The aim with this essay is to explore the possibility that jewellery was worn in combinations during the Bronze Age in the south of Sweden and Denmark as a way to show identities. By examining neck-collars and neck-rings and the jewellery found with these objects in graves, I have managed to find a few combinations that re-occur within regions which I think point towards ways of expressing different identities.To fully explore the subject I have also examined the design of the neck-collar to see if the designs have the same regional difference as the combinations. Though there is some difference between regions it is the similarity of the design over regions that stand out. It is possible that the design of the neck-collar has shown a different meaning than the jewellery combinations.There are similarities between the jewellery found in combinations in the graves and the jewellery found in hoards. Neck-collars and neck-rings found in combination with other jewellery in hoards show a greater regularity over the south of Sweden and Denmark then those combinations found in the graves..

The Secret Fashion Council blends spirituality with fashion, art and design. This jewellery collection shows the connections between parapsychology and quantum physics, based on the study of matter and energy, that everything in the universe is built of vibrations. Many believe psychics have the ability to sense this. By using the skills of a psychic, the Secret Fashion Council invites the wearer to have the jewellery ?read? and evaluated in a most special way, tracing the wearer?s spiritual past, present and future.

During a major part of modernity the concept of identity was something that in many ways was predetermined for the individual. People in general remained in the same social spheres as the generations before, shared common religions and beliefs and where more or less bound to a geographic area. Identity and lifestyle was something that was adapted quite unreflected from habit and tradition. Though, during the cultural modernisation process that took place in the twentieth century, previous shared patterns of interpretation vanished and became individual.  Finding references, constructing an identity and establishing a self became individual.

There is an expression called ?grief of climate? that refers to feelings of powerlessness and heaviness related to the environmental problems of today. A feeling that every move we make has bad consequences for nature. This essay is an investigation of how art in general and Jewellery Art in particular can be a way of discussing and visualizing current environmental problems and the complex relationship between human and nature. I am discussing how artworks dealing with a dark and dystopian picture of the relation can be seen as the memento mori of our time.

 The intention of this paper is to explore the contacts between the Swedish province of Scania and Southeastern Europe in the Migration Period. This has been done through comparative studies of four object categories. Parallels to glass, horse trappings, jewellery with inlays and sword decorations found in Scania have been studied in southeastern and centralEurope, as well as the cultures of peoples involved in the Migration processes. The conclusion is that contacts were upheld in several ways: through trade, exchange, alliances and gifts. Old trade routes along the Vistula were used in the south-easterly direction to the Pontic area but were changed to the Moravian Gatein the latter half of the period, while westerly routes probably worked most of the time.

Nina Johansson starts her essay by making some examples of dreams to show the diversity of the ?dream world?. She speaks of how all humans dream, that it ties us together. She wants to translate the ?feeling of dreams? into wearable objects, and to be able to do that, she must try and describe what that feeling consists of.

Ear piercing performed in hairdressing salons and jewellery shops using a piercing gun has been set aside from the obligation to notify the local environmental and public health authorities, due to the use of disposable cassette with the piercing gun. According to the Swedish environmental code each practitioner are required to prevent any health hazards arisen from the operation. Local bacterial infection is the most frequent complication associated with the ear piercing procedure and to prevent the potential risk of such an event, hygiene conditions in both the premises and in procedures are essential. The purpose of the report was to examine the presence of ear piercing practitioners in Umeå and their current hygiene conditions. The study consisted of interviews with employees and managers on site whose answers was evaluated and compared to the general recommendations of The National Board of Health and Welfare.

Dust, our smallest common denominator                                                                                                                                                                 Charlotta Lindvall ABSTRACT  I find it fascinating to know that we are all made of the same material as the stars and that everything is connected to each other and in a constant movement and transformation, a recycle of material. We are all made of stardust. In fact all life is sprung out of dust.In my essay I investigate the dust and ask the question if there are any traces in the dust. I look at the history of the dust and how it has affected us and our world through the decades. What does this small and airy but oh so unappreciated dust tell us? Why do we want to get rid of it? Is it possible to find a sense of belonging in the big context by investigating the dust and its origin and could I transform such a low material as dust into something magic that makes people reflect on our origin and belonging and how everything is connected? In my work I use dust as a material and in the essay I compare my work with other artists who have worked with dust as a material.Dust is everywhere because its source is from everything.

During an excavation at Old Uppsala 571 raw garnets was found. In comparison with similar fragments from other sites in Sweden my aim was to prove a completely domestic production of garnets for cloisonné work. I have chosen to look at the archaeological sites of Old Uppsala, Valsta, Slöinge and Paviken and more closely at the material from Old Uppsala and Valsta. My theoretical framework has been to look at the garnets own agency in the contemporary society.Garnet cloisonné was a popular jewellery form during the Merovingian period on the continent although it came to an end in the early 7th century. It was during this time in Scandinavia a new sort of garnet, technique and paste was introduced and the garnet cloisonné was profoundly used for the gear of the elite and ritual objects.

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.

How can the object based art help us, as viewers and as makers, to access a supplanted emotional state?One way of positioning yourself within the corpus-field is to step outside the traditional borders of the field and aim for other values within the objects, such as a visible working process, a storytelling or an emotional relationship to the object.  It is a way of taking a step from the traditional silversmithing towards some kind of free undefined corpus-art.  To reach for suppressed feelings is one way to find an importance within the artistic work, to give it a purpose.By investigating the concept of the sublime and the surrealist movement I try to find examples on how you, both as a viewer and as a maker, can put yourself in an emotional/intuitive state.  Through interviews with Jewellery and corpus artists I get a maker?s perspective which I compare with my own reactions to their work.Works of art can be used as a catalyst to reach, and maybe also to process, unattended feelings. This creates a strong emotional connection to the work.  As a maker you can, for example, do this by working with it as a theme, or by using an intuitive working method.

Physiotherapists treat people with different views of the world and medical beliefs, which require a good understanding of cultural differences. One way to achieve cultural understanding is through self-reflection in a new context. During five weeks the authors, two physiotherapy students, completed a clinical practice at the rehabilitation center Pina Palmera, Zipolite, Oaxaca, Mexico. At the beginning of the period a critical incident was chosen, when the head physiotherapist for the ward Cuidados Especiales intended to sell jewellery to the authors during a treatment of a patient. The authors have by using the reflection framework "Framework to guide reflective process", and Interpretive Phenomenological Analysis (IPA) for analysis, discussed different ways of communication, adherence, education, and self-reflection and critical thinking.

Physiotherapists treat people with different views of the world and medical beliefs, which require a good understanding of cultural differences. One way to achieve cultural understanding is through self-reflection in a new context. During five weeks the authors, two physiotherapy students, completed a clinical practice at the rehabilitation center Pina Palmera, Zipolite, Oaxaca, Mexico. At the beginning of the period a critical incident was chosen, when the head physiotherapist for the ward Cuidados Especiales intended to sell jewellery to the authors during a treatment of a patient. The authors have by using the reflection framework "Framework to guide reflective process", and Interpretive Phenomenological Analysis (IPA) for analysis, discussed different ways of communication, adherence, education, and self-reflection and critical thinking.

Physiotherapists treat people with different views of the world and medical beliefs, which require a good understanding of cultural differences. One way to achieve cultural understanding is through self-reflection in a new context. During five weeks the authors, two physiotherapy students, completed a clinical practice at the rehabilitation center Pina Palmera, Zipolite, Oaxaca, Mexico. At the beginning of the period a critical incident was chosen, when the head physiotherapist for the ward Cuidados Especiales intended to sell jewellery to the authors during a treatment of a patient. The authors have by using the reflection framework "Framework to guide reflective process", and Interpretive Phenomenological Analysis (IPA) for analysis, discussed different ways of communication, adherence, education, and self-reflection and critical thinking.

Physiotherapists treat people with different views of the world and medical beliefs, which require a good understanding of cultural differences. One way to achieve cultural understanding is through self-reflection in a new context. During five weeks the authors, two physiotherapy students, completed a clinical practice at the rehabilitation center Pina Palmera, Zipolite, Oaxaca, Mexico. At the beginning of the period a critical incident was chosen, when the head physiotherapist for the ward Cuidados Especiales intended to sell jewellery to the authors during a treatment of a patient. The authors have by using the reflection framework "Framework to guide reflective process", and Interpretive Phenomenological Analysis (IPA) for analysis, discussed different ways of communication, adherence, education, and self-reflection and critical thinking.