The purpose of this study is to contribute to a better understanding of how visions could be applied in subsidiaries and similar sub organisations of global enterprises. With increasing globalisation it becomes more difficult to work in accordance to same standards and towards a common and unifying interest. The study has a qualitative and deductive approach and is based on interviews with three global subsidiaries with some hundred people employed each.Conclusions are that the subsidiaries visions have to be based on a guiding philosophy issued by their mother entities and it is the responsibility of the sub organisation to develop a tangible image with a local vision, mission and strategy with targets requiring feedback. Sustainable strategies cannot be issued without a vision describing where the organisation want be in the future. Otherwise they will not come very far until they have to make a restart with a new strategy and they will never be a market leader..

AbstractThe purpose of this investigation is to find out how the pupils can discover and to feel joy in their creative art activity and also to believe in their own ability. The aim is to figure out if creative art activity is able to raise the pupil?s self-image. By literature, pedagogue interviews, and interviews with pupils at the age of ten years old and by action research is the way that I have searched for an answer for my question. The main result is that fantasy, creativity, courage and lust are important parts to develop in the job of raising the self-image.

One way of signalling commands to the horse during riding is through applying tension on the reins to create bit pressure in the horse?s mouth (Terada et al., 2006; Clayton et al., 2011). The skilfulness of the rider in using the hands when applying bit pressure has consequences both for the horse?s performance and welfare (Manfredi et al., 2010). At the trot there are large vertical deviations of the horse?s body which the rider must adjust and adapt to (Terada et al., 2006) and an unsteady hand due to inability to follow the horse?s movement can be a source of discomfort and conflict behaviour in the horse (Heleski et al., 2009).

That many creative workers have uncertain and uneven incomes is well-established, but how or why they make a living is not. This paper examines the elusive value exchanges between creatives, buyers, consumers, and other economic supporters, and offers a model of how creatives make a living. By mapping income statistics of Swedish creatives together with in-depth interviews some patterns emerge. This, combined with Bourdieu's theories of social, cultural and symbolic capital, and Knorr's objects of sociality, forms a basis for a structured model of value exchange. The paper shows how creative workers create economic and non-economic capital (capitalization), how they advertise this capital (signaling), and how they convert between different types of capital (conversion) in order to make a living.

Abstract People who have problems with the written language will face serious difficulties in todays society. Our social structur is based on the criterium that every individual has to be able to read and write, and for this reason it is important that pupils with learning difficulties receive help. The purpose of my investigation is to examine how children with reading- and writing difficulties can benefit throught creative methods. Children with reading- and writing difficulties are in need of these creative methods that exist today. Amongst all of our public healht issues, dyslexia is one of the biggest problem we have today and children are therefor in need of these creative methods. Through  qualitative interviews with two educationalists there has been established thad the creative way of working benefits children in many ways if it is preformed correctly.

Liljedal Communication AB is a marketing company with twelve employees in Örebro. In the marketing business is it extra important to work creatively to reach the target market with a message.Creativity is defined as the creation of new ideas where the idea is adequate, useful and feasible. Organisational creativity is created by individuals in the right environment for using their creativity. In this paper we present theories about creative individuals and the situation that affects their creativity. Furthermore theories are presented about different strategies that aim to increase creativity.

Consumers today are bombarded with innumerable advertising messages. The need for companies to create advertisements that consumers find relevant is thus increasing. In order to break through the ad clutter, companies have to give something extra to their customers and show that they care about them. How a company decides to communicate might then be more important than what the company actually communicates.The purpose of this paper is to investigate whether the use of creative media choices induces signaling effects and enhances advertising value as well as perceived corporate consideration. The two last mentioned variables are explored as potential driving forces behind the signaling effects.

This paper supports the thesis that creative consumer advertising also can be used as a recruitment tool. By increasing the level of creativity used in their communication, a company can affect the attractiveness of themselves as future employers. The creative advertising influences the brands perceived creativity. It also increases the perceived social, development- and reputational value as well as the future intentions with the brand. By being more creative the brand is also viewed as making more marketing effort, which in turn affects the perceived potential of the brand in a positive way.

The underlying purpose of this study is to investigate how the libraries in Sweden organize and administrate the service of providing literature in other languages than Swedish. The study focuses on the central guiding principles that regulate the provision of multilingual literature and how these guidelines are implemented in to practice at the libraries. As the guidelines are closely connected to the official discourse in Sweden concerning policies targeted towards immigrants, the guidelines will be examined from a perspective of integration politics. To assemble data a survey has been conducted looking into factors such as how the libraries perceive the guidelines, how the libraries do business intelligence and user inquires to reach out to the users of the multilingual media, forms for statistics and method of working. The results points out that the libraries in their work with multilingual media are confronted with three tensions; the first tension is that between the libraries aim to promote equality and freedom for the individual and at the same time to fulfil certain collective interests and goals.

Urbanization and the flight of the creative class drains the countryside when it comes to creativity and talent. Especially the young leave sleepy societies. Richard Florida claims that the city attracts the creative class and enables for economic growth to flourish. Robert Putnam adds to the picture by saying social capital might be equally effective as nourishment for growth. In Uddebo, a rural village in the south of Sweden one combines the two creating a vivid society where creativity flies high and ideas fertilize each other?s.

Previous research has recognized that advertising creativity can result in positive signaling effects for consumers, thus proving creativity to be a useful tool and not a wasteful effort within marketing. However, research within this matter has only lightly touched upon the outcome of signaling effects within a business-to-business context. Since other implications prevail within a B2B market - for instance the professional position in which individuals act, the existence of buying centers, and the heavy weight placed on most decisions - the conception and influence of advertising creativity may be altered. This paper aims to give an overview of whether increased advertising creativity results in positive signaling effects among individuals employed within a B2B context. Furthermore, the paper aspires to examine the potential influence of aspects prevailing within B2B markets, such as the need for contemplating the desires of numerous individuals involved, on the outcome of advertising creativity.

The purpose of this essay is to examine when teachers choose to discuss mathematics withstudents rather then just talk about mathematics. A definition where used to distinguish betweenan interaction that is not a discussion and an interaction that is a discussion. This definition hasbeen created by drawing ideas from other works into making a quite simple definition whichtherefore is easy to observe. The discussions are also separated into two different kinds ofdiscussions. The first and most common category of discussion are one where only imitativereasoning is used.

This essay is focusing on leadership and motivation in the creative process. The perception on the leadership has changed over time. Today?s leadership theories suggest that the leadership should be adapted after the organisations conditions. Due to the increasing globalization, companies are forced to operate in an increasingly competitive market.

Hur ska ett användargränssnitt utformas för att det ska vara lätt att använda i stressade situationer? Hur skapas ett program som uttrycker professionalitet och samtidigt enkelhet? Dessa frågor och många fler uppkom vid starten av arbetet med gränssnittsdesignen till programmet CMC (Creative Media Concept).Huvudpoängen med CMC är att användaren på mindre än en minut ska kunna presentera t.ex. en företagspresentation. Eftersom CMC endast varit en idé i tankarna tills nu, så har målet med detta projekt varit att utveckla idén och skapa en gränssnittsprototyp åt företaget Cascade Creative Media i Luleå. För att uppnå detta så har en enkätundersökning och teoristudier utförts, detta har sedan legat till grund för de olika idéer som tagits fram.

?A designer rarely works alone?. The first sentence of Jonas Löwgren and Erik Stolterman's chapter on design as a social process made me curious. What if a designer worked alone? What are the actual differences between working on a project alone and as part of a group? How would it influence the creative process? What would be different when coming up with ideas, meeting with clients and setting deadlines? Does the influence of another designer stifle the individual creativity or does it actually nurish it? This paper is written to answer these and other questions as well as take you through the creative process of the production of ?Daddy? - the music video..