My intention with this paper is to try to understand the meaning of the double sex symbols which can be identified on a number of Neolithic so called battle axes from the region round the lake Mälaren in Sweden. My conclusions are drawn after having studied a number of archaeological thesises. I have realized that the society was egalitarian from what is said about the funeral habits since women and men were buried with the same care. Ceramics from the Skogsmossen site show a very long continuity over 15-20 generations. These facts indicate a peaceful society without traumatic breaks where knowledge would have been lost.

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..

This thesis has had its focus on ceramic shards found in a trench by the late neolithic western shore of the Ajvide site. The purpose of the thesis is to investigate if there are changes in the pottery between the test trench and the Ceramics found by the graves, known as the main site. The author has compared the ornaments from the test trench with an ornament schedule made from over 50 000 shards from the assumed main site. Not only changes regarding ornaments has been noticed but also new techniques and raw material. The author has also implemented two 14C datings which backs his hypothesis that the shards from the test trench are younger than the shards that made the earlier ornament schedule.

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..

Abstract.The levels of dioxin and comparable substances rose to a large extent in our environment during the second half of the 20'Th century. This was the result of the synthesis of, and careless usage of these substances in cooling fluids, hydraulics, pesticides etc. Background levels of dioxins and furans in sealed samples prior to this era suggest that former sources of these substances existed. Salt glazing is a method of adding a smooth acid resistant exterior to stoneware Ceramics. The technique has been in use since the 16'Th century, maybe even earlier than that.

Abstract.The levels of dioxin and comparable substances rose to a large extent in our environment during the second half of the 20'Th century. This was the result of the synthesis of, and careless usage of these substances in cooling fluids, hydraulics, pesticides etc. Background levels of dioxins and furans in sealed samples prior to this era suggest that former sources of these substances existed. Salt glazing is a method of adding a smooth acid resistant exterior to stoneware Ceramics. The technique has been in use since the 16'Th century, maybe even earlier than that.

In this essay, Neolithic potsherds from Alby, Öland has been examined. The purpose was to investigate the connection between the lipid residues and the vessel shapes and ornament. To solve the attempt lipid and morphological analyses were executed. The lipid analysis revealed traces of different food residues and the morphological method showed various shapes and decors. The result indicates that the Alby Ceramics has been used for cooking/storage of different fish and meat dishes, as well as vegetables and that the vegetables doesn?t derive of cereals..

This thesis analyses the Funnel Beaker Culture on the island of Gotland. Since no comprehensive studies of the remains of the pottery have been made, this is one of the reasons why I chose to study this topic. The purpose of this study is to analyze the pottery and to discuss the chronological and spatial implications. Four sites from the Funnel Beaker Culture on Gotland are studied; Mölner/Gullarve, Gräne, Ardags and Suderkvie. Ceramic samples are analyzed with respect to its ornament and it is discussed if the pottery found at various sites are contemporary.

In this essay, Neolithic potsherds from Alby, Öland has been examined. The purpose was to investigate the connection between the lipid residues and the vessel shapes and ornament. To solve the attempt lipid and morphological analyses were executed. The lipid analysis revealed traces of different food residues and the morphological method showed various shapes and decors. The result indicates that the Alby Ceramics has been used for cooking/storage of different fish and meat dishes, as well as vegetables and that the vegetables doesn?t derive of cereals..

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..

The aim of this essay is to see if there are any relationship between the four Megalithic graves, and the newly excavated dwelling site in Resmo socken on Öland. The Megalithic graves on Öland consist of one dolmen and three passage graves. Is the excavated site a settlement? Since there are no signs of housing constructions, I will also explore other possible purposes of the site. What surprised the excavators was the concentration of pits that contained Ceramics, flints and burned bones.

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..

The main purpose of this essay is to examine if it is possible to identify farms of ?forest Finnish? people in Sweden, by means of an archaeological analysis, comparing the forest Finnish settlement with known none-forest Finnish settlements. This study is based on material excavated from the farms of Grannäs, and Råsjö, in the Swedish provinces of Jämtland and Medelpad. Both farms are dated to the 17th and 18th century. The study itself is divided into three parts, firstly a general study to get an overview of the material, secondly a study of Ceramics as an attempt to discern social status and lastly a study of the animal bone material for analyzing the forest Finns? livestock and possible hunting habits.

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.

Den prekära konsthantverkarenPrekariatet, en framväxande ny klass som utmejslar konturerna av en social grupp. Här sammanförs individer under samma paraply, trots att de har helt olika utbildningar, eller ingen utbildning alls eller liknande sociala och ekonomiska förhållanden, så delar de samma politiska verklighet. De som befinner sig i tillvaron upplever att den är provisorisk och de lider av kronisk otrygghet.Ordet ?prekär? betyder ?mycket bekymmersam?. Den nya samhällsklass som kallas ?prekariatet? har det just bekymmersamt.Syftet med mitt projekt är att använda material, en arbetsplatskultur och processer inom bemanningsbranschen och integrera dem med min konsthantverksprocess för att skapa en visuell berättelse om en klassposition..