The aim of the study was to show whether or not there exists, and if so, to understand, a common creativity, vision and imagination of the members of Småland?s Entrepreneurial Academy?s organisation.The method used for this research is the fictive narrative collage , which consists of the collection of fictive stories. The author has also made her own additions to the method. A composer composes songs to the narratives, two Artists illustrate the narratives. The research is carried out on the total population within Småland?s Entrepreneurial Academy which consists of 10 permanent members of the organisation.The theory focuses on different areas, such as creativity, vision and imagination as well as on the entrepreneur and the organisation.

Participation, public art and participatory public art as phenomenons and subjects have been studied and discussed. With interviews and observations as a base, we have studied projects and discussed participation, effect and quality in relation to these. Furthermore we have looked at how the participatory art processes work in Sweden and England. This essay seeks to discuss the process of participatory public art and to emphasize the elements contributing to the quality of this process. It is up to us as planners to recognize the possibilities for a qualitative place. To mediate between different interests, for example between politicians and stakeholders, between economics and quality, between the place and its users, between individuals and the community, and in our case between Artists, users and the municipality. Public art has gone from being about the product, an art piece, to becoming more of a process, from non interactive to interactive. Participation ranges from receiving information to play an active part in the process. Four cases have been studied, taken both from Sweden and England, showing the diversity of processes connected to Participatory Public Art. From interviews conducted in Sweden and England information and thoughts have been received and they show a higher degree of use of participatory public art in England, and also a higher consciousness.

This study takes place within a publicly owned art producing organization and dwells on the problems of a change process that the organization was involved in. Both leaders and staff were disappointed by the way the change process had developed. The management team explained the outcome by referring to the uniqueness of working with Artists who constantly put their own personal objectives before the benefit of the whole. The aim of this study is to find a complementary explanation to the one the management team provided us with; an explanation that can help in the understanding of the dynamics of a change process. Can perhaps theories on information, communication and change processes give an alternative explanation to why the change process faltered? To investigate this, we have used a qualitative single case study.

The main purpose of this master thesis is to give the reader a picture of the experience of art and of its room in the public libraries, but above all to examine the phenomenon temporary art exhibitions in public libraries in the county of Östergötland. The study is limited to a specific activity of art, namely temporary exhibitions in libraries. Geographically, the investigation is limited to the public libraries and their branch libraries in Östergötland. Time concentrates on the present situation in 2000 and 2001. Methodologies are partly observations in some libraries, partly qualitative questionnaires to all primary libraries and their affiliates in Östergötland.

The purpose of the study is to examine and problematize how the ego affects musicians and dancers. Important factors that shape the ego is the Artists educational background and experience within the artistic subjekt. Hence, the purpose is also to find out how these factors affecting the ego. I wanted other Artists practitioners? thoughts on the subjekt, therefore I chose to interview four people, two musicians and two dancers.

The essay investigates the visual element as seen by the audience and artist to be of greatest importance to a musicalperformance. The study was conducted in the form of a field work which included doing interviews with Artists, surveys of the audience and interpretive observations of live performance. The fieldwork was conducted in three different environments in which I found myself on the spot and performed the various stages included in the field work. It was done to create a surface that could be used in an essay, and through that use this material to compare and analyze my results and in the end be able to answer my questions. I started from eight different factors which all could beexperienced visually on stage.

This thesis examines how a jury on an artistic education adopts next year's students to a BA program at an art school. My intention is to explore how we established Artists who are involved in education as professors, teachers (or students) in art education affects who will be released to the exclusive educational path as an art school represents our work in the admissions jury. My ambition is to create an awareness of what it might mean for the reproduction of the artist..

?Claiming the right to space? is an argument frequently used by street Artists for justifying illegal art in the public space. The public city space as a room of democracy and right to free speech is by some people considered threatened by commercial interests, and street art has become a way to demonstrate disapproval towards this. Street art is illegal and often anonymously performed in our cities. It developed in the late 1970s from the urban graffiti scene in America, and has therefore a lot in common with the graffiti movement.

In this thesis I focus on the artistry and essential work, behind the scenes that storyboard Artists have contributed to, since the early days of film history. The works I will focus on are the important phases of pre-planning of feature films and animated films. I theorize on the aspect of what makes a good story and how it is brought to life on the screen, as well as how the story is actually conveyed with this drawings. The hypothesis maintains the importance of storyboards, as well as defining their main purpose. Using a formalistic point of view and historical argumentation, I examine and compare five different directors´ use of storyboards and how their respective collaborative teams (i.e director of photography, production designer and story Artists, editors etc) create each film´s particular nuances and cinematic expressions.

The purpose of the essay has been to analyze and interpret Hans Hedbergs ceramic art. It deals with his education, people and places that influenced and inspired Hans Hedberg in his artistic development. For example the nature in Köpmanholmen, Höga kusten, were he grew up as a child and the fact that he started as a painter. The essay analyses mainly his symbolic sculptures the Egg and the Apple-series and links it to Surrealism and Nouveau Réalisme and how other Artists has worked with the Egg and Apple-theme. .

The relationship between landscape - public - art and whatoccurs and happens in between is what this paper casts light on. The essay intends to investigate whether there is any boundary between landscape architecture and art. How does this border looks like? Can art in the context of landscape architechture lead to a closer cross-border collaboration between landscapearchitects,Artists and the public, to create attractive and/or functional outdoor environments. The place where the meeting can take place is outdoors where the landscape architect works, in the public environment and around the public art.

This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all ?kitsch?.

The relationship between color and music, and their relation to the human being and our surrounding universe has been subject of studies, theories and experiments since the old ages. From the ancient China and Persia to the present times, philosophers, scientists and Artists have tried to explain these connections between color and music and also tried to find answers to this ancient enigma.The invention of the color organ c. 1730, an instrument that was intended to display color in addition to the musical auditive experience, was the first attempt to materialize the practical correlation between notes and color. This correlation has its foundation in the ideas of Isaac Newton, who through his book Optics published only a few years earlier, conformed the beginning of a new art culture: ?Visual music?, in which image and sound are the fundamental elements in the creative process.The ?visual music? concept is not only grounded in the ideas of music and sound, but also in the extraordinary creative capability of certain individuals.

The purpose of this thesis was to illuminate how festivals are building their brand. We aimed to investigate how festivals build their brand equity and how they use their web site as a brand-building tool. In order to understand the brand-building process within festivals, a case study was conducted based on interviews with three respondents from three different festivals. The study has shown that festivals are aware that the brand constitutes an important competitive advantage. They use both online and offline marketing tools in their brand building process.

This thesis aims to explore the process where strategies for music Artists are created by record companies. We describe and analyze how decisions regarding signing, distribution, marketing, bookings and co-operations are made. Through our study we find that the strategy process can be described as a pattern according to Mintzberg's definition. The "inside-out" perspective is dominating and the record companies base their strategies on internal core competencies and the artistry and will of the music artist. The underlying causes of this are the uncertainty that characterizes the industry; the focus on social relations; and the importance of cultural legitimacy..