Browsing by Subject "6132 Visual arts and design"

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  • Öhman, Mia (2021)
    Konferenssiesitelmä Pavel Petrov-Bytovin toiminnasta Suomessa 1945-46 ja hänen ideoidensa vaikutuksesta neuvostoelokuvaan ja sen levitykseen
  • Martínez, Francisco (2018)
    Why do analogue photos still fascinate young people? Why, for some purposes, might vintage technologies be considered more authentic than newer ones? And what is the contribution of old-school photo booths to Berlin as a city? In casting an ethnographic eye on analogue photo booths in Berlin via empirical data (participant observation and 60 interviews with users), this paper makes a case for the continued relevance of analogue technologies and practices in the con-temporary digital age. The argument highlights the inconsistencies in the linear theories of media development and social change, thus pointing to a complex co-existence of actual and emerging technologies and practices. In this paper, I will also consider how the relationship between these old-school booths and Berlin is reciprocal, becoming part of the city’s scene, assembling people, displaying and materialising relationships, thereby providing an opportunity to be private in public and functioning as a cultural condenser, which simultaneously benefits from the local idiosyncrasy and contributes to making the city itself a place.
  • Lahelma, Marja (Palgrave Macmillan, 2018)
    Marja Lahelma continues the theme of the modern pursuit of expressing the inexpressible and revealing the invisible, facilitated by the perception of the artist-author as a hypersensitive genius of exceptional sensitivity or even possessing higher sensibilities. Focusing on Strindberg, Lahelma concentrates her analysis upon a part of Strindberg’s oeuvre that has seen little scholarly study: his artistic works, in particular his photo- graphs and paintings. In his artistic pursuits, Strindberg aimed to reunite science and religion, a typically occultist approach and indicative of the early modernist contexts in which artistic, scientific, and occultist ideas collided, often very productively. Essential to this process was the psycho- logical theorization of the unconscious that took place in the late nineteenth century and which provided models of the human mind as multiple and fragmented. It becomes clear that Strindberg suggested in his works an interaction between the unconscious mind and extrasensory reality, even as he also proposed one between subjectivity and nature, the subjective and objective dimensions of art, the insistent materiality of an art work, and its spiritual dimension. As Lahelma argues, instead of singling out Strindberg as an isolated genius or forerunner of abstraction, he can fruitfully be positioned as a central representative of late-nineteenth- century occult modernism.
  • Kouhia, Anna (2012)
    The meaning and value of crafts as bearers of the cultural heritage are widely acknowledged, and deserved attention has also been paid to the pedagogical applications of craft in practice. Still, research relating to subjectively interpreted meanings of crafts has remained rather scarce. The main interest of the study is to examine subjectively construed meanings of craft associated both to the self-reflective act of making and to the tangible craft object, and categorize the discovered meanings into representative categories. In presenting a multi-perspectival framework for the categories that portray the common kinds of meanings that crafts have, a substance that surpasses cultural boundaries is also captured due to the multicultural research setting. The primary empirical data of the study are composed of interviews of six women from different cultural backgrounds; the supporting data feature a participant observation of a multicultural craft activity group and photographic notes. The wide range of different meanings captured from the data is, during the conducted qualitative content analysis, critically classified into representational categories that typify the personally experienced meanings. The analysis revealed eight interrelated meaning categories regarding the meanings of craft that go beyond cultural boundaries: Meanings proceed from the subjective process of interpreting craft in a socially constructed, personalized setting, but still the meanings given to craft have been given similar characterizations in the several cultural contexts examined. This study adds to an understanding of how personalized meanings contribute to building intercultural reciprocity.
  • Rajan, Vishnu Vardhani; Gadhavi, Shyam; Jauhola, Marjaana (Routledge, 2021)
    Routledge Advances in Art and Visual Studies
  • Tainio, Matti (2019)
    The customary view of today's recreational physical activities turns the human movement into a rational practice that is pursued for practical reasons only: for health, vitality, stamina and longevity. This prevalent point of view affects the understanding of the ends, content and quality of physical activities and it creates a bias where the biological, physiological and medical characteristics of physical activities are emphasized while the sensuous, experiential and creative aspects are suppressed. This results in a partial understanding about the significance of human movement in contemporary culture. The article analyses the reasons for this distorted view of physical activity and formulates a rationale for the aesthetic justification for the contemporary way of being active. In addition, the article explores on the role of the (aesthetic) experience in contemporary physical activities as well as examines the possibilities of change the aesthetic justification can provide the physical activity.
  • Radomska, Marietta (2020)
    In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an event that distinguishes human from other organisms. Against this background, this article explores how contemporary art-in particular, the series of worksThe Absence of Alice(2008-2011) by Australian new-media and bioartist Svenja Kratz-challenges the normative and human-exceptionalist concept of death. By employingqueerfeminist biophilosophyas a strategy that focuses on relations, processes and transformations instead of 'essences', the article examines the ways Kratz's worksdeterritorialisethe conventional concept of death. In this way, it hopes to attend to the intimacies between materialities of a human and nonhuman kind that form part of the processes of death and dying, and what follows, to reframe ethico-ontology of death as material and processual ecologies of the non/living.
  • Suomela, Jenni A.; Vajanto, Krista; Räisänen, Riikka (2020)
    Collection SU4522 in the Finno-Ugric Collections of the National Museum of Finland consists of 143 items, mainly textiles from nineteenth-century White Karelia, now part of the current Russia. Forty-one linen textiles were chosen for closer examination, with the aim of evaluating the area's textile culture and identifying the materials using microscopic methods. Flax, hemp and nettle have all been traditional materials for clothing in northern Europe. Additionally, cotton became established in the region during the nineteenth century. Previous research lacked such a deep examination of the textile materials used, leaving room for speculation. Stinging nettle has not been shown before to have been used as a textile material in the Karelian area. Our results show that it appeared commonly in ratsina-shirts and kaspaikka-towels. Against the consensus hemp was rare and appeared only in one of the items. The results are mirrored by concurrent pictorial and written material from I. K. Inha who visited the region in 1894 and collected most of the items in the collection. White Karelian textile traditions from clothing to fabrics, weaving, spinning and fiber production are discussed in the article. Nevertheless, questions concerning the origins of the materials and the effects of the peddling tradition would need further research.
  • Kärnä-Behm, Jaana (2019)
    The purpose of this study is to promote the experiential learning (EL) method in the pedagogics of art and design in higher education. This article is based on a case study consisting of two pedagogical projects in interior design courses, the probing project and the multisensory space project, carried out between 2014 and 2016 with trainee teachers. Using the data from these projects I analyse using the qualitative content analysis method how and with what implications EL supports learning of art and design in higher education. The results show that EL was found to be inspiring and self-expressive, and was an unusual and motivating way to learn interior design. In a teacher education context EL gave students ideas about collaborative and EL-based methods of learning that could be applied to their own future teaching projects.
  • Räsänen, Elina (Michael Imhof Verlag, 2017)
    Edition Mare Balticum
  • Lahelma, Marja (University of Helsinki, 2014)
    This study examines the dynamics of the self and art in the context of the Symbolist art and aesthetics of the fin-de-siècle. The purpose is to open new perspectives into how the self and its relationship with the world were understood and experienced, and to explore how these conceptions of selfhood suggest parallels with questions of art and creativity in ways that continue to affect our perceptions of these issues even today. The decades around the turn of the twentieth century were a period of intensifying preoccupation with questions of subjectivity as the coherence and autonomy of the self were constantly being threatened in the rapidly modernizing world. This issue is examined through an analysis and discussions of artworks by the Finnish artists Pekka Halonen and Ellen Thesleff, the Norwegian artist Edvard Munch, the Swedish author and artist August Strindberg, and the Danish artist Jens Ferdinand Willumsen. The artworks are considered as active participants in the discourses of the period and as sites of intellectual and artistic reflection. Self-portraits are the most obvious products of artistic self-examination, but the highly subjective attitude towards art indicates that in a way every work of art can be perceived as a self-portrait. Symbolism, therefore, constitutes a point in art history where old definitions of self-portraiture were no longer sufficient. Art came to be understood as a form of knowledge and a source of truth. Hence, the creative process turned into a method of self-exploration motivated by an attempt to transcend beyond everyday consciousness in order to achieve a heightened perception of the self and the world. At the same time, the focus of the artwork shifted towards an immaterial space of imagination. Hence, the work of art was no longer understood as a finite material object but rather as a revelation of an idea. The constant need for self-exploration was also related to an ever increasing questioning of traditional religiosity and a subsequent interest in religious syncretism, as well as in various mystical, spiritual, and occultist ideologies, which affected both the form and content of art. Subjectivity is often perceived as one of the defining features of Symbolist art. However, due to the content-oriented approach, which until recent years has dominated art historical research on Symbolism, the meaning of this subjective tendency has not been properly analysed. Although the emphasis on subjectivity obviously had a great impact on the content of the new art, which became increasingly concerned with mythological and fantastic material, it also worked on a more abstract level affecting the ways that the meaning and status of art were understood. The approach taken in this study is based on an idea of the interconnectedness of form and content. Through this critical perspective, this study takes part in an international current of research which seeks to redefine Symbolism and its relation to modernism.
  • Helkkula, Mervi (Classiques Garnier, 2018)
    Linguistique
  • Räsänen, Elina Irmeli; Gertsman, Elina (College publications, 2012)