Kunstakademiet
https://hdl.handle.net/10037/2020
2024-03-19T01:45:40ZA Tender World - Transience, Control and the Inevitable
https://hdl.handle.net/10037/32115
Björklund, Maija Liisa<br />
In the thesis, I attempt to investigate uncertainty and change, seen through the concepts of tenderness or vulnerability. Using examples from movements and practices like Deep Adaptation and Deep Listening, I also link this perspective to my recent art practice during the MA studies at UIT through concrete projects, and methodolgies used.<br />
2021-12-09T00:00:00ZA Tender World - Transience, Control and the InevitableBjörklund, Maija LiisaIn the thesis, I attempt to investigate uncertainty and change, seen through the concepts of tenderness or vulnerability. Using examples from movements and practices like Deep Adaptation and Deep Listening, I also link this perspective to my recent art practice during the MA studies at UIT through concrete projects, and methodolgies used.UiT Norges arktiske universitetUiT The Arctic University of NorwayLarssen, Hanne EdvineMaster thesisMastergradsoppgavePhotographic Portraits as Dialogical Contact Zones: The Portrait Gallery in Sápmi – Becoming a Nation at The Arctic University Museum of Norway
https://hdl.handle.net/10037/31291
Stien, Hanne Hammer<br />
The point of departure for this essay is a series of eleven contemporary photographic portraits of Sámi people in large formats presented in the exhibition Sápmi – Becoming a Nation (2000-) at the Arctic University Museum of Norway, in Tromsø.1 The photographs were commissioned by the curators, and they were shot by documentary photographer, photojournalist, and filmmaker Harry Johansen (b. 1958). Working mainly as a freelance photojournalist, Johansen, who himself is a Sámi, was developing his photographic practice in the middle of the ethnopolitical uprising that took place in Norway from the 1970s onwards.<br />
2021-01-01T00:00:00ZPhotographic Portraits as Dialogical Contact Zones: The Portrait Gallery in Sápmi – Becoming a Nation at The Arctic University Museum of NorwayStien, Hanne HammerThe point of departure for this essay is a series of eleven contemporary photographic portraits of Sámi people in large formats presented in the exhibition Sápmi – Becoming a Nation (2000-) at the Arctic University Museum of Norway, in Tromsø.1 The photographs were commissioned by the curators, and they were shot by documentary photographer, photojournalist, and filmmaker Harry Johansen (b. 1958). Working mainly as a freelance photojournalist, Johansen, who himself is a Sámi, was developing his photographic practice in the middle of the ethnopolitical uprising that took place in Norway from the 1970s onwards.University of British Columbia PressChapterBokkapittelStien HH: Photographic Portraits as Dialogical Contact Zones: The Portrait Gallery in Sápmi – Becoming a Nation at The Arctic University Museum of Norway. In: Lien S, Nielssen H. Adjusting the Lens. Indigenous Activism, Colonial Legacies, and Photographic Heritage, 2021. University of British Columbia PressVeien til vannet
https://hdl.handle.net/10037/30582
Gjelstad, Rebecca<br />
Oppgaven handler om å gjøre UiT Campus, der det idag finnes parkeringsplasser, til et attraktivt sted man ønsker å være. Dette gjøres i min oppgave ved å fremheve og forsterke vannets kvaliteter gjennom hele året.<br />
2023-05-22T00:00:00ZVeien til vannetGjelstad, RebeccaOppgaven handler om å gjøre UiT Campus, der det idag finnes parkeringsplasser, til et attraktivt sted man ønsker å være. Dette gjøres i min oppgave ved å fremheve og forsterke vannets kvaliteter gjennom hele året.UiT Norges arktiske universitetUiT The Arctic University of NorwayBergset, MariMastergradsoppgaveMaster thesisPerception and appreciation of plant biodiversity among experts and laypeople
https://hdl.handle.net/10037/29823
Breitschopf, Eva; Bråthen, Kari Anne<br />
<p>1. Plant biodiversity, which is fundamental for the delivery of ecosystem services, is in decline. Yet, knowledge about how plant biodiversity is perceived and appreciated is scarce.
<p>2. We studied biologists' and laypeople's perception and appreciation for plant communities that differ in plant biodiversity,using ranges of plant biodiversity known to affect ecosystem services. We investigate species richness, species turnover and species evenness. A questionnaire based on photographs displaying artificial plant communities was used.
<p>3. Perceived biodiversity was 12% more often congruent with actual biodiversity for biologists than for laypeople. Species richness was perceived congruently with actual species richness by 77% of all respondents, compared with 27% for species evenness and 29% for species turnover. Appreciation for the displayed communities correlated positively with their actual plant biodiversity, except for species turnover. Appreciation always correlated positively with perceived plant biodiversity and even stronger than with actual plant biodiversity. This was not the case for species richness, for which perceived and actual biodiversity were most often congruent.
<p>4. Our results suggest that plant biodiversity is perceived most accurately when changes in species richness are considered, while changes in species evenness and species turnover are perceived less accurately. The respondents' answers indicate that perceived higher plant biodiversity is appreciated more than perceived lower plant biodiversity, even when perceived and actual plant biodiversity are not congruent.
<p>5. We corroborate findings that people value plant biodiversity per se. But we also find that people largely perceive species evenness and turnover with low accuracy; and that people have low appreciation for these biodiversity dimensions that are lesser known but essential to ecosystem functioning. Our finding that biologists have higher accuracy in perceiving biodiversity suggests that biodiversity literacy is key to increasing people's awareness of changes in plant biodiversity.<br />
2023-02-06T00:00:00ZPerception and appreciation of plant biodiversity among experts and laypeopleBreitschopf, EvaBråthen, Kari Anne<p>1. Plant biodiversity, which is fundamental for the delivery of ecosystem services, is in decline. Yet, knowledge about how plant biodiversity is perceived and appreciated is scarce.
<p>2. We studied biologists' and laypeople's perception and appreciation for plant communities that differ in plant biodiversity,using ranges of plant biodiversity known to affect ecosystem services. We investigate species richness, species turnover and species evenness. A questionnaire based on photographs displaying artificial plant communities was used.
<p>3. Perceived biodiversity was 12% more often congruent with actual biodiversity for biologists than for laypeople. Species richness was perceived congruently with actual species richness by 77% of all respondents, compared with 27% for species evenness and 29% for species turnover. Appreciation for the displayed communities correlated positively with their actual plant biodiversity, except for species turnover. Appreciation always correlated positively with perceived plant biodiversity and even stronger than with actual plant biodiversity. This was not the case for species richness, for which perceived and actual biodiversity were most often congruent.
<p>4. Our results suggest that plant biodiversity is perceived most accurately when changes in species richness are considered, while changes in species evenness and species turnover are perceived less accurately. The respondents' answers indicate that perceived higher plant biodiversity is appreciated more than perceived lower plant biodiversity, even when perceived and actual plant biodiversity are not congruent.
<p>5. We corroborate findings that people value plant biodiversity per se. But we also find that people largely perceive species evenness and turnover with low accuracy; and that people have low appreciation for these biodiversity dimensions that are lesser known but essential to ecosystem functioning. Our finding that biologists have higher accuracy in perceiving biodiversity suggests that biodiversity literacy is key to increasing people's awareness of changes in plant biodiversity.British Ecological SocietyJournal articleTidsskriftartikkelPeer reviewedBreitschopf, Bråthen. Perception and appreciation of plant biodiversity among experts and laypeople. People and Nature. 2023;5:826-838People and NatureFremstillinger av kjønn i utstillingen "Flytende russisk"
https://hdl.handle.net/10037/29175
Stien, Hanne Hammer<br />
Fotografier er den typen gjenstander som de kulturhistoriske museene samler mest av (Johansen 2012). I tillegg til innsamling a fotografier inngår mange ulike fotografiske praksiser i museenes primære virksomhet, så som fotodokumentasjon og bruk av fotografi i utstillings- og formidlingssammenheng (Stien 2017, 16). Selv om den fotografiske virksomheten til museene er sammensatt og griper inn i andre museale praksiser, har de kulturhistoriske museenes tilnærming til fotografi vært mindre preget av bildeteoretiske diskusjoner enn det som er tilfelle for kunstmuseer, spesialmuseer og andre institusjoner, som hovedsakelig beskjeftiger seg med fotografi og kunst (Stien 2017, 17-19; Edwards og Lien 2014, 5-6). Jeg argumenterer for at vi for å forstå dagens museer, også må forstå deres bruk av fotografier. I denne artikkelen ser jeg nærmere på fremstillinger av kjønn i fotodokumentasjonen som er presentert i den temporære utstillingen "Flytende russisk: Sjømenn fra øst møter vest". Utstillingen ble vist på Perspektivet Museum i Tromsø fra 2007 til 2014.<br />
2018-01-01T00:00:00ZFremstillinger av kjønn i utstillingen "Flytende russisk"Stien, Hanne HammerFotografier er den typen gjenstander som de kulturhistoriske museene samler mest av (Johansen 2012). I tillegg til innsamling a fotografier inngår mange ulike fotografiske praksiser i museenes primære virksomhet, så som fotodokumentasjon og bruk av fotografi i utstillings- og formidlingssammenheng (Stien 2017, 16). Selv om den fotografiske virksomheten til museene er sammensatt og griper inn i andre museale praksiser, har de kulturhistoriske museenes tilnærming til fotografi vært mindre preget av bildeteoretiske diskusjoner enn det som er tilfelle for kunstmuseer, spesialmuseer og andre institusjoner, som hovedsakelig beskjeftiger seg med fotografi og kunst (Stien 2017, 17-19; Edwards og Lien 2014, 5-6). Jeg argumenterer for at vi for å forstå dagens museer, også må forstå deres bruk av fotografier. I denne artikkelen ser jeg nærmere på fremstillinger av kjønn i fotodokumentasjonen som er presentert i den temporære utstillingen "Flytende russisk: Sjømenn fra øst møter vest". Utstillingen ble vist på Perspektivet Museum i Tromsø fra 2007 til 2014.MuseumsforlagetChapterBokkapittelStien HH: Fremstillinger av kjønn i utstillingen "Flytende russisk". In: Hauan MA, Brenna BAS. Kjønn på museum, 2018. Museumsforlaget AS p. 99-116The Sámi Museum in Karasjok: A Story of Resistance
https://hdl.handle.net/10037/29012
Hansen, Hanna Horsberg<br />
In Karasjok, on the Norwegian side of Sápmi, there is a cultural-historical museum, Sámiid Vuorká-Dávvirat (SVD) (The Sámi Museum), and an art collection comprising 1,400 works of art. The museum building was completed in 1972. Different ideas for an art museum in connection to the SVD building have existed since the 1980s, but for various reasons no plans for an art museum have so far come to fruition after many years of deliberation.<br />
2022-08-15T00:00:00ZThe Sámi Museum in Karasjok: A Story of ResistanceHansen, Hanna HorsbergIn Karasjok, on the Norwegian side of Sápmi, there is a cultural-historical museum, Sámiid Vuorká-Dávvirat (SVD) (The Sámi Museum), and an art collection comprising 1,400 works of art. The museum building was completed in 1972. Different ideas for an art museum in connection to the SVD building have existed since the 1980s, but for various reasons no plans for an art museum have so far come to fruition after many years of deliberation.BrillChapterBokkapittelHansen HHH: The Sámi Museum in Karasjok: A Story of Resistance. In: Hjartarson B, Skovberg Paldam, Schultz, Ørum T. A Cultural History of the Avant-Garde in the Nordic Countries Since 1975, 2022. Brill p. 415-432Materialfølelse og virkekraft
https://hdl.handle.net/10037/28894
Stien, Hanne Hammer<br />
Katalogen er tilkoblet utstillingen "Iver Jåks: Materialfølelse og virkekraft», 28. oktober 2022 - 22. desember 2022, Oslo: <a href=https://www.tegnerforbundet.no/utstillinger/iver-jaks>https://www.tegnerforbundet.no/utstillinger/iver-jaks</a>. <p>
<p>Utstillingen var initiert og produsert av Tegnerforbundet, og kuratert av Hanne Hammer Stien og Kristoffer Dolmen.<br />
2022-01-01T00:00:00ZMaterialfølelse og virkekraftStien, Hanne HammerChapterBokkapittelStien HH: Materialfølelse og virkekraft. In: Stien HH. Iver Jåks: Materialfølelse og virkekraft, 2022. Tegnerforbundet p. 28-51Shifting coasts: developing new coastal concepts
https://hdl.handle.net/10037/28640
Tynan, Eimear Mairéad<br />
Coastal environments are closely under the radar of
the impact of climate change. Approximately 680 million
people live in low-lying coastal zones according to the most
recent Intergovernmental Panel on Climate Change (IPCC)
report from 2019.1
The report presents key threats
to coastal environments that include permanent
submergence, more frequent and intense flooding, loss
and change of ecosystems and the salinization of the
ground. In arctic and sub-arctic regions, thawing permafrost
has weakened coastlines resulting in accelerated coastal
erosion. In addition, the reduction of sea ice has left coasts
in these regions without a buffer to protect them against
severe wave erosion. The report concludes with certainty
that coastal environments, especially in low lying regions,
have challenging futures ahead. Designers and artists are
reacting to these changes. Many competitions, exhibitions
and art installations relating to threatened coastal
environments expose this contemporary trend.<br />
2022-01-01T00:00:00ZShifting coasts: developing new coastal conceptsTynan, Eimear MairéadCoastal environments are closely under the radar of
the impact of climate change. Approximately 680 million
people live in low-lying coastal zones according to the most
recent Intergovernmental Panel on Climate Change (IPCC)
report from 2019.1
The report presents key threats
to coastal environments that include permanent
submergence, more frequent and intense flooding, loss
and change of ecosystems and the salinization of the
ground. In arctic and sub-arctic regions, thawing permafrost
has weakened coastlines resulting in accelerated coastal
erosion. In addition, the reduction of sea ice has left coasts
in these regions without a buffer to protect them against
severe wave erosion. The report concludes with certainty
that coastal environments, especially in low lying regions,
have challenging futures ahead. Designers and artists are
reacting to these changes. Many competitions, exhibitions
and art installations relating to threatened coastal
environments expose this contemporary trend.ITHAKAJournal articleTidsskriftartikkelPeer reviewedTynan E. Shifting coasts: developing new coastal concepts. Building Material. 2022;24:9-30Building MaterialOn Crits and Games—and Crits as Games
https://hdl.handle.net/10037/28459
Kim, Jeuno JE; Storihle, Sille<br />
A conversation between artist and educator Sille Storihle and the Krabstadt Education Center (KEC) about overlapping interests in educational models and games. Issues discussed are the role of games in education, experiences with the format of the group crit, and the question whether it is still a solid component of arts education or how it could be deployed differently. Storihle shares their work with live-action role-playing games (LARP, verb to larp) as an artistic method to approach filmic processes with a focus on a practical pedagogical project they did with students at the experimental film and art school Nordland Kunst- og Filmhøgskole in Northern Norway—whose geographic location is similar to Krabstadt’s.<br />
Source at <a href=https://parsejournal.com/>https://parsejournal.com/</a>.<br />
2022-01-01T00:00:00ZOn Crits and Games—and Crits as GamesKim, Jeuno JEStorihle, SilleA conversation between artist and educator Sille Storihle and the Krabstadt Education Center (KEC) about overlapping interests in educational models and games. Issues discussed are the role of games in education, experiences with the format of the group crit, and the question whether it is still a solid component of arts education or how it could be deployed differently. Storihle shares their work with live-action role-playing games (LARP, verb to larp) as an artistic method to approach filmic processes with a focus on a practical pedagogical project they did with students at the experimental film and art school Nordland Kunst- og Filmhøgskole in Northern Norway—whose geographic location is similar to Krabstadt’s.Göteborgs UniversitetJournal articleTidsskriftartikkelPeer reviewedKim, Storihle. On Crits and Games—and Crits as Games. PARSE Journal. 2022PARSE JournalDagliglivsfotografier og verdensgjøring i Inuuteq Storchs Porcelain Souls
https://hdl.handle.net/10037/27645
Stien, Hanne Hammer<br />
Inuuteq Storchs fotobok Porcelain Souls (2018) baserer seg på hans foreldres dagliglivsfotografier fra Kalaallit Nunaat
(Grønland) mellom slutten av 1960- og begynnelsen av 1980-tallet. Artikkelen beskriver motivene og montasjene i
fotoboken og spør på bakgrunn av nymaterialistisk teori hvordan fotografiene skaper en grønlandsk verden innenfra.
Videre argumenter artikkelen for at fotoboken på en særlig måte former en verden av forbindelser mellom mennesker, dyr, landskap og ting, samtidig som den skaper gjenkjennelseseffekt og følelsesmessige virkninger som påkaller en
engasjert, refleksiv og empatisk betrakter. Ved å appellere til egenmobilisering og alliansebygging forbinder Porcelain
Souls seg til de viktige selvstendiggjøringsprosessene som for tiden foregår i Grønland.<p><p>Inuuteq Storch’s photobook Porcelain Souls (2018) is based on his parents’ vernacular photographs from Kalaallit
Nunaat (Greenland) recorded in a period between the late 1960s and early 1980s. This article describes the book’s
motifs and montages and asks based on new materialist theories how these photographs create a Greenlandic world
from within. Further, the author argues that the photobook in its special way creates a world of entanglements between
people, animals, landscapes, and things, and creates recognition and emotional effects that call for a committed, reflective, and empathetic viewer. Henceforth, Porcelain Souls intervenes in the important independence processes that
are currently taking place in Greenland by creating empowerment and build new alliances.<br />
2022-09-15T00:00:00ZDagliglivsfotografier og verdensgjøring i Inuuteq Storchs Porcelain SoulsStien, Hanne HammerInuuteq Storchs fotobok Porcelain Souls (2018) baserer seg på hans foreldres dagliglivsfotografier fra Kalaallit Nunaat
(Grønland) mellom slutten av 1960- og begynnelsen av 1980-tallet. Artikkelen beskriver motivene og montasjene i
fotoboken og spør på bakgrunn av nymaterialistisk teori hvordan fotografiene skaper en grønlandsk verden innenfra.
Videre argumenter artikkelen for at fotoboken på en særlig måte former en verden av forbindelser mellom mennesker, dyr, landskap og ting, samtidig som den skaper gjenkjennelseseffekt og følelsesmessige virkninger som påkaller en
engasjert, refleksiv og empatisk betrakter. Ved å appellere til egenmobilisering og alliansebygging forbinder Porcelain
Souls seg til de viktige selvstendiggjøringsprosessene som for tiden foregår i Grønland.<p><p>Inuuteq Storch’s photobook Porcelain Souls (2018) is based on his parents’ vernacular photographs from Kalaallit
Nunaat (Greenland) recorded in a period between the late 1960s and early 1980s. This article describes the book’s
motifs and montages and asks based on new materialist theories how these photographs create a Greenlandic world
from within. Further, the author argues that the photobook in its special way creates a world of entanglements between
people, animals, landscapes, and things, and creates recognition and emotional effects that call for a committed, reflective, and empathetic viewer. Henceforth, Porcelain Souls intervenes in the important independence processes that
are currently taking place in Greenland by creating empowerment and build new alliances.UniversitetsforlagetJournal articleTidsskriftartikkelPeer reviewedStien. Dagliglivsfotografier og verdensgjøring i Inuuteq Storchs Porcelain Souls. Kunst og kultur. 2022;105(2-3):142-157Kunst og kultur