder och filmfragment, dels för att analysera det specifika verket i relation till konstnärens hela oeuvre. Kapitlets tredje del analyserar verket i relation till vidare konst- film- och fototeoretiska diskussioner. 

    Download full text (pdf)
    Callahan-Referenshantering
  • 342.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "The Analogue": Conceptual Connotations of a Historical Medium2018In: The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection / [ed] Sonya Peterson, Christer Johansson, Magdalena Holdar, Sara Callahan, Stockholm: Stockholm University Press, 2018, p. 287-320Chapter in book (Refereed)
    Abstract [en]

    This essay considers how a number of artworks mobilize what is tentatively termed “the analogue.” “The analogue” highlights artistic practices that implicitly or explicitly evoke themes and concepts associated with analogue photography. The essay argues that the so-called digital turn opens the possibility of tapping into analogue photography as a conceptual and cultural sensitivity distinguishable from the technique. It is the discourse of analogue photography that is key, not the technological process itself—therefore “the analogue” can be evoked also in works that are produced digitally. The essay explores how “the analogue” can be a productive way of analyzing specific artworks by artists such as Lotta Antonsson, Brian Ganter, Joachim Koester, Zoe Leonard, Vera Lutter, Joel Sternfeld, and Akram Zaatari. Contemporary artworks located within a postconceptual tradition can be said to have a built-in self-reflexive relationship to medium whereby the method and technique of production are always intimately intertwined with the artwork’s content and meaning. With that in mind, this paper shows how the selected artworks can be analyzed precisely in terms of this interplay between medium as technique and medium as concept and content. The essay adapts and modifies the analytical tools of intermediality to fit the specific conditions of contemporary photographic practices among artists, and shows that the artists considered in the text evoke both the documentary, evidentiary connotations 

    Download full text (pdf)
    Callahan - Analogue
  • 343.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Archive Art Phenomenon: History and Critique at the Turn of the Twenty-First Century2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation investigates the relationship between art and archive at the turn of the twenty-first century. The object of study is the phenomenon of archive art, understood as a combination of theories of the archive, artworks, and different kinds of texts (catalogues, scholarly articles, critical essays, etc.) delineating the art here called archive art. The study has been conducted by cross-reading the different elements that make up the phenomenon of archive art with various discourses and developments both within and outside the artworld. It investigates how the archive became a ubiquitous reference in art discourse and the functions and implications the notion has within an art context.

    Each of the dissertation’s six chapters adds to and builds on the previous, thereby examining an increasingly thickening web of conceptual relations. Chapter I examines five texts about archive art written between 1995 and 2008. Chapter II outlines writings about archives from other disciplines frequently referenced in art discourse, and shows how this “archive theory” (including works by Foucault, Derrida and others) overlaps in many ways with the Institutional Theory of Art. Chapter III analyses the archive art phenomenon by juxtaposing three different aspects of the tension between materiality and immateriality: the artwork as object or idea; connotations of analogue and digital technology; and different notions of traditional and poststructural forms of history writing. Chapter IV is concerned with the role of the artist as historian, archivist and researcher, and examines how the discourse around studio-based research overlaps with the different modes of historical truth-claims outlined in the previous chapter. This chapter also analyses references to research as process and form in archive art discourse. Chapter V examines different kinds of critique of institutions and shows how the archive art phenomenon intersects with a critical paradigm in the academy and beyond. Chapter VI ties together many results of the previous discussions by analysing the archive art phenomenon within a broader historical context. The chapter shows that history, the presumed subject of much archive art, can also be considered indicative of a shift away from a grounding of the art object within a teleological art history, toward an institutionally defined concept of art as an archival structure. In that sense the archive art phenomenon is analysed both as a resistance to, and a symptom of, what some have called the presentism of the current era.  

    The archive is an example of what Mieke Bal terms a “travelling concept”, as it moves between and within disciplines and contexts. The ubiquity of the concept in art discourse is part of a broader “turn” to the archive, however, this study shows that the archive takes on meaning specific to the contemporary artworld. The notion of the archive here functions as a short-cut for theorizing artists’ interest in the material traces of the past (the concrete, “dusty” archive) as well as their critical investigation of the post-1960s artworld (the archive as metaphor and structure). What may seem like a mere trend within contemporary art discourse, is thus shown to have functions and implications that interlock with the conceptual grounding of contemporary art.

    Download (jpg)
    Omslagsframsida
  • 344.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The value of a banana: understanding absurd and ephemeral artworks2020In: The Conversation, ISSN 2774-681XArticle in journal (Other (popular science, discussion, etc.))
  • 345.
    Callahan, Sara
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Vad är egentligen värt vår uppmärksamhet?2020In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Kulturen formas av vår relation till naturens rytm och uppmärksamheten på det långsamma. Men naturen är också filtrerad genom kulturen. En ny utställning och SVT:s succé med älg-tv ställer frågor om vad som förtjänar vår uppmärksamhet – och vad som förtjänar vår distraktion.

  • 346.
    Callahan, Sara
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hällgren, Anna-Maria
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Krispinsson, Charlotta
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    A Farewell to Critique? Reconsidering Critique as Art Historical Method2020In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 89, no 2, p. 61-65Article in journal (Other academic)
  • 347. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Interview with Sarah Schulman: Corporate Culture, HIV Criminalisation, Historicising AIDS and the Role of Women in ACT UP2018In: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, p. 387-404Chapter in book (Refereed)
  • 348. Campbell, Alyson
    et al.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century2018In: Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century / [ed] Alyson Campbell, Dirk Gindt, Cham, Switzerland: Palgrave Macmillan, 2018, p. 3-46Chapter in book (Refereed)
    Abstract [en]

    In 2004, on the final day of the Bangkok AIDS Conference, a drug com-pany packaged thousands of single antiretroviral pills into jewellery boxes and allowed one pill per delegate to be collected from their corporate booth. Many delegates at the conference came from countries where access to treat-ment medication was, and continues to be, restricted to the rich. There was a degree of confusion among sex worker activists who attended and whose background or migration status excluded them from accessing life-saving HIV treatment. After an entire week of protests, workshops, presentations, posters, activism, performance, installation, media and the experience of generally being marginalised within the broader HIV sector, we [sex worker activists] witnessed many migrant sex workers living with HIV and without access to treatment carrying their single pill away from the corporate booth.

  • 349. Campbell, Alyson
    et al.
    Gindt, DirkStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Viral Dramaturgies:  HIV and AIDS in Performance in the Twenty-First Century2018Collection (editor) (Refereed)
    Abstract [en]

    This book analyses the impact of HIV and AIDS on performance in the twenty-first century from an international perspective. It marks a necessary reaffirmation of the productive power of performance to respond to a public and political health crisis and act as a mode of resistance to cultural amnesia, discrimination and stigmatisation. It sets out a number of challenges and contexts for HIV and AIDS performance in the twenty-first century, including: the financial interests of the pharmaceutical industry; the unequal access to treatment and prevention technologies in the Global North and Global South; the problematic division between dominant (white, gay, urban, cis-male) and marginalised narratives of HIV; the tension between a damaging cultural amnesia and a potentially equally damaging partner ‘AIDS nostalgia’; the criminalisation of HIV non-disclosure; and, sustaining and sustained by all of these, the ongoing stigmatisation of people living with HIV.

    This collection presents work from a vast range of contexts, grouped around four main areas: women’s voices and experiences; generations, memories and temporalities; inter/national narratives; and artistic and personal reflections and interventions.

  • 350.
    Cardinali, Marco
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Digital Tools and Technical Views: The Intersection of Digital Art History and Technical Art History in a Digital Archive on the Painting Technique of Caravaggio and His Followers2019In: Visual Resources, ISSN 0197-3762, E-ISSN 1477-2809, Vol. 35, no 1-2, p. 52-73Article in journal (Refereed)
    Abstract [en]

    Digital art history is currently moving into a new phase. As a result of the ongoing digitization of artifacts and the creation of large digital repositories that bring together literary sources, images, as well as historical and technical data, new perspectives point to data mining and data/image processing. This article reviews some of the main data and image bases that deal with technical and material studies on works of art. The work-in-progress, Technical Data/Image Base on Caravaggio and His Followers, of the Max Planck Institut fur Kunstgeschichte/Bibliotheca Hertziana (Rome, Italy) is presented within a historical and theoretical framework, describing the establishment of technical research in art history and the role played as early as 1930 by the International Conference for the Study of Scientific Methods in the Examination and Conservation of Artworks (Rome). The state of the art of technical research on the Italian painter Michelangelo Merisi, Il Caravaggio (1571-1610) and its critical issues are also sketched out, and the nature of the scientific information provided by digital multispectral imaging is considered within a brief review of the history of technical images.

45678910 301 - 350 of 2324
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf