I am a glassblower and I am a woman. In this project I've been working with alternative representations of the female body, muscles and technology. Mouthblown objects contains traces of body and form representations.I've been using muscle sensors to collect data from my arms while I blow glass. A special has made 3D-models from the collected data and I've blown these viritual objects in glass.My work is based around issues like: What happens when I measure my muscles? Am I (and my process) affected by the data gathering? How can I create alternative representations of the female body? What is the relation between glassblowing, the objects, body and gender?.

The goal of this project was to create a web-based, crowd-sourced, correlational database, that easily allowed users to submit objects and receive correlated objects as results. The webservice was created in the web development languages of HTML, CSS, PHP and Javscript, with MySQL to handle the database. Simultaneous development was kept in check with the aid of the source code management system GIT. Upon completion, the service contained several HTML-views, the ability to add and rate objects, a per-object dedicated page with information parsed from Wikipedia.org, and a view with objects ranked in accordance to the preferences specific to the current user. Roughly a month after the beginning of development, the website was publicly launched and promoted in order to collect data, and improvements were added to the website as needed.

The purpose of this Masters thesis is to investigate what attributes were used in story-time activities, why attributes were used in story-time activities and what functions they have. The study is based on qualitative methods in the form of a literature studies, observations and interviews. The interviews were undertaken with two storytellers from the same public library. The story-time activities were adapted for children from three to six years of age. The study suggested that there was a connection between story-time activities and a social and cultural perspective.

The purpose of this paper is to explore what objects that can be seized and how the management of a seizure should be conducted. Ability to take enforcement against an individual should be carefully weighed against the rights and freedoms that exist. Seizure is one of the various restraints that exist, and the regulation on which they appear is mainly in the Code of Judicial Procedure, Chapter 27th. To be able to apply coercive measures, it is fundamental prerequisite that a criminal investigation is initiated, but there exist some significant exceptions to this. There are also rules about who has the right to provide for the seizure, the decision can be taken by a prosecutor, an investigator, a police officer or, in special cases, the court.

This thesis takes its starting point in the 27 Chapter 1, section 1 of the Swedish code of judicial procedure, where the following is found:?objects reasonably presumed important to a criminal investigation or taken from a person through a criminal act or subject to criminal forfeiture may be seized?In this thesis we have investigated what kinds of problems occur when the seized object is part of an investigation of IT-related criminality. We have used methodological investigations of Swedish laws, legal usage, and the preliminary work with laws. Further have three interviews been made with different actors affected by or involved in seize of objects. These persons were a police officer, a public prosecutor, and a person whose object has been seized.The result we present is that there exist three kinds of problems related to objects that are seized within the demarcation of this study.

This study concerns a selection of prehistoric metal objects of animalistic design, published at the internet site of the Swedish Statens Historiska Museum. It seeks to give an impression of the design elements used, and to find likely models for the motifs among live animals. The method used is a qualitative hermenuetic comparative study of objects, where the distinct significant design elements are being identified and interpretated. Several significant design elements are identified, and some are interpretated as representing certain animals. The amalgamation of differentiating design elements in some objects however, leads to interpretations of compound animal motifs, where some motifs are considered ambiguous and some are rendered uninterpretated.

Barren rearing environment and early weaning of piglets can lead to a high level of distress, behavioural disturbances and reduction in weight gain. The main aim of this thesis was to study the effects of potential enrichment objects on piglet?s behaviour and weight gain during the pre- and post-weaning period. The second aim was to examine what type of object stimulated the highest frequency of interaction. The study was carried out at the Swedish Livestock Research Centre in Lövsta where a batch of litters from 10 first-parity Yorkshire sows were used.

Bright Chest of DrawersThis project derives from a fascination of spaces which withonly light and shadow withhold a narrative value, which createsemotions and experiences with a minimum of objects. Iwanted to invesitigate light and lighting, and create a productthat can change the mood and experience of a spatial enviromentwith light. Questions I asked myself was: How do I relateto the spatial limitations that arise? How can I, with light asmy tool, give form to an immaterial value or state of mind?Will the object that illuminates be the most important factorof communication and meaning when I want to tell a story, oris it the light itself?The result became a chest of drawers that is lighted up frominside when you open the drawers. It serves a function as a unitfor storage of objects, but also makes us reflect of the importanceof objects, of how we define a spatial enviroment, andwhat we consider as private spaces in our home..

The aim of this masters thesis is to analyze how subjects of ethnographical objects should be described. To obtain this we focus on which subject aspects of ethnographical objects that could be possible and valuable to analyze and to index. This is done with the help of established LIS subject indexing theories, and through the perspective of ethnographical museum documentation. The theories are both general, concerning the stages of subject indexing, and more specific, regarding the indexing of pictures. One of the latter is the theoretical model of Sara Shatford, from the article Analyzing the Subject of a Picture.

The Royal Library (KB) of Sweden harbours great collections of different objects through a special law from 1661. This master degree paper is exploring a part of KB?s digitisation of those collections. It deals with the questions about what the KB had chosen for digitisation, why those choices were maid and who is responsible for making these decisions. The paper will also for example seek out different patterns and trends in the information.

I examine how relationships between people and objects are created and continues through contiguity every time one use or touch an object and through participation through use and memories. The aim is to continue a relationship and to keep a communication alive with people beyond time and space, then, now and henceforth. I take advantage of and transform the traces in an object that belonged to someone. Parallel I create new space for bodies to put their mark for the first time. I compare my work with the Nordic Museum's task to preserve the present for the future.

This bachelor thesis brings up a discussion about museums availability and access to thearchaeological display objects towards blind and visually impaired visitors. The study phasewill take start in analyzing four museums in south Sweden, all which have exhibitions aboutthe prehistory.Visually impaired and blind visitors don?t have a lot to go on at the current exhibitions aboutprehistory. This is because of the lack of access and availability when it comes to their specialneed. To raise awareness to this problem I took out a survey for the museums to answer.

Cultural objects may become wet by deliberate water cleaning, water disaster or watersoaked for other reasons. Air drying textile objects and even other organic materials from awater wet state, involves many problems depending on the strong capillarity action of water.Damages and changes such as bleeding of dyes, stains or lines of impurities from watermovement, shrinking or stiffness can occur. Freeze-drying as an alternative drying methodhas often been used for wet archaeological and marine objects, but more seldom for historicalmaterials.This bachelor thesis addresses the issue of whether freeze-drying can be an alternative controlleddrying method for historic costumes. Costumes and related objects are often compositeobjects, consisting of multiple materials, as well as being three dimensional, all of whichwill complicate drying. The purpose of this study was to investigate whether it is possible tohandle costume objects after wet cleaning for drying by freeze-drying, and if damages due tosurface tension of water, can be avoided in this way.

A titania-supported nickel catalyst was prepared and tested in methanation in order to evaluate its catalytic properties (activity, selectivity and specially, activity loss), and compare it with an alumina-supported nickel catalyst.The titania-supported catalyst did not only show higher stability than alumina, but also presented a different cause of deactivation, carbon formation. In addition, a kinetic model was obtained for the titania-supported catalyst, and a study of the effect of different operating conditions (temperature, composition and partial pressures of synthesis gas and water) on the deactivation rate and carbon formation of this catalyst was performed.

This thesis is based on an exhibition at the county museum Upplandsmuseet in Uppsala, Sweden. During an internship at this museum I got a chance to produce an exhibition, with some guidance from the museum staff. This exhibition was created with the purpose of teaching about agriculture in the late 19th century and also about the magnificent workmanship of Alrik Klingberg, who have carved these wooden objects for over 50 years. Each one of the objects possesses a story and a memory. The memories that Alrik Klingberg has incorporated into the objects are mainly from his childhood at a croft in northern Uppland.