Similar to work of the feminist movement in the seventies, you nowadays can see an increased level of Textile art expressions with feminist standpoints. In this thesis I compare two Textile artists from each time period. These are Maria Adlercreutz with her composition I hennes ögon bevaras folkets ljus from 1972, and Lisa Anne Auerbach?s exhibition Chicken Strikken from 2012. The aim is to put the two artists in a contemporary context and explore their feministic approaches in the Textile field.

This project started with an exploration of geometric shapes and Textile materials. It resulted in a chair made out of Textile bands with different elasticity. The surface for sitting is flat when the chair is not used, and changes in the moment you sit down and gets a new shape. A piece of furniture that adapts to each individual. The chair emphasizes the important relationship between human and product as the person using it becomes a part of the chair for a moment..

Textile Grid är ett undersökande textildesignprojektsom utforskar olika tekniker och material för atttänja på gränserna i textil. Utgångspunkten ärett enkelt rutmönster som översätts i teknikernatryck, väv och trikå. Rutmönstret fungerar som enkonstruktion i Textilen och genom att jobba medkontrasterna mellan hårt och mjukt, samt rörelseoch stabilitet utforskas både Textilens utseendeoch rörelse. Resultatet är fem material som viksoch formas efter sin egen konstruktion..

The aim of this essay is to make clear, whether or not, Textile research is visualised in a wider archaeological discussion today. The aim is then to discuss what the archaeological and Textile technological research situation in Scandinavia looks like today, and how that relate to what has happened in these two research fields during the years. This essay also has a purpose to find out if there is a need of visualising Textile research more in future archaeology, how that shall be done, and what that can possibly supply to our general picture of the prehistory.The head questions are discussed in the light of three investigations. The first is a study of literature used in archaeological education at five Swedish universities. The other two consists of a study which is aimed to find out how Textile research results are published, and one in which archaeologists and Textile researchers have answered questions about how they experience the relation between archaeology and Textile research.There has also been done a comparison between interpretations of the archaeological material from the site of Löddeköpinge in west Scania.

AbstractThe urgency to find alternative fabrics to conventionally produced cotton is increasing as vast amounts of agrochemicals are used and a lot of irrigation is required. In this literature survey the potential of organic cultivation practices to produce highly qualitative hemp fibre, suitable for the Textile industry, was investigated. The definition of a fibre in the Textile context as well as of the qualities that are essential for a Textile fibre was necessary as a base for the discussion in this thesis. The quality parameters looked at were fineness, strength, length, friction, and colour. The impact of external growth factors and plant development on these quality properties are discussed.

The aim of this thesis is to try to make the mathematics content of Textile handicraft visible. This is done through an attempt at integrated studies in the two subjects with 6th grade students.The main question is: In what way may integrated studies in mathematics and Textile handicraft lead to making the mathematics content of Textile handicraft visible to the students? This question has been divided into three sub-questions: 1. What knowledge do students have on the order of the millimeter, centimeter, decimeter and meter units of length?, 2.

The purpose of this project was to to find a way for Textile patternsto talk about its own, and our, inevitable death. By doing so I hopedto incorporate questions about transience into daily life.I assumed that from a decentralized background position, patternson everyday objects have a unique ability to pose complexquestions that can be interpreted over time. The investigation wasinspired by how russian constructivists looked at everyday objectsas equals, and let them carry the spirit of the revolution.In the process I tried to find out how, and if, a philosophicalmessage can be transmitted through design and how differentcomponents of a pattern can work together to express that message.Resulting in two Textile patterns with Textile motifs, my workshowed that design definitely can raise metaphysical questions andmay as well have an advantage over art when trying to reach peoplein their own reality..

The aim of my thesis is to obtain knowledge of Textile wastewater and Textile sludge from an environmental perspective, which can be used as a basis for the  ?Sweden Textile Water Initiative? guidelines for a sustainable sludge management. In my study I have mainly focused on Textile dyes, salts and metals and their routes during wastewater treatment.This paper is partly a literature review, which I began by identifying the pollutants discharged from each Textile process. Then I studied wastewater and sludge quality, environmental aspects, possible treatment and recycling methods. I have also tried to find existing type of guidelines in order to make comparisons.

The aim of my thesis is to obtain knowledge of Textile wastewater and Textile sludge from an environmental perspective, which can be used as a basis for the  ?Sweden Textile Water Initiative? guidelines for a sustainable sludge management. In my study I have mainly focused on Textile dyes, salts and metals and their routes during wastewater treatment.This paper is partly a literature review, which I began by identifying the pollutants discharged from each Textile process. Then I studied wastewater and sludge quality, environmental aspects, possible treatment and recycling methods. I have also tried to find existing type of guidelines in order to make comparisons.

My project aims to understand more about the methods used in making woven Textiles on an industrial level, and how these tech¬niques can be adapted to create object-specific pieces. On visiting the furniture fair in Stockholm, I was surprised to see that most of the Textiles used for furniture were so similar, despite the variation in the furniture itself. My project is about creating Textile patterns that are specific for each piece.The idea behind the process could be used for any product, but the pattern I created is specifically for the armchair Accent by Yngve Ekström. I wanted to create the feeling of a pattern moving over the surface of the object and adjusting to it. I worked primarily with differences in density.

Verket Pose kretsar kring frågeställningen vad det är att vara kropp i en rumslig situation. Verket består av sju textila föremål som på olika sätt förhåller sig till kroppen och söker etablera en relation till betraktaren, bäraren och det omgivande rummet..

Eyjafjallajökull is made of Textile, ash and pigment. Itis a publication which tells the story of the ash cloudthat stopped Europe. The primary goal of the projectwas to use Textile as material and screen printing asmethod to present the story of Eyjafjallajökull. Theaim was to examine the relationship between artand graphic design. As the material and printingmethod was set from the beginning the processwas inverted: The information needed to fill thepublication was produced to fit the presentationand not the other way around.

The educational directive for the school subject Textile handicraft (slöjd) claim, that the pupils should have knowledge of handicraft traditions from historical and present perspective. Teachers in handicraft, teaching in schools for the first nine years of a child education forwards a cultural heritage. The purpose of this essay is to find out what the teachers opinion is about what constitute the Swedish Textile cultural heritage. How the teachers relate to it and how they use it, then teaching. The essay is based on a qualitative method and consists of interviews with teachers.

This bachelor thesis discusses firefighting and the use of portable fireextinguishers in the salvageof historic artefacts focusing on Textiles. It also looks into the use of multi-purpose dry chemicalextinguishers in a Textile context and the impact the actual dry-agent has on Textiles afterfirefighting.Literature studies, interviews and tests on different Textiles were carried out to write this thesis.During the tests Textiles were exposed to the dry agent and also to dry agent plus water toinvestigate the difference in residue. After vacuumcleaning it was clear that when the Textile wasexposed to dry agent and water it was almost impossible to remove the chemical without rinsingin water.By examining the residue left on the Textile using SEM it was possible to see if a Textile was aswell decontaminated after vacuum-cleaning as it looks to the eye. We know that the dry agentoften consists of ammonium phosphate which acts corrosively on many materials and one canassume it damages Textiles as well after longer exposure.Buildings housing cultural collections are vulnerable as we cannot easily replace ruined materialwith new.

The main focus of this study are the Textile prints created by Astrid Sampe (1909-2002). Her fabrics can tell us more about her than a biography ever could. They can reveal how we experience patterns, why we are attracted to them and how our preferences can evolve over time. This study examines four different patterns, and the thesis aims to define Sampe and her Textile prints using three different theories and a formal aesthetic analysis. Modernistic and postmodernism theories are relevant when explaining the period where the fabrics were created and how Sampe's ideas were conceived during her lifetime.