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  • 1.
    Orrghen, Anna
    Stockholms universitet, Humanistiska fakulteten, Institutionen för journalistik, medier och kommunikation (JMK)..
    Changing Crossroads: An interplay between art, artdiscourses and mediatechnologies in the art of Peter Hagdahl as construed in the art critique in Dagens Nyheter and Svenska Dagbladet. A historical perspective2002In: Media Research in progress: JMK Conference Contributions 2002, Stockholm, 2002, Vol. 1, p. 168-183Conference paper (Other academic)
    Abstract [en]

    The overall aim of this paper has been to examine the development of an aesthetical discourse: the art discourse and the dialectic between it and the technological development. In order to do so I have chosen to through discourse analyses analyse art reviews from two daily newspapers. My hypothesis was that there is a difference to be found between the early and the later work of arts within this field where the majority of the early artworks will show a noticeable interest for technological aspects such as the possibility of interactivity and the latter are to be more involved with questions concerning ideological issues. One may be able to talk in terms of a change from materiality to an increased interest in ideology. The theoretical framework of the study has included concepts such as remediation, immediacy, hypermediacy and the second media age. Concepts belonging to theories which all deal with new media. My purpose has been to try and adapt the same concepts to articles dealing with new media, one migth call it that I have tried to use them on a meta level.Since this paper is the result of a case study it means that it should also be regarded as such, that is rather as an attempt to identify tendencies than as a completed study. But although the material used for this study is far too small to be able to say something for sure, I have tried to show that – even though the tendency is everything but clear – the later articles are the ones with a more reflexive and philosophical approach towards new media. Which also could be understood as they are closer to what Poster describes as the second media age.

  • 2.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Collaborations between Engineers and Artists in the Making of Computer Art in Sweden, 1967–19862011In: History of Nordic Computing 3: Third IFIP WG9.7 Conference, HiNC3, Stockholm, Sweden, October 18-20, 2010: Revised Selected Papers / [ed] John Impagliazzo, Per Lundin, Benkt Wangler, Berlin/Heidelberg: Springer, 2011, Vol. 350, p. 127-136Chapter in book (Refereed)
    Abstract [en]

    The aim of this paper is to describe and analyze collaborations between artists and engineers working together in the making of computer art in Sweden 1967−1986. The paper is based on interviews with artists and engineer swho collaborated during this time. By using the theoretical concept “coconstruction,” I map the phenomenon and discuss the driving forces behind the social, as well as the economical and institutional conditions of the collaborations.

  • 3.
    Orrghen, Anna
    Södertörns högskola, Humanistiska- och samhällsvetenskapliga fakulteten, Medie- och kommunikationsvetenskap..
    Dagen efter...2002In: Hello Europe! Tallin Calling!: Eurovision Song Contest 2002 som mediehändelse / [ed] Staffan Ericson, Huddinge: Medie- och kommunikationsvetenskap, Södertörns högskola , 2002, 1, p. 109-111Chapter in book (Other academic)
  • 4.
    Orrghen, Anna
    Stockholms universitet, Humanistiska fakulteten, Institutionen för journalistik, medier och kommunikation (JMK).
    Den medierade konsten: Scenen, samtalet, samhället2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation takes its starting point in three Swedish art exhibitions which contain so called new media: Avatar (1998), Bäst före (1999) and Electrohype (2000-2006). These exhibitions take place in a time which according to media scholars is significant; media society, media age, media landscape, image culture, media culture and media space are a handful of concepts being used to characterize this particular time. These exhibitions contain new media, thematically or as an apparatus, and are to be considered as expressions of the contemporary media society. With the starting point in how printed media, radio, television and internet discuss Avatar, Bäst före and Electrohype the aim of this dissertation is to examine how the contemporary media society is thematized in the mediated discourse of art and new media in Sweden, formwise as well as thematically, during the turn of the century 2000. The overall intention is to shed light upon the pattern of tensions that are brought to the fore when new media emerge in the society. The societal context of the exhibitions is defined as a media society. The research object of the dissertation are mediation processes related to Avatar, Bäst före and Electrohype. The role of the exhibitions in the study are as discourse producing events. The material consists of written, auditive and visual texts from the mass media that relates to the three art exhibitions. By using textual analysis this dissertation puts to the fore spatial dimension of the synaesthetical practices of looking, the embodied vision, the compression of time and space, the importance of learning oneself how to see phenomena related to new media. This describes the contemporary media society as ephemeral and changeable, at the same time as it proves to have a continuity. It is vital to stress the importance of not understanding this characterization in terms of binary oppositions. On the contrary, it is their parallel existence that contribute to the elasticity significant of the contemporary media society.

  • 5.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Driven by Visualization: Sten Kallin’s collaborations with Astrid Sampe, Sture Johannesson and Mats Amundin as explorations of computer technology2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 2, p. 93-107Article in journal (Refereed)
    Abstract [en]

    During the late 1960s and early 1970s a newtype of collaboration between artists, scientists,and engineers developed alongside the emergingfield of computer art. This was an erawhen the computers, much larger than today,were rarely screen-based, and were almostimpossible to gain access to unless it wasthrough collaboration. In Sweden, the IBMemployee and computing expert Sten Kallinentered into collaborations with a number ofartists and scientists. In this article, I investigatehis collaborations with the textile designerAstrid Sampe, the artist Sture Johannesson,and the zoologist Mats Amundin. The perspectiveof this article differs from the morehabitual focus on artistic motivations, as Iinstead approach these efforts from the collaboratingcomputer experts’ point of view,rather than the established artist collaborators.I argue that Kallin’s interest in visualizationwas one of the driving forces that made himparticipate in these collaborations. I furthersuggest that their experimental approachestoward computing not only characterized thework of Kallin but was significant to othercomputer art practitioners during this era.

  • 6.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Editorial: Technologies of visualization2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 2, p. 73-74Article in journal (Refereed)
  • 7.
    Orrghen, Anna
    Stockholms universitet, Humanistiska fakulteten, Institutionen för journalistik, medier och kommunikation (JMK)..
    Gammal film blir ny konst2001In: Svenska Dagbladet, Vol. 12, no 29Article, book review (Other (popular science, discussion, etc.))
  • 8.
    Orrghen, Anna
    Stockholms universitet, Humanistiska fakulteten, Institutionen för journalistik, medier och kommunikation (JMK)..
    God konst ett verktyg i folkhemsbygget2003In: Svenska Dagbladet, Vol. 03, no 15, p. 9-9Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Ingress: Samtidigt som Tyskland visade utställningen om "urartad konst" införde Sverige ett importförbud mot mindervärdig konst. En avhandling i ekonomisk historia visar hur konsthändelser speglar framväxten av folkhemmet.

  • 9.
    Orrghen, Anna
    Stockholms universitet, Humanistiska fakulteten, Institutionen för journalistik, medier och kommunikation (JMK)..
    Gränszonerna synliggör Malmös själ2004In: Svenska Dagbladet, Vol. 02, no 27, p. 10-10Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Ingress: I tankemönster från förra sekelskiftet söker Per-Markku Ristilammi efter ursprunget till modernitetens paradox. En anlagd strand och en stadsteater från mellankrigstiden blir belysande exempel på rumsliga och kulturella gränsfenomen

  • 10.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    ICT in Art in Sweden 1993–2011: Tool, Medium and Theme2015In: History of Nordic Computing 4: 4th IFIP WG 9.7 Conference, HiNC 4, Copenhagen, Denmark, August 13-15, 2014, Revised Selected Papers / [ed] Christian Gram, Per Rasmussen, Søren Duus Østergaard, Berlin/Heidelberg: Springer , 2015, Vol. 447, p. 78-89Chapter in book (Refereed)
    Abstract [en]

    The aim of this paper is to describe and analyze the presence of ICT in art in Sweden between 1993 and 2011. The paper is based on a survey of exhibition catalogues, periodicals, newspapers, and academic writing, supplemented with interviews with the artists. By using the categories tool, medium and theme I investigate in what way ICT is present in the artworks, as well as the subjects treated within the works of art.

  • 11.
    Orrghen, Anna
    Stockholms universitet, Humanistiska fakulteten, Konstvetenskapliga institutionen..
    Interaktivitetens begränsande egenskaper samt dess effekter på tolkningen1999In: Bilder och Internet: Texter kring konstruktion och tolkning av digitala bilder / [ed] Anette Göthlund och Anna Tellgren, Göteborg: Konst- och bildvetenskapliga institutionen, Göteborgs universitet , 1999, p. 29-40Conference paper (Other academic)
  • 12.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Mikael Lundberg: Artist in residence at Chalmers 1999-20052015In: Nordik 2015: The 11th Triannual Nordik Committee for Art History Conference. Reykjavik, 13-16 May, 2015, 2015, p. 57-57Conference paper (Refereed)
    Abstract [en]

    From 1999 through 2005 the Swedish artist Mikael Lundberg was an artist in residence at Chalmers University of Technology in Gothenburg, Sweden. As an artist in residence Lundberg collaborated with several engineers and scientists at Chalmers. The aim of this paper is to describe and analyze these collaborations from Lundberg’s as well as the engineers’ and scientists’ point of view. In the paper, attention is particularly paid to the following questions: Who did Lundberg collaborate with, which artworks did they create, and how was the collaboration carried through? Which were the driving forces behind the collaboration? Which were the social, economical and institutional conditions of the collaboration? An overall question concerns the kind of knowledge that is produced during the collaborations as well as how, and what happens to the artistic as well as the scientific practice when the knowledge migrates between them.

  • 13.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    När konsten tog plats i folkhemmet2016In: Svenska Dagbladet, p. 24-24Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    I mitten av 1950-talet dök tv:n upp i det svenska vardagsrummet och öppnade nya möjligheter till folkbildning – däribland om kultur. I sin avhandling undersöker David Rynell Åhlén hur Sveriges Radio via den rörliga bilden försökte göra modern konst tillgänglig för alla.

  • 14.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Sara Callahan. The Archive Art Phenomenon: History and Critique at the Turn of the Twenty- First Century, diss. Stockholms universitet, Institutionen för kultur och estetik, 2018. 215 pp.2019In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 88, no 1, p. 48-53Article, book review (Other academic)
    Abstract [en]

    This text is a critical review of Sara Callahan’sdoctoral dissertationThe Archive Art Phenom-enon: History and Critique at the Turn of theTwenty-First Century. The aim of the disser-tation is to investigate the relationshipbetween art and archive at the turn of thetwenty-first century. The dissertation’s princi-pal contribution includes mapping the largeand on going phenomenon of archive art,whereas its shortcomings are to be found inthe scientific approach.

  • 15.
    Orrghen, Anna
    Stockholms universitet, Humanistiska fakulteten, Institutionen för journalistik, medier och kommunikation (JMK)..
    Solveig Jülich: Skuggor av sanning. Tidig svensk radiologi och visuell kultur2004In: Nordicom Information, ISSN 0349-5949, Vol. 26, no 4, p. 73-75Article, book review (Refereed)
  • 16.
    Orrghen, Anna
    Stockholms universitet, Humanistiska fakulteten, Institutionen för journalistik, medier och kommunikation (JMK)..
    Strategiska konsumenter köper livsstil2002In: Svenska Dagbladet, Vol. 04, no 24, p. 7-7Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Ingress: En ny avhandling förkastar synen på konsumenten som en viljelös figur som förgäves kämpar mot ett flöde av varumärken. I stället utröner den de olika aktiva strategier för identitets- och livsstilskonsumtion som tagit form i och med mediesamhällets teckenström.

  • 17.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Surveying the literature on technoscience art: from pioneer stories to collaborations between artists, scientists and engineers as the object of study2017In: Digital Creativity, ISSN 1462-6268, E-ISSN 1744-3806, Vol. 28, no 2, p. 157-176Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to describe, analyse and categorize the literature on technoscience art in general and technoscience art collaborations in particular. I argue that the literature could be characterized by three thematic traditions: pioneer stories, writing aiming at mapping and categorizing, as well as those problematizing and contextualizing the field. Given that earlier research on technoscience art collaborations primarily consists of art historical and anthropological and ethnographic studies, I further discuss the relation between these approaches and intend to provide a connection between them. Whereas art historical studies are more concerned with issues concerning art history as a discipline, ethnographic studies tend to be more concerned with challenges faced by interdisciplinarity. Finally, I discuss the role of artistic research and art practice in future studies on the topic and emphasize the diversity of the literature on technoscience art, as well as the understanding of technoscience art collaborations as an interdisciplinary effort.

  • 18.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Technologies of visualization: Special issue of Konsthistorisk tidskrift, Vol. 84, No. 22015Collection (editor) (Refereed)
  • 19.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    The Co-production of Art: Collaborations between artists, scientists and engineers in Sweden, 1967-20092015In: Media Art Histories Re-Create 2015: Theories, methods and practices of research-creation in the histories of media art, science and technology, Montréal, 2015Conference paper (Refereed)
    Abstract [en]

    During the 1960s, when artists started to gain access to computers at universities and research departments in the industry, a new kind of collaboration between artists and engineers emerged. Today, during the first decade of the 21st century, similar collaborations are brought to the fore, among other things due to an increased number of exchange projects between artists and scientists, so called artist in lab or artist in residence projects. Science and Technology Studies has been suggested as one part of a ‘methodological framework’ to be able to understand these collaborations. A basic assumption in the STS approach is that scientific and technological activities should be described as the result of relations between different actors rather than the result of singular individuals, disciplines or groups. By adopting such a perspective, scientific knowledge, as well as the use of it, can be regarded as a more or less conscious co-operation between different actors who as well as produce, use, knowledge. In this paper I argue that a STS concept particularly apt to study collaborations between artists, scientists and engineers is “co-production”, introduced by Sheila Jasanoff. By conducting interviews with Swedish artists, scientists and engineers who collaborated from 1967 through 2009, this paper aims at describing and analysing the collaboration from the artists’ as well as the scientists’ and engineers’ point of view. An overall question concerns the kind of knowledge produced during the collaboration: What happens to the artistic as well as the scientific practice as the knowledge migrates between them?

  • 20.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    The Ephemerality of Digital Monuments: Swedish Public Art at the Turn of the Millennium, the case of “Tidsdokumentet”2017Conference paper (Refereed)
    Abstract [en]

    In December 1999, the Swedish national memorial, celebrating the turn of the millennium, was inaugurated. The monument was erected on behalf of the Millennium Committee, set up by the Swedish government and the result became "Tidsdokumentet", an interactive monument downtown Gothenburg. However, due to unclear administrative responsibilities concerning the maintenance of the technology, the monument was deconstructed shortly afterwards. Thus, within a few years the monument that was supposed to epitomize visions of technological and scientific progress had turned into a ruin of technology. Tidsdokumentet illustrates a new kind of public art that emerged during the mid 1990’s and this paper introduces the concept “digital monuments” to characterize it. Digital monuments consist of digital technology, are located in public places and symbolize technological and scientific progress. Despite the intention to become enduring, digital monuments are surprisingly transitory. Digital monuments are huge, lavish ventures involving the industry, the state as well as local authorities. On the other hand, digital technology is constantly changing at a very high rate. Thus, the technology, which initially was used with the intention to symbolize technological progress, becomes out-of-date with an accelerated speed.  In this paper, I argue that digital monuments encompass this paradox. Thus, although digital monuments are intended to be part of the future, they literally turn into a part of the passed. By examining the rhetoric of "Tidsdokumentet", its sociocultural, economic and material conditions as well as its role, this paper aims at raising questions concerning preservation of digital art in public spaces.

  • 21.
    Orrghen, Anna
    Kungl. Tekniska högskolan (KTH), Skolan för arkitektur och samhällsbyggnad, Avdelningen för teknik- och vetenskapshistoria..
    Tidiga söksystem: Transkript av ett vittnesseminarium vid Tekniska museet i Stockholm den 21 januari 20082008Report (Other academic)
    Abstract [en]

    The witness seminar ”Tidiga söksystem” [Early Information Retrieval Systems] was held at Tekniska museet [The National Museum of Science and Technology] in Stockholm on 21 January 2008 and was led by PhD Anna Orrghen. Different aspects of the use of digital technology in the development of information retrieval systems were discussed and debated, with special emphasis on research libraries. The witness seminar focused on three Swedish research environments that developed IR systems during an early stage: the main library at The Royal Institute of Technology (KTHB) where the systems ABACUS, EPOSVIRA, KOMPOST, TRIP and 3RIP were underlined in the discussion, the Swedish Defence Research Agency (FOA) and the development of CORSAIR and Karolinska Institutet (KI) where the development and use of MEDLARS and MEDLINE took place. The main questions dealt with the origin and development of those systems, the importance of international collaboration and the role of SINFDOK as an important financier.

  • 22.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    “Tidsdokumentet”: The Ephemerality of digital monuments2018In: Nordik 2018: The 11th Triannual Nordik Committee for Art History Conference. Copenhagen, 25-27 October, 2018., 2018Conference paper (Refereed)
    Abstract [en]

    In December 1999, the Swedish national memorial celebrating the turn of the millennium was inaugurated. “Tidsdokumentet” was erected on behalf of the Millennium Committee, set up by the Swedish government. The commission to realise the monument was given to Chalmers University of Technology and the result became an interactive monument downtown Gothenburg. However, despite advanced research, cutting edge information technology and the intention to create something enduring, the monument was deconstructed shortly afterwards.

     

    “Tidsdokumentet” illustrates a new kind of public art that emerged during the mid 1990’s and this paper introduces the concept “digital monuments” to characterise it. Despite the intention to become enduring, digital monuments are surprisingly transitory. Digital monuments are huge, lavish ventures involving the industry, the state as well as local authorities. They consist of digital technology, are located in public places and symbolise technological and scientific progress. On the other hand, technology is constantly changing at a very high rate indeed. That is particularly the case of digital technology. Thus, the technology, which initially was used with the intention to symbolise technological progress, becomes out-of-date with an accelerated speed. In this paper, I argue that digital monuments encompass this paradox and that makes them particularly apt to study. Thus, although digital monuments are intended to be part of the future, they literally turn into a part of the passed. By describing and analysing the characteristics as well as the form and meaning of “Tidsdokumentet”, with particular attention paid to the material, this paper aims at examining the materiality and aesthetic contours of digital monuments.

  • 23.
    Sköld, Olle
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Kjellman, Ulrika
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Orrghen, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Beckman, Jenny
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History of Science and Ideas.
    Moving Forward with Digital Scientific Images: A Study of Infrastructure, Digitization Work, and Digital Research Practices2019In: Proceedings of the Digital Humanities in the Nordic Countries 4th Conference (DHN 2019), Copenhagen, Denmark, March 5-8, 2019. / [ed] Costanza Navarretta, Manex Agirrezabal, Bente Maegaard, Copenhagen, 2019, Vol. 2364, p. 415-425Conference paper (Refereed)
    Abstract [en]

    Scientific images are important and complex objects of study in the field of digital humanities for two principal reasons. Firstly, scientific images are key components in the making and communication of science in the present day and constitute central source materials in scholarly projects seeking to elucidate the historical practices of research and the development of scientific disciplines. Secondly, the archives, libraries, and museums (ALM) sector invest significant resources into the digitization and mediation of scientific images and it is a crucial success factor for both ALM institutions and future research initiatives that the premises and consequences of such efforts are thoroughly explored. This paper seeks to map which avenues of study and work that are crucial to pursue if available modes of curation, access, search, and analysis in digital collections of scientific images are to be meaningfully improved. The paper is based on a literature review and an overview of the current state of digitization work, digital collections, and digital infrastructures for storage and mediation at Uppsala University Libraries. Methodologically the paper makes use of action research and an adaptable, pragmatic, and ’exploratory’ approach to academic research. The study identifies five themes of study and work that, if competently pursued, promise to push the boundaries of what is known about scientific images forward in many areas of the digitization spectrum both in terms of best practices and theoretical understandings. The themes are: (1) method and infrastructure focus; (2) method focus; (3) digitization work focus; (4) epistemic and research-practice focus; (5) epistemic, methodological, and historiographical focus.

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