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Genomförda disputationer

Alla disputationer vid Konstnärliga fakulteten

2018


David N.E. McCallum, Digital Representation

 

Title
Glitching the Fabric: Strategies of New Media Art Applied to the Codes of Knitting and Weaving

Time and Venue
Wednesday 26th September 2018 at 13:00 in Glashuset, Valand Academy

Hanna Nordenhök, Literary Composition, Poetry and Prose

 

Title
Det svarta blocket i världen. Läsningar, samtal, transkript

Time and Venue
Friday 14th September 2018 at 13:00 in Glashuset, Valand Academy


2017
Arne Kjell Vikhagen, Digital Representation

Title
When Art Is Put Into Play: A Practice-based Research Project on Game Art

Time and venue
Friday 3rd November 2017 in Aulan, Valand Academy

 

2016

Cecilia Grönberg, Fotografisk gestaltning

Titel
Händelsehorisont || Event horizon. Distribuerad fotografi.

Opponent
Solveig Jülich, docent, professor vid Institutionen för idé- och lärdomshistoria Uppsala universitet
Trond Lundemo, docent i filmvetenskap, Institutionen för mediestudier, Stockholms universitet

Betygsnämnden
Anna Dahlgren, professor i konstvetenskap, Institutionen för kultur och estetik, Stockholms universitet
Nils Olsson, fil dr i litteraturvetenskap, Institutionen för litteratur, idéhistoria och religion, Göteborgs universitet
Emma Kihl, konstnär, forskare

Tid och plats
Fredag 7 Oktober kl. 13:00, Glashuset, Chalmersgatan 4

Abstract
Fotografin som teknologi har under de senaste decennierna genomgått en rad transformativa förändringar – förändringar som har medfört skilda omförhandlingar av fotografins funktioner som bild eller information, som inskription eller transmission. Inom ramen för en sådan större omvandling insisterar denna avhandling i fotografisk gestaltning, Händelsehorisont || Event Horizon. Distribuerad fotografi, på att sondera analoga fotografiers fortsatta effekter inom digitala ekologier. ’Händelsehorisonten’ används
här som en bild och ett begrepp, som en projektionsyta och ett gränssnitt som gör det möjligt att reflektera kring olika sätt på vilka vi möter och umgås med fotografiska bilder i kontexter av digital produktion, publicering och cirkulation.

Den digitala fotografin är distribuerad. I sin undersökning av visuella och konstnärliga implikationer av en sådan utspridd belägenhet tar Händelsehorisont bland annat hjälp av bläckfisken, denna ’mjuka intelligens’ som här blir en utgångspunkt för en åttaarmad bild- och textessä som tentativt följer de komplexa blötdjurens tentakulära manifestationsformer genom historien och litteraturen, som livsformer och mediesystem.

Händelsehorisont är framförallt en fotograferad bok, men den fotografiska praktiken slutar inte vid den enskilda bilden, utan äger också rum i montage mellan bilder, texter, dokument och kontexter. I denna bemärkelse är Händelsehorisont en bok som genererar en mängd konstellationer för läsning, samtidigt som den ger upphov till speci ka gravitationsfält där cirkulerande eller ytande bilder kan fångas in med andra bilder och på så vis skapa nya densiteter och energifält. Ett sådant gravitationsfält utgörs till exempel av en längre essä som studerar former för montagebaserad ’visuell historieskrivning’.

Händelsehorisont lokaliserar sig mellan skilda bilder och system, teknologier och läsarter, människor, djur och mjukvaror, och uppehåller sig i denna rörelse gärna vid ytor och rum som kan erbjuda öppningar för kommande, ännu inte de nierade former av fotogra ska existenser.

OEI editör
ISBN: 978-91-85905-85-0 (tryckt version)

Händelsehorisont || Event Horizon. Distribuerad fotografi utgörs av en tryckt bok på 1012 sidor. Centralt för avhandlingsprojektet är arbetet med publicering som en konstnärlig praktik och med boken som medium.Tillgängligt i digital form finns bokens introduktion på 73 sidor.

Läs introduktion här.


Annica Karlsson Rixon, Fotografisk gestaltning

Titel
Queer Community through Photographic Acts. Three Entrances to an Artistic Research Project Approaching LGBTQIA Russia.

Opponent
Nina Wakeford, docent, Goldsmiths University of London

Betygsnämnden
Alyssa Grossman, fil dr, forskare, Akademin Valand, Göteborgs universitet
Jan Kaila, fotograf, vetenskaplig rådgivare i konstnärliga forskning, Vetenskapsrådet/forskare vid Konstuniversitetet Helsingfors
Marianne Liljeström, Professor i Gender Studies, Åbo universitet

Tid och plats
Fredag 26 augusti 2016 kl. 14:00, Världskulturmuseet, Södra vägen 54, Göteborg

Nyckelord
queer community, photographic acts, fotografisk gestaltning, photography, feminist theory, queer theory, community, embodied position, movement, performativity, intersectionality, situated knowledge, in-between, insider, outsider, Russian LGBTQIA, artistic research, Trinh T. Minh-ha.

Abstract
The compilation thesis is made within the field of fotografisk gestaltning (photography) and is a study of the potential for queer community to emerge through photographic acts. It consists of two artworks that have been presented in a series of exhibitions, published texts, workshops, and lectures. The artworks are the photography-, video-, and sound-based installation State of Mind, and the photographic series At the Time of the Third Reading/Vid tiden för den tredje läsningen/Во время третьего чтения, which is presented as framed images as well as in book form.

The publication Queer Community through Photographic Acts introduces the research through three entry points: photography, queer, and artworks. The first two entries highlight how these concepts are used in the research as practices and theories. The latter is a written visit to the artworks that takes place from different temporal and situational positions, and reflects on the work with LGBTQIA issues and community over borders.

The focus is on the emergence of community within, and through, the artworks, and how this may produce recognition of certain identities. At the same time, the artworks may destabilize what is taken for norms. How community emerges in the process of making art, as well as when activating the finalized works through exhibitions, workshops, and other presentations, is also explored.

The subject of the artworks is lesbian living in St. Petersburg, a Russian women’s camp, and how one may navigate through society as queer identities. Group portraits and community form the overall foundation for the gestaltning of the artworks. The conditions for making art with the Russian LGBTQIA community as an artist from abroad are taken into consideration, as well as other shared embodied positions such as queerness and whiteness. This is performed through notions of positions and movement, as well as paying attention to an in-between – Trinh T. Minh-ha’s concept which opens for a space of change and resistance to fixed positioning.

Avhandlingen Queer Community through Photographic Acts omfattar:

  • State of Mind (2008), a photography-, video- and sound-based installation.
  • At the Time of the Third Reading/Vid tiden för den tredje läsningen/Во время третьего чтения (2013), photography series.
  • At the Time of the Third Reading/Vid tiden för den tredje läsningen/Во время третьего чтения (2016), Art and Theory Publishing: ISBN: 978-91-88031-29-7
  • Avhandlingens introduktionsbok (kappa):
    Queer Community through Photographic Acts
    ISBN: 978-91-88031-03-7 (tryck version)
    ISBN: 978-91-88031-30-3 (digital version)
     

Hämta hem avhandlingen här

Avhandlingsutställningen State of Mind - Queer Lives in Russia pågår på Världskulturmuseet från 8 juni - 4 september, 2016. Läs mer här.


2015

Lisa Tan, fri konst

Titel
For every word has its own shadow: Sunsets, Notes From Underground, Waves

Tid och plats
Tisdag 15 december - onsdag 16 december 2015

Tisdag 15 december, filmvisning
Filmvisning: 18:00 - 19:15
Plats: Bio Valand, Akademin Valand, Storgatan 43

Onsdag 16 december, filmvising och disputation
Två Filmvisningar: 9:30-10:45 and 10:45-12:00
Plats: Bio Valand, Akademin Valand

Disputation kl. 13:00
Plats: Glashuset, Akademin Valand, ingang från Chalmersgatan 4

Opponenter
Professor Gertrud Sandqvist, Konsthögskolan i Malmö, Lunds universitet, samt fil dr Annika Wik, forskare

Betygsnämnd
Nils Olsson, universitetslektor i litteraturvetenskap, Göteborgs universitet
Simon O'Sullivan, Reader in Art Theory and Practice, Visual Cultures, Goldsmiths University of London
Eva Zetterman, universitetslektor i Konst- och bildvetenskap, Göteborgs universitet

Nyckelord
affect, becoming, Maurice Blanchot, displacement, dispossession, essay film, experimental video, geological time, liminal, Clarice Lispector, materialism, primordial obscurity, provisional, solitude, Susan Sontag, threshold, transformation, translation, video, video installation, Virginia Woolf

Abstrakt
Det här doktorandprojektet genomsyras av frågor om det liminala: Hur kan en erfarenhet av det liminala existera som ett konstverk? Vilka ting och erfarenheter kan orientera oss mot affekt och blivande? Lisa Tan knyter dessa problem till det synligörande av blivande som återfinns i Clarice Lispectors författarskap. Tillsammans med Maurice Blanchot och hans diskurs kring förlust och utsidan (analoga med blivande) etablerar sig Tans kritiskt engagerade undersökning inom en filmisk praktik. Avhandlingens primära utkomst består av en serie videos: Sunsets (2012), Notes From Underground (2013) och Waves (2014–15). På drift mellan dag och natt, ovan och under jord, land och hav, framträder de som rörelser mot det liminala löftets uppfyllelse: förvandlingen.

I Sunsets, samtalar solen med den kraft som heter Clarice Lispector. Videon återger en direktöversättning av en intervju med Lispector från 1977. Denna inspelning utgör videons ljudspår. Bildmaterialet består av scener som har filmats i Sverige klockan tre på morgonen under sommaren eller klockan tre på eftermiddagen under vintern. Notes from Underground förbinder Stockholms tunnelbana och Susan Sontags vistelse i Sverige med ett grottsystem i New Mexico, 800 mil därifrån. Genom varierande intensiteter av geologisk tid och genom skikt av personliga historier och kulturhistoria, fogar videon suggestivt samman resan med upplevelser av liminalitet. Med utgångspunkt i Virginia Woolf roman The Waves, föreställer sig Tans video Waves hur medvetandet tar form i relation till samhället och dess teknologier, men också i relation till uttryck för geologiska och hydrologiska processer. Filmad vid gränsen mellan land och hav, framträder en konversation mellan disparata vattenförbindelser, såsom Woolfs prosa, Courbets målningar av vågor, Googles datacentraler som kyls med vatten från Östersjön, osynliga maneter och transmarina kablar.

Avhandlingen består av videorna, en doktorsavhandling, en artist book som innehåller illustrerade transkriptioner av varje video, en dokumenterad separatutställning samt texter av Mara Lee, Lauren O’Neill-Butler, Natascha Sadr Haghighian, och Lisa Tan. Den del som är en artist book både dokumenterar och reflekterar över den forskning som bedrivits och inbegriper också andras röster, vilket ger en kritisk, intersubjektiv förståelse av det liminala.

Om Lisa Tan
Hämta hem avhandlingen
 

Elke Marhöfer, fri konst

Titel
Ecologies of Practices and Thinking

Tid och plats
Onsdag 16 december - torsdag 17 december 2015

Onsdag 16 december, kl. 18:00, filmvisning
No, I am not a Toad, I am a Turtle! (44 minutes, South Korea and China, 2012)
Plats: Bio Valand, Akademin Valand

Torsdag 17 december, kl. 10:00, filmvisning och disputation
The films prendas — ngangas — enquisos — machines {each part welcomes the other without saying} (25 minutes, Cuba, 2014), Nobody knows, when it was made and why (10 minutes, England, 2012-15), and Shape Shifting (18 minutes, Japan, 2015, in collaboration with Mikhail Lylov)
Plats: Bio Göta 3, Götaplatsen

Disputation kl. 13:30
Plats: Glashuset, Akademin Valand, ingang från Chalmersgatan 4

Opponent
Dr Silke Panse, Reader in Film, Art and Philosophy, Fine Art, School of Fine Art, University for the Creative Arts, Canterbury

Betygsnämnd
Dr Erling Björgvinsson, PARSE professor, HDK - Högskolan för design och konsthantverk, Göteborgs universitet
Dr Felicity Colman, professor of film and media art, Manchester School of Art, Manchester Metropolitan University
Dr Matts Leiderstam, professor vid Konsthögskolan i Malmö, Lunds universitet

Nyckelord
new materialism, film, image, matter, nonhuman, more-than-human, other-than-human, not-so-human, ecology, agriculture, otherness, storytelling, enunciation, post-context, post-history, animism, colonialism, becoming with, seeing together, lines of flight, modes, animals, plants, things, territories, multiplicities, chaos, expressive continuum, relational aesthetics, radical empiricism, Baruch Spinoza, Gilles Deleuze, Félix Guattari, Isabelle Stengers, Donna Haraway, Anna Lowenhaupt Tsing, Brian Massumi, Danièle Huillet, Jean Marie Straub


Abstrakt
Hur ser en nymaterialistisk filmpraktik ut? För att närma sig frågan utforskar denna praktikorienterade och materialdrivna forskning dynamiska och ekologiska relationer, tankeprocesser och praktikprocesser. Den tillämpar en animistisk metodologi som gör det möjligt att relatera till det ickemänskliga som en aktiv deltagare, snarare än ett passivt föremål för en undersökning. På så vis aktiveras en öppning mot materialitet och kunskapsproduktion som skiljer sig från konventionella, antropocentriska epistemologier och som fördjupar samhörigheten med och banden till det annat-än-mänskliga. Genom att inrätta särskilda förbindelser med materia och genom att situera sig inom specifika relationer, mobiliserar och mobiliseras projektet av affekter, intryck och förnimmelser av det mer-än-mänskliga. Det första kapitlet undersöker gängse vetenskapliga, tekniska, sociala, politiska och filosofiska epistemologier som ofta grundar sig i koloniala och antropocentriska antaganden om och beskrivningar av världen.

Forskningen strävar emellertid inte efter att skriva om eller återta till exempel en viss historia eller plats, istället skisserar den begrepp som blivande eller flyktlinjer som rör sig genom dessa lämningar, för att så skapa mer komplexa och fruktbara förhållanden och geografier. Skrivandet samarbetar ofta med Gilles Deleuze och Félix Guattari, eftersom deras filosofi uttryckligen bekräftar omänskliga krafter och mångtydiga ontologier. I det andra kapitlet flyttas fokus till olika slags processer där individer blir mångfalder, där djur, växter och ting förses med omänsklig kraft eller personlighet, där materia har entusiasm och territorier är mer än blott statiska kulisser. Härifrån bokstavligen färdas forskningen. Den färdas med specifika singulariteter och deras materialbaserade praktiker—en hel ekologi av praktiker som ofta bildar otaliga förbindelser och även landskap. Genom att situera sig inom det ekologiska och relationella fältet, utforskar forskningsprojektet metodologier för samarbete och blivande med det mer-än-mänskliga som praktiseras av trollkarlar och berättare från Kuba och Sydkorea, och av lantbrukare från Kina, Burkina Faso och Japan.

Om Elke Marhöfer
Hämta hem avhandlingen

Helga Krook, litterär gestaltning

Titel
Minnesrörelser

Tid och plats
Fredagen den 24 april 2015 kl 13.00 i Glashuset, Akademin Valand

Opponent
Professor emeritus Arne Melberg

Betygsnämnd
Alexander Bareis, docent, institutionen för tyska, Lunds universitet
Sigrid Combüchen, författare, kritiker, Författarskolan, Lunds universitet
Åsa Arping, lektor, institutionen för litteratur, idéhistoria och religion, Göteborgs universitet

Abstrakt
The starting point of the doctoral project Minnesrörelser (Movements of Memory) is a documentary material, based on interviews, archival documents, letters, diaries and more, from Germany and Sweden from the 1930’s to present time focusing on childhood, upbringing, eugenics, bilingualism. The family as a place for historical writing, family stories inevitably connected with political history, and how they can be passed on or kept secret makes up the main subject matter, where questions of memory and postmemory, heritage and transgenerational consequences of oppression and guilt, as well as the role of silence, speaking and translation, are investigated.

The project is considered a very practice-based one but also a historical one, as a link in the life of stories in the material interwoven with the history of Germany in the 1930’s and 40’s and of Sweden in the period of Folkhemmet. The way the project has developed and come to a preliminary end, that is, this dissertation, is in itself a story, an open end narrative, where the roles of the author and the reader are focused on. The famous statement by Roland Barthes that the birth of the reader must be at the cost of the death of the author is used as an impulse, along with Novalis’ view on reading and writing as an ever continuing literary dissemination process.

Different perspectives and opposites like family album/reference book, memory/history, ruin/reconstruction, daughter/daughter are reflected upon through the reasonings of, among others, Aleida Assmann, Harald Welzer, Marianne Hirsch and Pierre Nora as well as through different works of art, literature and historical documentation, for example by Victor Klemperer, Irina Liebmann, Susan Hiller, David Chipperfield. The dissertation is an artistic way of focusing a complex of problems of narration, which remain, naturally, unsolved.

Ladda ner fulltext här


2014

Mara Lee Gerdén, litterär gestaltning

Titel
När andra skriver: skrivande som motstånd, ansvar och tid

Tid och plats
Fredagen den 28 november 2014 kl 13.00 i Lingsalen, Studenternas Hus, Götabergsgatan 17, Göteborg

Opponent
Lektor Lilian Munk Rösing, Institut for Kunst- og Kulturvidenskab, Københavns Universitet

Betygsnämnd
Ulrika Dahl, docent, Södertörns högskola
Annelie Bränström Öhman, professor, Umeå universitet
Andrej Slavik, fil dr, Humanistiska fakulteten, Göteborgs universitet

Abstrakt
How would a writer describe responsibility in writing, and in what ways could writing be conceived as resistance? One of the fundamental convictions in The writing of Others: writing conceived as resistance, responsibility and time, is that words do things, and that the definition of the performative qualities of literary and poetic language can not be confined to the mere act, but to an act that is also an event with the force to transform our relation the other. This dissertation is committed to doing theory, poetically, by engaging in the empirical experience of writing, and emphasizing the significance of bodily and sensory knowledge. The French literary tradition of écriture féminine with precursors Hélène Cixous and Julia Kristeva constitutes a crucial reference as this tradition stresses the importance of poetic language in knowledge production. But writing écriture féminine for the third millenium entails further thinking within this very tradition, as Other times are now prevailing. Others and times are precisely the keys to this elaboration of the tradition of écriture féminine, inscribing postcolonial thinking into the writing experience and focusing on the question of temporality. The writers Trinh T Minh-ha and Gloria Anzaldúa are both of vital importance for the articulation of a feminist point of view combined with postcolonial criticism that is steadily anchored in literary and linguistic grounds. Regarding the focus on temporality this study aims at two things: on the one hand displacing and analyzing “old” theoretical concepts as for instance das Unheimliche and mimicry, and on the other hand creating and coining new temporal figurations. These new figurations – the last hour, the tearing moment, the shared Schmertzpunkt and the arrested time – provide embodied theoretical concepts and point towards the intersection of resistance, responsibility and time. The question of responsibility is explored throughout this study – the question if and how the writing of Others might be a specific way of being responsible in writing.

Avhandlingen är utgiven på Glänta produktion.

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Niclas Östlind, fotografi

Niclas Östlind försvarar sin avhandling Performing historia. Fotografi i Sverige 1970-2014 den 3 juni 2013 vid Göteborgs konstmuseum. Opponent: Christine Hansen. Foto av Emma Skerfe.

Titel
Performing History. Fotografi i Sverige 1970-2014

Tid och plats
Tisdag 3 juni 13.00, 2014, Hörsalen, Göteborgs konstmuseum, Götaplatsen, Göteborg

Opponent
Christine Hansen, docent, fil.dr i konsthistoria, konstnär (fotografi)

Betygsnämnd
Patrick Amsellem, fil dr, curator, chef för Skissernas museum, Lund
Milou Allerholm, konstkritiker, lektor i konsthistoria, Kungl. Konsthögskolan, Stockholm
Karin Wagner, docent i konst- och bildvetenskap, IT-universitetet (GU/Chalmers)

Abstrakt
Title: Performing History: Fotografi i Sverige 1970–2014
English title: Performing History: Photography in Sweden 1970–2014
Language: Swedish
Keywords: Photography, curatorial practice, history, narrative, cultural sociology, field and narrative interviews
ISBN: 978-91-981712-0-4 (Dissertation edition/Disputationsupplaga)

Using curatorial practice as a method, this thesis maps and investigates photography in Sweden 1970–2014. The study deepens the knowledge of photography mainly exhibited in institutions and/or having been organised by actors that define themselves as photographic. It also contributes to producing new knowledge of the relationship between photography and art, and of the ways in which various social, economic and political spaces (in a broad sense), where the audience has encountered photography, have affected the production, display
and reception of photography.

It is an investigation of photography, with photography and through photography, where the exhibition practice functions as an optics that defines and sharpens the perspective, and partly as a method with which the results are tested and visualized. The exhibitions contain an active display of the material. They form spatial and temporal narratives, which show a distinctly self-reflective perspective explicitly stating that the history put forward is one of several possible
narratives.

The thesis gives answers to questions regarding the type of photography that has been exhibited, where and how it has been shown, who have been the driving forces behind photography exhibitions and how these aspects have changed or remained the same over time. It also examines and answers questions about the institutional and sociological conditions for photographic exhibition practices, and thereby also about a central aspect of the photographic
field.

The structure of the study is made up of different coordinated parts, which are devoted to different perspectives. The theoretical narration as a point of departure and the narrative interviews – that constitute an important part of the study – give space to include and to accentuate, the different actors and their historical stories. It also points to the various ways in which history, seen through the categories of history theory, has been used and what kind of historical narrative the thesis itself is an example of.

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2013

Marco Muñoz, digital gestaltning

Titel
Infrafaces: Essays on the Artistic Interaction

Tid och plats
Fredagen den 23 augusti 2013, kl. 13.00 i Glashuset,
Akademin Valand, ingång från Chalmersgatan 4

Gestaltande inslag
Utställning av videokonstverk i Galleri Rotor 1, Akademin Valand:

Utställning av Marco Muñoz
Infrafaces. The paradoxical division of physical and temporal spaces. Gallery Rotor, Valand Academy

Vernissage
Onsdag, August 21, 17.00 - 21.00

Galleri öppettider
Utställningen kommer att visas fram till söndag 25 augusti.
Torsdag - Fredag 17-20
Lördag - Söndag 12-17

Opponent
Docent Ylva Gislén, gästprofessor i konstnärlig gestaltning, Lunds universitets konstnärliga fakultet

Betygsnämnd
Docent Karl Palmås, Teknikens ekonomi och organisation, Chalmers
Fil dr Monica Sand, konstnär, gästforskare vid Arkitekturmuseet, Stockholm
Fil dr Magnus Bärtås, konstnär, professor vid Konstfack, Stockholm

Abstrakt
Title: Infrafaces: Essays on the Artistic Interaction
Swedish title: Infrafaces: Essäer om den konstnärliga interaktionen
Language: English, with a Swedish and Spanish summary
Keywords: interaction, artistic research, digital art, infrafaces, interface, paradoxes, art and technology.
ISBN: 978-91-979993-5-9

The essays collected in this dissertation introduce a new concept in the field of interactive art: the concept of infrafaces.
This thesis shows how a new zone is discovered when two or more elements connect. In the space that arises, a contact area comes into being between the elements involved, and this takes place at the moment of their contact and information exchange – forming an interface. This interface can in turn be manipulated to generate a new space, which forms a contact zone that can be opened even further, thus creating new spaces. The new segments created within the practice of interactivity are named infrafaces.
Infrafaces are a series of interrelated interfaces within an interaction that adapt time and/or space to transform connecting elements into new spaces. These spaces act as an interface for the next transformation to take place before a new space is opened. The infraface is an artistic interpretation of the process of interactivity and has the ability to expand the time or the space in between the elements interacting, in order to embed new stories between them.
This dissertation explains how, by means of artistic experimentation – through video, installations and the design of interfaces – this new area was uncovered: an area that is an infinite zone, close to the paradoxical, but that offers endless opportunities to develop art, and instead of solving the paradoxes that arise in art or technology, develops a way to use these contradictions to create a different understanding of our relation to the world.
This thesis also proposes a new approach to the relationship between art and technology, hereby manifesting the ways in which our senses adapt to technology. Instead of pretending to define and change the world, this project proposes new forms of connectivity that produce different interactive applications and whose aim is to produce new knowledge.
This dissertation presents five essays interwoven with artistic exhibitions, and also includes the documentations of these experienced practices, demonstrating the literary and visual potential of the infraface – a new concept within artistic research.

Ladda ner fulltext här
 

Fredrik Nyberg, litterär gestaltning

Titel
Hur låter dikten? Att bli ved II

Tid och plats
Fredag 24 maj kl 13 i Schildknechtsalen (Teater 2), Artisten, Fågelsången 1, Göteborg

Fakultetsopponent
Fil. dr Jesper Olsson, forskarassistent vid Linköpings universitet

Betygsnämnd
Thomas Götselius – fil. dr i litteraturvetenskap, biträdande lektor vid Stockholms universitet.
Maria Bania – musiker och fil. dr i musikalisk gestaltning, lektor vid Högskolan för scen och musik.
Tommy Olofsson – författare, docent i litteraturvetenskap, lektor vid Linnéuniversitetet.

Abstrakt
Title: Hur låter dikten? Att bli ved II
Engelska titel: What is the sound of the poem. Becoming Firewood II
Language: Swedish, with an English Summary
Keywords: Poetry reading, poetry performance, oral reading, silent reading, sound similarities, sound poetry, text-sound composition, ways-of-writing, self-representation, loop, the line of poetry
ISBN: 978-91-979948-2-8
This dissertation also includes the collection of poems Att bli ved and a CD-record.
This project revolves around the question raised by its title. The dissertation consists of an investigation of the culture of poetry-reading and how it has established itself in modern times, and what characterises this practice. The second half of the first chapter revolves around a number of poetry readings given by me some years ago. This chapter concludes by the concept of poetry reading being defined as something essentially different from other types of sonic poetic practices which goes under the name “poetry performance”. In the second chapter of the dissertation the focus shifts over to this kind of performative acts that became an important part of art and literary life during the 20th century. A movement is identified through which for example Ilmar Laaban and Sten Hanson abandons conventional modes of literary expression in order to seek out and stage various sound poetry and performance activities. In the concluding chapter, two of my own works are in focus. The first part is a discussion of the CD ADSR that just like the compositions on the record seeks to embrace a great many aspects. As it progresses, this essay also changes character and becomes more narrative in its mode. Since storytelling has always been something foreign to me as a writer, it is possible to regard this fragment of prose as yet another laboratory study of the significance of ways of writing in a practice aimed at producing knowledge. The last section of the dissertation discusses the collection of poems Att bli ved, where a number of key concepts such as: sound similarities; loops, metre and rhythm; and a line of poetry, act as a point of departure. All these elements constitute important contributions in the different attempts to produce the poems.

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2011

Christian Wideberg, estetiska uttrycksformer med inriktning mot utbildningsvetenskap

Titel
Ateljésamtalets utmaning - ett bildningsperspektiv

Tid och plats
Fredag den 10 juni 2011 kl 13.00 i Sal 10, Vasaparken, Göteborg

Opponent
Arnt Myrstad, professor i filosofi, Tromsø universitet, Norge

Betygsnämnd
Finn Thorbjörn Hansen, fil. dr, lektor i pedagogik vid DPU, Århus universitet
Gunilla Bandolin, professor i fri konst, Konstfack
Lars Mouwitz, docent i matematisk bildning vid Göteborgs universitet samt professor i yrkeskunnande vid Linnéuniversitetet

Abstrakt
Title: Ateljésamtalets utmaning - ett bildningsperspektiv
English Title: The Challenge of Studio Critiques – A Perspective of Growth (German: Bildung)
Language: Swedish with an English summary
Keywords: Bildung, Educational Science, Fine Arts, Growth, Higher Education, Phenomenological Hermeneutical Method, Studio Art, Studio Critiques, Supervision
ISBN 978-91-978477-5-9

The present study is in the field of Educational Science and is an investigation of the studio critiques i.e. the teacher/student studio interactions that take place as part of two higher education programmes in the Fine Arts in Sweden; these are the three-year Bachelor of Fine Arts programme and the two-year Master of Fine Arts programme.

The aim of the dissertation is to find out what is essentially important in a studio critique, to understand its context and integrity, as well as to examine how a teacher captures the opportunities and challenges that occur within the force field of the student’s intention, of his or her idea and his or her formal knowledge.

A phenomenological hermeneutical method is applied as the method of inquiry in the study, where several different collecting methods are used to gather empirical data. An historical overview, transcribed interviews, a log book and studio critiques make up the narrative text data, which have both practical and scientific relevance.
The core theme of the studio critique is to challenge the quality of the student’s artistic expression, thus contributing to involving him or her in a process of growth; this process embraces the potential of the studio critique to nurture and attain quality, which is the main result of the study.

Studio critiques are complex and interwoven interactions of two kinds: 1) interactions where the teacher and the student seek common ground in a mutual process of understanding and accord, and 2) interactions where the integration of intention and quality is strived for. In his or her role as supervisor, the teacher aims at finding the point of interface between the student’s intention and the material qualities of his or her work. Ultimately the goal of this form of growth (German: Bildung) is to maximise student potential, thus enabling him or her to develop the full range of his or her talents. When the main topic for the studio critique is found, another interaction begins. This process addresses the challenge of integrating concept and material, the ultimate goal of which must be a seamless fusion of the two if the finished work is to possess sublime qualities. One can regard the studio critique as a process where the student reaches a deeper knowledge of self and his or her artistic goals, where subjective and creative impulses are essential for the developmental growth of this form of living knowledge.

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Tina Carlsson, fri konst

Titel
the sky is blue

Tid och plats
28 oktober 2011 kl 13.00, Stadsbibliotekets hörsal, Göteborg
En utställning ingår vilken visas 21 oktober-6 november på Stadsbiblioteket, Göteborg

Opponent
Milou Allerholm, lektor, Kungl. Konsthögskolan, Stockholm

Betygsnämnd
Ulla Holm, professor emerita i genusvetenskap vid institutionen för kulturvetenskaper/genusvetenskap vid Göteborgs universitet
Nils Olsson, Fil dr i litteraturvetenskap, Inst för litteratur, idéhistoria och religion, Göteborgs universitet
Mike Bode, Fil dr i fri konst, konstnär

Abstrakt
Title: the sky is blue
English title: the sky is blue
Språk: Swedish
Keywords: Feyerabend, story, subjective, sky, change

the sky is blue vill genom sina verk visa att både institutionella och subjektiva begränsningar är närvarande i våra liv, men att vi genom våra drömmar fantasier och visioner har en förmåga att överskrida dessa begränsningar. Jag vill hävda att denna förmåga, som finns inbyggd i titelns envisa påstående att himlen är blå, bär på möjligheten att förändra det närvarande. Men för förändring krävs också kunskap och förståelse av det nuvarande. the sky is blue vill visa hur den subjektiva berättelsen och erfarenheten är en produktiv och nödvändig del av formandet av den kunskapen. Den partikulära, eller individuella erfarenheten, är central för verken i the sky is blue.

the sky is blue innehåller fotografi-, teckning- och textverk. De tre verken ”jag samlar på himlar, jag samlar på himlen”, ”1000 stories about a blue sky”, och ”under en himmel” är avhandlingens utgångspunkt och centrala verk. Runt verken formar sig en subjektiv berättelse som söker svar på frågan varför jag gör vad jag gör. Genom att välja samma metod i avhandlingsarbete som i min konstnärliga praktik låter jag den frågan intervenera med frågan vad jag gör när jag gör vad jag gör. Detta innebär att avhandlingen the sky is blue som blivit till i sökandet efter ett varför är ett implicit svar på frågan vad jag gör när jag gör vad jag gör.

I ”två bakgrundstexter” beskrivs hur två förluster har format förutsättningar för tillkomsten av the sky is blue. I relation till de två bakgrundstexterna finns en serie av mikroessäer, ”tolv betraktelser”, som istället för att blicka bakåt tar sin utgångspunkt i det närvarande. I ”tolv betraktelser” är det vardagliga flödet centralt, i texterna kommer de tankar och reflektioner till uttryck som tar plats när jag konfronteras med olika händelser i min vardag. Texterna i ”fyra verkbeskrivningar” är skrivna i tät relation till verken, och är istället för redogörelser av verkens material och tillkomst skildringar av det personliga ”tillstånd” som är verkens utgångspunkt.

Liksom den personliga erfarenheten, som aldrig formar sig linjärt utan snarare består av olika delar, eller irrfärder, som korresponderar med varandra, är the sky is blue uppbyggd av olika delar som befinner sig i en dialogisk situation med varandra. För att upprätthålla denna dialog mellan de olika delarna, har bokformatet, som oftast inbjuder till en linjär läsning, valts bort och istället finns de olika delarna placerade i en box. Den dialogiska situationen mellan verken svarar inte bara mot min konstnärliga praktik utan jag menar att den också bäst tar tillvara de metoder som används inom konsten för förmedling av kunskap och mening.

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Lars Wallsten, fotografisk gestaltning

Titel
Anteckningar om Spår

Tid och plats
Fredag 27 maj 2011 kl 13.00 i Sal 10, Vasaparken, Göteborg

Opponent
Per-Magnus Johansson, professor i idé- och lärdomshistoria (Göteborgs universitet), psykoanalytiker

Betygsnämnd
Lars O Ericsson, docent i praktisk filosofi (Stockholms universitet), författare, konstkritiker och konstskribent
Kent Klich, fotograf, Köpenhamn
Peter Ullmark, arkitekt, professor (Chalmers; Göteborgs universitet)

Abstrakt
Titel: Anteckningar om Spår. Fotografi–Bevis–Bild.
English titel: Notes on Traces. Photography. Evidence. Image.
Language: Swedish
Keywords: Photography, evidence, trace, pattern, condensation, art, criminalistics.
ISBN: 978-91-978477-3-5

Anteckningar om Spår (Notes on Traces) is a self-critical and self-reflective practice-based PhD project. It endeavours to make visible how artistic practice can create its content and context in relation to experience, reinterpretation and further progression.
The project is an inquiry into photography’s capacity to prove evidence. It is structured around photographic representation and written text. The dissertation consists of four photographic works together with an introduction, a list of contents, and a main text presented as an essay with numbered passages. The research effort is guided by a broad, selective inquiry. Contextualisation and conceptualisation have been identified through a process of bricolage, whereby creative use has been made of different discourses such as photography, film, art, philosophy, psychology, education, law, criminalistics, literature and cognitive science. Artistic strategies and practices that use forensic aesthetics are also discussed.

The method has the character of tracing a trail that leads the project forward. This creates a dialogue between the content and the form of the dissertation. Trace together with condensation and pattern are presented as productive concepts; these concepts, which in some respects have their roots in photography, not only provide others with the leads to understand a photograph as evidential proof but are also characterised by a suggestive quality, which is a recurring feature in the photographic projects.

The study contributes to overcoming the differences in the ways theoretical and practical knowledge are produced.

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Andreas Gedin, fri konst

Titel
Jag hör röster överallt - Step by Step

Tid och plats
Lördag 28 maj 2011 kl 14.00 i Sjöströmsalen, Artisten, Fågelsången 1, Göteborg

Opponent
Jan Håfström, konstnär, Stockholm

Betygsnämnd
Gunnar D Hansson, författare, poet, essäist, översättare och docent i litteraturvetenskap samt professor i litterär gestaltning, Göteborgs universitet
Jan Kaila, professor, Bildkonstakademin, Helsingfors
Ulrika Ferm, curator och konstnär

Abstrakt
Title: Jag hör röster överallt – Step by Step
English title: I Hear Voices in Everything – Step by Step
Language: Swedish
Keywords: Mikhail Bakhtin, Michail Bachtin, curating, curator, exhibition, intertextuality, metalinguistics, carnival, dialog, essay, conceptual art, contemporary art, artistic research.
ISBN: ISBN 978-91-978477-2-8

I Hear Voices in Everything – Step by Step, is a practise-based dissertation in fine arts. It includes three art exhibitions, several independent art works and an essay. It discusses the role of the artist and the making of art mainly through the ideas of the Russian philosopher Mikhail Bakhtin (1875-1975) but also by reflecting on similarities between the artist and the curator. Being a dissertation in fine arts, the aim is not primarily to develop any certain philosophy but to use theory to discuss art, and vice versa.

In the first section, the methodological presuppositions are articulated and contextualised. The relevance of artistic research as a means to develop artistic practice and as a means to increase the understanding of artistic practice is also addressed, as is the reasonability of using the philosophy of Bakhtin in this specific context. Bakhtin is usually referred to as a literary theorist; however, his dialogical philosophy concerns man’s being as a whole, that is, it is through dialogical relations man is constituted. Here, man, and also art in general, is understood by Bakhtin as being temporary meeting places for art works, readers, artists, protagonists, history etc. The reflective text in itself also endeavours to be dialogical and polyphonic by including different voices such as fictional characters, real comments, emails, letters and quotes.

In the second section the practice of making art is discussed in relation to Bakhtin and other writers. One main topic is if one, by using Bakhtin, can also regard an art work as a meeting place for language (in its broad sense) so as to include physical material, skill, and experience; and hence, if one could, or should, regard the artist as a kind of curator, and vice versa. Bearing this in mind, is there then any relevant difference between organising language into an artwork or into an exhibition?

The third section focuses on the artworks that are a part of the PhD project; these include an exhibition and two planned exhibitions. The central theme of, or the catalyst for, the works of art is repetition. Published as one exclusive copy, and also smuggled into the Lenin library, Sleeper is a collection of essays on the ingredients of a tuna fish casserole. Thessaloniki revisited is a video of a reading of a short story.

Spin-Off is a video where a curse is read by an actor. Sharing a Square is a documentary-based video of a ritual drumming session in Calanda, Spain, and Erich P. is an artwork based on an embassy to Russia in 1673 and on contra-factual archaeology. As a final part of the dissertation project these artworks will be shown in a solo exhibition, and there will also be a curated exhibition, which will include only other artists.

The last part of the dissertation’s title “Step by Step” refers to a larger art project called Taking Over, which this dissertation is a part of. Taking Over deals with different aspects of power relations in five separate projects. Being an integral part of this larger and thematic art project, the dissertation also refers to different aspects of power, and even to the lack of power in relation to the artist’s position in research contexts, both inside and outside academia. It also underlines that artistic research is part of a wider artistic practice.

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Magnus Bärtås, fri konst

Titel
You Told Me - work stories and video essays / verkberättelser och videoessäer

Tid och plats
Fredagen den 28 maj 2010 kl. 13.00 i Hörsalen,
Göteborgs stadsbibliotek, Götaplatsen 3, Göteborg

Fakultetsopponent
Dr Suzana Milevska, professor vid Accademia Italiana, Makedonien

Betygsnämnd
Anna Sofia Rossholm, lektor Linnéuniversitetet, Kalmar/Växjö
Maria Lantz, lektor, Kungl. Konsthögskolan, Stockholm
Staffan Söderholm, professor, litterär gestaltning, Göteborgs universitet

Abstrakt
Title: You Told Me – work stories and video essays / verkberättelser och videoessäer
Language: Swedish and English
Keywords: Video essay/filmic essay, conceptual art, biography, storytelling, work story­/verkberättelse, narrator, voice-over, post-construction, narratology, reenactment, Chris Marker, Choi Eun-hee
ISBN: 978-91-977758-8-5

You Told Me is a practice-based research project and consists of three video biographies (the Who is…? series), and two video essays (Kumiko, Johnnie Walker & the Cute (2007), Madame & Little Boy (2009), an introduction with a contextualization and methodology of the field, and three essays. The dissertation is an observation and analysis of certain functions and meanings of narration and narratives in contemporary art, as well as being an experiment with roles, methods, actions, and narrative functions in an artistic medium – the video essay. Using the methods of “pilgrimage” (Chris Marker) and essayistic practices, and by revisiting and retelling biographies, this work tries to find a place in between collective and personal memory. During the practical process and the reflective theoretical work the different elements or instances of the video essay are identified: the subject matter, the images (the representation), the artist/author, the narrative/text, and the narrator/voice. In documentary film the lack of natural correspondence between these entities is often dissolved or denied – this work instead exposes the instances as separate units. A question arises: What alternative roles can be established between these elements, for example by negotiation and transference between them? The methodological part of the text focuses on the conceptual invention made during the process, which I have called work story [verkberättelse]. A work story is a written or oral narrative about the forming of materials, immaterial units, situations, relations, and social practices that constitutes, or leads to, an artwork. By discussing analogies between storytelling, collecting, and biographical accounts together with examples from conceptual art, the dissertation shows how the work story is not only crucial for the understanding of the artwork but that the act of making and the very order or sequence in which the making proceeds often have symbolic, metaphorical, metonymical, political, and even epistemological meanings.

In an extended form a work story disseminates meaning rather than capturing it. This is the essayistic work story that permits a writer/artist to wander off and touch upon a subject as if in passing, reproducing its neglected genealogy and destiny in the detailed materiality of the work story.

2009

Magali Ljungar Chapelon

Titel
Actor-Spectator in a Virtual Reality Arts Play. Towards new artistic
experiences in between illusion and reality in immersive virtual environments

Tid och plats
Tisdag 27 januari 2009 kl 13.00 i Robert Franksalen, Högskolan för fotografi, Storgatan 43, Göteborg

Opponent
Pelle Ehn, professor i IT, design och nya medier på K3 ( Konst, Kultur och Kommunikation), Malmö.

Betygsnämnd
Willmar Sauter, professor i teatervetenskap, Stcokholms universitet
Eva Nässén, professor, Högskolan för scen och musik, Göteborgs universitet
Jan Bärmark, professor vid institutionen för idéhistoria och vetenskapsteori, humanistiska fakulteten, Göteborgs universitet

Abstrakt
Titel: Actor-Spectator in a Virtual Reality Arts Play: Towards new artistic experiences in between illusion and reality in immersive virtual environments
Språk: English
Keywords: Artistic crossover, actor-spectator, Virtual Reality Art, VR-Cube, immersion, interactivity, experience of art, audience experience, play, metaphor, illusion, reality, Gestalt, metaphorical journey, social interaction, performing arts, visual arts, computer games, adventure games, entertainment
ISBN: 978-91-977757-1-7

This doctoral project brings to the fore the specificity of the artistic experience when the Virtual Reality Cube, a medium based on immersive virtual reality technology, is used as artistic virtual space, where the stage and the auditorium blend into one and
spectators and actors no longer have distinctive roles. It consists of three integrated parts: a written thesis, a VR artwork and a DVD, which illustrates the text, the production process of the VR work, and which also presents an interpretation of the research results in filmic and photographic form. Gadamer’s concepts of play and experience of art, Aristotle’s conception of drama and Ricoeur’s theory of metaphor are used as points of departure in order to coin the term virtual reality arts play or VR arts play that characterises this kind of immersive journey in between illusion and reality. Empirical and theoretical functions interweave in a chorus of voices representing the experience of all actors involved: the audience, the production team and experts from several art fields, computer-games and media. Audience surveys show that all the respondents but one, children as well as adults, thought that this type of VR artwork opens up new ways for an artist to give shape to an artistic vision and for an audience to communicate with and experience an artwork from within. What appears as the most worthwhile and unique aspect of the experience is the opportunity to experience fictive, imaginary worlds and characters that cannot be represented by other means than through an immersive virtual reality medium, i.e. within a physical space where the audience becomes physically immersed and participant “on stage”. The essence of such an experience is to be found in the notion of “play in between”, at the crossover of several art forms and computer games, for audiences which consider themselves as both actor/participants and spectators. Research results, exposed and illuminated through semiotics and hermeneutics, show that such experiences may develop in the form of intimate experiences for a little group of spectators or within new social contexts for broader audiences and with several possible applications within the fields of art and entertainment.

Avhandlingen är publicerad inom ArtMonitor
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Bryndis Snæbjörnsdóttir, fri konst

Titel
Spaces of Encounter: Art and Revision in Human-Animal Relations

Tid och plats
Fredag 27 mars 2009 kl 13.00 i Glashuset, Konsthögskolan Valand, Vasagatan 50, Göteborg.

Fakultetsopponent
Sarat Maharaj, Professor vid Konsthögskolan i Malmö, Lunds universitet, och professor i konsthistoria vid Goldsmith University College

Betygsnämnd
Fil dr Karin Wagner, IT-universitetet, Göteborg
Artist and PhD professor Martha Fleming, Creative Director, Biomedicine on Display Project, Medicinsk Museion, Institute of Public Health, Medical Faculty at the University of Copenhagen, även/also Visiting Senior Research Fellow, Materials Research Group, School of Physical Sciences and Engineering, King's College London
Lektor Henk Slager, Dean, Utrecht Graduate School of Visual Art and Design, Utrecht, The Netherlands

Ordförande för disputationen
Dr Katy Deepwell, Head of Research Training at RNUAL, the Research Network of the University of the Arts London. Huvudhandledare för Bryndis Snæbjörnsdóttir vid Konsthögskolan Valand, Göteborgs universitet

Övrigt
En utställning visas i Glashuset i samband med disputationen (från kl 11) och under de efterföljande två veckorna:
"between you and me". Öppettider: 27 mars-12 april tis-fre kl 12-18, lör-sön kl 12-17

Abstrakt
Titel: Spaces of Encounter: Art and Revision in Human-Animal Relations
Språk: English
Keywords: animal studies, artistic research, conceptual art, contemporary art, contextual art, fine art research, installation art, photography, post-humanism, relational art, Snæbjörnsdóttir/Wilson, site-specific art, taxidermy
ISBN: 978-91-977757-6-2

This PhD project explores contemporary Western human relationships with animals through a ‘relational’ art practice. It centres on three art projects produced by Snæbjörnsdóttir/Wilson – nanoq: flat out and bluesome; (a)fly; and seal – all utilize lens-based media and installations.

Discourses on how humans construct their relationship with animals are central to all three projects. The first one looks at polar bears, the second at pets, and the third at seals, in a variety of different sites within clearly defined contexts and geographical locations. The thesis explores the visual art methodologies employed in the projects, tracing in turn their relationship to writings about human-animal relations. This includes both writings researched in the making of the works and those considered retrospectively in the reflections on each art project.

These artworks engage their audiences in a series of ‘encounters’ with the subject through simultaneous meetings of duality, e.g. haunting vs. hunting, perfection vs. imperfection and the real vs. the unreal.

These dualities are important in theorizing this relational space in which the eclipse of the ‘real’ animal in representation occurs and in formulating questions embedded in and arising from the artworks on the construction and the limits of these boundaries. The ‘three registers of representation’, as put forward by the artists Joseph Kosuth and Mary Kelly, have further helped to frame and develop the thinking, concerning both the mechanisms within the works and their perceived effects.

Avhandlingen är publicerad inom bokserien ArtMonitor.
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2008

Mike Bode och Staffan Schmidt, fri konst

Titel
Off the Grid

Tid och plats
Tis 28/10 2008 kl 15 i Wallenstamsalen, Göteborgs stadsmuseum

Opponent
Professor Mark Nash, Royal College of Art, London

Betygsnämnd
Professor Bengt Kristensson Uggla, Åbo Akademi
Fil dr Edda Manga, Institutionen för idé- och lärdomshistoria, Uppsala universitet
Professor Esther Shalev-Gerz, Konsthögskolan Valand
Fil dr Maria Hellström Reimer, SLU och Malmö högskola (K3)
Fil dr Guy Baeten, institutionen för kulturgeografi och ekonomisk geografi, Lunds universitet
Ordförande för disputationen
Professor Mika Hannula, Konshögskolan Valand

Abstrakt
Title: Off the grid
Language: English
Keywords: artistic research, visual concepts, situated image, dialogue, ecological and political
engagement, off grid living, housing estate suburbia, travel, self-defi nition, community, institution,
isomorphic, lived third space.

ISBN 978-91-977757-0-0

Off the grid is an artistic research thesis which puts a Swedish housing estate in a video interview dialogue with homeowners in the Northeastern US through focusing on three topics: travel, self-defi nition, and community. Based on the situated, visual and conceptual image the project merges seemingly incompatible experiences: eight residents in Husby, an immigrant community outside Stockholm, and eight households not connected to the utility grid, in upstate areas of New England and New York State – and two artistic researchers at University of Gothenburg. The interviewees are paired together and handed unedited copies of each other’s refl ections. We asked them for their comments, elucidating the practical and metaphorical consequences of travel, self-defi nition, and community.

Even though backgrounds, stories and current conditions differ, an understanding of common interests and similarities are clearly identifi ed. Among the three questions discussed the right to self-defi nition stands out as central: it is opposed, delayed in its implementation, violated or threatened – still, all participants individually and/or collectively struggle to uphold it. In thinking with the visual and conceptual image Off the grid also offers new perspectives on the significance of artistic research, contributing to its further contextualization.

Avhandlingen är publicerad inom ArtMonitor.
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Kontaktinformation

Anna Frisk, forskarutbildningshandläggare

Box 132, 405 30 Göteborg

Besöksadress:
Vasagatan 50

Telefon:
031-786 4042

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