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  • 1. Binder, Thomas
    et al.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Design Spaces2005Bok (Annet vitenskapelig)
  • 2.
    Cory, Erin
    et al.
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Hellström Reimer, Maria
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Möller, Per
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Translocality and Translocal Subjectivities : A Research Overview Across the Fields of Migration, Culture, and Urban Studies2020Rapport (Annet vitenskapelig)
    Abstract [en]

    The present report is an attempt to provide an overview over intersecting beginnings,

    emergencies, and prolongations that reinforces a theoretical reflection on contemporary

    cultural debate and its repercussions on societal development. With the current research

    overview, we want to draw attention to assumptions about culture(s), as they are played out in

    the intersection of migration and sustainable urban development. Multi-layered and doubleedged,

    ‘culture’ often comes with territorial postulates and implicit ideas about belongings and

    borders, movements and rights of priority. The report approaches these entangled issues from

    several angles. With the point of departure in current environmental policy, the first section of

    the report, therefore, approaches ideas of “sustainability” via the notions of “culture” and

    “locality”. A second section briefly discusses the methodological challenges of researching

    emergent cultural phenomena across both geographical and disciplinary borders. In a third

    section, we turn to three research reports, a sampling of the report literature, but representative

    of how global, regional and local perspectives on culture today are ‘scaffolded’ in relation to

    mobility and migration. A fourth section introduces emergent transversal, i.e. non-categorical,

    approaches to cultural research, primarily focusing on how notions such as transnationalism

    and translocality may inform new modes of research and urban development. A fifth section

    finally, articulates some recommendations about how to relate to translocal space and

    translocal subjectivities in practice and how to craft research approaches that not only involve

    interlocutors but also answers to and actively engage in current spatial and cultural changes.

    Fulltekst (pdf)
    translocality
  • 3.
    Davis, Meredith
    et al.
    College of Design, North Carolina State University, USA.
    Feast, Luke
    Department of Architecture, Design and Media Technology, Aalborg University, Denmark.
    Forlizzi, Jodi
    School of Computer Science, Carnegie Mellon University, USA.
    Friedman, Ken
    College of Design and Innovation, Tongji University, China.
    Ilhan, Ali
    School of Design/College of Design, Art, Architecture and Planning, University of Cincinnati, USA.
    Ju, Wendy
    Jacobs Technion-Cornell Institute, Cornell Tech, Cornell University, USA.
    Kortuem, Gerd
    Faculty of Industrial Design Engineering, Delft University of Technology, the Netherlands.
    Hellström Reimer, Maria
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Teixeira, Carlos
    Institute of Design, Illinois Institute of Technology, USA.
    Responding to the Indeterminacy of Doctoral Research in Design2023Inngår i: She Ji: The Journal of Design, Economics, and Innovation, ISSN 2405-8726 , Vol. 9, nr 2, s. 283-307Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    The Future of Design Education working group on doctoral education included doctoral supervisors from nine programs around the world and addressed the indeterminacy of standards for the PhD in Design. Internationally, “contributions to knowledge” under the PhD degree title range from evidence-based investigations documented in a dissertation to personal reflections on making artifacts. In some programs, quantitative and qualitative research methods are taught; in others, there is no instruction in methods. The working group suggested that reflection on one’s own creative production is the role of the professional master’s degree and recommended standards for two doctoral programs—the PhD and the Doctor of Design (DDes). The group defined the PhD as addressing unresolved problems with the goal of generalizable knowledge or theory for the field. It described the DDes as a professional practice degree in which research is done in a practice setting to frame a specific opportunity space, guide in-process design decisions, or evaluate outcomes. DDes findings do not claim generalizability and result in “cases.” The working group discussed methods, sampling, standards of evidence and claims, ethics, research writing, and program management.

    Fulltekst (pdf)
    fulltext
  • 4.
    Eriksen, Mette Agger
    et al.
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Exhibition: The city at play: co-designing games as eco-political agency2015Inngår i: Nordes; 6, Konstfack , 2015, s. 1-2Konferansepaper (Fagfellevurdert)
    Abstract [en]

    “The City At Play” displays parts of how co-design researchers in collaboration with civil servants practically have engaged in exploring urban ecologies by challenging current collaborative municipal mapping and transition processes through game development. The exhibit is a narrative installation of tangible traces from the participatory prototyping sessions and “animating” interventions into municipal planning contexts - in this case climate transition in the Öresund region. It is argued that a game inspired co-designing mind-set – rather than a problem-solving approach – presents ways to explore and critically reflect upon dynamic urban complexities as eco-political contexts of competition and collaboration across competencies and administrative units.

    Fulltekst (pdf)
    FULLTEXT01
  • 5.
    Eriksen, Mette Agger
    et al.
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Brandt, Eva
    Vaajakallio, Kirsikka
    Workshop: an experiment of reflection on design game qualities and controversies2013Inngår i: Nordes 2013: experiments in design research;5, The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation , 2013, s. 466-468Konferansepaper (Fagfellevurdert)
    Abstract [en]

    How do various design games format and stage different collaborative inquiry, learning and reflection? At this hands-on workshop, we will collaboratively explore, relate and meta-reflect upon how different design (and learning) games can form part of experimental, co-design (research) processes and practice. Some shared playing of mainly analogue games brought by the workshop organizers and participants will provide the basis for engaging in a game-inspired experiment of collaboratively relating and reflecting upon qualities and controversies of different design games. This reflection experiment will be shaped around predefined and emerging topics.

    Fulltekst (pdf)
    FULLTEXT01
  • 6. Eriksen, Mette Agger
    et al.
    Hellström Reimer, Maria
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Toftager Larsen, Majken
    Games are Political: Challenging Municipal Urban Planning Practices For Sustainable Development and Mutual Learning Through Game Co-designing2020Inngår i: Routledge Companion to Games in Architecture and Urban Planning: Tools for design, teaching, and research / [ed] Brkovic Dodig, Marta;Groat, Linda, London: Routledge, 2020, s. 32-46Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    This chapter draws on experiences and lessons learned from a process of hands-on, reflective game co-designing. The case is from the Urban Transition Öresund project (2013-14) which involved co-design and urban researchers, professional game designers, and civil servants working with complex, cross-sector sustainable urban planning in threemunicipalities in Scandinavia. The process included framing, co-designing, testing and playing what came to be called the “Urban Transition” game – explored in various real-world urban planning processes. By dissecting four co-design and play testing situations of this serious, dialogue game, the chapter aims to elucidate the inherent abilities of games as formats for collaboration, negotiation and mutual learning. The main claim is that games are practically “political” – in the sense that they can re-open taken-for-granted urban planning themes by emphasizing details and holistic views; can reveal assumptions about others by actualizing conflicts and can challenge current and possible future municipal, situated socio-material collaborative practices. Therefore, in urban planning processes[F1]  aimed at sustainable development, games and game co-designing should not be seen as de-politicized quick fixes but rather as highly “political” platforms for negotiation.

  • 7. Gislén, Ylva
    et al.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Harvard, Åsa
    The Everyday Poetics of a Digital Bauhaus2009Inngår i: (Re)searching the Digital Bauhaus / [ed] Thomas Binder, Jonas Löwgren, Lone Malmborg, Springer, 2009, s. 333-352Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 8.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Att stjäla en plats2006Inngår i: Arkitekten, medlemstidning för Sveriges Arkitekter, ISSN 0347-058X, nr 12:2006, s. 37-40Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Artikeln diskuterar platsbegreppet och förutsättningarna för 'tagande av plats'eller platsappropriering med utgångspunkt i konstnärlig och arkitektonisk aktivism, liksom i Fristaden Christiania i Köpenhamn.

  • 9.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Awaiting the Voiceover. The Oresund Film Commission Location Database and the Mediatization of the Architectural Landscape2007Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    Today it is more difficult than ever to isolate the reproduction of buildings and landscapes from a growing and ever more all-embracing “economy of images and signs” (Lash and Urry, 1994). Even though repeated attempts are being made from within the spatial professions to develop a tectonically or geo-morphologically formulated immunity to these changes, the built environment appears as a subject matter in an increasing number of fields, from trend analytics and economic forecasting to environmental science and health care. One of these new and increasingly important fields of architectonical practice is film production. As a “micro-environment with global span” (Sassen 2003), this spatio-temporal domain has developed its own platforms and tools for commissioning and curating architectural environments, thus providing a new and increasingly important cartography of contemporary space (Abbas, 2003). Here, the emerging film commissions play an active role, engaging not only in promotion of the architectural environment, but furthermore also in its categorization, assessment and reproduction. What we have to ask, however, is what are the premises for this new spatial production, and how does it affect the further intermediation of architectural knowledge? Through a case study of the Oresund Film Commission and its web based “location database”, this paper aims to discuss these and related issues. A compilation of more than five hundred still images of potential locations for film production, covering anything from “fairytale scenery and medieval villages tucked in lush fields” to “contemporary European settings” (www.oresundfilm.com), the database provokingly actualizes the ambiguities of architectural typologization and archival practices – on the one hand its dependency upon an often unarticulated aesthetic narrative or naturalized voice-over and on the other hand its inclination to blend with a global branding culture. Together with a number of similar location databases, it is, however, also an example of the changing representational and reproductive conditions characterizing a mediatized architectural arena, rendering to the place-specific and local a new and extended role as enunciative entrances in a geo-political play. The paper interrogates and examines this new cinematographically driven locality production as well as the expectations, both for adaptation and change, to which it gives rise. The argument developed is that neither urban design nor architectural curatorship can consider themselves independent of processes of mediatization. Nevertheless, it is not a curatorial assignment to uncritically provide an increasingly powerful media industry with a legitimizing voice-over. Instead, what is needed is rather a new attention to the urban narrative that goes beyond passive commentary, taking into account the discursive potentials that an expanded architectural media-geography eventually holds.

  • 10.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Closed Circuits and Curious Situations2007Inngår i: Power and Space: Transforming the Contemporary City, CRASSH – Center for research in the Arts, Social Sciences and Humanities, Cambridge, UK , 2007Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    Today, an increasingly tense political climate raises new questions as for the referent and role of ‘urban space’. An imperative rather than a representation, the concept of ‘city’ evokes so much more than architectonic order; it gives rise to commercial or relational expectations, prospects of citizenship, social mobility, empowerment and change – shortly, to the concrete, yet incoherent dimension of ‘everyday life’; a large and unrestrained (urban) body of intermediation. Therefore, an enquiry into contemporary urban space has to actualize not only the representative outcome – the physical structure – but also the mediating regimes, or power structures, upon which it depends. One such regime is film production. In this paper, I will focus on the performative rather than the representational aspects of filmic agency in urban space. I will argue that the representational mutuality between city and cinema has its performative correspondence in the reciprocity between panoptic CCTV actualizations of power aiming at a ‘closure’ of representative circuits and the counter-actualizations of, on the one hand the cinéma verité attempts to conflate cinema with ‘true’ reality, and on the other hand alternative attempts to develop a cinematic situationism of curiosity and reconfiguration. The relationship will be exemplified through an analysis of the films “I am Curious – Yellow” (1967) and “I am Curious – Blue” (1968) by Swedish director Vilgot Sjöman – films that in a provocative way examined the topology of the cinematic performance. Fuelled by a composite political and erotic desire, the films presented a blatant and self-reflective counter-actualizing of the regimes of social mobility and utterability organizing urban space.

  • 11.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Det kreativa -skapet2007Inngår i: Arkitekten, ISSN 0347-058x, nr 3, s. 41-41Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 12.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Drömpaviljonger2007Inngår i: Arkitekten, ISSN 0347-058x, nr 8, s. 42-43Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 13.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Från Bauhaus till Our House2008Inngår i: ABC K3: 10 år 1998-2008 / [ed] Inger Lindstedt, Malmö högskola, 2008, s. 15-17Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [sv]

    Bauhaus – det ansvarsfulla allkonstverket – grunden för det moderna formtänkandet. Vid Bauhaus förenades sociala, politiska och kulturella ansatser i en enda harmoniskt organiserad huskropp. Byggnad, verkstad, utbildningsmiljö och konstinstitution i ett. Det hela kan liknas vid en målning av en av Bauhaus-skolans banbrytande företrädare, Josef Albers, en enkel målning, där de olika färgfälten samsas så fint, där det varma och kalla samspelar, där gränserna mellan olika kulörta kvaliteter vibrerar av ömsesidighet. Den estetik Bauhaus byggde på och utvecklade kan sammanfattas i en sådan målning – självklar, vetenskapligt underbyggd, modern och visuellt tilltalande. Och inte nog med det, Bauhaus gör också på att vara en vardagens estetik, en estetik, i vilken också de smutsiga färgerna fyller en funktion, framförallt i fråga om att skapa djup och rumslig dynamik.

  • 14.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Högljudd arkitekturkritik2007Inngår i: Arkitekten, ISSN 0347-058x, nr 4, s. 40-41Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 15.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    I huvudet på forskande arkitekter2007Inngår i: Arkitekten, ISSN 0347-058x, nr 9, s. 52-53Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 16.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    I väntan på berättarrösten: Öresunds Filmkommissions platsdatabas och landskapets manuskriptur2007Konferansepaper (Annet vitenskapelig)
    Abstract [sv]

    Vi talar ofta om att vår tillvaro blir alltmer ’vidsträckt’ – en vidsträckthet som tilldelar begreppet ’landskap’ en förnyad aktualitet. Ändå definieras ’landskapet’ i daglig planeringspraxis främst som en avgränsad helhet, ett geografiskt begränsat natur- eller produktionsområde, vars lokala, kulturella särart är visuellt avläsbart. I det allmänna språkbruket däremot, har landskapet ofta överskridit dessa lokala begränsningar – som fantasieggande vision, som dramatiskt sceneri, som det ibland idealiserade uttrycket för en långtgående identifikation med omgivningen. Kommunikationsteknologin innebär ett ännu mera radikalt tänjande av landskapet. De landskap vi idag omger oss med är framförallt produkter av världsomspännande rumsliggöranden, digitala och globala handlingar, som inte bortser från det specifika utan snarare ”går djupt omlott med det lokala och materiella” (Sassen 2003). Ett exempel på ett sådant sammansatt landskap är filmproduktionens. I en ekonomi som i allt högre grad kännetecknas av rumsliga bild- eller teckenflöden (Lash och Urry, 1994) spelar särskilt den rörliga bildens förflyttningslandskap en allt viktigare roll. Frågan är på vilka villkor denna nya kulturlandskapsproduktion verkar och vilka konsekvenser den har för landskapsutvecklingen i stort. The Oresund Film Commission (Öresunds Filmkommission, hädanefter förkortat OFC) och dess webbaserade “platsdatabas” erbjuder en konkret möjlighet att diskutera de här frågorna ur ett regionalt perspektiv. Genom sin sammanställning av mer än femhundra stillbilder av möjliga filminspelningsplatser prioriterar databasen en estetiskt betingad föreställning om och utveckling av landskapet. Utifrån en fragmenterad uppsättning potentiella platser för handling – allt från “samtida europeiska omgivningar” till “medeltida byar i böljande sädesfält”(www.oresundfilm.com) – framträder en ny typ av globalt uttrycksfull lokalitet. OFC:s databas är i det avseendet ett tydligt exempel på den lätthet med vilket landskapet låter sig infogas i den globala branding-kulturen. Men den är också ett exempel på de förändrade representations- och reproduktionsvillkor som tilldelar det plats-specifika och lokala en avgörande och möjliggörande roll. I det följande ifrågasätts och undersöks denna nya ’lokalitet’, liksom de förväntningar, både på anpassning och förändring, som den ger upphov till. Därefter utvecklas argumentet att den vidare gestaltningen av kulturindustrilandskapet idag inte bara kan lita till topografisk och morfologisk information. Inte heller är det landskapsgestaltningens uppgift att förse medieindustrin med schablonartade bakgrunder. Det som behövs är snarare en kritik av landskapets manuskriptur, en kritik som förmår förskjuta en passiv väntan på berättarrösten till en aktiv realisering av landskapets potentiella oförutsägbarhet, vilket filmen som sammansatt produktionsform uppmärksammar.

  • 17.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Köp mig - Barbara Kruger gör utomhusreklam2007Inngår i: Dagens Nyheter, ISSN 1101-2447, nr 2007-08-18Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 18.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Pusher Street och framträdandets teater2007Inngår i: Glänta, ISSN 1104-5205, nr 2-3, s. 12-20Artikkel i tidsskrift (Annet vitenskapelig)
  • 19.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Rappel au désordre: architectural aesthetics between the performative and the sublime2006Inngår i: Nordisk arkitekturforskning, ISSN 1102-5824, Vol. 19, nr 4, s. 15-24Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    An increasingly aestheticized society has inevitably changed architecture’s role and function. By some enthusiastically embraced as a longed-for recognition of architecture’s scenographic, artistic or entertaining potentials, this change has also given rise to a scepti- cism as to the role of slippery aesthetics and a subsequent recall of a more decent, tectonic “form-power”. But do architects necessarily have to be either uncritically engulfed by aesthetics or the obstinate defenders of a decent, but boring, alternative? A constructive answer to this question, however, requires a critique of aesthetics as formal or normative order, in favor of a performative, view of aesthetics as a means to do justice to a ‘disorderly’ world.

  • 20.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Se upp för landskapsbergmanesken2007Inngår i: Arkitekten, ISSN 0347-058x, nr 8, s. 41-41Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 21.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Situating Knowledge in Archiscape: A Traveler’s Guide2007Inngår i: The Unthinkable Doctorate / [ed] Marc Belderbos, Johan Verbeke, Sint Lucas Hogeschool voor Wetenschap & Kunst, Bruxelles , 2007, s. 421-430Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Where do architecture and research coincide? Is there a potential intersection at all between architectural and scientific practice? Could the academic ‘doctorate’ offer a ‘thinkable’ and fruitful crossing point? Rather than trying to define such a meeting point in positive terms, this paper attempts to outline an epistemological terrain in which to locate these questions. Travelling through the length and breadth of this terrain requires certain sacrifice, certain heuristic effort, of which, from an architectural point of view, the reconsideration of both luggage and objectives might be the most radical. Throughout the criss-crossing of this expanse, two basic arguments will unfold; two projected directions for a ‘thinkable’ architectural knowing. The first one suggests a disjunction of architecture from the disciplinary and object-related towards the discursive. This reorientation takes as its point of departure a literal understanding of discipline as a strict regime with a given, objective reference; and a corresponding comprehension of discourse similarly in the literal sense as the actualisation of possible standpoints. The second argument consists of a redirection also of discursive knowing, from the establishing of a detached and abstract ‘thinkability’ to a practical mapping of the thinkable as a social and political expansion; a successively unfolding -scape.

    Fulltekst (pdf)
    fulltext
  • 22.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Steal this place: the aesthetics of tactical formlessness and "The Free Town of Christiania"2006Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [sv]

    Studien avhandlar urbana förändrings- och estetiseringsprocesser med utgångspunkt i den själv-organiserande Fristaden Christiania i Köpenhamn. Arbetshypotesen är den att ett uppmärksammande av expressiva, aktivistiska urbana representationsformer kan leda till en annan förståelse av rumslig gestaltning än den som nu dominerar planeringsfältet.

  • 23.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Suomenlinna Spatial Gossip: Report from the Nordes summer school2007Rapport (Annet vitenskapelig)
    Abstract [en]

    The timely aspect of space constituted the point of departure for the Nordes summer school workshop for doctoral students in design in August 2006. The workshop took place in Suomenlinna, or Sveaborg, which is the Swedish name of this historical citadel, or a group of fortified islands just outside of Helsinki. The focus of interest for the workshop was also Suomenlinna’s hybrid character. Historically speaking, both Swedish, Russian, and Finnish, culturally speaking both heritage site, everyday environment , and recreational retreat; Suomenlinna did indeed evoke many stories, more or less political or personal; grand as well as minor narratives. Yet, while in many historical sites you would find an official History deliberately exposed and defined, in Suomenlinna History has been contested and reconstructed at various points, in a peculiar way leaving traces of excluded, minor or even micro narratives behind – rumours, wandering myths, smalltalk. The aim of the workshop was therefore the investigation of the islands from the point of view of its micro narratives, its gossip, its elusive narrative practices and their distribution and organization in and as space.

  • 24.
    Hellström, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Vidsträckt, vildvuxet eller flackt - om de tre första avhandlingarna i fri konst2007Inngår i: Konstnärlig forskning under lupp: utvärdering, artiklar och projektreportage. Vetenskapsrådets årsbok för konstnärligt FoU 2007 / [ed] Torbjörn Lind, Vetenskapsrådet , 2007Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 25.
    Hellström, Maria
    et al.
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Lindholm, Gunilla
    Landscape at Play: Teaching Design as Rhetorical Action2007Inngår i: PROCEEDINGS 18th International Annual ECLAS Conference, Landscape Assessment - From Theory to Practice: Applications in Planning and Design., Faculty of Forestry, Belgrade, Serbia , 2007, s. 249-257Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    Today, ’design’ is a ubiquitous concept, dispersed throughout disciplines and fields of professions. In this situation, what does it mean ‘to design’? Is it a problem solving activity still aiming at Vitruvian durability, functionality, and pleasure? Is it an enhancing activity, a matter of transforming raw matter into conspicuous forms? Or is design a matter of signification and meaning in a broader sense? Irrespective of how we choose to respond, the questioning as such reveals a widened scope for design, which stretches beyond problem solving and formal enhancement. In this respect, the notion of design might have regained some of its initial meaning expressed by the Latin designare, to signify. Fundamentally communicative, design is an intermediating kind of action, indispensable in order to bridge the gap between humans as well as between humans and a complex, surrounding world. As for the practices of landscape architecture and planning, this entails a significant shift. Rather than descriptive or representative, ‘design’ unfolds as an imperative. Not only connoting the accommodation of a physical structure to a given ideal or vision, design presents itself as the challenging as-if-space where visions and ideals are constantly being negotiated and reproduced. Accordingly, it is possible to assume a shift also in the professional or expert role of the landscape architect or planner, an equivalent widening of the scope of action to include not only bio-morphological or infrastructural interaction but furthermore interaction of a more linguistic kind. In an attempt to meet the need to explore this new designer’s role, we have at the Dept. of Landscape Architecture Alnarp during a number of years offered the seminar course, “Design as Action”. In this course, the students are offered the possibility to develop a self-reflective, dialogic and exploratory design practice. Pedagogically, this is achieved through the establishing of what could be described as a rhetorical awareness, an awareness of the intimate relationship between the professional language practice and the design action. We identify two levels of rhetorical interference or language games, where the design action unfolds either through communicative ‘props’ or as meta-communicative ‘stagings’, explored through different forms of rhetorical and spatial activities, such as conceptual modelling, language games, role plays, and storytelling. The main argument developed in this paper is that a playful and spatially conscious, professional language development is one of the most important success criteria in landscape architecture education. Furthermore, already acquainted with the composite notion of ‘landscape’, landscape architecture students have special opportunities to develop a combined linguistic and spatial sensitivity with great relevance for a complex and potentially conflictive future.

  • 26.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Acting Out Kicking Back: The Half-Way Realism of Design Games2016Inngår i: The Journal of Design Strategies, ISSN 1935-0120, Vol. 8, nr 2016:1, s. 14-22Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    There we were, engaged participants, entering the circle, prepared to sharpen our attention, to adjust our bodies, to interact and respond to the situation. We started to play, committed to follow the jerky wanderings of the first ball. Then the second ball entered the circle, and with it came a new rule for throwing it, challenging our coordination and signalling skills. When the third ball came into play, intersecting in a new way with the trajectories of the first two, the calls, glances and moves across the field of interaction intensified into a palpable present, frequently interrupted by thudding and bouncing—sounds of misjudgement, friction, or misalignment. As a fourth ball was introduced into the circle, along with yet another set of throwing instructions, the communicative tension reached its breaking point, or its point of implosion, manifested in reflexive, collaborative laughter. We had played, hesitatingly at first, but soon with increasing enthusiasm. And as the game progressed, balls had travelled faster, accompanied by more and more imperative shouts, growing agitation and intensified responses. Finally, as the gameplay was broken, the balls rolled away, leaving us with an awareness of the fragility of collaboration, but also with an appreciation for concerted juggling. Flexibility, timing, spatial understanding, expressivity, alertness, foresightedness: these are all social skills most clearly revealed precisely at the point of miscarriage, insufficiency, or breakdown.

    Fulltekst (pdf)
    FULLTEXT01
  • 27.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Allestädes, ingenvart, någonstans: en liten platskritik2016Inngår i: Landskap nu!: samtida svensk landskapsarkitektur: contemporary Swedish landscape architecture / [ed] Åsa Drougge, Anders Kling, Karin Westermark, Arkitektur Förlag , 2016Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [sv]

    Plats och platslöshet är ett återkommande landskapsarkitektoniskt tema. Allt sedan 60-talet har ”icke-platsen” figurerat både som ett cybernetiskt frihetsideal och som ett avskräckande exempel på en avhumaniserad supermodernism. Tidigt ställdes den teknikoptimistiska passionen för stationer, växlar, rondeller, omkopplingar och noder mot en lika stark vurm för den sammanhållna, historiskt förankrade, materiellt artikulerade och sinnligt upplevda handlings- eller samlingsplatsen. Den här polariserade diskussionen om platsens vara eller inte vara, om dess position och dess öde, dröjer sig kvar. Kanske speglar den också en efterhängsen och tilltagande osäkerhet om vad det lokala står för. För på bara något decennium nu har informationsteknologins utbredning, de globala nätverkens translokalitet och medieflödenas sociala kapacitet överträffat alla förväntningar. När det gäller möten och utbyten, för att inte tala om gemenskaper, så tycks de idag obekymrade om det lokala, lika oberoende av relationen kropp-plats som frenetiskt upptagna av att återuppfinna densamma. Därför har profetiorna om den fysiska platsens försvinnande inte infriats. Tvärtom tycks platsen nu genomgå en paradoxal renässans, som händelse, som rumsligt kapital, som löfte. ”Platsen”, och kanske i ännu högre grad ”mötesplatsen”, är en av den expanderande samtidens mest centrala figurer.

  • 28.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Awaiting the voice-over: The Öresund Film Commission Location Database and the Mediatization of the Architectural Landscape2009Inngår i: Curating architecture and the city / [ed] Sara Chaplin, Alexandra Stara, Routledge, 2009, s. 62-77Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Today it is more difficult than ever to isolate the reproduction of the built environment from what has been called ‘the economy of images and signs’.1 Inevitably inscribed in ever more all-embracing circuits of communication, architecture and urban planning are practices in transformation, in search of both their societal function and their inner logic. Nevertheless, repeated attempts are being made from within the spatial professions to develop a tectonically or historically formulated immunity to this shift, or to dismiss it as superficial aestheticization. Yet, what characterizes the change is perhaps not so much the transformation of urban space into a matter of visual representation or more or less pleasant sceneries. Rather it is its mediatization that is conspicuous; the integration of architecture with new, distributed and extra-architectonical forms of spatial reproduction; a process of convergence which, as far as architecture is concerned, constitutes a destabilizing of grounds. One of these destabilizing forms of spatial reproduction is film. As pointed out already by Kuleshov in the 1920s, film is not only a moving representation of modern and fragmented urban space, but on a more fundamental level unfolds as its ‘creative geography’.2 As an emergent geographical arena, film production also gives rise to new bodies of agency. Today, the emerging film commissions play an active role, engaging not only in the promotional care-taking of an already existing architectural environment, but also in its continuous assessment and alteration. As such, these new agents play an important role in problematizing the distinction between representation and reproduction, or in other words, between curatorship and authorship in the spatial domain. What we have to ask, however, is what the premises are for this new spatial commissioning, and how it affects the further intermediation of architectural knowledge. Through a case study of the Öresund Film Commission and its web-based ‘location database’, this chapter aims to discuss these and related issues. A compilation of more than 500 still images of potential locations for film production, covering anything from ‘fairytale scenery and medieval villages tucked in lush fields’ to 62 378_06_Curating Arch 22/1/09 1:39 pm Page 62 ‘contemporary European settings’,3 the database provokingly actualizes the ambiguities of, on the one hand, architectural typologization and archival practices and, on the other hand, a proliferating branding culture. Together with a number of similar place collections, this cinematographically oriented location database actualizes the changing conditions of a mediatized architectural arena, as well as the expectations, both for adaptation and change, to which it gives rise. The argument developed is that rather than simply sustaining and caring for a pre-defined architectural narrative as a spatial commissioning practice, architectural curatorship has in itself a central say in the mediation and transformation of the architectural landscape.

  • 29.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Christiania Copenhagen: A Common out of the Ordinary2011Inngår i: Urban Wildscapes / [ed] Anna Jorgensen, Richard Keenan, Routledge, 2011Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Years of development boom on both sides of the Oresund, the strait separating Sweden and Denmark, has resulted in an urban landscape of great wonder. On the Swedish side, in Malmö, the new talisman, the twisted high rise of Santiago Calatrava, towers behind old wharfs and docks. Erected by a labour movement housing association, it signals a new era and a new way of manifesting the spatial relationship between individual and group. With promises of both comfort and participation, the spiralling edifice has not only settled in with the surroundings, but also developed into a symbol for a welfare society keeping abreast of the times. Concurrently, on the Danish side, metropolitan Copenhagen expands. Its latest ramification, Ørestad, provides a new arena for the social manifestations of the new, entrepreneurial class. In the enchanting gleam from Jean Nouvel’s concert hall cube, Henning Larsen’s new IT University building market its tantalizing choices, and further down along the driver-less infrastructural artery, BIG’s terraced mountain capriciously challenges the Danish flatlands. Daniel Libeskind has similarly responded to the call, in a posh marketing video presenting a series of welcoming public spaces for the new Ørestad Down Town. ‘For me,’ Libeskind says while finishing his Espresso ‘architecture is all about people – architecture without human beings to enjoy it is meaningless. Marketing the urban landscape as a hotbed not only for technological innovation and economic development but also for the development of new life styles, today’s developers whole-heartedly adopt what may be interpreted as a radical urban rhetoric of the transformative and alternative. Nevertheless, just off the new and abundant urban landscape, you still find alternative, aberrations, suckers shooting off from the recognized multiplicity. One such offshoot is the Free Town of Christiania. In the beaming light of the new and semi-transparent developments, this threadbare, self-governed settlement in central Copenhagen, now in its forties, may seem more wicked than ever. Yet, at the same time, its special anthem Christiania – You Have My Heart, still hovers in the air. For if Copenhagen has a heart, it is likely to be found somewhere close to the appropriated military barracks in Bådsmansstræde, Christianshavn. And the localizing of this heartfelt site was always easy: ‘You simply take Bus no 8 to Princess Street. Cost: One token’.

  • 30.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Cut, Make and Trim: Fast Fashion Urbanism in the Residues of Rana Plaza2015Inngår i: Deleuze and the City / [ed] Hélène Frichot, Catharina Gabrielsson, Jonathan Metzger, Edinburgh University Press, 2015, s. 161-177Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    ‘“It’s absolutely amazing!” The first visitor to the new shopping centre cannot hide her enthusiasm, her eyes sparkling at the shower of golden discount coupons’ (Sydsvenska Dagbladet, 25 October 2012). The new commercial facility presents itself as part of a natural circuit, its elevators embedded in lush greenery, its open spaces framed by rippling waterfalls. Even the public lavatories express the same environmental concern, with bird tweets and other animal sounds activated as you lock the cubicle door, all according to one early reviewer whose inaugural visit to the privy was greeted by an intimate ‘cock-a-doodle-doo’ (Fürstenberg 2012). The impressive opening of Emporia took place in October 2012 in Malmö, Sweden. Located close to the Öresund Bridge, in the transnational metropolitan area often referred to as Greater Copenhagen, the new shopping destination is one of the most extravagant and extensive in Europe. Architectonically spectacular and environmentally certified, the three-storey complex is an award-winning piece of green investment. 1 Access is easy; you can arrive at the site by public transport or even by bike if you wish; most likely you enter from the new station square through the imposing ‘Amber Entrance’, or, if you still prefer coming here by car, the glimmering blue ‘Sea Entrance’ facing the main parking will provide as grandiose an ingress; a deep, translucent cavity in the sienna-coloured glass facade, an enticing orifice, exerting a centripetal force. The most idiosyncratic mode of entry, however, is via the six-acre public rooftop park, which can be accessed by either car or foot via an exterior stairway. While the park allows for a more relaxed passage into the emporium and its 200 stores and restaurants, it also buffers the consuming experience, making clear that consumption is only one part of the Emporia vision.

  • 31.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Den avvikande allmänningen2009Inngår i: Byens Rum, nr 1.5, s. 12-18Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [sv]

    År av byggboom på båda sidorna om Öresund har resulterat i ett stadslandskap att förundras över. På den svenska sidan reser sig sundets nya amulett, den skruvade skyskrapan, signerad Santiago Calatrava. Uppförd av ett kooperativt arbetarrörelseföretag signalerar den en ny tid och en ny syn på relationen mellan individ och kollektiv. Med löften om både bekvämlighet och delaktighet har den inte bara sjunkit in i var mans hjärta, utan också utvecklats till en vertikal symbol för en sinnligare och mera vågad välfärd. Inte långt därifrån, på kanten av Malmös Grand Canyon, Limhamns kalkbrott, utvecklas en ny men mera horisontell boendegemenskap – Victoria Park – ett ”livsstilsboende” med semester-”resorten” som förebild. Sydafrika, Mexiko, Malmö – det spelar mindre roll; tryggheten är densamma, liksom den avkopplande atmosfären i loungen eller vid poolen. Till ackompanjemang av mjuka bossa-nova-toner och i en massmedialt inspirerad design växer ett nytt folkhem fram. På den danska sidan skjuter den nya storstaden i höjden. Med sina arkitektoniska utropstecken och sina flexibla projektionsytor utgör dess nya förgrening, Ørestad, en arena för den kreativa klassens sociala manifestationer. Här sprider Jean Nouvels konserthuskub sitt förtrollande sken, här exponerar terassvåningarna sina sällskapliga förtjänster och här saluför de nya kunskapsfabrikerna sitt utbud. Och som kronan på verket lägger Daniel Libeskind sista handen vid det som ska bli Ørestad Down Town, en ny serie inbjudande offentliga stadsrum, som enligt entreprenörerna rent av kommer att föra tankarna till det medeltida Köpenhamn. I den påkostade videon som presenterar projektet möter vi den världsberömde arkitekten någonstans i det urbana vimlet: ”För mig”, säger han och avbryter för ett ögonblick läsandet av New York Times, ”handlar arkitektur helt och hållet om människor – en arkitektur utan människor som uppskattar den är meningslös”.

  • 32.
    Hellström Reimer, Maria
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Designing in Dark Times. An Arendtian Lexicon: Book review2022Inngår i: Design and Culture, ISSN 1754-7075, E-ISSN 1754-7083, Vol. 14, nr 1, s. 99-101Artikkel, omtale (Annet vitenskapelig)
    Abstract [en]

    What does it mean to act – and to design – in times as dark and obscure as the current? This is the troubling question raised in the Bloomsbury Visual Arts book series Designing in Dark Times. In their contribution to the series, Eduardo Staszowski, associate professor of Design Strategies at Parsons The New School of Design, and Virginia Tassinari, post-doctoral fellow at Politecnico di Milano, turn to the political philosophy of German-American philosopher Hanna Arendt (1906-1975). Taking an increasingly self-destructive and distressed humanity as their point of departure, the two design researchers have invited a wide range of design scholars and practitioners to “adopt” one of Arendt’s concepts to reconsider the status and role of design today. The result is An Arendtian Lexicon, an edited volume featuring fifty-five short essays that in different ways engage terms from Arendt’s oeuvre. While alphabetically structured, the line-up of entries is not exhaustive, nor is it to be understood as a set of dictionary definitions. Instead, it constructs a clustering of Arendtian terms, central also to the contemporary design debate. Yet apart from being introduced in the editors’ introductory essay, the clusters remain opaque until the end of each entry, where they present as suggestions for cross-reading.  

  • 33.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Favourably Found and Proudly Presented: Scouting for Locations in the Media Terrain2011Inngår i: Nordic Journal of Architecture, ISSN 2244-968x, Vol. 1, nr 1Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    On the district council web site of Thanet, a peninsula in Southeast England, one can learn that painter William Turner, when sketching in the environs in the 1820s and 30s found the skies over the area to be “the loveliest in all Europe.” A bit further down, the same website tells us that today, the coastal skies are being mediated in new ways: “From Film Noir, Dogma and horror to TV – the bright lights are shining for Thanet.” The Isle of Thanet is one example of how regions today expectantly redefine themselves in relation to a new cultural landscape. Cities and municipalities worldwide today compete in presenting themselves as “film friendly” environments offering an abundance of fertile and favourable grounds for media production. Through the establishing of funding platforms and location databases or through the setting up of special ‘codes of practice’, ample room is provided for new spatial actors with new claims to unveil, characterize, program and direct sites and spaces. In the present essay, English Thanet; a tourist destination past its time now aiming for a comeback; will be compared with the recently so successful crime film location of Ystad, Sweden, similarly a coastal municipality defending its position within the framework of a new ‘experience economy’. The comparison will fall in to a discussion, on the one hand about how the new media practices and professions affect the popular imaginary of sites and spaces, and on the other hand how they impinge on spatial discourse and policies of spatial reproduction. What are the determining criteria for new spatial actors? What kinds of sites are being targeted and how are they being administered and maintained? Surfacing in the media surge is the old spatial dichotomy between permanence and production, but also a new and contested kind of site – the ‘location’ – a temporary merger of authenticity claims, productivity demands and material conditions.

  • 34.
    Hellström Reimer, Maria
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Going Whole Hog: Merging Ecobranding and Park Politics in the Smart City2019Inngår i: Architecture in Effect. Volume 1: Rethinking the Social in Architecture: Making Effects / [ed] Sten Gromark, Jennifer Mack, Roemer van Toorn, Actar Publishers , 2019, s. 124-171Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Thoroughly shaped by an industrial past, Sweden’s third largest city, Malmö, has always prided itself on its many lush and accessible public green spaces. Historically significant, centrally located, and generous in size, the numerous green areas still lead some to characterize Malmö as “the city of parks” (Pehrsson 1986, Malmö Stad 1994). However, although parks have played an important sociopolitical role in the city, their current function, especially given an increasingly important climate-conscious urban agenda, is less clear. As an example, a recent survey by Statistics Sweden of green areas in Swedish municipalities with more than 30,000 inhabitants showed the labeling of Malmö as a park city to be much exaggerated, if not downright misleading. Of the thirty-seven municipalities analyzed in 2010, Malmö was the city with the lowest ratio of publically accessible green area per capita, less than 100 square meters, as compared to the 350 square meters per capita in the city with the highest proportion (Statistiska Centralbyrån 2015). The study also showed Malmö to be a city still influenced by heavy industry and infrastructure, with a very high ratio of paved areas and with the second-highest percentage of inhabitants completely lacking accessible greens within reasonable distance. While the 2015 survey gives valuable indications about differences in land-use patterns, it focuses primarily on urban green spaces from a structural and quantitative point of view. In the survey, the functional value of urban green spaces and their importance as interwoven, balancing, and restorative elements are implicit. The idea of green structure thus also reflects an ongoing reconceptualization of a former nature-culture divide, now in terms of connectivity (Hellmund and Smith 2006; La Point et al. 2015). No longer seen as an enclosed park—and thus as a sociopolitically motivated discontinuity, correcting and reoxygenating the urban corpus—urban greenery is now seen as one of several support systems, not least from an urban ecological point of view. Yet, despite emergent green structuring, the public urban park lingers, presenting an intricate and unsettling otherness reflective of ideological currents, fluctuating common resources, and social mobilization. As a manifestation of a distinct and complex spatiotemporality, the urban public park might—more or less accidentally—constitute a sustained critique of an increasingly structured urbanity. Using as a point of departure the planning and execution of a park in “the city of parks”—the Emporia Rooftop Park in the smart city district of Hyllie in Malmö—this article discusses the park as a networked yet unsettling materialization in an increasingly “connected” process of urbanization. Suspended between different interests and conceptions of urban growth, this process could potentially provide room for a radicalizing of urban imaginaries. However, it also lends itself to compensational, aestheticizing, and increasingly instrumentalized justifications, thus emptying the park of its divergent, and therefore political potentials. As a new and highly visible eco-engineering arena, the urban park is instead rapidly converted into a privileged minion in a new, green, design-driven, and future-oriented environmental joint venture, the political positions of which are becoming increasingly difficult to distinguish.

  • 35.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    I väntan på berättarrösten - Öresunds Filmkommissions ”platsdatabas” och det urbana landskapets manuskriptur2008Inngår i: Nordisk arkitekturforskning, ISSN 1102-5824, Vol. 20, nr 2, s. 7-19Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [sv]

    Idag är det svårare än någonsin att frikoppla landskapet från det som kommit att kallas ”den globala bild- och teckenekonomin” (Lash och Urry, 1994); det världsomspännande ’mass-medierandet’ – förmedlandet av kulturella uttryck och utbytet av information. Ändå görs i daglig planeringspraxis ganska stora ansträngningar att med hjälp av landskapsbegreppet utveckla en immunitet mot dessa förändringar. I många policy- eller plandokument ses ’landskapet’ antingen som en överblickbar vy, ofta kopplat till ett bio-morfologiskt och/eller kulturhistoriskt skyddsvärde, eller som en regional intressesfär av agrikulturella, industriella eller rekreativa praktiker och bruksvärden. Oavsett vilket framstår det emellertid allt som oftast märkligt oberoende av en samtida medie-produktion. I det allmänna medvetandet däremot, är ’landskapet’ sedan länge också en mass-medierad företeelse. Även om det fortfarande ses som en allmän beteckning för ett geografiskt avgränsat ’natur-sceneri’ eller en ’hembygd’ (eventuellt uppdaterat till ’biotop’ respektive ’geografisk identitet’), uppfattas det lika ofta ur ett vidare kommunikations-, resande- eller flyktingperspektiv, vilket gör det på en gång både mera subjektivt och mera geo-politiskt laddat. Om land-skapet, som visuell auktoritet betraktat, tidigare har fungerat som en regional reglering av rumsliga spänningsförhållande, så är dess funktion i en globaliserad värld kanske snarare av-reglerande: Som -skap betraktat genererar det främst vad den amerikanske kulturantropologen Arjun Appadurai en ”imaginär ordning” (Appadurai, 1996), som på många sätt kreativt de-territorialiserar eller löser upp tidigare rumsliga föreställningar.

  • 36.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Mobility extra situ: the cosmopolitical aesthetics of Tania Ruiz Gutierrez’ Elsewhere/Annorstädes/Ailleurs2014Inngår i: Mobilities, ISSN 1745-0101, E-ISSN 1745-011X, Vol. 11, nr 2, s. 223-242Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In discussing a major public video installation, Elsewhere/Annorstädes/Ailleurs by Tania Ruiz Gutierrez, the present article seeks to address what is referred to here as ‘mobility ex situ’— the unsettling aspects of a mobility culture that is both ubiquitous and at the same time exorbitant, never simply ‘in place’. Commissioned for one of the stations along the Øresund Link between Denmark and Sweden, this world-embracing cinematic montage is an integrated part of an expansive connectivity infrastructure. Yet, while providing site-specific motion captures of a translocational world, the work not only actualises a radically transformed sense of presence. Randomised and disjointed, the flow of imagery also draws attention to the territorial incoherencies and asymmetries of a mobility culture, which, despite increased site sensitivity, does not manage to shake off its constitutive ‘elsewheres’. The artwork thus provides an opportunity to unfold the ‘mobility script’ from an aesthetic—but also political—point of view, and this in three consecutive steps: the first, an introductory presentation of the art work as situational stammering; the second, a critical reflection through the work on nomadic or dispersed geographies; and the third, a discussion of the work as an expression of a cosmopolitical aesthetics.

    Fulltekst (pdf)
    FULLTEXT01
  • 37.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Nextland: Contemporary Landscape Architecture in Austria2016Inngår i: JoLA - Journal of Landscape Architecture, ISSN 1862-6033, E-ISSN 2164-604X, Vol. 11, nr 2016:2, s. 104-106Artikkel, omtale (Annet vitenskapelig)
    Abstract [en]

    The apprehension of any field of practice requires overview, today more than ever. Inundated with information, we are obliged to constantly browse, search, or roam, relentlessly seeking out patterns solid or sustainable enough to stand out as coherent identities, areas, professions, discipline or categories. As design theorist Clive Dilnot has pointed out (Dilnot 2009:377), this is ‘the stated ethos’ of the survey, also within the increasingly diversified design field: to provide an inventory, to register what and how, where and when, to pedagogically make sense of a vast expanse of multifarious practices. As a systematic collecting of facts, the survey situates and captures relations, it enables identification of successive orders or traditions, it allows for recognition of characteristics and clusters, it permits the tracing of processes, both backwards and forward. And perhaps this latter aspect is the most decisive: the fact that as the careful assembling of a data set, the survey does not simply provide a record or blueprint of a situation, but constitutes itself a mapping practice, which ‘allows a trajectory to be formed in the mind and that historical trajectory is (or so we assume) the basis of beginning to know in relation to a field’ (Dilnot 2009: 377).

  • 38.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Paisajes nordicos: raíces, derechos, itinerarios2013Inngår i: Vinculos nórdicos: etica y estetica del habitar / [ed] Luis Armand Buendía, Constancio Collado Jareño, Sendema Editorial , 2013, s. 61-76Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Certain landscapes come with a certain aura. The pastures of Tuscany, the Mongolian steppes, the Aegean archipelago or the delta of the Nile; these are just some samples of geomorphological excisions which, even though we may never have set foot on these grounds, do not leave us unaffected. Perhaps “the Nordic landscape” belongs to this category of territories beyond time and space, these canonized outlooks, so fully charged with meaning. Or perhaps it is the very the labelling of a piece of land in terms of “landscape” that calls forth a specific spatial radiance. But what do such landscape imaginaries convey? What kind of narratives do they nurture? And what are the implications of this landscaping? With the point of departure in the piece of land that could be described as my own native grounds, the potentially cool, virgin, free and allowing North, which, despite its peripheral situation has provided and is still offering a model for a modern, convenient and environmentally sane life, I will discuss these issues.

    Fulltekst (pdf)
    FULLTEXT01
  • 39.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Park Politics2012Inngår i: 34: Salon arhitekture - u ogledalu / [ed] Ljiljana Miletic Abramovic, Museum of Applied Art Belgrade , 2012, s. 198-200Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Historically, the emergence of “the urban park” in the 19th century constituted a point of transition in the development of public space. A favourite topic of modernist art, the park has been frequently mythologized, but also challenged. In Seurat’s famous painting of Grand Jatte, the park emerged as the sum of a multitude of colourful and expectant impulses, furthermore enveloped in sparkling backlight. In contemporary works of art, however, like that of Dominique Gonzales-Foerster, the park instead provides ”a plan for escape…a catalogue of seemingly unrelated parts…anti-landscapes for micro-events…” As an urban architectural type, the public urban park is ambiguous: Is it to be considered a space for the re-creation of social orders? Or does it rather provide a space for the transgression of preordained urbanity?

  • 40.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Playing the Green Card the Derivative Function of a Disengaged Jardin-Forêt2017Inngår i: Architecture and Culture, ISSN 2050-7828, Vol. 5, nr 2, s. 279-295Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    With the point of departure in the Bibliothèque nationale de France (BnF) – site François Mitterand (Dominique Perrault, 1989–95) and more specifically its central but inaccessible jardin-forêt, this essay problematizes what has been described as the neoliberal shift in architecture and urbanism. The BnF and its garden-forest has been interpreted as a last breath of modernist urbanism and welfare ideas. Yet, rather than dismissing this Grand opération as a tardy spasm of modernism, it is perhaps more productive to consider the ensemble an exponent of the derivative, or spin-off, spatial logic currently sustaining the fiction of urban fertility and growth.

    Fulltekst (pdf)
    fulltext
  • 41.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Pusher Street and the Theatre of Emergence2009Inngår i: Scroope - Cambridge Architectural Journal, ISSN 0966-1026, nr 19, s. 66-76Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    Right next to Pusher Street, in “The Freetown of Christiania,” in Copenhagen, on one of the walls there is a painting. It shows a young guy, greatly enlarged. He appears in semi-profile, from the shoulders upwards, the dark blue hood of the parka slightly raised. Exposed to the elements, out in the open, with his eyes shut, his front somewhat folded and the cheeks faintly rosy from exhaustion, he voluptuously thrusts out a big bluish cloud of smoke. That cloud has always startled me. I still dodge before its obstinacy, its importunate emergence out of a shapely, still enigmatic oral cavity. The mural is well executed in a virtuously pursued photographic realism, thus destabilising the heavy brick façade in a different way than the surrounding graffiti and flower power paintings. Clouds are complicated also in terms of painting technique; it is tricky to represent blurriness in detail, difficult to create that much coveted “trompe l’oeil” effect which seduces the eye to accept the three-dimensionality, suspending even the tiniest touch of disbelief.

  • 42.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Recension: Forankring i forandring :Christiania og bevaring som ressource i byomdannelse.2008Inngår i: Nordisk arkitekturforskning, ISSN 1102-5824, nr 2, s. 115-120Artikkel, omtale (Annet vitenskapelig)
    Abstract [sv]

    Frågan om historisk förankring har blivit allt viktigare inom såväl arkitektur och landskaps- arkitektur som planering. Men att förankra en rumslig intervention bakåt i tiden, att motivera en förändring som historiskt relevant och där- för kvalitativt oklanderlig, är inte oproblema- tiskt. Ofta är en förankring förknippad med ett territoriellt hävdande av ett ursprung, en geo- grafisk ”vagga”, vars fortsatta existens anses nödvändig för utvecklandet av en etnisk eller nationell identitet. Ursprungsmiljöer, hembyg- der och historiska minnesmärken upplevs av många som hotade och måste återerövras, försvaras, skyddas. Som en rumslig problema- tik är ’förankringsrätten’ – möjligheten att inte bara historiskt knyta an till en plats utan också att kontrollera dess fortsatta betydelse – därför en av huvudorsakerna till territoriella konflik- ter, ett tecken på vad den amerikanske kultur- antropologen Arjun Appadurai kallat för en ”terminal crisis”:1 Det förflutna, som en svun- nen varaktighet, är idag inskrivet i en vidare berättelse av upplösning, hot och förlust, något som i sig tydligt markerar att det förlorat sin självklara entydighet.

  • 43.
    Hellström Reimer, Maria
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Site Matters: Strategies for Uncertainty through Planning and Design2021Inngår i: JoLA - Journal of Landscape Architecture, ISSN 1862-6033, E-ISSN 2164-604X, Vol. 16, nr 2, s. 90-91Artikkel, omtale (Annet vitenskapelig)
    Abstract [en]

    When the edited volume Site Matters was first published in 2005, it was at a time when the meaning of the word site had just passed what we in hindsight may describe as the real/virtual tipping point. Having fulfilled its duty as a progressivist signpost in the zoning of the modern cityscape, the word was already back then fully registered as a basic staple of the network technology and the World Wide Web. If the word used to have certain concrete environmental referentials, according to the editors it had become increasingly ‘disassociated from the considerations of physical conditions’ (Burns &amp, Kahn 2005: ix) reflected in increasingly lofty and speculative, computer-aided urban design proposals, furthermore often projecting settings meant to be mediated rather than experienced ‘live’. Over less than a decade, the morphological and experiential variety previously implied in the word site—building sites, campsites, landfill sites, landing sites, nesting sites, picnic sites, or archeological sites, just to mention a few—had merged to form a generic, informational and communicative web-site, a mere placeholder for a mesh of interlinked, stacked and exchangeable content. When the editors of Site Matters, Andrea Kahn and Carol J. Burns, now return to the topic in a significantly revised second edition, the ‘mattering’ of site is of a totally different magnitude. While their initial holding on to site might have been motivated by its material and analog qualities, the rationale behind their updated attempt to gather site insights and know-how is much more existential in kind.

  • 44.
    Hellström Reimer, Maria
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Så skakade en gipsbyst om både konstvärlden och demokratin2021Inngår i: Dagens Nyheter, ISSN 1101-2447, nr 2021-04-12Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Om det under vintern uppstått turbulens på den svenska konstens innanhav, med Konstfackskolan som epicentrum, så har det i de danska konstkanalerna rörts upp häftiga svallvågor. Upprinnelsen är en aktion som genomfördes i det fördolda i höstas av Anonyme Billedkunstnerer, en grupp kopplade till Kunstakademiet i Köpenham. En vit gipsbyst föreställande 1700-talskungen och akademins grundare Fredrik V, för övrigt Gustav III:s svärfar, skruvades loss och enleverades från sin nisch i skolans festsal, för att sedan rituellt dumpas i hamninloppet utanför. I början av november offentliggjordes aktionen, genom en video publicerad på sajten idoart.dk, vilket väckte omedelbar indignation.

    Fulltekst (pdf)
    fulltext
  • 45.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    The Hansen Family and the Micro-Physics of the Everyday2011Inngår i: Space for Urban Alternatives? Christiania 1971-2011 / [ed] Håkan Thörn, Cathrin Wasshede, Thomas Nilson, Gidlunds förlag, 2011, s. 132-155Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    One of the dates of faith in the history of Christiania is April 1st, 1976. After some years of vacillating in the so called Christiania question, in the spring of 1975 the Danish Parliament had finally set the deadline for the clearance of the Free Town. Some three months before the planned clearing, however, a documentary entitled Dagbog fra en fristad (Denmark, 1971; English translation Diary from a Free Town) was broadcast on national television. This documentary by Danish filmmaker Poul Martinsen followed the ‘typical’ Danish family Hansen from Hedehusene, a suburban city between Copenhagen and Roskilde, on their visit to Christiania. Featuring Eli Hansen, an unemployed construction worker in his forties; Lise Hansen, a cleaning assistant in her late thirties; and their two sons, Morten, eleven and Jesper, sixteen years old, as they agreed to spend a week in the Free Town, the documentary provided a combined insider/outsider perspective of the contested area. While the family initially held the view that the community should be closed, by the end of the week Mr and Mrs Hansen and their two sons had changed opinion. Having shared the daily life of the Christianites, the family was much closer to the view that Christiania presented an alternative that should remain. Transmitting a shift in attitude, the televised stay of the Family Hansen eventually made the liberal government understand that a clearance was politically impossible, and only two days before the planned closure, the government launched the idea of a ‘soft landing’, changing the demand for immediate closure to a closure ‘without unnecessary delay.’ When the Danish broadcasting company through Poul Martinsen twelve years later staged a revisit, Gensyn med Christiania (Danmark, 1988; English translation Return to Christiania), the Hansen Family was confronted with an equally contested, yet perhaps even more precarious situation. While everyday life in the mid seventies was a self evident public and political concern, it had by the late eighties become harder to locate and picture. Taking the point of departure in Martinsen’s project about the Hansens’ sojourns in the Free Town, this chapter will address the composite relationship between social experimentation, documentary practice and the ambiguous and yet politically charged notion of ‘everyday life’.

    Fulltekst (pdf)
    FULLTEXT01
  • 46.
    Hellström Reimer, Maria
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    This Life: Secular Faith and Spiritual Freedom2020Inngår i: JoLA - Journal of Landscape Architecture, ISSN 1862-6033, E-ISSN 2164-604X, Vol. 15, nr 3, s. 92-92Artikkel, omtale (Annet vitenskapelig)
  • 47.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Unsettling Ecoscapes: Aesthetic Performances for Sustainable Futures2010Inngår i: JoLA - Journal of Landscape Architecture, ISSN 1862-6033, E-ISSN 2164-604X, nr 9, s. 24-37Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    While the current climate crisis tightens its stranglehold on contemporary society, many are those who put their faith in groundbreaking design and artistic innovation. As a side effect of the climate threat, this renewed celebration of creative agency may be welcome, not the least from a landscape architecture perspective, since in the context of sustainable development every design action is also a landscaping gesture with environmental implications. Nevertheless, isolated from a broader societal context, these new eco-scapes risk ending up as nothing but attractive emerald patches disguising a sprawling global ‘junkspace’. As an expanded field of aesthetic and political agency, however, the emerging sustainability culture offers new perspectives on creative spatial practice. Approaching the environmental issue from the perspective of contemporary landscape related art practices, this article seeks to contribute to the articulation of a landscape aesthetics that would meet the requirements of our agitated time. Such articulation, however, requires a reconsideration of landscape aesthetics beyond the consoling and beautiful, as well as a fundamental shift in landscape thinking from representation to agency. The future eco-scape is not necessarily a sphere where you feel ‘at ease’, but a performative and unsettled space in constant transformation and change.

  • 48.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Urban anagram: A bio-political reflection on cinema and city life2011Inngår i: Urban Cinematics: Understanding Urban Phenomena Through The Moving Image / [ed] Adong Lu, Francois Penz, Intellect Ltd., 2011, s. 221-238Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    In relation to the city, the cinema may be regarded as a revelation. Cinema brings to light what used to be contained in adumbration. Cinema holds an almost uncanny ability to deliver exhaustive representations of composite urbanity. Cinema unmasks metropolitan monumentality. Yet, as a medium with the ability not only to capture motion but to mobilize, film also appears as a life-bringing force, exposing but also igniting what has shown to be the dormant potentials of the urban web. If before, as Walter Benjamin expressed it, "[o]ur taverns and our metropolitan streets, our offices and furnished rooms, our railroad stations and our factories appeared to have locked us up hopelessly", the filmic medium changed all this, releasing us from incarceration, "so that now, in the midst of its far-flung ruins and debris, we calmly and adventurously go travelling." What comes through in this quote is the bio-political aspect of cinematic urbanism and the mutual dependency between film and city life. In a situation where power is no longer absolute but continuously exercised through mass-mediation, and where the distance between monitoring and mobilizing has diminished, the inter-mediality between film and urbanity has gained both in importance and in ambiguity. While cinema may transgress the representative limits of the urban order, revealing to each and every one of us a more performative than contemplative potential, it does at the same time propose new regimes, offering an adventurous, yet calm and controlled ride through life. The paper will address such life-governing aspects of cinematic urbanism and especially what could be described as its double agenda of revelation and mobilization, addressed from within the filmic medium as such through different forms of self-referentiality. On the one hand side, this referentiality has been supplemented with claims to greater authenticity and more far-reaching representativity as concerns real life. On the other hand side, it has evoked what could be seen as an anagrammatic actualization of conditioning forces, playfully recombining the basic components of both filmic and urban life. As an urban anagram, cinema presents a performative capability capricious enough as to challenge what has become the increasingly powerful bio-political aggregate of life, knowledge and subjectivity.

  • 49.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Urbanism In-Yer-Face: Spatial Polemic, Filmic Intervention and the Rhetorical Turn in Design Thinking2009Inngår i: Communicating (by) Design / [ed] Johan Verbeke, Adam Jakimowicz, Sint Lucas Hogeschool voor Wetenschap & Kunst, Bruxelles , 2009, s. 171-182Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Not untouched by a wider philosophical discourse, the design professions have over the last decades gone through what is often referred to as a “linguistic turn” (Rorty, 1967). A move away from foundationalist assumptions about ‘reality’ towards a recognition of the generative importance of signs and symbols, the turn has also involved what used to be spatial margins and borderlands. Not only has it brought into focus the everyday landscape of consumerism or suburban housing, but furthermore the more general spatial polemics of contemporary urbanity. Discussing three filmic interventions into urban discourse, the paper aims to bring out the rhetorical aspect of the turn, as it moves from signs to polemical agency. Actualizing a more agonizing, ‘in-yer-face’ communication, the paper also draws attention to the rhetorical and political implications of the turn, as a “thinking of the new disorder” (Rancière 2006:88).

    Fulltekst (pdf)
    FULLTEXT01
  • 50.
    Hellström Reimer, Maria
    Malmö högskola, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3).
    Whose goodness?: ethics and aesthetics in a landscape of dissensus2012Inngår i: JoLA - Journal of Landscape Architecture, ISSN 1862-6033, E-ISSN 2164-604X, Vol. 7, nr 2, s. 76-81Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Is there a logical relationship between ethics and aesthetics? Or perhaps even a natural link between practical reasoning, ‘common sense’ and the sphere of sensuous judgment? Propelled by an increasing environmental engagement and landscape awareness, these and similar philosophical questions again incur interest, motivating commentators to talk about ‘an ethical turn’. However, it is a ‘turn’ that gives rise to supplementary questions concerning the role of aesthetics and the conditions for creativity, contestation and change. Revisiting earlier ethico-aesthetic turns and twists, from modernist anti-aesthetics to contemporary neo- and onto-aesthetics, the essay aims to historicize the relationship between ethics and aesthetics, including the effect on landscape in these polemics. Ultimately, the ethico-aesthetic conjuncture constitutes the structural paradox of a ‘modernity’, which simultaneously expands horizontally and elevates vertically, consensually interlocking assumptions of commonality, subjectivity and reality. The critical alternative, it is argued, is to consider the aesthetic as a political site, where the distribution of the sensuous is a dissensual matter of (landscape) concern.

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    fulltext
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