Studien analyserar den svenska PR-byrån Studio Total, som använder sig av gerillamarknadsföringsmetoder för att synas i den svenska mediala debatten. Företaget har fått stort genomslag genom att delvis utföra fiktiva reklamkampanjer som svenska folket och omvärlden har tagit del av. Konceptet av att marknadsföra produkter och värderingar genom nyhetsjournalistiken har inneburit att allmänheten känt sig vilseledda. Studio Total har även klivit in på en politiska arena där de kontroversiella kampanjerna har blivit kritiskt ifrågasatta och negativt mottagna. Studien försöker förklara om en PR-byrå kan verka inom en kommersiell och ideell marknad. En kvalitativ intervju har utförts med en av Studio Totals grundare och en kvantitativ enkätundersökning gjordes för att erhålla mediestudenters attityder till företaget. Resultatet visar en ambivalent attityd till företaget då meningarna gällande de kommersiella och de politiska kampanjerna avviker utifrån olika associationer. Resultatet synliggör även att kritiken som Studio Total erhållit är en del av företagets marknadsetablering. Det genomslag och den uppmärksamhet som setts kan härledas till Studio Totals goda förståelse för medielogik, hur man anpassar kommunikation till ett nyhetsformat. När verksamheten med en kontroversiell bakgrund träder in på en politisk arena, blir det komplicerat att legitimera agerandet och de argument som kritiken grundas i framhåller att Studio Total har agerat naivt. Vad som lyfter nivån i debatten är när diskussionen behandlar konsekvensetik. Berättigas de politiska handlingarna, då medielogiken medför att varumärket i sig har fått mer uppmärksamhet än det initiala motivet, exempelvis rätten till fritt tal? Delvis berättigas handlingarna om aktionerna ses ur en kulturell synvinkel, men ett socialt ansvarstagande är ett krav från allmänheten på organisationer med tillgång till makt.

The paintings in Based on a True Story are at once illogical and concrete – implying both failure and the hope of figurative and architectural construction. Developed as a kind of psychological landscape, they suggest a depiction of contemporary societal / political, and environmental instability. Neither true nor false: the paintings are spaces in which one may become dislocated, anxious, and unsettled. Inclusion of architectural fenestration suggests one’s fractured location and continually shifting ground. Furthermore, literary and cinematic fiction plays an important role to the work in that they both suggest landscapes that may never exist literally. Fiction is also indicative of the close relationship between the utopia and dystopia as environments for escape. This sense of balance or lack thereof, becomes important to the development of the theatrically absurd, so that an audience may be implicated as the tragic and comic active participant. While investigating the work of Peter Doig, Stephen Bush, and Dana Schutz, for example, I suggest that the trail of the painter’s hand becomes a necessary mode of entrance into the work, offering a closer relationship to the act of painting as another form of escape. This gestural mark-making runs counter to current pushes toward technology, and suggests the re-emergence of painting as a primary approach in which to investigate the development of personal space and experience.

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The paintings in Based on a True Story are at once illogical and concrete – implying both failure and the hope of figurative and architectural construction. Developed as a kind of psychological landscape, they suggest a depiction of contemporary societal / political, and environmental instability. Neither true nor false: the paintings are spaces in which one may become dislocated, anxious, and unsettled. Inclusion of architectural fenestration suggests one’s fractured location and continually shifting ground. Furthermore, literary and cinematic fiction plays an important role to the work in that they both suggest landscapes that may never exist literally. Fiction is also indicative of the close relationship between the utopia and dystopia as environments for escape. This sense of balance or lack thereof, becomes important to the development of the theatrically absurd, so that an audience may be implicated as the tragic and comic active participant. While investigating the work of Peter Doig, Stephen Bush, and Dana Schutz, for example, I suggest that the trail of the painter’s hand becomes a necessary mode of entrance into the work, offering a closer relationship to the act of painting as another form of escape. This gestural mark-making runs counter to current pushes toward technology, and suggests the re-emergence of painting as a primary approach in which to investigate the development of personal space and experience.

This paper is intended to serve as a supporting document for the exhibition This Site Is Under Construction that was held at the University of Waterloo Art Gallery, University of Waterloo, April 17th – May 14th, 2010. The work explores the ways in which we constitute and mediate our specific place in a space that is constantly changing. It is concerned with notions surrounding how we make and perceive images now in our computerized visual culture and the ways in which we can mark a subjective painting aesthetic and visual vocabulary. The painting installation, “This Site Is Under Construction”, investigates the effects of new media and digitization on experiential perception, and the nature of making and re-configuring images. The title alludes not only to the on-line, virtual space of the computer, but also to the physical spaces of building and urban development sites. The subjects for the paintings are spaces in flux – specific locales of construction and building sites that are in-between states of development – placing emphasis on the mechanized devices that fabricate the new structures. The paintings themselves reveal seemingly spontaneous and optically warped immersive spaces; alternative architectural environments which subvert interpretations of two-dimensional and three-dimensional forms of visual presentation and recognition. The work aims to contrast outward appearance and illusionistic staging as it relates to both the picture and its support.

Physis presents eight digitally constructed photographic images and one video installation that were created through mixing and sampling a variety of representations of built environments, visual languages and processes. What results from this image compositing are ambiguous, dreamlike, in-between spaces that mine the relationship between nature and contemporary culture. Through the creation of poetic, ambiguous images viewers are able to form their own response to the individual images and the exhibition as whole. My approach of creating an experience that is more poetic than didactic was born out of a response to contemporary and historical photographs and writings, and to the directness found in images belonging to contemporary media culture. While Physis does allow for multiple interpretations, for me, this body of work references ideas of interconnectedness, transmission and the redefinition of space through connections between studio processes, the body, the digital and the visual.

Oppgaven har vedlegg som mangler i digital versjon, og kan framstå som ufullstendig uten dette. Kontakt NTNU Universitetsbiblioteket for utlån av komplett oppgave.

Begreppet ”fasfel” är ett förvirrat begrepp inom ljud- och musikproduktion. Fasfel – eller fasutsläckningar som det mer allmänt kallas – är ett problem som bl.a. uppkommer då flera mikrofoner används samtidigt. Ett sådant tillfälle är vid inspelning av akustiskt trumset. Mina frågeställningar leder till att fasställa vilka tekniker som lämpar bäst sig för att motverka fasutsläckningar vid inspelning och mixning av akustiskt trumset, i den mån att de inte släcker ut trummornas grundtoner, samt om bättre ljudkvalité faktiskt uppnås genom detta och hur skillnaderna i så fall uppfattas.Ett lyssningstest har genomförts där ett tjugotal personer som alla har vana inom ljud- och musikproduktion, har fått lyssna på ett antal ljudklipp med trummor inblandade. Trummorna har i varje grupp motverkats av fasutsläckningar på ett eller annat sätt. Deras uppgift har sedan varit att bedöma ljudklippens ljudkvalité.Resultatet visar att det går att motverka fasutsläckning av ett trumsets trummors grundtoner, och att skillnader i ljudkvalité finns – till fördel för de ljudklipp som motverkats från fasutsläckningar. Speciellt en av dessa tekniker bevarade trummornas grundtoner bäst. Dock är skillnaderna små, och flera anser dem vara obetydliga. Huruvida jobbet att motverka fasutsläckningarna är värt det eller inte, beror således från fall till fall; det beror helt enkelt på vilken ljudkaraktär på trummorna som eftersträvas.

This research examines interviews conducted with more than a dozen authorities in architectural education on collaborative methodologies utilized in the design studio and identifies factors that inhibit and facilitate the incorporation of collaborative methods in the context of situated learning. This research explores the notion that the design and implementation of even the simplest architectural projects are almost exclusively collaborative endeavors requiring the expertise of a spectrum of individuals working together to achieve a singular goal. Each of these experts is highly trained in their respective areas, yet few are formally trained authorities in the skills of collaboration, including architects, individuals who are often put at the lead of design projects which include people of varied backgrounds, working styles and areas of expertise. Historically, the education of an architect has been a highly individualized pursuit, focused on the development of an individual skill set seldom requiring collaboration beyond that of student and professor. While this individualized, hands on approach to education has been highly revered by many, it often falls short of its potential and fails to recognize that the greatest design accomplishments of humankind have been the undertaking of collaborative enterprise. Furthermore, architecture students are being prepared in a manner that is contrary to the highly collaborative nature of the architectural practice they will enter without taking away from the inherent strengths of the traditional architectural education. Despite NAAB requirements for collaborative methods in the classroom, and an increasingly collaborative model of professional practice for architects, design education continues to trail woefully behind other disciplines such as business, law, nursing and medicine; each having long ago integrated collaborative study models into their curriculum. This research examines how collaborative methods including intradisciplinary, interdisciplinary and community based collaborations, can be further integrated as a formal part of the overall design curriculum and what factors facilitate and inhibit this inclusion.

Information technology offers many tools for promoting collaboration and communication in architectural design. A growing number of companies and individuals are adopting computer-based techniques to facilitate remote collaboration between geographically distributed teams. Thus, it is important to investigate the use of technology in developing collaborative tools for architects, especially as required training in architectural education. This research explores the feasibility of augmenting communication in the design studio using a web-based collaboration tool. A prototype was developed for an integrated system that allows for streaming media, real-time collaboration, and multi-way video, audio and text messaging, tailored specifically to the needs of a distributed architectural design studio. The Collaborative Online Architectural Design Studio (COADS) is based on a three-tier client-server structure consisting of an interface tier, an application-logic tier and a data tier. COADS allows role-based participation for students and teachers, facilitating collaboration over design sketches and presentations using personal computers equipped with a microphone and a web-cam. The system was developed and subjected to usability testing in a design studio consisting of graduate-level students of architecture. The participants were required to use COADS for conducting peer evaluations of designs for their class project and subsequently, to answer a questionnaire assessing the usability of the system. The analysis showed that COADS has definite advantages as a tool to augment communication in the design studio. The biggest advantage was that participants could get immediate feedback about their designs from their peers, irrespective of their location. COADS was also relatively easy to set up on end-user machines and provided an integrated point for accessing relevant studio resources from a single location. The disadvantages were mostly due to the limitations of the hardware on end-user machines such as small screen sizes, low quality microphones and web-cams. Further, the collaborative whiteboard within COADS lacked essential tools, such as pan/zoom and erase/undo tools, which reduced its usability. In conclusion, systems such as COADS can effectively augment communication within the architectural design studio. However, they need to be integrated closely with the course structure, right from the introductory stage of the project to the final presentation stage.