The aim of this thesis is to study how the form of ownership affects the freedom within an artistic organization such as a museum or an art gallery. I have compared a publicly owned organization, Moderna Museet, with a privately owned organization, Magasin 3. The study is limited to only investigating the area of exhibition activities. A qualitative method has been chosen, and the empirics have mainly been collected through semi-structured interviews.The result shows that the form of ownership affects the freedom. Overall, one can conclude that the missions of the organizations look different, where the privately owned organization is given a greater freedom within their mission than the publicly owned organization.

Background: The Waldorf school was founded by Rudolf Steiner during the early nineties in Austria. The pedagogy is established in the antrophosofical sight of humanity, which contains focus on three watchwords when it comes to teaching. These are the will, the feeling and the thought. Purpose: The aim of this study is to investigate how teachers in three Waldorf schools are working during to the curriculum and to bring out the differences and the similarities with the municipal school. This essay is focusing on four themes and theories; artistic learning processes, gender, multimedia and environment.Method: In order to investigate this kind of teaching I choose interviewing as a method, specifically semi structured interviews. Four teachers at three different schools in Stockholm county was interviewed.

A case study of professional interaction designers' usage of design materials was conducted. Five interviews were performed in order to gain insight in the systems used by designers, how these work, how they collaborate within them, and what they think of recent research about them. Design studios allow collaboration for several users at once. Digital material (mockups, pictures, etc.) are commonly used, but needs to be made analog, e.g. printed, to be usable in the design studio environment.

Design management är ett arbetssätt som har börjat tillämpas av allt fler företag de senaste åren, men det kan fortfarande vara svårt att förstå betydelsen av design management. I uppsatsen undersöks det vilken betydelse en design managers kompetens och position har för samarbetet mellan det designköpande företaget och en designkonsult under ett designinköp. Genom ett flertal intervjuer, utifrån både design managers och designkonsulters perspektiv, undersöks det hur samarbetet fungerar mellan dessa parter. En analys av intervjumaterial med hjälp av en teoretisk referensram bestående av design management-teori, design som en integrerad process och beslutsrollsteori har lett fram till ett antal slutsatser om design management. Några av slutsatserna är att design management, enligt teorierna, som arbetssätt inte är så vanligt och att det finns en viss samarbetsbrist enligt de intervjuade designkonsulterna, som i viss mån underlättas om design managern har kunskap om vad design innebär..

In our study, we investigated how the streamed TV domain relates to existing design principles for web design. Further, we have investigated whether there are specific characteristics of the domain that the design principles do not cover. In the survey we have studied two sites which are representative of the streamed TV domain. Finally, we discuss how applicable the design principles are for the domain and the specific characteristics that would require new or further developed design principles..

The final stage of a designers work is always a bit tricky. Design is an abstract phenomenon and no one can tell when a design is really finished. The design process that designers work within has been thoroughly studied but cannot be truly mapped with strict constraints which the designer can follow to succeed. Therefore, in this paper we take a look at the final stage in the design process. The main goal is to get more knowledge and highlight key factors about what designers face when they are about finish their design or what forces them to leave a project that can stay in development for eternity.

The quality of a design can improve essentially through a participatory designprocess. Initially, The Mulberry School project was supposed to be finished in two months but the involvement of artist Scott G Burnham extended the work and brought a new dimension into the project. In the beginning, Scott and I both worked on the project unaware of each other. I was appointed by the architect to design the external areas of the school and based on a site survey and analysis of the factors infl uencing the site I created a design proposal with the concept form and function. At the same time Scott performed a series of workshops initiated by the school. The purpose and goal was to include the students in the redevelopment of the school and to produce a design based on the thoughts and wishes of the students.

I work on a lighting design for a dance performance to be on tour. A lighting design adapted for three different conditions was made: - One comprehensive where I allow myself a great deal of creative freedom, adapted for the stages with major technical conditions. - One smaller version for stages with less equipment and with less time for preparation on site. - One design for very simple conditions. I also examine the specific differences between typical theatrical lighting design and typical dance lighting design, and the best way to prepare for the hands-on stage design phase..

Nathalia Edenmont is a controversial and uncompromising photo artist who has caused the whole world to rage over her obscene photographs. In this thesis I have researched Edenmonts artistry with help of the sociologist Pierre Bourdieus field analysis. By using Bourdieus's different field concepts I have researched Edenmonts artistic career by concepts such as habitus, consecration and different principles.The starting point of this research has been that Nathalia Edenmont is in the autonomous artistic field. I give examples of images that have been highly debated and I have collected information of how Edenmont sees her own images and her artistry. In this thesis I show amongst other things an example with Edenmonts photograph of dead rabbits with Elizabethan hair styling, cut up mice that work like finger puppets and children who are bound up in wire.Nathalia Edenmont autonomous artistry is deeply rooted in her background and the environment in which she was raised.

A design methodology to mitigate timing problems due to long wire delays is proposed. The timing problems are taking care of at architecture level instead of layout level in this design method so that no change is needed when the whole design goes to backend design. Hence design iterations are avoided by using this design methodology. The proposed design method is based on STARI architecture, and a novel initialization mechanism is proposed in this paper. Low frequency global clock is used to synchronize the communication and PLLs are used to provide high frequency working clocks.

How can the object based art help us, as viewers and as makers, to access a supplanted emotional state?One way of positioning yourself within the corpus-field is to step outside the traditional borders of the field and aim for other values within the objects, such as a visible working process, a storytelling or an emotional relationship to the object.  It is a way of taking a step from the traditional silversmithing towards some kind of free undefined corpus-art.  To reach for suppressed feelings is one way to find an importance within the artistic work, to give it a purpose.By investigating the concept of the sublime and the surrealist movement I try to find examples on how you, both as a viewer and as a maker, can put yourself in an emotional/intuitive state.  Through interviews with Jewellery and corpus artists I get a maker?s perspective which I compare with my own reactions to their work.Works of art can be used as a catalyst to reach, and maybe also to process, unattended feelings. This creates a strong emotional connection to the work.  As a maker you can, for example, do this by working with it as a theme, or by using an intuitive working method.

Service Design is a relatively new, unexplored and exciting phenomenon that through an interdisciplinary work methodology designs services. A discussion has been going on for a long time regarding whether there is a difference between products and services. Services are often classified as immaterial, heterogeneous, non-storable and inseparable in relation to products. A question that arises is if something specific characterises the work methodology used regarding service design. The aim with this paper is thus to explain the work methodology when working with service design.

A current issue today is to try to implement creative design as a way to solve wicked problems in scientific contexts such as HCI. Since the problems are wicked, they have no given solution which makes the traditional methods inadequate. In these cases, creative design can be an alternative. Creative design is not used in scientific contexts because it is viewed as something unaccountable.In this essay we argue that creative design not necessarily have to be unaccounted. We discuss various views of creative design and translate theory to a practical context.

Building on the concept of constructive iconoclasm as a creational force of iconicity, this thesis examines how the contemporary iconoclastic discourse is related to artistic process. Studies have shown that the performative act of destroying art that is an historical phenomenon is highly present within the contemporary art discourse today. Due to the many dimensions of contemporary art, the ways in which iconoclastic deeds appear may differ from the historical narrative. While iconoclasm and iconicity are being reciprocal processes that can only exist in relation to each other and their context, there are signs that the destructive act itself is being recontextualized by contemporary artists. Guided by the framework of Norman Fairclough?s critical discourse analysis, the thesis examines the processes of conceptual and constructive art destruction by analyzing the discourses of two case studies situated in the contemporary art market.

This paper deals with the difficulties of applying user-centered design practices as an independent developer, based on the visualization of a game concept in the form of a prototype. The aim is to evaluate the usability of user-centered design practices, specifically in the field of games development. Throughout this paper, I will give an account of the methods used for testing, as well as a review of previous research done in this field of study. Finally, I will end with a discussion regarding the pros and cons of user-centered design, as well as some thoughts about its importance in similar projects..