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.

This essay follows a Media Teacher in her work as a coordinator and an artistic leader for a European project called Legalopoli concerning laws and ethics in a senior level school for 13-16 year-olds in Mora, Sweden. The students write film stories about how their characters have to make choices in ethical dilemma situations. Then the learners create interactive computer games together through practical film work. At the same time we can see how the educator also gets into difficult ethical situations, when she is working with the students. This forces her to self-reflection.

The acoustics in a control room is a complicated phenomenon. Early reflections, reverberation time and area in the room are some of the problems. This report is about the reflection on the mixing console in a control room. The control room being built, these reflections are difficult to take into consideration since the mixing console is one of the very last items you place in the room. This report will explain three main measurements that were done in order to get the answer to the following question: Does the mixing console interfere the frequency curve at listening position? Three measurements were done and the difference between the measurements was that the microphone and the loudspeakers were placed in different places in the control room.

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.

Based on 30 years of work experience in TV and film production, I have made a phenomenological analysis of my perception of meaning in work - how it arises and how it is undermined. The story starts in my experience of early professional film making in the 1980's and describes how a change to work in TV production required the development of a new professional identity. The text also illustrates how as a female director I have managed my role in a male dominated and structured work environment. Being defined as an exception from the male norm has pushed me towards femininist reflection and the need to redefine my own work role - the generally accepted view having felt uncomfortable. An analysis of structural change in TV and film production shows how market pressures and ways of thought have increasingly invaded cultural endeavour. Professional spheres of influence are weakened, while developments in the media are characterised by a commercialism which encroaches more and more upon artistic, spiritual and moral values. This attitude, where quality is in retreat, has transformedprogramme makers from creative originators into becoming suppliers of raw material in a factory- like process geared to produce great volume at low cost.The aim of this essay is to show how changes in society and in TV and film making have affected my perception of my work.

This work is based on qualitative interviews with four educationists who before their university studies lack education in their own field of work. The study aims to explore how higher learning influenced and affected these people. As a theoretical point of view the concept of implicit learning and Aristotle?s epistemological approach was used. The study gives an idea that the concept of knowledge is advanced and can go from practical experience to more theoretical understandings.

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.

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.

The purpose of this study was to describe and analyses educators? experiences of reflective conversations in their teams and part of teams in relation to their work with pupils in need of special support. Ten educators representing ten different teams have been interviewed since all had experiences of working in teams and working with pupils in need of special support. Focus has been on the educators? experiences of the organisation, the effects of the reflections and the need to develop the reflective conversations in their teams and part of teams.

The essay examines managers reflection after attending a leader development program. When examining their thoughts the author starts out from the assumption that leader development programs with reflecting elements can create reflection on management/leadership and the organisations management behaviour. The examination is done whit help of a case study on a company in the paint industry. To test the assumption the author uses a combination of questioners and interviews on eight managers who has finished a leader development program. The result is analysed by bringing forward the managers general assumptions an by finding relations between opinions on needs, existing norms and preferred management/leadership.

How can I make art that face people in their everyday lives, which is integrated into their lives, becoming a part of the discussions both in the mundane and in the room of society? Can I do this by working with performative interpretations that are participatory driven? I have explored how artists and participants can create spaces that are both open and confiden- ce-building, and how they at the same time enable us to question established norms. How to engage in dialogues concerning social, political and existential issues like; What is freedom for me - What is freedom to you? What is it that is important? Which topics are never upraised for discussion?The project is about putting thoughts, experiences and bodies (my own, the participants and the viewer?s) in relation to each other and to the location and context they are in. It ?s about creating a broader perspective where everyone?s voice is important and can take place.

The main purpose of this study is to view the aims of the local authority of Botkyrka for their prehistoric village, and to compare those with the actual activities in the village.Because of no official formulated aims, the study were laboured through interviews, observations, analysis of evaluations and a parallell literature study.For the visiting pupils today, the village has an introduction, but not a follow-up. Pedagogically the follow-up is the most important part, seeing that it?s there the knowledge is created in relation to the experience.Through experience-pedagogy, based on learning by doing, try to attain an experience intended to generate knowledge. But in this case, the focus lands on doing, and the reflection fails to occur. This is a learning based on the situation, rather than on the reflection, situated learning..

Theatre is often seen as an act to entertain or provoke, however the main argument of this paper is that theatre also can be seen as a process to build peace. This study focuses on and explores how artistic processes, such as Forum Theatre developed by Augusto Boal, can be used as a method to promote psychosocial reconciliation in war-shattered areas. With the use of Forum Theatre the spectators becomes the spect-actors, the subjects that act and not the objects that are acted upon. Subjects that are encouraged to try and find solutions to social problems by acting out possible solutions and evaluating them. By analyzing how a number of organizations have worked with Forum Theater on the Balkans and with a theoretical approach combining Homi K.

The aim of this essey is to examine how teachers´ work with individual development plans (IDP) can contribute to an intercultural leadership and inclusion. The interwied teacherss ay that IDP forces them to reflect critically on their thinking on aspects as learning methods, gender and ethnicity. It makes them listen to -and think - in new and more including ways to adapt to each pupils individual possibilities to achieve the curriculum standards within the common area. That requires lots of resources like extra teachers and new material.An active reflection can make ethnocentrism develop into intercultural competence. That is a listening, critical and diversified thinking prepared to deconstruct and create new ways of thinking in relation to different pupils and situations.

What is it that I do in my artistic work? And above all, what is it that I meet in the making? I become aware of a strong link between reality and art, for example, when I tell a fictional story on stage or compose, mirror, a human destiny in music. My compositions are, together with events before, during and after they've began to exist, an experience where I move between - sometimes I have chosen to express it - different dimensions of reality..