Art Gallery
(last edited: 2025)
author(s): Gloria Furlan
This exposition is in progress and its share status is: visible to all.
Artworks through the years using traditional tecniques (oil paint, wax, wood, watercolors, graphite).
Konstverket som essä och tänkandets praktiker (2016)
(last edited: 2025)
author(s): Helena Hildur W.
This exposition is in progress and its share status is: visible to all.
This study sets out from an artistic workshop designed to investigate light, colour and spatiality. During the original event, a number of participants joined to collaborate by means of painting, dialogue and movement. From a presentation of the workshop (as determined in time and space), the text argues that the character of an artwork is essentially unfinished; an ongoing ”truth process”. Adopting lines of reasoning from philosophers Vilém Flusser and Theodor Adorno, I gain a first understanding of how the artwork could be reconstituted within the limits of a scientific essay. Once more turning to the workshop's course of events, I find experiences within the actual situation relating to abstract concepts such as ”spirit”, ”quality” and ”freedom”. Next, the text pays heed to Ludwig Wittgenstein's observation that human knowledge is gained and mediated by language-games of various kinds. The selected concepts are consequently tried out in expanded ”studio talks”, involving artists from different fields such as painter Matts Leiderstam, writer Robert Pirsig and sculptor Joseph Beuys. The operation allows me to single out some specific conditions pertaining to artistic dialogue, from which I seek transitions to philosophical discourse. The text briefly reviews three contemporary, art-based projects offering such discursive exchange: haptiska blickar, Thinking Through Painting and Freikörperkultur. Against this backdrop, I seek to articulate an understanding of knowledge-making which embraces artistically as well as philosophically grounded practises. I find support from philosophers John Dewey and Hans Larsson – Dewey characterizing the esthetic and intellectual faculties as complementary movements within the human mind, and Larsson propounding intuition as the unifying and superior form of thinking. Assenting to their views, I conclusively suggest methodical introspection as another field for discursive interchange between art and science.
Freeing the Creative Mind - An exploration of thought patterns and their effect on musical performance
(last edited: 2016)
author(s): Makram A. Hosn
This exposition is in progress and its share status is: visible to all.
The subject of the Psychology of performance has interested me more than anything in the past few years. The reason behind this is that I believe that all trouble that I encountered as a musician (fears, creative blocks, procrastination...) are products of my mental activity. I set out to observe my own mental activity, conscious and unconscious and to collect data from related literature and scientific research to utlimately attempt to reprogram my thought patterns to work for me, rather than against me. The end product is this "reflective practitioner" research that I've completed for my Master of Music degree entitled "Freeing the Creative Mind".
