This paper deals with knives excavated in the Birka Garrison between 1997 and 2004, in a selection of 100 knives out of approximately 400. The aim is to measure and analyze the material to find out if certain elements in design points to a specific Craft. Two groups of knifeblades can be seen, one with a convex bevel and one with a flat bevel of the blade. Considering osteological evidence, historical sources, and the main suitabillity of the knives, it is concluded that some of the flat beveled knives may have been used for Crafting leather and fur, whereas the convex beveled knives are of an allround type..

My working process is Craft based and influenced by devotion for the textile material and techniques, but the concept is just as important. I mainly do sculptural objects where I treat fascination, frustration and disgust for the human body from a personal perspective. I am also deeply fascinated with Michael Jackson; an iconic figure that I adore above all else. A man with an inner musical ability, dedicated his entire life to tame and signify it through his body. My master work is an investigation where I look upon similarities and connections between my fascination with the body and the admiration and fascination with Michael Jackson.

I have been inspired by the Do It Yourself movement. DIY builds on the creativity of the individual, one?s capacity for initiative and one?s desire to realise one?s ideas. I have been inspired by sheets of pattern paper used in the manufacture of clothing, and my line of furniture is based on two-dimensional patterns of furniture. The sections of the pieces of furniture are printed on and relate to a standard sheet of plywood.

The Craft of planners are planning for a better future. Knowledge about climate change, environment, health and availability effects the trend towards less car dependent societies in favour of public transport and active transport like walking and biking. This study takes place in Västerbotten, one of Sweden?s most north provinces with a population of 260 000 inhabitants. It is a sparsely populated area with two dominant cities, the other municipalities are largely unpopulated.

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..

Simplicity, intimacy, freedom and one single threadcharacterize the knitting technique.In my project, I have studied ways of creating three-dimensional shape and structure using single threads and various knitting techniques. I applied my ideas in a collaboration with the singer Sofia Karlsson. The focus has been to design a portable object that can be used in pictures for the cover and promotion of her upcoming album.The material I studied, processed and used in creating the three-part object was linen. In the center stands a collar, that changes expression depending on how it is worn and which side is turned towards the outside. The collar interacts with a cylinder for her hands and a hairnet.

Vi lever i en ömtålig vardag. Vi gör den än ömtåligare genom vårt sätt att leva. Det är ingen idé att jag säger det med ord; jag har redan sagt det så många gånger att människorna runt omkring mig har slutat lyssna. Kanske är objekt en bättre ingång till samtal. I det här arbetet har jag, genom såväl text som praktiskt arbete inom corpuskonstfältet, undersökt vad som händer med oss när vardagen faller sönder och kaos utbryter.

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 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.

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.

With abroad education of arts, textiles and nowthe upholstery there were nota long step to become interested inthe visual withinthe upholstery trade. I have chosen to highlight the shapethe world with boththe artist and theCraftsman's eye. I have explored hownew expressions canbe created from traditional methods and materialsfrom upholstery andrelated Crafts suchas tailoring for Royal andsaddler. These Craftsmake up a webof technologies, materials,and to some extent tool returns and borrowed.By looking at afew items fromthese Crafts haveI let myself beinspired and made ??use of knowledgehow to buildforms and eventransfer them tonew areas inan aesthetic andartistic direction.

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.