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Today, many services, such as ticket purchase and cash withdrawal, are provided by stationary machines such as ATM and ticket machines placed in train stations and travel centers. Personalized service is not always available, and users are referred to machines and automats. Previous research on ATM and ticket machines mostly focus on user interface and do not take the contextual conditions into consideration. A well-designed interface may not work under conditions such as poor lighting and time limitations of the service which affects the usability. The focus of this paper is not the physical or digital design of ATM and ticket automats as such, but rather how they function in their environment, and how that will affect users; especially old people with some sensory limitations such as limited eyesight and partial motor skills. The empirical study indicates that the physical environment of these machines and automats is crucial for how the service works. Identified parameters that affect usability are light conditions, auditory conditions, the liveliness of the setting and time limitations of services. If the contextual conditions surrounding the automat or machine does not work, it will be inaccessible to many users, however deliberate the design of their physical and digital interface. © Springer Nature Switzerland AG 2020.

This paper deals with the development of participatory methods in visual management (VM) when investigating parts and system/s related to VM devices in organisational contexts. Four theoretical perspectives – sociocultural theory, boundary objects, diagrams, maps and models, and visual rhetoric – have been applied to gain an overall understanding of the participants’ collective investigation of the system/s. Managers and co-workers in five Lean-inspired organisations have used the method Multimodal Origami (MO) to design their VM devices, in this case the VM boards and associated meetings.

The design of production planning tools is primarily based on conventions which can be found in research on visual perception and how data is traditionally represented. Standardized forms have become everyday tools and are an essential part of our visual culture. In the first part of the 20th century, the Gantt chart was introduced and was primarily used for charting workplace efficiency. It has been used in various forms ever since, in parallel with other Stage-Gate models. Visual management has been developed in companies that work with lean production systems. For governance and control of daily activities, a so-called lean board is used, which consists of a white board. In this paper we discuss how—despite rapid technological development and digitalization in many fields—our perceptions, visual representations, and organization of time seem to remain rooted in the past.

Föreliggande rapport är en inventering över pågående och nyligen avslutade forskningsprojekt i Stockholms län som på olika sätt relaterar till begreppet kulturella och kreativa näringar (KKN).Begreppet kulturella och kreativa näringar kommer ur en viss historisk kontext och relaterar till specifika politiska fält. Dessa ges en kort bakgrund innan författarba ringar in hur man valt att förstå och arbeta med begreppet inom uppdraget. De projekt som ingår i rapporten, pågick eller avslutades under perioden från 1 januari 2015 till 30 juni 2017. De är antingen finansierade av de etablerade forskningsfinansiärerna eller utförda inom ramen för lärosätenas fakultetsmedel eller medel för konstnärlig utveckling. Se ytterligare detaljering och avgränsningar i introduktionen.

The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method. 

In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s.

The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations.

The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping. 

In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image.