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QC 20240318

This paper compiles research regarding comics utilised in the visual arts classroom. Our findings are based on numerous research projects demonstrating the positive impact of incorporating comics into the classroom while acknowledging some potential challenges. Some of the history and background of comics will be explored, and we will take you along on our journey through databases full of research and case studies. Furthermore, the studies are sorted in an ascending fashion according to their relevance to this paper. Our goal is to offer insight into the educational potential of comics, drawing from the work of various researchers in the field. The findings show that while some challenges in instruction may occur, comics are a vastly underestimated and overlooked teaching tool in both visual arts and various subjects. The results tell us that comics in the visual arts classroom are filled with opportunities to broaden the bank of knowledge and resources further.

Since 1958, Moderna Museet has housed Sweden’s largest collection of Swedish and international modern and contemporary art. This thesis examines the 21st-century collecting strategies and policy development of Moderna Museet, with a focus on diversity and representation, using intersectional theory and queer studies. Through both quantitative and qualitative methods, including statistics, archival research, discourse analysis, institutional ethnography and interviews with five curators, this study reveals how acquisition policies align with the museum’s aim to diversify its Eurocentric and North American-oriented collection. Fisher’s exact (statistical) test shows differences between the Swedish and international collections, as well as significant gender disparities between donated and purchased artists, indicating a structural unequal pattern regarding donations. Gender and nationality emerge as disciplinary parameters and social constructions for artist registration within the museum database. The findings underscore the slow, systemic change in Moderna Museet, influenced by power structures, external factors, and the museum’s institutional history. In contrast to the 1990s, diversity in the 21st century is continually negotiated and pursued performatively and discursively, rather than implemented through a goal-oriented policy.

Syftet med studien är att undersöka bildlärares uppfattningar om vilka möjligheter och utmaningar som finns i att skapa möten mellan skola och samhällets konstutbud. Med samhällets konstutbud menas här dels konstinstitutioner och dels möten med yrkesverksamma konstnärer. Studien har utförts med en kvalitativ metod med en hermeneutisk ansats. Empirin är insamlad genom semistrukturerade intervjuer med tre verksamma bildlärare. Resultatet från empirin har analyserats och tolkats utifrån ett sociokulturellt perspektiv och slutligen diskuteras i relation till tidigare forskning. Informanterna betonar vikten av den enskilde bildlärarens ambitioner i att möten mellan skola och samhällets konstutbud ska kunna äga rum. Det leder till att möten mellan konst och skola blir beroende av bildlärarens engagemang till att skapa dessa möten. I läroplanen för grundskolan (Skolverket 2022c) står det att målet är att eleverna ska ha inblick i närsamhället och genom det dess kulturliv, samt utveckla kontakter med ovanstående. Läroplanen understryker att detta ska berika skolans verksamhet. Informanterna är positiva till detta arbetssätt och ser det som en del av sitt uppdrag att delge sina elever tillgång till samhällets konstutbud. För att eleverna ska både lära och utvecklas krävs en genomtänkt undervisning och olika former av möten med konsten, det är på detta sätt som eleverna kan appropriera uttryckssättet och hitta sina egna. Samtliga informanter uttrycker att skolan spelar en viktig roll i elevernas möte med samhällets kulturliv då detta berikar både eleverna och hela skolans verksamhet. Avslutningsvis visar studien att skolan spelar en central roll i att ge eleverna tillgång till samhällets konstutbud. Genom att använda sig av och visa samtidskonst i bildundervisningen ger informanterna sina elever tillgång till en bildvärld som ger möjlighet till vidare lärprocesser.

Artikeln erbjuder en metod för att analysera ras, med fokus på vithet, i museiutställningar.

This study investigates the impact of micro-interactions on user satisfaction within music applications, specifically examining the usability differences between simpler and more complex interactions. The research employs semi-structured interviews to assess user satisfaction with two different levels of micro-interaction complexity. The goal is to derive actionable insights for optimising user-centred design in digital music streaming platforms, ultimately enhancing user satisfaction. The semi-structured interview method is chosen for this study, with the assistance of A/B testing designed by the researchers to gain realistic and informative qualitative data. To analyse a large amount of qualitative data, thematic analysis is utilised as the analytic method. The results reveal a clear preference for simple micro-interactions. Participants found these interactions required fewer steps, were more intuitive, and demanded minimal cognitive effort, thereby avoiding information and feature overload. In contrast, complex micro-interactions often led to confusion and frustration due to unnecessary complexity and unclear iconography. Moreover, participants expressed a need for personalised and voice-activated interactions to enhance usability and accessibility in diverse contexts. These findings underscore the importance of designing micro-interactions that align with users' mental models and preferences. By prioritising simplicity, intuitiveness, and personalization, music streaming services can significantly improve user satisfaction and engagement.

The starting point for the development of this article was the experience of a graphic designer dedicated to the care of adolescents in conflict with the law in Colombia, and a doctor in design and creation dedicated to academia, who coincide in their research interests in systemic design, an approach that allowed to address from a creative discipline a complex social problem, which had not been contemplated before. For this reason, the aim of this study was to address a complex social problem such as the restorative practices implement-ed in a System of Criminal Responsibility for adolescents. From an exploratory study, results were obtained regarding the characteristics that restorative practices have or should have and the problems of the adolescents that they address, which emerged after the application of a systemic design tool called giga-mapping, which consisted of a collaborative work between adolescents between 14 and 18 years of age and professionals who accompany the restor-ative processes of minors in conflict with the law in Colombia. This research exercise through the design allowed to know on the one hand, the variables of the restorative practices from the point of view of the study population and on the other hand, the categories of the systemic design tool used throughout the research process.

With the emergence of Dark Mode as a user interface design trend, it has increasingly been employed in operating systems, websites, and applications. There are several benefits to using Dark Mode: it can save battery life, reduce eye strain, is suitable for dark environments, and can be used as a reason for branding. This study aims to investigate whether Dark Mode applied to mobile commerce platforms impacts user trust and users’ perception of a brand in comparison to Light Mode. This study used a mixed-methods approach, including A/B testing followed by a questionnaire with Likert scale questions and open-ended questions, and involved 24 participants who were split into two groups, one testing a Light Mode version of a mobile commerce prototype and one testing a Dark Mode version. The results showed that while the Light Mode participant group had similar thoughts and feelings of the app which were mostly positive, the Dark Mode participant group was divided in their thoughts and feelings of the application related to trustworthiness and the perception of the brand. Dark Mode negatively impacts user trust and negatively impacts users’ perception of a brand. The findings of this study provide meaningful insights into the field of user interface design and branding and can serve as a reference for future studies within the field.

“Urban Memories” encapsulates a personal journey in Berlin. This master's thesis embarks on a captivating exploration of the fluidity of home and the passage of time in the vibrant urban landscape. Spanning the years 2007 to 2022, the streets of the city serve as both canvas and storyteller, capturing the transient nature of homes and the fragility of moments. Through the innovative medium of embroidery, fragments from a personal diary in 2012 intertwine with literary insights from German authors in different eras such as Christa Wolf, Dörte Hansen, and Jenny Erpenbeck. The narrative unfolds across four chapters, each delving into different facets of the author's experiences and reflections. Looking at historical aspect like the reconstruction of Berlin after World War II and the symbolic significance of disappearing houses, the thesis explores the profound connection between memory and location. It navigates through temporal contexts, examining societal attitudes and the evolving spirit of Berlin across different eras. The thesis also dives into the art of crafting stories, drawing parallels between textile craft and comic drawing. In the final chapter, it explores street art's role in shaping public spaces, highlighting the transformative potential of embroidery. As banners flutter on construction site fences and embroidered memories find a place in the public realm, the thesis invites contemplation on the intersections of art, memory, and the evolving identity of the city. Through this interdisciplinary exploration, the thesis weaves a tapestry that not only captures personal experiences but reflects the collective memory of a dynamic and ever-changing city.

Denna studie syftar på att analysera Coca-Colas reklamfilm Taste the Transformation för att förstå dess visuella språk, design och visuell strategi. Genom en semiotisk retorisk analys undersöks vilken typ av visuell kommunikation och visuell strategi Coca-Cola använder i reklamfilmen samt varför den attraherar publiken. Resultaten visade att Coca-Cola fångar publikens uppmärksamhet genom sin visuella kommunikation, inklusive animation, visuella effekter och cyborg-karaktärer som riktade sig till en ung publik. Reklamfilmen använder retoriska grepp som ethos och pathos, förstärkt genom inkluderingen av en känd person och skapandet av en musikvideoliknande atmosfär, vilket bidrar till att göra reklamen engagerande. Studien identifierade också en betydande sexualisering av artisten Rosalía, vilket belyser komplexiteten i representationens betydelse inom den visuella tolkningen av reklamfilmer. Coca-Cola strävar efter att fånga målgruppens uppmärksamhet genom att använda riktade bilder och visuella element.

Färgens roll i reklamfilmskapande sträcker sig bortom den rena estetiken för att djupt påverka tittarens känslor, uppfattningar och köpbeteenden. Denna uppsats utforskar hur reklamfilmskapare använder sig av färgpsykologi för att engagera och påverka sin målgrupp, med särskild fokus på hur färger kan framkalla känslor som glädje och påverka tittarnas köpbeslut. Genom en kombination av teoretisk forskning och praktiska exempel, inklusive intervjuer med yrkesverksamma inom reklamfilm och analyser av reklamfilmer från välkända varumärken som Coca-Cola och Bolt, diskuterar och analyserar färgens betydelse i reklamfilmskapandet.Uppsatsen lyfter fram hur färgval påverkar betraktarens psykologi, där olika färger kan framkalla känslor och associationer i reklamfilmsammanhang för att etablera en emotionell bindning till ett varumärke eller en produkt. Genom att analysera reklamfilmer från Coca-Cola och Bolt demonstreras hur företagen anpassar sin användning av färger för att spegla varumärkets karaktär och förmedla budskapet till åskådaren. Coca-Cola använder sin kända röda nyans för att väcka känslor av glädje och gemenskap, medan Bolt väljer en enklare färgskala för att kommunicera sitt engagemang i teknik och nyskapande. Dessa exempel visar betydelsen av färgval i reklamfilmskapandet och dess förmåga att påverka tittarens uppfattning och agerande.

This paper is a qualitative study of signs and associations that seemingly communicate the influence of film tropes on female character design in video games. It analyzes and correlates the visual attributes and characteristics of the League of Legends character Zeri with the traditional attributes and trends of the Manic Pixie Dream Girl (MPDG) film trope, and applies theories within women’s representation and gender to examine the results. The findings suggest that Zeris design and description communicates the traditional characteristics of the MPDG such as quirky, energetic, nostalgic, retro, cute and “twee” and that several of these attributes may reflect an idealized portrayal of the female character rooted in fictive stereotypes. Furthermore the paper highlights the complex interaction between design elements and their ability to communicate (possibly unintended) concepts, and the concepts ability to transcend media formats. This paper includes a design documentation after page 25 called "Kalasklister i Djurparken", which is the second part of the final exam project(s) at the Visual Communication program at Malmö University. "Kalasklister i Djurparken" is an image bank that aims to update the marketing of Helsingborg's djur- och lekpark (zoo and playground) in order to appeal more to children.

Architectural visualization is the art of presenting a yet-unbuilt work of architecture visually. A visualization technique that has become indispensable to the field is photorealism: the goal of emulating photography with computer graphics. The purpose of this thesis was to deepen the most important thought processes for creating architectural visualizations with photorealism. Through three essays I discussed topics that not only I found important for my workflow but have implications for the whole field of photorealistic architectural visualization. The topics related to photorealism and: its the power to deceive, which details that matter most for achieving it, and how the process can be aided with new AI tools. The methods used include primarily document studies and the creation of photorealistic architectural visualizations to showcase findings. The findings of the first essay showed that photorealistic architectural visualizations have a high perceived credibility associated with them because of their relation to photography. Although this also comes with ethical concerns related to them easily deceiving the viewer; the perceived credibility of an architectural visualization doesn’t correlate to it being representative of the yet-unbuilt architectural design it is portraying. Through a set of architectural visualizations, I also discussed why this deception might be unavoidable. The second essay presented thought-processes for identifying aspects of an architectural visualization that might be difficult to achieve photorealism in, and gave possible explanations behind this. The third essay quickly discussed the use of artificial intelligence (AI) as a tool for achieving quick and photorealistic results as a visualization artist. The flaws of using AI tools were also discussed, with a potential way to mitigate them. This thesis showcases how photorealistic architectural visualizations can be complex, both technically and ethically. Certain aspects of an archite

The aim of this thesis is to analyze the function of visual art in Torgny Lindgren's novels Till sanningens lov (1991), Dorés Bibel (2005) and Klingsor (2014) and the short story collection I Brokiga Blads vatten (1999). Visual art in Lindgren's prose is approached both as an instance of description and in terms of an activity and artefact to be viewed, created and interacted with. By studying ekphrases and "iconic projections" based on intermedial theory, the verbal descriptions of art are shown to have a narrative function, whereby the characters viewing or creating the artwork are reflected. A conspicuous trait of the ekphrases and iconic projections are their focus on details. The area of creation as an activity relates visual art to crafts, cooking and alchemy, with an emphasis on its material aspects. The creation of art investigates the dualism of genuine versus fake, as well as the relationship between art and commerce. Lindgren's stories depict the market as an arbitrary yet powerful force, alongside individual creative forms of resistance to it. The manner in which artefacts are described evokes the notion of an enchanted object, in accordance with research on the function of art-objects in contemporary fiction. Being able to discern enchantment in Lindgren's works is based on the conversion of one's vision, which in turn is related to one's view of the world as a whole. Conversion is engendered by methods of irony, ambiguity and the elevation of the humble.

The creative process has its highs and lows. Even for people whose passion is creating, often the journey of actually realizing one's ideas can turn into a grueling thing. In the worst case scenario it gets to a point where the artist ends up burning out, losing faith in the project or simply not wanting anything to do with the idea anymore after a long, frustrating artistic process. Animation in particular is a medium that requires an incredible amount of work, where realizing even a short idea takes a huge amount of time and effort. How do you find a balance between the spark of creativity versus being practical and productive, so that you can realize your ideas without burning out? Through examining the insights learned during the process of making an animated short film, this paper explores how to protect the creative spark and tackle some practicalities though a creative process in order to make it manageable.

The following research study takes the form of a nomadic and exploritative voyage, centered around the urban photowalk. In an effort to decipher the intricate relationship between people and places—the social and the spatial—the study aims to shed light on the social dimensions of urban photography, in relation to spatial practices within the urban built environment. The research is anchored to a distinct theoretical framework, in which established principles are woven into an exploritative context. On this basis, the study examines the use of walking-based strategies as a toolkit for understanding contemporary urban space as an embodied experience (Careri, 2017). The research also draws on Henri Lefebvre’s notions concerning the right to the city and the production of space, delving into matters of possession, perception and appropriation from a citizen perspective (Purcell, 2002). At the heart of the research lies an empirical field study, carried out in the city of Toronto, Canada through experiential means of observation. The field study comprises a series of participatory photowalks, designed and conducted in order to examine the urban photowalk from a methodological point of view. By implementing Careri’s theories on walking-based strategies, the research seeks to embody the conceivable impacts of photowalking on social and spatial relations, at a human scale; this, in turn, illustrates how the urban photowalk can aid the production of temporary and improvised spaces in public urban settings, in order to catalyze social interaction and communal exchange. In parallel, the study encompasses research on how photowalking can provide a hands-on method, which can be used by city dwellers to take possession of urban public space, as well as claim and distribute their right to the city.

The purpose of this study is to examine the creation of the artist identity through the example of Gunhild Fryklund. The empiric material consists of daily press and articles related to the artist. Overbearing and underlying themes that become characteristic for the artist is identified through discourse analysis. The main theories consist of Michel Foucault’s ”Qu’est-ce qu’un auteur?”, Judith Butler’s theories regarding performative gender, as well as intersectional feminist theories. The study analyzes recurrent themes, words and expressions and how they become characteristic for the artist. The result shows that Fryklund is commonly referred to in relation to her gender, teacher and domicile which influences the public perception and in turn the artistic identity. Further the result establishes that the artistry of Fryklund is a product of prevailing discourses, stereotypes and expectations for women artists in the early 20th century.

Fallstudien beskriver bildlärares erfarenheter i demokrati och värdegrundsfrågor i bildundervisningen men också i övrigt arbete med värdegrundsfrågor på skolan. Studien undersöker hur bildlärarnas olika erfarenheter ser ut och identifierar vilka möjligheter och svårigheter de möter i arbetet som bildlärare idag. Två legitimerade bildlärare bidrar till studien genom intervju. Deras erfarenheter kommer från två olika högstadieskolor i Sverige från klass 7-9. Studien bygger på en pragmatisk teoretisk grund där erfarenheter, elevinflytande och kritiskt tänkande blir en del av studiens teoretiska ramverk om hur kunskap blir till utifrån pragmatismens idéer om lärande. Bildlärares erfarenheter i värdegrundsfrågor sammanfattas att lärarkollegiet har en stor betydelse för genomförandet av värdegrundsarbetet på en skola. Deras gemensamma engagemang för enskilda elever ger möjligheter att förändra attityder som strider mot värdegrundens principer. Bildlärare möter svårigheter när elever inte kan det svenska språket. Studien visar genom att bygga relationer med elever blir det en viktig faktor för ökad trivsel. Elever får lära sig kritiskt tänkande i ämnet bildanalys. Elever får praktisk träning i att kunna utrycka sig fritt och får kunskaper i yttrandefrihet. En bildlärare kan anpassa undervisningen efter elevers olika kunskapsnivåer. Uppgifters inramning i bildundervisningen kan både hindra och hjälpa elever i sin kunskapsutveckling visar studien. Konstprojekt som ger elevinflytande kan skapa bättre förutsättningar för demokratiska värderingar.

matt lambert reviews the book Dead Souls: Desire and Memory in the Jewelry of Keith Lewis. by Damian Skinner and Keith Lewis, published by Stuttgart: Arnoldsche, 2023. Article published on the website https://artjewelryforum.org

Jag ritar en tjej i boxershorts. Hon har ett lönnfrö fastklämt på näsan och två stycken på bröstvårtorna. Jag googlar lönn-näsa och maple nose för att hitta foto-referenser. Jag hittar ett blogginlägg från den 30 maj, 2014, med titeln Rolig lönnäsa med lönnfrö. Avsändare Utefolket. Inlägget innehåller en tutorial om hur man gör sin egen lönnäsa. Dela den tjocka delen på mitten. Det är mjölksaften som finns runt fröet som fungerar som ett klister när du ska sätta fast fröet på näsan. Jag följer instruktionerna. I fokus för projeket Rolig lönn-näsa är skulpturen Buddy. En träskulptur med rörliga leder som bär en mix av kläder hittade second hand, omsydda kläder och en mängd DIY-projekt. Skulpturen ingår i en installation med ett zine1, en nyckelknippa och ett klistermärke som fästs vid en pelare. Projektet utforskar ämnen som DIY, parasociala relationer, internetkultur, och kärleksbrev.

Theoretically grounded in queer death studies and environmental humanities, thisarticle has a twofold aim. Firstly, it explores the somatechnics of environmentalviolence in the context of Northern and Eastern Europe, while paying attention toongoing ecocide inflicted by Russia on Ukraine, and to the post-WW2 chemicalweapon dumps in the Baltic Sea. Secondly, the article examines the concept of eco-grief in its close relation to artistic narratives on ecocide. By bridging the discussionon environmental violence and artistic renderings of eco-grief, the article hopes tocontribute to a better understanding of the socio-cultural responses to more-than-human death and loss, and their accompanying ethical imaginaries and affordances., Ecological Grief, Crisis Imaginaries and Resilience in Nordic Lights

This essay proposes that selected artworks by Katarina Pirak Sikku, Kader Attia, Michael Rakowitz, and Kajsa Dahlberg exemplify a set of approaches within contemporary artistic practices that operate in ways that simultaneously align with and deviate from the main tenets of the “archival turn” in contemporary art. The author suggests that these artworks involve indirect reconsideration of what critical archival practice can involve. All four artists deal with specific instances of conflict, marginalization, and forms of oppression by actively reframing the confrontational, suspicious and undermining strategies that has characterized some archival discourse. The essay shows how these artistic practices stress notions of care, repair, empathy and permeability in ways that have specific methodological and conceptual consequences. By doing so they invite a rethinking of critical archive theory in the face of specific question and concerns of the current moment such as how to handle remnants of racist histories in present-day archives; the need for recycling and repair in the face of the environmental effects of rampant consumption; how to address those who hold diametrically opposed political position from oneself; and how to take serious people whose bodies operate in ways that tend to marginalize them as non-productive in the face of neo-liberal values like professional success and self-sufficiency.

The analog technology of scan processing was developed and used during the 1970s as a method of electronic image animation. Because their real time modes of operation resemble those of electronic musical instruments strongly, scan processors can be considered instruments with which to compose and play moving images. Although cheaper digital tools replaced them in commercial studios during the 1980s, scan processing has a distinctive aesthetic that continues to inspire both visual artists and instrument designers. This article examines the way that scan processing instruments’ affordances arise from specific combinations of the user, technology, and situation by surveying a number of technical and artistic use cases involving two different instruments: the VP-8 Image Analyzer and the Rutt/Etra Video Synthesizer. The article also demonstrates how reenacting an instrument works through its historical affordances using current technological means to address present day contexts.

matt lambert writes on artist Trevor Novaks published exhibtion Exploratory Touch as an invited guest curator for C Mag issue 156 funded by the Royal Bank of Canada to focus on emerging artists.

I denna studie undersöks hur ett ämnesövergripande projekt mellan bildämnet och svenska som andraspråk (SVA) kan se ut och hur ämnena kan inspireras av varandra för att verka för delaktighet och inkludering och i förlängningen stärka en språkutveckling hos nyanlända elever. Undersökningen genomförs tillsammans med 14 barn i klass 1–3 vid två workshoptillfällen; 6 deltagare vid första tillfället och 8 deltagare vid det andra. Empirin samlas in genom en deltagande observation där jag både håller i och observerar workshopen. Empirin innefattar filmerna och teckningar som produceras vid workshopparna, ljudupptagningar och fotografier från klassrummet samt en semistrukturerad intervju med den undervisande läraren. Studiens frågeställningar är: Vilken betydelse kan stop motion-animation ha i ett ämnesöverskridande arbete mellan bildämnet och svenska som andraspråk?; Hur kan stop motion som verktyg synliggöra meningsskapande hos nyanlända elever?; Hur kan stop motion fungera som språkbrygga i klassrummet? Med multimodala strategier och stop motion-animationen som utgångspunkt visar studien hur det finns ett inbyggt andraspråksperspektiv i verktyget och hur bildämnet och dess tillgång på semiotiska resurser kan verka som en språkbrygga i en undervisning med nyanlända elever.

This pilot study explores the intersection of science education and art engagement from the perspectives of teacher educators in Denmark. It considers STEM and STEAM practices from an international viewpoint and makes inquiries on Denmark's current status of science education in relation to whether a similar concept of science which embraces different competencies such as technology, engineering, mathematics and eventually art in STEAM is used and if so, how often. The thesis employs a qualitative research approach using Grounded Theory (Glaser, B., & Strauss, A. 2017) and Thematic Analysis (Clarke, V., & Braun, V., 2021; 2019; 2006). It delves into the perceptions and experiences of five participants who are science teacher educators in Denmark concerning their perceptions and experiences regarding the integration of art in science education. Through semi-structured interviews and rigorous thematic analysis, the research uncovers rich insights into how teacher educators perceive the benefits, challenges and strategies associated with incorporating art into science teaching. The findings shed light on the potential of art engagement to enhance science education. The thesis does not however reach its full potential of gathering saturated data due to time being a limitation. It successfully brings forth research themes using thematic analysis and analytical interpretations of the five transcripts furthermore encapsulate valuable information relating to the assumptions of the participants. This thesis contributes to the ongoing discourse on innovative pedagogical approaches which bridge the gap between science and art.

This paper explores the interpretations of narrative in the video game Sunseeker andhow players experience implicit narrative. Sunseeker aims to use techniques likeenvironmental design, colour theory, and non-verbal storytelling to communicate its storywith players. Testers played through a segment of Sunseeker and were interviewed afterwardson their understanding of the story and its characters. Findings showed that most of theplayers' understanding came from sequential images in the form of cutscenes. Theirunderstandings were also furthered by artefacts in the environment suggesting an embeddednarrative, as well as hue shifts in the background communicating tone and mood. This papercan be used by game developers looking to enhance the storytelling in their video games or asa basis for further research into similar topics.

The following work examines how childhood ornaments and memories can be translated into the material world, particularly through graphic design. This process not only creates a beautiful symbol of childhood but also offers a reflection in adulthood.

The research is exploring the liminal space of aporía within the experience of film. How can film be a poetic experience and inviting philosophical thinking? Motivated by the works of filmmaker Chantal Akerman, I have come to investigate the gap within the filmic narrative of character creation. With the obligation to create an ethical relationship to my audience, I take a closer look into the aesthetics of mimesis in storytelling. Proposing that there is a shared created gap of nothingness, which works as a portal of reflection between audience and art where the aporía take place, I am influenced by the philosopher Merleau-Ponty´s phenomenological image of the chiasm. The research is accordingly discussing the actor as the embodied surface of this interplace. The liminal space is the journey of the pre-reflective mind working with the unknowable. My thesis tries to show how the image of the thinking actor can hold a space for one shared experience. Departing from a background of actor and writer, the use of writing art throughout the research is a description of different ways of expressing my artistic language; as in writing, filming, directing or acting. The research is situated within the artistic research and the material of focus is art film, ethical philosphical thinking and my own practice with an essay film of 12 minutes, [Her]barium. The locus of the discussion is my own embodied conciousness, as a spectator and in the position of filmmaker.

Memory foam är en bok om de obetydliga sakerna och platserna. Om minnen av stunder som egentligen inte betydde något och inte förändrade något, som inte fick några konsekvenser, inget hände, inget kom ut av det, men som av någon anledning ändå fastnat i mig. Saker som att vänta, ha tråkigt, åka bil, kvällar, andras hem, vänskaper där man gjorde inget särskilt. Jag samlar ihop fragmenten och lägger dem bredvid varandra., Memory foam is a book about insignificant places and things. It is about memories of moments that did not really mean anything and that did not change anything. Moments that did not have any consequences, where nothing happened, nothing came from them, but for some reason stuck with me. Things like waiting, being bored, riding a car, evenings, other people’s homes, friendships where you did nothing special together. I collect the fragments and place them beside each other.

c/o is a space that carries and amplifies queer voices. It's a place for organising, discussing and creating collectively, where activities will be held that promotes publishing as activism. c/o explores how queer archives and personal printed matter can be used as means for care and resistance, with the purpose to build a framework and community for publishing and activism. This is achieved through resource sharing, DIY or DIT zine culture and protest typography. I aim to document queer resistance by translating our collective histories into contemporary communication with a queered expression. I believe this to be a way to imagine/enable alternative futures that challenge conventional ideals in favour of queer realities.

The study investigates the impact of content strategy on customer-based brand equity within social media marketing, focusing on the contrast between user-generated content(UGC) and firm-generated content (FGC). Using Instagram as the platform for analyzing the different content strategies, the study seeks to answer the question: What is the most effective content strategy between user-generated and firm-generated content to build consumer-based brand equity? The research consists of a comparative experiment involving 186 participants, employing Likert-scale questions to assess brand loyalty, perceived quality, and brand awareness/associations. The study delves into the research's internal validity, acknowledging the brand's potential influence on respondents' perceptions. Contrary to prior research, the study shows no statistically significant difference in brand equity when brands employ UGC or FGC in their Instagram feeds. The discussion presents practical considerations for businesses in choosing between UGC and FGC, acknowledging the nuanced factors of cost, brand image control, authenticity, and the influencer dynamic. Further, it explores the complexities of the rejected hypotheses, considering the impact of brand visibility and the unique context of Instagram feeds, as well as the challenge of balancing multiple variables in experimental research. In conclusion, while prior research has highlighted distinctions in the impact of UGC and on customer-based brand equity (CBBE), the study focused on Instagram suggests that brands may not experience significant differences in brand loyalty, perceived quality, or brand awareness/associations based on content strategy. The findings offer flexibility to brands in choosing between UGC and FGC, highlighting the need for a nuanced understanding of social media dynamics and brand influence. Keywords: Consumer-Based Brand Equity (CBBE), User-Generated Content (UGC), Firm-Generated Content (FGC), Content Marketing, Instagra

Syftet med studien är att undersöka hur en elev på estetiska programmet bild och formgivningser på sitt eget lärande inom bild och bildframställning, hur eleven uppfattar och ser på syfte och innehåll i bildämnet på estetiska programmet relevans för dagens samhälle och deras framtid samt hur elever använder digitala resurser på sin fritid. Detta undersöktes genom en intervju med en elev som läste sitt tredje år på gymnasiets estetiska program. Resultaten tolkades sedan utifrån utbildningsvetenskapliga teorier. Elevens informella lärande kan tolkas som att främst bestå av informellt självstyrt lärande och tillfälligt lärande. Man kan också tolka resultatet som att eleven känner ett behov av att använda digitala lärresurser och informellt lärande för att komplettera sin formella utbildning. Man kan tolka svaren som att eleven främst såg ämnet ur ett hantverksbaserat perspektiv och att detta till viss del skilde sig från läraren.

Den här studien undersöker hur bildlärare på högstadiet beskriver introduktionen och inkluderingen av nyanlända elever i bildämnet. Studiens frågeställningar; Hur beskriver bildlärare på högstadiet sitt arbete för att nyanlända elever ska inkluderas i undervisningen och nå målen i bildämnet? Vilka utmaningar ser bildlärare på högstadiet i det rådande systemet där nyanlända elever tidigt introduceras till praktiska-estetiska ämnen? undersöks genom ett empiriskt underlag som består av fyra intervjuer med högstadielärare som undervisar i bildämnet på fyra olika grundskolor i Stockholmsområdet. Lärare i praktisk- estetiska ämnen är bland de första lärarna som möter nyanlända elever utanför förberedelseklasser och annan introduktionsverksamhet, eleverna förväntas lära sig svenska parallellt med ämneskunskaper i respektive ämne. Den teoretiska grunden för studien är en kombination av teori om inkludering med ett sociokulturellt perspektiv. Analysen utgår från inkludering som tema som i sin tur delats upp i fem underteman. Resultatet visar att det inte finns någon strategi för att introducera nyanlända elever i bildämnet idag men att bildlärarna ändå ser positivt på dagens system. Samtliga informanter anser att det finns en resursbrist på flera områden som påverkar hur framgångsrik undervisningen och inkluderingen kan vara för elevgruppen nyanlända. Studien har genomförts parallellt med ett gestaltande projekt som består av 2 delar, en videoinstallation som presenterades under Konstfacks vårutställning 2024 och ett performance under ett bildpedagogiskt symposium, 23 maj 2024 på Konstfack, båda delarna presenteras i en bilaga till den här studien.

Dissecting the interplay between esotericism, capitalism, theatrics, and vulnerability within illustration and performance-installation. Trying to get closer to my audience through combining my artistic practice with my practice as a tarot-reader.

Gjenskinn is a graphic novel about feeling stuck, and the attempt to walk it off. The comic follows the young student Mia as she leaves her apartment around midnight to go buy snacks, ending up on a trip that is both longer and more social than planned. Exploring themes of melancholia through excessive overthinking and awkward conversations, Gjenskinn tries to put images to feelings it's hard to put words to. It is a story about finding your way back (from the store), told with both humor and seriousness., Gjenskinn er en grafisk roman om følelsen av å stå fast og forsøket på å gå det av seg. Historien følger den unge studenten Mia når hun forlater leiligheten sin litt før midnatt for å kjøpe snacks, på en tur som både blir lengre og mer sosial enn planlagt. Tegneserien utforsker tema som melankoli gjennom alt fra kontinuerlig overtenking til kleine samtaler, og prøver å sette bilde på følelser det er vanskelig å sette ord på. Det er en historie om å finne veien tilbake (fra butikken), fortalt med både humor og alvor.

In waking life, in dreams. As Leonor attends the last year of catholic school in Leiria, Portugal, a new girl joins the class, and Rita is plagued by visions of a dragon following her relentlessly. The Monster in My Closet is a graphic novel about confronting one’s inner demons against the backdrop of a wider belief system. It depicts a journey of acceptance and realization of one’s queerness while living in a conservative, Catholic city; wrestling with lack of references, teenage insecurities, internalized homophobia, compulsive heterosexuality, and religious upbringing. The comics draw inspiration from medieval illuminations and marginalia, subverting Christian aesthetics by exploring the tension between the Word of God and the margins, insiders and outsiders, heteronormativity and queerness, and the process of othering., Mariana NevesArtist Name: Mariana Sou

Mitt examensarbete är en illustrerad bok som handlar om hur det är att leva länge utan förklaringar och förståelse för sig själv, om att få diagnoser som vuxen och allt som kommer med det. Om en värld som skaver, som behöver mötas iklädd ett skyddande lager. Om insikter, väntan, och att navigera vårdmöten och vardagen. Med utgångspunkt i personliga erfarenheter av att vara autistisk och ha ADHD undersöker jag det inre, det som inte syns för omvärlden.

Jag kollar på världen och den kollar tillbaka på mig. Blicken följer allt jag gör. Jag sparar på det jag ser. Världen är dekorerad. Jag står framför kopiatorn. Papperena är varma. Jag är en alkemist. Jag skapar guld och evigt liv. Allt blir till teckningar. Linjerna lever. Jag bygger maskiner för seendet. De ska ändra hur du ser på saker. Du ser allt jag har lagt mina ögon på.

My Masters project is a visual exploration of otherwise unrecorded girls' and women's sports stories from the pre-Title IX era. Title IX is an American piece of legislation that was signed into law in 1972. It states that any institution receiving federal funding cannot discriminate based on sex. This law would help to expand girls’ and women’s opportunities and participation in sports, although gender equality in American school athletics has yet to be achieved. The visual outcome of my project took the form of the Sports Fans Newsstand which housed a variety of ephemera such as comics, newspapers, sports trading cards, posters and pins--each element adding a new entry point to these complex stories.

I Want to Know What Love Is is a road movie about Hanna, who’s got something going on with a hot DJ-guy in Berlin and is heading down to his gig, but misses the train, leading to an unwanted road trip. Will Hanna and dj___snorksenzation__000 become an official couple tonight? What’s cool and who´s not? Are all middle-aged men perverts? A visually explorative movie where characters in papier mache meets the real world with goPro filmed material mixed together wildly with stereotypical stock images.

It’s about how researching pipes, a part of infrastructure and everyday life, can be a tool to see inequality in our society. To see how class issues and the consequences of capitalism are present in every corner of our everyday lives. It has to do with seeing our cities as organisms, as bodies, connected by systems. Systems, transferring matter around, making the organism live and function. But the systems can be infected, and that will affect us. It’s about connecting systems, to expose what’s hidden; the pipes buried in the grown, together with corporations’ greed. It’s about depicting systems, with systems. Using weaving to produce material. To make components. Give the work ability to be in a state of possible transformation. To make a visual comment, to start a conversation through craft. It’s about creating systems, to make systems, that speaks of systems.

My work explores aspects of the hierarchy between animal and human. I aim to find out how we as humans act, and how we treat animals in a not very humanised way. How would it look like if we would change place with the animals? To explain the different aspects of humanity, the work includes a symbolic language. I use different human coded objects, that works as an index that I’m creating during the master education. Among these objects are for example a hotdog, pommes frites and a bowl with cereals. During the process, another aspect has been added to the specified objects; the children perspective. Since children are more open minded and haven’t learned the structure of society yet, they are a great inspiration for me to learn how to look beyond the hierarchies in society. How do we as humans think before we learn how we should be thinking? One of the symbols I use is the cow, that works as a symbol for the animal. I have chosen to work with the cow since it is an animal that we use as humans to get milk and meat from, yet the cow is assisting and accepting us no matter what we do to them. I feel sorry for the cow, being a calm animal with no intention to do harm, at the very same time as we as humans kill them with no mercy. As a symbol for the human, I use Leif GW Persson. He is a Swedish TV personality taking and getting a lot of space in everyday society, for example in Swedish television. This project has an ambition to find out more about the hierarchies between different species (including the human). In order to tell the story through children, I have had workshops with them and gotten influenced by their ideas in the making of the installation and embodiment. This is a way for me to get “dehumanised” since children has less time living as human beings and haven’t yet learned how they should behave. The workshops works as one method in my project, while another method that I’m using is the sloppy craft. Through this method I aim to both show a more childi

The increasing ecological impact of textiles and textile overproduction creates both local and global environmental concerns. Through the theoretical framework of speculative realism and the concept of alienation this paper investigates how textile art can be used to discuss the dark emotions connected to climate change. The project uses a method of material exploration to find new life to waste material from textile industry in Sweden. Through the zombie metaphor the life and death of waste is discussed. The paper finds that by giving material new life, creating zombie weaves; the darkness within the topic can be reached. The tactile qualities of the work bridges to counteract the alienation created from the lack of insight and understanding of material values. The project finds that embracing the darkness and getting to know the monster can make room for new solutions to the ecological crisis.