AbstractThe purpose of this essay is to analyse and interpret artist Hans Hedberg?s monumental, ceramic reliefs in Sweden and France. Hedberg is internationally famous for his ceramic fruits and eggs in different glaces and formats. A mostly unknown side of his artistic production is that he produced about 50 ceramic reliefs during the 1950s and up to the 1970s in public buildings. Hedberg was one of very few foreign artists in France, who, during a long period of time, produced monumental, public reliefs for the French state.

Syftet med den här uppsatsen är att återge en designprocess. Målet med examensarbetet har varit att skapa en kaffeservis utifrån Höganäs Keramiks formspråk och användarnas behov. Användarna är personer som startar eget hem och familj.Till grund för designprocessen har användarstudier i form av enkätundersökning, observation och dialog legat.Genom ITK (Identity Tool Kit) och formanalys har jag tagit fram kärnan i Höganäs Keramik och dess formspråk och satt ramar och koncept för projektarbetet. Konceptet Tradition kommer av Höganäs Keramiks hantverkstradition men också av den varma, mysiga och hemtrevliga stämningen kring den långa svenska fikatraditionen.Resultatet blev en kaffeservis inom konceptet Tradition bestående av stor och liten kopp med fat, assiett, kaffe-/tekanna, mjölkkanna, sockerskål och serveringsfat..

As to now, no study has been made of the mica tempered pottery found along side the asbestos tempered pottery in Norrland during the Bronze Age and Early Iron Age. Its occurrence has previously only briefly been noted in a few published works and the dating and geographical distribution of mica tempered pottery in the north of Sweden has to a large extent been unknown. This paper aims to compile the available information about this type of pottery and the locations where it has been discovered in order to date and explain the occurrence of mica tempered pottery in Norrland. It's also suggested that the occurrence of mica tempered pottery is connected to the spread of the early metalwork from the east to areas that today makes up the north of Norrland..

Mitt kandidatarbete är ett undersökande och utmanande av unga kvinnors självbild i förhållande till upplevda krav och förväntningar, samt normativa föreställningar om hur en kvinna ska vara. Jag vill, genom konstnärlig/konsthantverklig gestaltning i materialen Keramik och glas, lyfta fram och bejaka det otillåtna som ?inte får finnas? och låta det utgöra det vackra. Att inte vara till lags, inte rätta sig efter vad andra tycker utan öppna upp för att skapa sina egna ideal. Att våga ta den plats man vill ha; högljudd eller tyst, motbjudande eller attraktiv.

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..

SammanfattningSyftet med uppsatsen har varit att söka reda på huruvida Keramiklera används som material för undervisningen i formgivning i högstadie- och gymnasieskolan, varför eller varför inte materialet används samt att se på lärares inställningar till materialet. Metoden har varit en enkätundersökning bestående av frågor till högstadie- och gymnasielärare rörande olika aspekter vad gäller materialet Keramiklera och lärarnas inställning till materialet. De svar enkätundersökningen gett visar på att Keramiklera inte är vanligt förekommande i undervisningen för formgivning. Resultaten visar även att lärarna i brist på passande lokal, brännugn och tid väljer in andra material i sin undervisning som skulle kunna ersätta Keramikleran..

Mitt kandidatarbete är en teknikstudie där jag grottat ner mig i Keramikens geologiska ursprung. I arbetet har jag utgått ifrån magmatiska och metamorfa bergarter som granit och gnejs. De innehåller kvarts, fältspat och glimmer i perfekta proportioner för att redan vara färdiga keramiska glasyrer. Jag har sedan provat att tillsätta lermineralet kaolin för att göra egna stengodsleror utifrån två äldre recept på parian och porslin. Genom att själv krossa och mala sten vill jag synliggöra alla moment som kan ingå i framställningen av lera samt medvetandegöra den fysiska närheten till materialet..

Syfte: Syftet med denna uppsats är att undersöka hur La Poterie kan utöka sin kundkrets och behålla de redan befintliga kunderna, detta genom att se till olika marknadsföringsverktyg. La Poterie är ett svenskt företag som importerar och säljer portugisisk handmålad Keramik och inredningsdetaljer.Metod: Studien är uppbyggd på två olika kvantitativa enkätundersökningar, med potentiella och befintliga kunder till La Poterie. Vidare har kvalitativa intervjuer genomförts med ägarna till företaget. Denna information har vi bearbetat tillsammans med relevant teori och olika marknadsföringsverktyg.Resultat och Slutsats: Det resultat vi har kommit fram till efter studiens genomförande är att La Poteries befintliga kunder främst är kvinnor i åldern 31-40. De flesta bor utanför Gävle och handlar på La Poterie ungefär 0-2 gånger per år.

Since 1865 when Lubbock introduced the Palaeolithic and Neolithic to the surrounding archaeological world there has been an apparent problematic in how we define the different periods. When the Mesolithic age was introduced to fill the hiatus between the Palaeolithic and Neolithic, the problematic became even more noticeable. By examine different subjects which distinguish the different periods I wish to highlight the problematic in viewing them as characteristics. The problem lies in seeing the characteristics as defining only one period when they actually can be seen in two or all three of the periods. I then tried to give the different period's new better suited definitions.

AbstractWhen I, at the age of 20, started working in home care service, I had an idea of what it means to age, a view witch I quickly realized was not true at all. The essay begins with a search for the images of aging you come in contact with, when you do not have a deeper interest in the matter.I take a closer look at how aging is described and how the concepts of aging and dignity are often interconnected, and debate about which images of aging that is outdated and where from they originated.I also show that that image is in for a change, much is happening right now, and there are many like me, who want to change and broaden the view of what aging can mean.Finally I describe my sculptures ?Beatrice? and ?Rosmari?, and reflect on how they relate to the image of what old age looks like.As a sculptor, I want to create an alternative to a widespread image of old people as a problem or idealization of the olf lady as a kind, cute and cookiebaking creature, as well as an alternative to the traditional sculpture tradition, that often show men in positions of power, and sweet passive women/girls.I tell of the strong, stubborn, eccentric and absolutely ordinary lady.

This essay aims to investigate the use of an origin-ID within the Beaker Complex, as defined by John C. Barrett, seen through their different expressions of use in ceramic form and ornamentation, architecture and landscape through time and space with special emphasis on the late Neolihtics in the South of England. The analytic vehicle "the reinforcing circle" is used as a new diffusion model suggested by Stuart Needham, and the analytic tool "incubation" is used to structure the process the Beaker-cultures may have used to reach cultural hegemony. Id est, that the Beaker-cultures socially invites already existing cultures, offering within family and trading the results of new technolo­gies. And/or, occupy the space and use the authority needed by re-writing the narrative as seen in the grave use and grave deposits.

This thesis examines a sample of Pitted Ware pottery from the Gotlandic site of Ajvide in regard to the spatial and temporal relationship of the shards. Ajvide Stone Age site have been extensively excavated over the past 25 years and the most recent analysis of pottery was carried out by Inger Österholm in 1987 and new analyses of the material are therefore greatly needed. Pottery from three sample areas was analysed in regard to their distribution, decoration, fragmentation, part of pot and quality of the goods. To analyse the material in a contextual way a multivariate statistical analysis called correspondence analysis was used. Two areas denominated ?dark areas?, which Österholm defined previously, as possible ritual sites, and one reference area with mixed material were chosen for the analysis.

The aim of this paper was to study fourteen pottery sherds found at the site of Ayia Irini in northern Cyprus using Gas chromatography- Mass spectrometry. Ayia Irini has by the archaeologists of the Swedish Cyprus Expedition been interpreted as a sanctuary, with activity spanning from the Late Bronze Age throughout the Cypriot Iron Age.The results showed traces of vegetable lipids in almost all samples, and traces of lipids from terrestrial animals in all but two. One sample showed traces of resin. Several samples were contaminated by different components found in plastics, such as plasticizers. No obvious common denominators were found for samples of similar pottery type or similar dating.

Arbetets syfte är att genom textanalys av artiklar publicerade i Tidskriften Svenskt konsthantverk under åren 2004 och 2008 belysa det samtida konsthantverket i Sverige sett ur konsthantverkarens perspektiv. Utifrån syftet besvaras följande frågeställningar: Vad väljer konsthantverkaren att lyfta fram och berätta om i en intervjusituation? samt Hur ser konsthantverkaren på begreppet konsthantverk? Frågeställningen besvaras genom en kvalitativ dokumentstudie, där textmaterialet ur artiklarna tolkas. Studien visar att bilden av det samtida svenska konsthantverket är mångfasetterad sett ur konsthantverkarens perspektiv. Det samtida svenska konsthantverket inrymmer det mesta från bruksföremål till idébaserade och konceptuella objekt.

In this essay we map and evaluate obstacles and problems that can occur during the establishment of international companies in Russia. This is done by investigating Swedish companies, which are established in Moscow and Saint Petersburg. We used secondary and primary data from books, previous surveys, reports, articles and the Internet. We also interviewed the following companies: Alfa Laval, Kockum Sonics AB, Höganäs Keramik, Skanska, Assa Abloy, Advakom, AnoxKaldnes, Lindab, Delovoj Peterburg, HL-Display and also a journalist from the Swedish Radio.Most of the problems named by the interviewees were similar, but some differences were also found. The differences were primarily found in the ranking of importance between the different problems.