We understand the world around us through categorization and classification. But things are morecomplex than that, life is mixed up, flowing and unable to stick to labels. The main purpose ofcorpus is to contain, organize and control food and beverages. Corpus objects are also socialmarkers that have a tradition of being elitist; in both choice of material and in that they imply acertain way of usage. Corpus objects are heavily loaded with tradition and rituals.

Vi lever i en ömtålig vardag. Vi gör den än ömtåligare genom vårt sätt att leva. Det är ingen idé att jag säger det med ord; jag har redan sagt det så många gånger att människorna runt omkring mig har slutat lyssna. Kanske är objekt en bättre ingång till samtal. I det här arbetet har jag, genom såväl text som praktiskt arbete inom corpuskonstfältet, undersökt vad som händer med oss när vardagen faller sönder och kaos utbryter.

When I was fifteen I decided that I wanted to become a blacksmith. At the time of my decision I had been obsessed with fantasy for several years. I came to the conclusion that if I could not live in a fantasy world then at least I would make bits and pieces from it. That became the entry point of my fascination for material and techniques. I started with blacksmithing since it had an aura of magic or mystique in the material and in the making process.

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.

There are only a few published studies on the normal variation in ovary size in bitches. All of the previous studies have been made on the beagle breed. This study was performed on indian street dogs with the objective to measure ovaries and structures in the ovaries after ovariehysterectomy to decide if smaller dogs have smaller ovaries and how small and big they can be in the normal dog. The structures (follicle and corpus luteum) where also measured to get a maximum size for normal structures in the bitch. This information can be valuable when examining the ovaries of the bitch with ulstrasound.

The aims of the thesis are to describe ways to obtain information needed for teaching andlearning practical and artistic subjects at a folk high school, to look into which part the library plays in this search for information, and finally, to see what the library can do to meet the information needs existing arnong teachers and students of arts and craft.Qualitative interviews were made with four teachers, seven students and one librarian atone folk high school, providing data for the thesis. The results indicate five main ways to obtain information among the persons interviewed:through books, by their own work process, by sensuous experience, throughcommunication with other people, and by the master of the craft passing on his/herknowledge to the apprentice.In this thesis some suggestions are also given for helping the library to meet the information needs of people involved in arts and craft work..

Aligning parallell terms in a parallell corpus can be done by aligning all words and phrases in the corpus and then performing term extraction on the aligned set of word pairs. Alternatively, term extraction in the source and target text can be made separately and then the resulting term candidates can be aligned, forming aligned parallell terms. This thesis describes an implementation of a word aligner that is applied on extracted term candidates in both the source and the target texts. The term aligner uses statistical measures, the tool Giza++ and heuristics in the search for alignments. The evaluation reveals that the best results are obtained when the term alignment relies heavily on the Giza++ tool and Levenshtein heuristic..

Aligning parallell terms in a parallell corpus can be done by aligning all words and phrases in the corpus and then performing term extraction on the aligned set of word pairs. Alternatively, term extraction in the source and target text can be made separately and then the resulting term candidates can be aligned, forming aligned parallell terms. This thesis describes an implementation of a word aligner that is applied on extracted term candidates in both the source and the target texts. The term aligner uses statistical measures, the tool Giza++ and heuristics in the search for alignments. The evaluation reveals that the best results are obtained when the term alignment relies heavily on the Giza++ tool and Levenshtein heuristic..

Denna uppsats behandlar ordningen på adjektiv i nominalfrasen. Ett antal faktorer som i tidigare litteratur hävdats vara relevanta undersöks: generell frekvens, semantisk närhet med det substantiv som modifieras, grad av absoluthet och Dixons semantiska adjektivklasser. Undersökning är baserad på material från Språkbanken, främst talspråkskorpusen Gothenburg Dialogue Corpus. Slutsatsen som nås är att det finns definitiva preferenser för vissa ordningar: de mest frekventa adjektiven kommer först, de adjektiv som är semantiskt närmare substantiven och som är mer absoluta placeras närmare substantivet. Detta stämmer med vad som sagts i litteraturen.

We are getting smarter. Our knowledge of the world around us is increasing rapidly and our population spend a big portion of their time in school studying it. But art and craft are moving out to give room for more theoretical subjects. Today many of us can not even fix a torn shirt without help. We buy new ones, they are cheap enough.

This thesis revolves around my work Desirable Objects, an installation in glass and other materials, which deals with objectification based on female and animal trophies. The topics included are those that have been crucial to my working process; craft, post-colonial studies and European hierarchical dualism, where woman and nature are seen as connected, but inferior. My motivation has been to get a better understanding of underlying power structures, and put this knowledge in relation to my own work. This process has led me to make a full body casting of my own body as a method of self-exploitation, in an attempt to expose myself to a similar power perspective. By making the dualistic connection between woman and nature, I am commenting a phenomenon that in my view has resulted in a similar exploitation of both..

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Bebyggelseantikvariskt program, 15 hp, 2011.

 My field is Korpus and in this project I am investigating what role that plays for me as an artist connected to craft. To really get close to, and understand Korpus I have deconstructed it to find clues to why the silversmithing field looks like it does and how we got here. I believe Korpus has not yet come out of the closet for what it really can be. That it carries a great heritage of traditions and preconceptions that it would do well to shake off a little bit of. Can Korpus as an art field really survive in Sweden, where the Church has no power and silverware is no longer a need to demonstrate ones economic prosperity at an important dinner party? To help myself get closer to these objects I have given my own definition of Korpus.

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Bygghantverk, 22,5 hp, 2014.

Denna uppsats presenterar en historisk exposé kring den visuella och tekniska utvecklingen av stridsvagnsanimationer. Detta med fokus på perception och kognition utifrån definitionerna abstraktion, realism och hyperrealism. Uppsatsen ämnar förklara i bild, text och rörlig media hur utvecklingen sett ut och hur långt den har nått. För att åstadkomma detta har en analysmatris tagits fram, ur vilken valda beståndsdelar i spelen Battlezone, Battle Tank och Battlefield 1942 dissekeras. För att ytterligare påvisa kontrasten i utvecklingskurvan, har jag haft Craft Animations och deras verktyg till min hjälp.