Research Catalogue

The EU4ART Alliance was created by four art academies in Dresden, Rome, Budapest and Riga. The Alliance is convinced that there is a great need for further strengthening the perspectives of fine arts as a culturally, socially and scientifically engaged approach towards a transdisciplinary discourse on society, sciences and humanities, and knowledge and thinking in general. The EU-funded EU4ART_differences project will work to raise each partner’s research profile and promote a high-level culture of artistic research in developing new programmes for postgraduate students and artistic researchers. It is guided by two pillars: knowledge transfer, and building artistic research units and graduate schools that will become part of the shared doctoral and postgraduate research community. This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No 101016460.

A collaboration between Anna Björklund, associate professor/docent, Dept. of Sustainable Development, Environmental Science and Engineering (SEED), KTH and Lina Persson, Researcher, Department of film and media, Stockholm Uniarts. We aim to monitor and evaluate the life cycle climate impact of practices in film and media, in research and education at Stockholm Uniarts on two levels, on an individual researcher’s level and on an organisational level with student’s teams. As a first step, we will monitor and evaluate the impact of these artistic processes and as a second step we will develop new tools and documents that can support students in shifting their productions towards films with smaller climate footprint. The tools will enable the students to carry out performative productions, using their creativity to stay within set sustainability limitations, finding new ways to make films and to let, the story, the experience, of that process accompany them in the coming productions. The joint conclusions of the collaboration will be interwoven with Persson’s research project Climate-Just Worldings where the performativity of fictional story-worlds and how they can interact with an organization’s reality is explored. become part of the climate-just narrative developed within Persson’s project. We also aim to develop an app tool to make the documentation process more intuitive. The documentation of this process will also be continuously available to the public online.

A worklog exemplifying my practice of making situated interventions through narrative storyworlds and animated worldbuilding. My art often brings some conditions attached that aim at transforming the mindset and routines of the environments I enter, as a way to ”world” them. Constructing alternative inner story worlds has always been the basic mode for me to perceive the world, process the world, and to find ways to act in the world. worldbuilding as an artform also serves my interest in systems and “the whole”. an interest that brings about the desire for sustainability, for things to be fair, balanced, for “the whole” to sustain and thrive. My artworks often materialize as a response to something in my environment, a response that carefully takes form within the fictive storyworld. Examples of responses are a proposal to update the permanent exhibition on mining at Tekniska Museet, staging a shutdown of the university or introducing climate budgeting into film courses. This method of careful responses aligns with the concept of “worlding”, a term from material feminist thought about making “cuts” in the world, enacting interventions that produce the world I inhabit. “Worlding” is acknowledging the relations, how I am entangled in the world, while acting. Being embedded in a “storyworld” gives me the critical distance that enables me to respond more creatively, ”as if” things could be a whole lot different. Due to my interests in the full range of things, from material to structural to epistemological and ontological, I prefer to make interactions on all levels simultaneously in order to trace their effects, how they are connected, how they interact and affect one another. In order to reach initiated understanding into all parts of “the wholes” *I often engage in transdiciplinary collaborations with researchers from many different disciplines.

This paper examines the possible impacts of artificial intelligence (AI) on the ever-changing role of graphic designers. As its main contribution, the paper proposes a model based on the intertwining concepts of deduction, induction, and abduction. It argues that deductive and inductive tasks in graphic design can be effectively and advantageously outsourced to AI, while abductive tasks are still best performed by human graphic designers. Additionally, the power balance between humans and AI is discussed, concluding that human graphic designers must play a pivotal role in initiating and critically evaluating the results of any collaboration with AI tools. The model introduces the metaphorical notion of a "disciplinary expertise filter," which serves as a professional quality assurance for AI-based automation and augmentation in the design process. The distinction between "black box" and "clear box" AI systems is briefly discussed to provide a more nuanced understanding of AI as being "a magic tool" for graphic designers. Lastly, the paper presents six perspectives derived from the model, aiming to foster informed discussions and encourage critical reflections among graphic designers regarding their future role in the era of AI.

A short presentation for the subject "Historical Development" meant to excite a general audience about the double bass in different classical music scenarios.

This thesis is aimed at investigating virtual embodiment and how it can affect a performer's experience of; and relationship to the physical body. With this auto ethnographic case study I hope to shed some light on the ways virtual reality technology enables critical experiences and what effects these experiences could have, through my own personal journey. The study was conducted in the setting of my home using a Pico 4 VR head mounted display and HTC vive full body tracking. The project used for the case study was an audiovisual pole dance performance that was performed on the platform Neos VR and streamed to Studio 44 in Stockholm. The research is rooted in the artistic field but draws knowledge from psychological and social research on VR as a cognitive and embodied technology. The research methods used to gather and analyse the research material were visual research, phenomenology and deep listening. The data collection consisted of visual and text based data. On the visual data I applied thematic analysis, coding and categorising of the text based data and analysing hyper reflections with a phenomenological approach. I found that the experience of virtual embodiment did change my relationship to my own body in a positive way by feeling more grounded and accepting. I was less anxious about performing and felt more confident in myself. Because of the entanglement of the study it was not possible to solely contribute the outcomes of the effect to virtual avatar embodiment in itself. It did however demonstrate how these VR technologies could be used to enable norm critical experiences by the use of norm critical design applied to avatars challenging beauty ideals and societal norms of performativity. My virtual embodiment and its effects on me can give a unique insight that would benefit developers and users active in these platforms as well as for personal introspection and self development. The study serves as a good base to build future research on and I intend to further elaborate on the extensive research data that was gathered.