Do ceramics have to be static? This was the question that spurred me into this work, and what kept me working on to achieve the possibility of motion in my ceramic objects. By combining the knowledge gained through my former education as an avionics technician with my interest in the ancient ceramic craft, I strive to create kinetic ceramic handicraft suitable for interaction with an audience.By a series of different phases I slowly go from understanding what kind of motion I want my objects to have, to actually realizing this motion in three-dimensional objects. Through the use of simple models made from corrugated fiberboard followed by more advanced plaster models, combined with different complementary materials such as bicycle inner-tubing and recycled aluminium cans among many others, I, through a vast series of testing, slowly build up a knowledge base later applied to the ceramic objects.The result is for me a success; I have found a way for me to combine ceramics with mechanics. Through this I have created kinetic ceramic handicraft intended for interaction with an audience..

This degree project summarizes five years of education at the landscape architecture program at the Swedish University of Agriculture Sciences, SLU, Alnarp and the School of architecture at Royal Institute of Technology, KTH, Stockholm. The project has been carried out by Lovisa Berg and Per Crona in collaboration with DRIFT Scenkonst. This master project is based on the ongoing transformation of a former mining site in Ställberg, Bergslagen situated in central Sweden. The organization DRIFT is in the process of recreating to former industrial mining site as a green cultural center. Their field of artistic examination concerns existential questions connected to the site. The aim is to offer a place for both performing and experiencing contemporary performing arts in Bergslagen. Our objective is to contribute to the growth of the performing arts project and to demonstrate in concrete terms how a conversion of a mining area can be completed, while taking into account both its history and its new function.

This bachelor's thesis is a study of operative approach and attitude to espaliered fruit trees in home gardens. Through qualitative interviews the informants give their view of problems which might arise, and to some extent how the problems can be solved. In addition, which benefit can be obtained from growing these different types of trained trees and for whom they might be suitable. Thematic analyses were used to find themes and patterns for deeper understanding. The conclusion was that these kinds of trees would be beneficial to use to a greater extent than is done today you can use more species and varieties, fit more trees in a small garden, and enhance the trees esthetical appearance.

Arbetet handlar om att ta fram ett tapetmönster ritat för hand. Mönstret är helt unikt och gjort på fri hand från grunden, det är sedan färglagt i datorn för att blanda ny teknik med hantverk. Mönstret är inspirerat av Art Deco och Arts&Crafts, djur och natur. Målgruppen spänner sig från ung till gammal, mönstret och dess färgkombinationer ska passa de flesta. En designprocess baserad på inspiration och skissande redovisas.

During spring 2009 a three meter tall and laughing robot was developed in collaboration between Royal Institute of Technology and Royal University College of Fine Arts. The robots function and esthetics is based on an existing toy robot called Elmo. Elmo is 30 cm tall but now the goal was to make it 1000 times bigger in order to present it on the spring exhibition of Royal University College of Fine Arts. Due to only four months of developing and building time a demand of fast determination and good planning was required. In order to make a good structure for the project it is divided into five phases: Analysis of Elmo, planning, concept development, detail construction and finally product development and testing.In the first phase valuable knowledge is obtained according to the movements and geometry of Elmo.

The aim with this master's thesis is to describe the work process with the graduation film Player, by a composers perspective and given conditions. It provides a detailed insight into how the work was done from the script stage to the end result, scene by scene reflecting about both the musical performance and the collaboration between the director and me as a composer. The work was done during the spring term of 2012 at the Royal College of Music in Stockholm and Stockholm Academy of Dramatic Arts..

The aim with this master's thesis is to describe the work process with the graduation film Player, by a composers perspective and given conditions. It provides a detailed insight into how the work was done from the script stage to the end result, scene by scene reflecting about both the musical performance and the collaboration between the director and me as a composer. The work was done during the spring term of 2012 at the Royal College of Music in Stockholm and Stockholm Academy of Dramatic Arts..

The main purpose of this essay is to examine, in what way the paintings by Karin Broosand Markus Åkesson are images of autentic situations and furthermore in what way themediespecific essence is performed photografically. Questions occuring: 1) How are thecreations of reality shaped in the two chosen photorealistical paintings? 2) In what waycan you distinguish the iconicity and indexicality in the paintings Den vita klänningenand The Passage? 3) How does the photografic presence occur in the paintings andfuthermore how can you distinguish the mentioned parts above according to thepaintings? The theoretical standpoint is based upon Charles Sanders Peirces ideasconcerning iconicity and indexicality. The methods used are based on thoughtspresented by Andrew Benjamin and Mieke Bal. The signs of iconicity and indexicalitycan be studied in various ways in the two paintings, depending on how abstract andobvious different parts occur in the paintings.

The purpose of our study has been to examine the methods of validation and reminiscences from an employee point of view. To answer our aim a qualitative disquisition with four assistant nurses and one pedagogue in craft was conducted. The result was divided into three different themes: the view on people with dementia, merits and demerits with the methods and to work with people with dementia. The analysis of the result was made from selected parts of the system theory and symbolic interaction theory.The result of our disquisition can be summarized in that all our interviewed persons above all only can see advantages with the methods and several express that they are good tools to use in their work with people with dementia. The majority of our interviewed persons make use of the methods in everyday, spontaneous, meetings with the elderly.

I uppsatsen analyseras svenska översättningar av amerikanska rocktexter. Studien belyser hur texterna förändras i översättningarna gällande bildspråk, tematik och struktur. Uppsatsen undersöker också utbyten av kulturella koder och diskuterar hur stor tolkningsfrihet översättare av rocklyrik har..

?Never!? That was the answer UFC President Dana White gave when asked when women would be seen in the UFC. Two years later the first fight between two women took place and now there?s more than 50 female competitors in the UFC - an organisation that earlier was reserved only for men.?Women will never fight in the UFC? ? A qualitative content analysis of the depiction of women?s MMA in media is a study which focuses on how women?s MMA and Ronda Rousey as an individual athlete are portrayed in american internet based MMA media, with a gender research perspective. This study also investigates how the introduction of the first women?s division in the UFC might have affected the depiction women?s MMA in media.The theoretical framework consists of gender theory concepts such as gender performativity, the man as norm, sports and masculinity.

This master thesis is about designing and dimensioning a boat for transport of caravan, car, trailer or ATV. Buoyancy and stability are important properties as the pontoonboat should also be able to serve as a workboat. Many of the vessels on the market today that is being used for similar purpose are stable enough, but their hull is often similar with barges and thus too slow. This work has been to construct a boat that has good stability but also has a hull that enables it to move faster, is more maneuverable and having a more attracting design than today?s barges.

The purpose of this thesis is to investigate emotions and collective identity in the handicraftmovement. Which are the collective identities of craft movement, and is it possible to speak ofan over all collective identity among the handicraft people? I will also examine the emotion workboth on individual and group level.Eight qualitative interviews were conducted to achieve the aim of this thesis. Research haspreviously drawn attention to handicraft from a gender and a historical perspective but neverfrom an emotional one. The theoretical framework derives from an emotion sociologicalperspective where Collins interaction rituals, emotional energy and Hochschild?s emotionmanagement is the main theses.

I am interested in humans, bodies, movements, directions and how they affect each other. How we move towards each other or away from each other, inside a home or outside. How we relate to each other and to what people say and do. Co-operations between people that occasionally, possibly, do not work; how certain relationships, like certain materials, can have various breaking-points; that materials can be laden with numerous preconceptions, for instance what they should be used for.Beginning from the perspective of a feminist commune, I have explored the concepts of family, belonging, and loneliness. I have interviewed, observed, photographed, and through living in the commune during shorter periods of time, I have taken part in their every-day life.

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..