The purpose of this thesis is to study and analyse collections of outsider art in two Swedish Medical History Museums, Medicinhistoriska museet in Uppsala and Mentalvårdsmuseet in Säter. The work explores how the history of the museums, how art collections were established, the outsider artist as well as how the two museums work the collections today. The empirical part of the study is based on the fieldwork that the author conducted at the Medicinhistoriska museet in Uppsala and Mentalvårdsmuseet in Säter during two separate days in the winter/spring of 2022. Both observations of the museum room were made, as well as interviews with the two curators in charge of the art collections. Attentive observations and systematic notes from constitute the basis for the description of the material and immaterial features of the museum. For the chapters on the historical and cultural context concerning outsider art, art brut, psychiatric care and how the hospitals became museums, literary sources were used.  The result of the study shows that outsider art made in a hospital is a very specific part of outsider art and art brut because of the very special conditions of an often locked psychiatric care unit. It implies that outsider art made in psychiatric care have not been seen as real art, not been viewed as interesting for the public. There has existed an authorised heritage discourse (“AHD”) in the hospitals and well as in the later museums which has led to the collections not been correctly taken care of, and research about the patients has not been made. Instead, the patients work has been stored incorrectly in attics, basements and in un-locked storage areas with only a few ”aesthetically pleasing” works showed in the museum.      Further, the study shows how the art collections in the two medical hospitals correctly used and worked with, can be a part of removing the stigma around mental disease and people living with it.  The conclusions to be drawn from this are that the complexity of the art collections of outsider art made in psychiatric care lie in the fact that mental illness, psychiatric hospitals, and outsider art have been under a stigma, as well as the fact that the patients’ stories being stories from the margin. This is a two-years master’s thesis in Museum and Cultural Heritage Studies.

[ES] La fotografía, no sólo ha favorecido, que en la era de la imagen los contenidos visuales se expandan e involucren en todas las áreas de la vida; sino que ha posibilitado la hibridación de lenguajes pertenecientes a diversas esferas culturales. La consideración de la fotografía como soporte artístico, supuso tan sólo el inicio de un proceso que ha terminado copando casi todas las áreas conceptuales de la imagen. La fotografía artística fue pionera en desacralizar las realidades silenciadas, en volcar sobre papel los tabúes sociales, y dotar de consideración estética a las verdades incómodas. El surgimiento de la tecnología digital, la expansión de Internet y la industrialización de la cultura, han sido determinantes para que el retrato de lo outsider sea visto como un elemento clave para favorecer el consumo cultural. En los albores del siglo XXI, arte y medios de masas han ido de la mano, para convenir productos visuales que parten de premisas análogas. La banalización de la violencia, la sexualidad, la enfermedad o la muerte, son tan sólo algunas de las áreas conceptuales más tratadas. / [CA] La fotografia, no sols ha afavorit, que en l'era de la imatge els continguts visuals s'expandisquen i involucren en totes les àrees de la vida; sinó que ha possibilitat la hibridació de llenguatges pertanyents a diverses esferes culturals. La consideració de la fotografia com a suport artístic, va suposar tan sols l'inici d'un procés que ha acabat copant quasi totes les àrees conceptuals de la imatge. La fotografia artística va ser pionera a dessacralitzar les realitats silenciades, a bolcar sobre paper els tabús socials, i dotar de consideració estètica a les veritats incòmodes. El sorgiment de la tecnologia digital, l'expansió d'Internet i la industrialització de la cultura, han sigut determinants perquè el retrat de l¿outsider siga vist com un element clau per a afavorir el consum cultural. En les albors del segle XXI, art i mitjans de masses han anat de bracet, per a convindre productes visuals que parteixen de premisses anàlogues. La banalització de la violència, la sexualitat, la malaltia o la mort, són tan sols algunes de les àrees conceptuals més tractades. / [EN] Photography has not only favored the expansion and involvement of visual content in all areas of life in the image era; rather, it has enabled the hybridization of languages belonging from various cultural spheres. The consideration of photography as an artistic medium was only the beginning of a process that has embraced almost all the conceptual areas of the image. Artistic photography was a pioneer demystifying silenced realities, turning social taboos onto paper, and giving to uncomfortable truths an aesthetic consideration. The emergence of digital technology, the expansion of the Internet and the industrialization of culture, were decisive for the portrayal of the outsider to be seen as a key element in favoring cultural consumption. At the dawn of the 21st century, art and the mass media have gone hand in hand, to agree on visual products that start from similar premises. The trivialization of violence, sexuality, disease or death, are just some of the most treated conceptual areas. / Esparza Parra, V. (2024). Asimilación de elementos outsider en la cultura de masas. La fotografía como catalizador de la banalización del tabú en el retrato de consumo [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202802

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In this exploratory thesis project, I consider what emerging approaches we can take as social scientists to showcase and critically engage self-representations of diasporic individuals, who often lack visibility and legibility within the dominant cultural archive. Filmmaking as a social research practice can provide rich audiovisual data, physical and social access to materials for nonacademics, and opportunities to document and share subjects' comments and settings without the limitations of transcription. This is especially salient in the emerging media landscape of Web 2.0, where digital communications technology applications (such as Facebook, Skype, and Snapchat) are accessible by a global audience, and can act as tools for cultural identity production by diasporic individuals. This project documents the experiences of several first- and second-generation Bangladeshi American immigrants in relation to digital communications technology advances within the past decade, for the purposes of collecting and sharing stories of diasporic individuals, offering a venue for self-expression through empathetic interviewing and collaborative oral history methods, and contributing to the American cultural archive in the context of emerging media and academic landscapes. The full project is comprised of this text document, alongside a short documentary film containing portions of audiovisual data from interviews which can be found at https://www.youtube.com/watch?v=Oh9puazpdrw. / Master of Science

No / The Silences Framework and its underpinning concept of ‘Screaming Silences’ was originally presented with the invitation for further peer review and utilisation in other contexts in order to test its usefulness and enable critique by a wider audience. This paper reports the use of the framework in a study researching nurse-led interventions for released ex-offenders. Screaming Silences were situated in how an issue, as experienced by ex-offenders, screams out to them in relation to their health and its impact on their reality while remaining silent in the consciousness of society and the application of practice. In addressing these Screaming Silences, we associated the Silences Framework within marginal discourses as they are less prioritised by policy and frequently positioned as far removed from what society considers as normal. Screaming Silences were situated in the subjective experiences of ex-offenders known as the ‘listener’ and the social and personal context in which these experiences occurred. We affirmed that the framework is ideally suited for researching issues which are under-researched, silent from policy discourse and excluded from practice, as it is oriented towards exploring individual experiences by valuing individual interpretations of events.

Au 20e siècle en France et en Allemagne, l’art moderne prend son essor. Certains, comme Francastel, qualifient cet art de destruction d’un espace plastique classique. Cette destruction devient un vecteur de création chez plusieurs artistes qui, suite aux deux grandes guerres, remettent en question leur état « civilisé » et se tournent vers le « primitif » pour offrir une autre voie, loin de tout processus civilisateur. Cette admiration pour les peuples primitifs ainsi que pour les productions artistiques d’enfants, d’amateurs et de « fous » est visible chez plusieurs collectionneurs d’art. En constituant des collections d’art marginal, ces derniers défendaient une idéologie qui propose une autre forme de culture en remplacement d’une civilisation dépassée. Grâce à leurs collections, la libre expression se positionna contre le rationalisme occidental. On compte, parmi ces collectionneurs, le psychiatre Hans Prinzhorn, le marchand d’art Wilhelm Udhe et les artistes André Breton, Jean Dubuffet et Arnulf Rainer. Chacun d’eux a eu un impact sur la construction du récit de l’art moderne et de l’art contemporain. Leurs collections ont chacune sa spécificité et offrent des vocabulaires différents pour parler de productions artistiques marginales, c’est-à-dire se développant « hors culture ». C’est par l’analyse des terminologies employées par les collectionneurs, principalement la dénomination d’art pathologique, que nous tracerons un portrait de la construction historique de l’art marginal en lien avec l’art moderne / Modern art began its rise at the beginning of the twentieth century in both France and Germany. Somme art theorists like Francastel, propose an identifying characteristic of modern art is the deconstruction of the classic plastic space. During the two World Wars, many artists used this deconstructive process, thus reinvigorating art with ‘‘primitive’’ styles which challenged the ‘‘civilized’’ art of the day. This fascination with the ‘‘primitive’’, including art from children, amateurs, and the ‘‘mentally ill’’, is apparent in many art collections of the time. By collecting these forms of art, the collectors were supporting this new ideology in opposition to occidental rationalism. The psychiatrist Hans Prinzhorn, along with the art sellers Wilhelm Udhe and the artists Andre Breton, Jean Dubuffet and Arnulf Rainer, are a few of the notable collectors. They each influenced the progress of Modern Art; the impact of which is now evident in contemporary art. The individuality of their unique collections offers different interpretations of the marginalized ‘‘outsider art’’. By analyzing the terminologies employed by these collectors, particularly in regards to ‘‘pathological art’’, we may outline a portrait of the development of ‘‘outsider art’’ as it progressed along side modern art.

This research examines the personal narratives of two contemporary non-native artists living and working on the island of Oahu, Hawaii. Issues related to narratives, power structures, artistic processes, insider/outsider dynamics, Hawaiian culture, island life, surfing, and the researcher's own experiences are woven together to formulate realizations surrounding alternative knowledge systems and the power of multiple or hidden narratives to the practice of art education.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Master of Arts in Film and Television, August 2017 / Located in the town of Nieu Bethesda in the Karoo desert, the Owl House is a fascinating heritage museum that was once the home to outsider artist, Helen Martins. Much work has been created about the eccentric Helen Martins and her unusual home, and appears in the form of books, films, music and plays. The content of these works follow a similar pattern, and it is the aim of this research and film to explore a less literal interpretation of the Owl House, and its creators, Helen Martins and Koos Malgas. The Owl House is re-imagined through the lens of an experimental essay film, juxtaposing footage of the creative eastern imagery of the Owl House (in South Africa) with actual footage of the east (India, Thailand and Laos). In exploring these binaries, an investigation of theory of the landscape, home, mobility and hermeneutics takes place. Furthermore, these theories and concepts are looked at in relation to the politics of an apartheid, and later, a democratic South Africa. The Owl House is therefore analysed as the collaboration of the white, female Helen Martins, and the coloured, male Koos Malgas. / XL2018

The aim of this essay is to examine how Lara Croft, Bayonetta, Emily Kaldwin and Billie Lurk have been portrayed in their respective games. The questions at issue have examined how these four characters have been portrayed by their appearance on the cover of their games and how they’ve been depicted in gameplay. A comparative study has been used to compare how the design on the characters have been differentiated not only from each other but also from the male characters in each game. The essay has also examined what the sex and gender identity have been of the character’s creators and if they’ve motivated their character designs. An analysis has been made to establish if there has been a male gaze present in the design process and the game and if this has led to the character’s being sexualized. Judith Butler’s performativity theory has been used for this essay along with Laura Mulvey’s theory of the male gaze as well as an intersectional approach according to Kimberlé Crenshaw. Lara Croft, Bayonetta and Emily Kaldwin are shown to break gender codes while still upholding some of them; Billie Lurk is the only one that totally breaks with them and creates a sort of a “new woman”, as she not only breaks the Madonna-and-the-Whore-complex in which each of the other three can be put in. Billie Lurk and Emily Kaldwin are the only female characters which can be seen as not sexualized or steered by the male gaze, but instead they give the gamer an opportunity to live the characters’ stories through them with the first-person-shooter-view. Lara Croft from the games before Tomb Raider (2013) and Bayonetta are clearly sexualized female characters that are controlled by male desire and the male gaze. As these two games are played from a third-person-view it gives the gamer the power to control these women, putting them under the gamer’s will.