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  • 1.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    BODY OF MOVEMENT - (IN)forming movement2017Conference paper (Refereed)
    Abstract [en]

    This work aims to suggest materialized expressions based the moving body. As a principle of design, it treats the body as a whole and focuses on the in-betweens that the body creates in movement as aesthetics, not looking at its surface or the traditional ways of dividing the body (e.g. sweater, pants).

    In conclusion, the results suggest that the body movement has a spatial continuation as dynamic space that can be materialized. It is a suggestion a principle of design that can be applied in fashion design, choreography, architecture, furniture design. 

  • 2.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    BODY OF MOVEMENT - (IN)forming movement2017Conference paper (Refereed)
    Abstract [en]

    The presentation focuses on the collaborative process that occurs when designing garments for dance. It brings forth the benefits of the interdisciplinary production of knowledge that emerges when fashion is intersected with dance and through this moved. The collaborative process is exemplified in two projects Cuttlefish with Nicole Neidert and INSIDE/OUTSIDE with Karolin Kent and brings forth benefits of different backgrounds, expertise and perspectives in development of experimental costumes. 

  • 3.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Body of movement: (in)forming movement2017Licentiate thesis, monograph (Other academic)
    Abstract [en]

    In dance many choreographers uses neutral garments not to distract too much from the movement the ”natural” body performs. Still these garments paints the body with color, form, identity and movement qualities. The work exemplifies how the body can extend into materiality and through this it questions the borders of the body not only in form, which is usually the case in fashion design, but also in movement qualities as temporal form. Further it high lightens the importance of awareness of movement qualities in materials of dress as they express the form. The potential of dress in dance is explored in three chapters. For each of these, materials were chosen and arranged in order to provide an additional layer to the movement that the body naturally performs, allowing material to transform the body into various figures of movement. The first part introduces the use of dress in dance and how dress acts with the moving body. The second part explores how movement with the origin in the body can extend spatially and the last part focuses on the materials ability to interpret and materialize the movement.  

    The result of this work suggest that dress has the potential in dance as both choreographic tool and movement quality of equal importance as the movement of a body in a dance performance. Further it intersects the aesthetics of dance, a temporal aesthetic, with the aesthetics of garments, as a form based aesthetic, as it suggests dress as temporal design, allowing dress to create a new body of movement.

  • 4.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Cuttlefish - another body2018Conference paper (Refereed)
    Abstract [en]

    CUTTLEFISH – Another body 

     

    This work aims to explore other types of preforming bodies. Bodies extending themselves into material and creating expressions based on the body in a dialogue with materials expression. Through this aiming to remove connotations associated with the body through this create for the audience an experience of freedom of imagination. 

    Fashion design involves an aesthetics that is based the body as form and is often changed in form according to norms, trends and ideals, shaping by “artificially changing the body’s silhouette and sometimes altering its natural structure” (Koda, 2012). Further, the alterations of dress affect how the body behaves and moves by restricting, enhancing (Bugg, 2006) and enabling movements through both physical and psychological means. In Cuttlefish, the body is instead altered in movement qualities and through this as form. 

    The visual removal of the body, contributed to experienced new bodies, it became something that the viewer can relate to on an emotional level as they became new personas and identities. Audience experience a large vary of emotions and personal associations many of them concerning identity; who we are and how we exist together. 

     

     

    CUTTLEFISH credits:

    Choreographer: Nicole NeidertCast: Linn Ragnarsson, Viktoria Andersson, Anton BorgströmCostume design: Linnea BåganderSound design: Elize ArvefjordLight design: Ulrich Ruchlinski 

    Premier: September 26th 2017 Falkhallen, Falkenberg, Sweden 

    Additional performances:Byteatern Kalmar, KonserthusteaterKarlskrona, SPIRA Jönköping, Region Teatern Växjö, Skånes Dans Teater Malmö.

  • 5.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    INSIDE/OUTSIDE – Landscape2019Other (Refereed)
    Abstract [en]

    The interactive textile sculpture INSIDE/OUTSIDE questions the borders of the body through material form and movement. The form suggest and instructs the choreography and becomes a co-choreographer pushing the narrative further and opening up for interaction between bodies through its materiality. Exhibited at Skövde Art museum, 17 jan - 3 march 2019.

  • 6.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    STM16:9fft_VR: Virtual surrealism and site specific VR2019Conference paper (Refereed)
    Abstract [en]

    Through this abstract, STM16:9fft_VR, a pilot for a VR film is discussed and presented. The project is developed through a collaboration between Nicole Neidert, choreographer, Joakim Envik Karlsson, film photographer, and Linnea Bågander costume designer. The pilot is part ofNarrative VR Lab, a project initiated and funded by Visual Arena, Region of Halland, Gothenburg city and Gothenburg Film Studios and supervised by Visual Arena.

    When entering into a new set of tools we started to, not only explore them physically but also by its definition. We asked ourselves what virtual is and found intriguing definition such as; “almost a particular thing or quality”, “very close to being something without actuallybeing it” or; “not physically existing as such but made by software to appear to do so.” (Merriam-Webster, 2019). The technical tools suggest this ‘almostness’ and we started to explore how to implement it in the process of developing a narrative. Parallels to surrealismcame naturally and when finding the definition of surrealisms narration as “means of unnatural or irrational juxtapositions and combinations” (Merriam-Webster, 2019) it became obvious how to not only work with the technical tools but also to explore the narrative, through a meeting between a natural context and an artificial figure. Methodologically we used the experience of working with a stage-based and site-specificworks to develop a narrative-driven by visual means mainly. The narrative was an interaction between dance, costume and visual situation. A dialogue between materials and bodies, mainly using movements of bodies and directions formed by the natural environment to drive the narrative. In the presentation, the possibilities and limitations to situate, distort and the experience of the reality of both virtual reality and the reality of site-specific and stage based performing arts will be discussed and compared.

  • 7.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Wear-thinking: enabling (e)motion2019Conference paper (Refereed)
    Abstract [en]

    This paper suggests shifting the focus from a visual aesthetic of the body to an aesthetics emerging form the experience of wearing. Historically the aesthetics of wearing has been mainly concerned with visual aspects of body; how dress looks on you/make your body look rather than how it feels and what it does with you. Building further on the notion somatic garment as introduced by Sally E Dean (2011) and somatic style as defined by Shusterman (2012) the project addresses the experience of wearing and its effect on our emotional state and as bodily aesthetics. It is a practical exploration contributing to a theoretical discussion. The findings result from an interdisciplinary study intersecting fashion design and choreography, explored through interactive installations and performances developed over the course of 2 years. In 4 performances, 4 workshops and 3 exhibitions nationally and internationally the tactile and informing potential of wearing has been investigated. The results suggest a particular kind of wear-thinking that affects the body aesthetics through how it imposes movement patterns, positioning, tempo and emotions and through this it affects not only the emotional state of mind body also the appearance of the body. In the study, movements that create well-being, presence and relaxation was enabled with help of the interactive installation.

    Examples:

    Interactive form exhibited at festival:

    https://youtu.be/enaPeIRiELU

    Performance: https://youtu.be/9SHC6zRA6TA

  • 8.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    BODY OF MOVEMENT2017Artistic output (Refereed)
    Abstract [en]

    Pictures and videos exhibited at Everything and Everybody as materials 2017. 

    The work exemplifies how the body can extend into materiality and through this it questions the borders of the body not only in form, which is usually the case in fashion design, but also in movement qualities as temporal form. Further it high lightens the importance of awareness of movement qualities in materials of dress as they express the form.

    The body is extended by its angular structure into the geometric form. 3 examples of the work was displayed. In its simplest form as lines connected with elastics, then the structure dressed in fabric and one where the structure is extended as squares. 

  • 9.
    Bågander, Linnea (Artist)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Costume Agency - Gold2019Artistic output (Refereed)
    Abstract [en]

    This work started off as an exploration of where and how materials are attached to a body forms material conversation but ended up as a far more versatile and complicated conversation with performers and fellow designers in the costume agency 2019. Questions like; When is something a worn costume and when does it make the body into an object? When some choreographing and when something is choreographed? And essentially where these costumes and did it really matter if they were or not? 

     The full documentation of the workshop is available here: https://vimeo.com/381650530

     

    Credit list:

    Performers: Nadege Kubwayo, Victor Amel Pedersen 

    Costume design: Linnea Bågander

    Light designer: Kaja Glenne Lund

    Photo: Espen Tollefsen

  • 10.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Neidert Sestan, Nicole
    Cuttlefish2017Artistic output (Refereed)
    Abstract [en]

    The performance Cuttlefish questions the form, identity and movement qualities of the dancer and through this it opens up for the discussion, what is a body? The body forms, the viewer can relate to on an emotional level, they became new personas and identities through the new movement qualities and forms. The costume design suggests and push both the choreography and the narrative further, since these new bodies, in themselves, are a choreography and narrative.

    Performed at Falkhallen events venue in Falkenberg, Sweden on 26th of September 2017

  • 11.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Neidert, Nicole (Choreographer)
    Cuttlefish2018Artistic output (Refereed)
    Abstract [en]

    The performance Cuttlefish questions the form, identity and movement qualities of the dancer and through this it opens up for the discussion, what is a body? The body forms, the viewer can relate to on an emotional level, they became new personas and identities through the new movement qualities and forms. The costume design suggests and push both the choreography and the narrative further, since these new bodies, in themselves, are a choreography and narrative.Dansers: Viktoria Andersson, Anton Borgström och Linn Ragnarsson

  • 12.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Kent, Karolin (Choreographer)
    Movement and visual art.
    INSIDE/OUTSIDE - Landscape2018Artistic output (Refereed)
    Abstract [en]

    The interactive textile sculpture INSIDE/OUTSIDE questions the borders of the body through material form and movement. The form suggest and instructs the choreography and becomes a co-choreographer pushing the narrative further and opening up for interaction between bodies through its materiality. Exhibited at Järnhallen Gotehburg 12-20 may 2018. 

  • 13.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Kent, Karolin (Choreographer)
    Movement and visual art.
    INSIDE/OUTSIDE - tunnel2018Artistic output (Refereed)
    Abstract [en]

    The interactive performance INSIDE/OUTSIDE questions the borders of the body both through how material movement allow the body to extend in scale and by changing the inside and outside perspective of dress. Through this it also questions the notion of wearing. The form suggest and instructs the choreography and becomes a co-choreographer pushing the narrative further and opening up for interaction between bodies through its materiality.

  • 14.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Kent, Karolin
    Karolin Kent, movement and visual art.
    INSIDE/OUTSIDE: Horizontal2017Artistic output (Refereed)
    Abstract [en]

    The performance INSIDE/OUTSIDE questions the borders of the body both through how material movement allow the body to extend in scale and by changing the inside and outside perspective of dress. Through this it also questions the notion of wearing. The form suggest and instructs the choreography and becomes a co-choreographer pushing the narrative further and opening up for interaction between bodies through its materiality.

    Dance performance performed at the Falkhallen events venue in Falkenberg, Sweden on May 10, 2017 and the ‘everything and everybody as material’ conference, June 7-9, 2017 

    Dance performance performed at the Falkhallen events venue in Falkenberg, Sweden on May 10, 2017 and the ‘everything and everybody as material’ conference, June 7-9, 2017 

  • 15.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Kent, Karolin
    Karolin Kent, movement and visual art.
    INSIDE/OUTSIDE: Vertical2017Artistic output (Refereed)
    Abstract [en]

    The performance INSIDE/OUTSIDE questions the borders of the body both through how material movement allow the body to extend in scale and by changing the inside and outside perspective of dress. Through this it also questions the notion of wearing. The form suggest and instructs the choreography and becomes a co-choreographer pushing the narrative further and opening up for interaction between bodies through its materiality. This version of INSIDE/OUTSIDE, is developed to create interaction and somatic experience for the audience with their bodies, each other, the materiality and the dancer. 

    Dance performance performed at Improspekcije festival, Zagreb, Croatia, 10-11 of November

  • 16.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Reflect2018Artistic output (Refereed)
    Abstract [en]

    Video dokumentation of 'reflect' exhibited 26/05 - 30/09 2018 at Transfashinal, Kalmar Art Museum.

    The work explored the relation of form and surface through having a reflective surface that changes the appearance of the form through its interaction with the environment. 

  • 17.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Niedert, Nicole
    SKINNING/TRUE MESH 16:9 full time texture2019Artistic output (Refereed)
  • 18.
    Stasiulyte, Vidmina (Artist)
    University of Borås, Faculty of Textiles, Engineering and Business. The Swedish School of Textiles.
    Bågander, Linnea (Dancer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Speculate, Collaborate, Define: Sound Map2017Artistic output (Unrefereed)
    Abstract [en]

    What is the notion of a sounding body? During a collaborative project Sound Map me and PhD student Linnea Bågader were exploring the relationship between the body, movement, and sound. Various attachable sounding objects choreographed the movements of body and inspired to speculate on the future identity and behavior based on sonic expressions. Map format installation invites to listen and explore the bodily rhythms as an echo of a particular sound. During a collaborative project Sound Map, PhD students Vidmina Stasiulyte and Linnea Bågader were exploring the relationship between the body, movement, and sound. Various attachable sounding objects choreographed the movements of body and inspired to speculate on the future identity and behavior based on sonic expressions. 

  • 19.
    Bågander, Linnea
    University of Borås, Faculty of Textiles, Engineering and Business.
    Square2018Artistic output (Refereed)
    Abstract [en]

    Video dokumentation of 'square' exhibited 26/05 - 30/09 2018 at Transfashinal, Kalmar Art Museum. 

    The work explores a possible spatial expression of the body by extending the angular structure into the geometric form of the square. 

1 - 19 of 19
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