This essay studies the funnel-beaker ceramic in connection with the megalith graves in South Scandinavia. In my work I have described the nature of ceramics and looked on the crockery types and ornamentation and then discussed the use of the material in a ritual perspective. In the first part I have focused on the critical aspects you have to think about when you do a study like this one. In the second part of this essay I have done a case study, with the ceramic material, in three passages graves in the area of Falbygden, Western Sweden and studied the ceramic material and the nature of it in South Scandinavia as well. Then in the third I discussed the potential use, there is two, of the ceramic material in general of South Scandinavia and looked at it in a ritual perspective..

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..

In this report presents a thesis by Frida Altskog performed in collaboration with Askersunds Kakelmakeri. The project?s goal has been to produce a ceramic ledge after the company?s specifications. The company?s desire and production facilities have been in focus.

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..

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.

Kisa Courthouse in the south of ?sterg?tland is a house built in the early 19th century with a typical neoclassical style. With clearly regular symmetrical wooden facade scheme with a central main entrance. The main entrance is a wooden double door with richly decorated portico. the crown moulding above the door consists of a band of dentils with a cornice moulding at the top.

In this paper I will discuss the occurrence of ceramic vessels in the graves of the Pitted ware culture on the island of Gotland, Sweden. I will focus on four sites and compare these sites, with hopes of finding some similarities or interesting differences. The sites are Ajvide in Eksta parish, Visby in Visby parish, Västerbjers in Gothem parish and Fridtorp in Västerhejde parish. The idea is to look at the grave goods, with focus on the ceramic vessels, or at least, the bottoms of the vessels, where one can clearly see that it's been deposited in the grave. I will try to analyze the vessels (shape and in some cases height), look where in the grave they've been placed, how many graves contain vessels, who's been given these vessels and if the vessels have filled a certain purpose once they've been deposited in the graves..

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.

In today´s forestry, assessments of needs for thinning are based on basal area measurements. This is an indirect measurement. The approach and the developed assessment tables are based on an assumed production forest, which implies that management proposals in stands that deviate from the basic model may be misleading. Since Walter Bitterlich in 1948 launched the idea of the relascope, several modifications have been developed for different purposes. In common is that all are based on a certain angle measurement principle.

Syfte: Att jämföra marginell och intern passform på kronor framställda genom fyra olika digitala avtryckssystem med kronor framställda genom konventionell avtrycksteknik, som kontrollgrupp. Metod: Femtio helkeramiska kronor framställdes från 50 standardiserade provkroppar, som delades in i fem grupper, där varje grupp representerade ett avtryckssystem. Varje krona cementerades på sin respektive provkropp och sektionerades till fyra segment. Den marginella och interna passformen mättes i 8 fördefinierade punkter. Totalt 1567 mätningar utfördes, analyserades och jämfördes. Resultat: (1) Gällande marginell spalt kunde inga signifikanta skillnader hittas då kontrollgruppen jämfördes med vart och ett av de digitala systemen. (2) Lava? hade mindre marginala spalter än CEREC® och iTero®, (3) CEREC och Lava hade mindre spalter i chamfern jämfört med iTero och kontroll, (4) E4D® visade mindre spalter än CEREC i mätpunkter 4-8 och CEREC visade en mindre spalt i mätpunkt 2, (5) Lava visade mindre spalter än CEREC i mätpunkter 1, 3 och 5-8.

This essay comprises a study of the bridal crowns of Tjust, with respect to their national history, concept and aspect of mythological symbol. The tradition of bearing the parochial bridal crown is closely associated with religious medieval politics, and has also come to include elements of superstition and folklore. Attention is paid to these aspects dealing with the position of the bridal crown within current forms of tradition and culture and the impact on brides of this day and age. As the tradition of Church-owned bridal crowns is intrinsic to this country, and especially in the area of which Tjust is a part, possible solutions to the continued tradition are investigated..

This thesis analyses the decoration on the pots of the Pitted Ware Culture on Gotland. The pottery from this period is richly decorated with various ornaments, the most common are the pits but other types of decoration occur. The purpose of this study is to get an insight into what the patterns meant to the people that made and used them and what role these may have played in their lives. The author will analyse the decoration on potsherds found from the three Pitted Ware sites of Visby, Ajvide and Hemmor on Gotland. This will be used in a comparative analysis to investigate if differences and/or similarities of the pattern occur between and among the sites.

In this investigation has an attempt to find out whether so called transplanting shock depends on the moving and transplanting of trees, to other conditions, or if it is due to the imbalance between the root to shoot ratio. Seventy trees of Prunus avium have been part of the investigation and these trees have been divided into four different groups depending on methods of production, untouched on the field, trees still on the field but with root pruning, trees moved and planted into Root-Control-Bag, trees moved and planted into Spring-rings. To be able to answer the question, measurements of the length of the terminal shoots and the lateral shoots and the dimension of the stem growth have been done and also has a visual judgment of the trees vitality been performed. The result shows that it is not only the move of the trees that gives them transplanting shock, but rather the loss of roots which gives an imbalance between the root and crown..

During the time between 1660-1680 the nobility in Sweden came to be a gigantic landowner with 65 % of the total amount of land, but only 20 years later they lost almost half of their possessions. The eighteenth century was on its way ? a period in history were ?ordinary? people started to question the nobility?s right to be excused from tax, at the same time as farmers and the ?middlegroup? started to appropriate more and more land from the nobility and the Crown.Through King Gustav III:s document of 1789, land became free to own to whoever it was ? except from the prime nobility?s land; but the Swedish Parliament followed the wind of change, and 1809/10 this land was also free to own. At the end of 1840, the nobility owned about 19 % of the land in Sweden, and the farmers and middlegroup owned 69 %. The tide had turned...But Öja parish showed a different development compered to the rest of Sweden.

This thesis is a report of the practical aspects and the problems of classification and documentation of a collection of memorabilias from the Crown Princess Couple's Wedding in Stockholm 2010. The collection contains 38 objects collected by Nordiska museet [The Nordic Museum], Sweden's largest museum of cultural history. Nordiska museet has a total collection of over 1,5 million items collected since 1873. My ambition in this thesis has been to describe my work with the classification and documentation of these new objects and their context. One of the main problems was how to combine the modern objects with the old existing collection within the two classification systems used at the museum.