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  • 151.
    Nylén, Lo
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Att mötas i en vitlökspress - en studie om korpus2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

     

    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. When doing that I choose to look beyond material, history and form. My main interest is instead the fact that we use these objects in our everyday life, and the way that forms and affects us. A Korpus is an object with a strong connection to the human body and helps us to put other living matter within control in different ways. It has often a function but it is not the function itself that makes the object Korpus. My definition of Korpus applies for use on biological material, and to some extent, dead things that have been alive. To judge if something is Korpus, I look at how people interpret, understand or intentionally use an object on biological material. According to my definition Korpus occur in the moment of use. I state that craft as a field is uniquely connected to the everyday, as it can be both functional objects as well as installations just illuminating that fact. I want to liberate Korpus from its sideboard like jail and let it be what it really is - a tool for communicating with other humans in our daily lives. I am not a silversmith and my work is not material specific – can I then still connect myself to the craft field and be taken serious? The result of my questions is yes. Korpus belongs to a class (the upper class), it is bound to a material (silver), has a small group of practitioners and few people that even know what it means. But this is only true if I as an artist choose to find myself within these boundaries.

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    Att mötas i en vitlökspress
  • 152.
    Öberg, Kajsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Invärtes/utvärtes: skålar med inspiration från kroppen2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 153.
    Ohlsson Hevia, Annelie
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Färgning av aluminium för konstnärlig utsmyckning: experiment med mekanisk bearbetning, olika ytbehandlingar och appliceringsmetoder på anodiserad aluminium1995Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 154.
    Okamoto, Maki
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    It is our cup of tea2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My main question in this essay is that if it is possible for an object to cause a universal feeling (widely accepted by the majority of people) and, at the same time, if it can connect to personal memories deeply. Can the same object stimulate a universal feeling and yet belong to a particular individual, after he recognized his personal history in such object? I chose “cup” as my main object through witch to investigate my subject. In each chapter, I investigate the object cup from different points of view to see how a cup’s definitions vary. I firstly analyze the object cup according to its shape and remarkable features / elements, then I look into people´s recognition of objects according to the phenomenology. Other important perspectives are the bodily and spatial communication between cups and people, the linguistic activity related to “cup”, my own and other´s private experiences / considerations regarding cups and finally the tea culture which has faithfully penetrated in our lifeThe concept which above all struck and inspired me for my work, was the potential of empty space. The blank space which is offered to viewers/users to fill in with their imagination use “cup” as my main subject to investigate how to communicate with people as an artist, by creating objects that entail an empty space open for interpretations. This essay is an exploration to find out the reason for my creation work as an artist.

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    It is our cup of tea
  • 155.
    Olls, Olle
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Rustningar: broschyr1995Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 156.
    Österberg, Ronnie
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Pneumatisk blender2004Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 157.
    Ottosson, Linda
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Nothing tastes as good as skinny fells: Det är inte så jävla vackert2014Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Abstract

     

    To have an eating-disorder isn't that fucking beautiful. Feelings that stem from the illness have a devastating power, and show something we can not handle. The feelings force you to find alternate routes; to escape from them and make them more understandable. To have an eating-disorder is something you do not want to be associated with. What it means to be ill is something you do not want to display outwardly. Jewellery has been used, on a traditional level, as a means to decorate oneself, or indicate which social clique you are part of. So what happens if you, through jewellery, want to enhance something which is not acceptable to be/have? What happens when you choose to accessorise with a piece that refers to an illness, a state, a feeling, to your body? Does the individual wearing the piece become more aware, of their feelings and body, their own story? Can the wearing or observing of an object give an increased understanding for the situations of others, and perhaps your own? Can I, through jewellery, contribute to a greater comprehension, and open up to conversations that are otherwise avoided? 

     

    In the essay I explore feelings, body and jewellery, and what jewellery can do to a person. As the initial point in my artistically expressive work, I have used conversations I have had with people who have eating-disorders. We have spoken of what it is like, and how it feels, to live with an eating-disorder, and I have created jewellery based on these conversations.

  • 158.
    Padoongmatvoragool, Arthitaya
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    The Tell of Tragedy2011Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    The curiosity of different beliefs to “tragedy” between the two worlds, Eastern where tragedy is unpleasant and Western where tragedy is praised as high art form since Ancient Greek. The reason that they are very different as two ends from one point and how to present them directly to understandable stage in art forms itself are questioned.

    This essay is a research into philosophical living and belief relates to tragedy in Eastern and Western views toward tragedy in art forms. The way tragedy has been put differently and the way people treat this feeling. There is a border which is deep-seated into each cultures. The relation of time is used to explain tragedy in Ancient Greek. Western tragedy is big enough to play a main role while Eastern tragedy play a part of the whole in one legend or story. The study of Andy Warhol’s method “Traumatic Realism” which is relevant to starting question explains the direction of using repetition as presentation in order to bring viewers get into trauma at its surface. Picasso’s painting “Tragedy”, Edward Gorey’s storytelling illustration “The Hapless Child”, and Marina Abramovic’s performance “Balkan Baroque”, are used to discuss their techniques and statements based on tragedy from different forms. There is a touching point from Warhol’s and Abramovic’s works.

    Conclusion talks about the method to present tragedy right there in the work. Selections of pictures are used to tell direction of tragedy in the work. Hierarchy of perception and changing of time in works are explained by Ancient Greek tragedy philosophy and Warhol’s repetition.

    Feeling is gradually changed. Traces can be found. Time is taking it away.

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    The Tell of Tragedy
  • 159.
    Paradis, Moa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Förökning2001Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 160.
    Persson, Johanna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Love in a bigger context: together we search for paradise2009Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 161.
    Petersson, Anna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Eldbegängelse, isbegängelse, urnor och gravstenar1998Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 162.
    Petersson, Anna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Gjutplast: egenskaper och möjligheter som material1996Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 163.
    Pettersson, Annika
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Memory2009Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 164.
    Pihl, Lina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    IDENTITY: In search of identity construction through the narrative of the pearl necklace2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

     

     

    IDENTITY

    In search of identity construction through the narrative of the pearl necklace

     

    Lina Pihl

     

    Can one reach an understanding of identity through the narrative of the pearl necklace?

     

    The pearl necklace plays the role of the main character as well as the attribute in portraying identity in this dissertation.

    By looking at the pearl necklace as an object through its social context, it is possible to open it up for an understanding of its relation and impact on the individual.

    The world is not constructed of entities, but on relations. Thus it makes no sense to try to understand it through the notion of a predefined entity.

     

    Through the investigation of the pearl necklace as a signified, and myth in the modern Western society, its relation to and affect on the subject when worn and the creation of a new context within the performance – a system for how we can see and look upon identity takes form, in which they both, myth and signified, play a part in the construction of identities. The myth of the pearl necklace makes it into a strong, signified that is used to manifest social belonging: by wearing the pearl necklace one becomes a part of the myth and its signified, which creates a new form, where the subject-object is the signified in action, a performance that makes the myth present and an active, living part of a society.

     

    This proves that by taking an everyday object such as the pearl necklace and understanding it in a social context and in relation to the body and individuals, we can reach a deep and complex understanding of what identity is, how it is constructed and what potentials it possesses.

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    IDENTITY In search of identity construction through the narrative of the pearl necklace
    Download full text (pdf)
    Identity -Master Exam project
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    Identity
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    Identity
  • 165.
    Pihl, Lina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Rätten till vår egen kropp: maktstruktur och 2000-talets kroppsfilosofi2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Samhället och dess maktstruktur utgör navet i den ”sociala kropp” vars normaliseringsprocesser med lagar, kontroll och överförmyndande – pulserar likt näring för överlevnad genom befolkningen. Ett gigantiskt, finslipat maskineri som producerar ”fogliga kroppar” vars levnadsvillkor här sätts och påverkar det kroppsliga livsbetingelserna som fysisk- och mental hälsa.

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    Rätten till vår egen kropp
  • 166.
    Pintea, Sebastian
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Inner Stories: Identity and Value2016Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Nothing is neutral, all things we create narrate. Manufactured objects enforce and support mythology and ritual, willingly or unwillingly. In this thesis I have been investigating how we structure reality and identification through narration. The approach ties in cultural anthropology and psychology. I have looked at how craft can support and embody values through the relationship of narration and reinforcement that it has with mythology and in turn with our inner stories. As such the thesis relates to both the collective and personal and attempts to raise questions about the original purpose of body related items, craft and art. My research has led me to believe that the purpose of the first items of craft and jewellery was to maintain the community. To maintain it through the mythologization of the environment and the world, creating the consensus needed for living as larger groups. In drawing my conclusions regarding jewellery and objects of craft I have tried to open the discussion within the field up to include the limited yet existing knowledge we have about our prehistoric heritage in Europe. Prehistory ends with the invention of writing systems through symbols. In this essay I have tied in the relevance of seeing jewellery and corpus as symbols and how these can aids us in the process of identification and personal growth. I have also considered the global overview we have access to today and I present jewellery and craft objects as potential anchor points or compasses on the increasingly vast ocean of values that the global perspective offers.

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    Inner Stories
  • 167.
    Rapp, Emma
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Religionsavund2004Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 168.
    Rondahl, Lisa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Föremål för hyllning och minne1999Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 169.
    Rondahl Pedersen, Lisa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Nya ritualer vid sorg och gravplats2001Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 170.
    Runeberg, Ru
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Att kombinera silver och glas1997Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 171.
    Runeberg, Ru
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Pandoras ask i silver och gjutplast1995Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 172.
    Röhling Björk, Astrid
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Lås som smycke och funktion1995Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 173.
    Rönnbäck, Hanna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    In a time of change: En studie om hur kulturell identitet påverkas av globalisering och hur detta ämne berörts inom smyckekonsten2012Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Globalization contributes to an increased exchange and opportunities for global cultural diversity but also to the closure and the exclusion of many of the world's cultures. In my essay, I explore how cultural identity is affected by global developments taking place today.

    As part of my study I have been to Tanzania, a country that is said to have preserved its cultures better than other nearby countries, but now many young people turn away from their culture and strive for the "western" way of life. I have interviewed people from two different tribes, Danny Zawose from Wagogo and Julieth Ngimeli and her family from the Massai, about how they look on globalization and its impact on their cultures. I have also researched two recent projects in jewellery art, Gray Area Symposium and ALLA, which both discuss these issues from different perspectives. Common to the people whom I interviewed, in the two different tribes in Tanzania, is that they believe that the technological and economical development is good. They say that time changes and so does culture. But they think it is important not to forget their origins and they believe in choosing some traditions to hold on to. The Massai think that ceremonies are an important part of keeping the culture alive and some things that they don’t want to change they cover in myth to make it untouchable. The Massai people express their cultural identity through jewellery and clothing, which for Danny from the Wagogo tribe is not as important. But his family is holding on to the musical traditions. Danny does express a concern about that the wagogo culture will disappear when the young people get more interested in the western way of living.

    Within jewellery art these questions and challenges have also been discussed. The project The Gray Area was partly a blog forum called Walking the Gray Area, where forty jewellery artists from Europe and South America were mated together to discuss and work around the subjects: mobility, globalization and identity. But it was also a symposium, taking place in Mexico City, in April 2010. Many of the speakers at the symposium talked about the challenges that come with the fast moving world we live in, about cultural identity and diversity and meetings but also about the euro- centric perspective that still exists in the “jewellery world” and also about what can happen when the focus on preserving goes to far. In times of crisis and rapid change people's need for cultural belonging and security increases and you can draw parallels with the increased support for extreme right-wing groups in the world who often alludes to security and tradition. The project ALLA was started as a protest against the growing xenophobia in Sweden after the 2010 election, when Sverigedemokraterna, the extreme right-wing party, made their way into parliament. Thirty jewellery artists made brooches concerning topics as group identity, cultural identity, "Swedishness", cultural diversity and culture as a dynamic phenomenon.

    The topic that I have investigated is broad and complex and has many sides and also backsides. Just as globalization can have a negative impact on cultures and its people so can excessive focus on preserving a culture, have an adverse effect in itself. Culture is dynamic and that is the condition for it to survive. 

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    Buried Under a thick layer of new
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    Buried under a thick layer of new
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    Buried under a thick layer of new
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    Buried under a thick layer of new
  • 174.
    Rönnbäck, Hanna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Together: An exploration of an interdisciplinary collaboration from the perspective of a jewellery and corpus artist2014Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Longing for something is also a longing away from something. In the individualised society of today, with climate crises and econimical problems, people tend to long for togetherness. A wish for a change from a ‘me-­‐society’ towards a ‘we-­‐society’ is visual in many fields. Examples of this are that many people seek for collaborative solutions, to do more things together and collaborate.

    I longed away from the individualized field of contemporary jewelry and corpus and decided to expand the field and to work together with costume designers for theatre. When doing this, I recieved questions like; “When working for someone else, is it then still art?” And “What can you gain and what can you give in collaborations like these? And what can you possibly loose?” I realized that many within the field didn’t have the same view on collaborations as I did. What was behind this and did I have to choose between contemporary craft and theatre?

    This essay tries to examine these questions by looking at what is going on in the society and in the field of craft today, as well as showing examples of others who have made collaborations and of the reasons behind their choices, and thoughts and theories from practioners and theorists about collaboration, change and togetherness. This information is then used to analyze a case study of my own collaboration with costume designer Lena Lindgren, in the making of the costumes for the play “Den svenska apans 100 röda drömmar” at Turteatern in Stockholm during autumn 2013.

    Through collaboration I wish to challenge my own habitual ways of working and maybe the field’s habitual ways of working and thinking. I feel that I do not have to choose between craft and theatre and I also don’t feel that I work for someone else. I work together with others and I grow and develop from doing so. I offer my specialized knowledge and way of doing things. There are perceptions that one could loose one’s individual voice in collaboration and there could be problems with authorship, ownership and compromising but these problems have not occured to me in this collaboration. With this essay I don’t suggest that everyone in contemporary jewellery and corpus or other crafts should collaborate outside of their field. But hope to draw attention to the importance of opening up the field for many different positions and that they all should be able to exist. 

  • 175.
    Samaké Bornhall, Marie-Helene
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Möte med det andra1999Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 176.
    Sandström, Helena
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Sex halssmycken inspirerade av fyra dikter1995Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 177.
    Sandström, Helena
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Skörhet och styrka hos två material: glas och metall1997Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 178.
    Sazdic Löwstedt, Mirjana
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    En del av mitt andetag1998Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 179.
    Sazdic Löwstedt, Mirjana
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Smycken som inte finns: juveler sagorna1996Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 180.
    Schmidt, Klara
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Smyckesförvaring2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 181.
    Schmidt, Klara
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Vackra smycken av lim2005Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Den här rapporten visar mitt sätt att arbeta när jag undersöker materialet lim. De olika provresultaten och tankarna bakom dem redovisas, och de slutliga broscherna visas. Limmets värde genomgår en förändring när det från limpistolen via förvandlingen på arbetsbänken når bäraren/betraktaren.

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    Vackra smycken av lim
  • 182.
    Schou, Petra
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Sagokronor1996Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 183.
    Schou, Petra
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Trassel och silikonpärlor: armsmycken1998Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 184.
    Sjöström, Maria
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    En tanke om mellanrummens genomskinlighet i form av metallornament1995Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 185.
    Skogsberg, Åsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    I pärlhalsbandets utmarker1998Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 186.
    Skogsberg, Åsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    I upprepningarnas kraftfält1996Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 187.
    Sköldin, Maria
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    En vanlig dag: smycken inspirerade av en vanlig dag satta i det väntade och oväntade2004Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 188.
    Sköldin, Maria
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Mina symboler: textila smycken2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 189.
    Spranger, Katrin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    The Future of Jewellery: are there Ways and Needs to Accomplish a Change in the Development and Especially the Meaning of Contemporary Jewellery?2011Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    This essay will deal with ideas for jewellery in the future. One approach to this issue is, to investigate the meaning of materials which might become rare or even deplete in the future. Along with science and science fiction it will focus on established scientific postulated laws of nature, although some elements might still be pure imaginative speculation. The paper will also explore about academic discourse on value with a focus on understanding jewellery material values connected to rarity as well as value of experience and the increasing need for it in society. It will draw a futuristic picture of change, meaning and development in the field of contemporary jewellery and society.

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    The Future of Jewellery
  • 190.
    Stenbeck Eriksson, Christina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Den röda tråden2001Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 191.
    Stimpfl-Abele, Bernhard
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Das Neue2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The new is probably the most powerful and natural fact which influences us since we are borne. It is such an undefined and incredible word we use so often for „simple facts in our daily life but we are not aware of its power and the power of use. We need this word to explain a progress. It seems like the result of a magic trick. The new is so strong that it automatically takes away the light from the already known. Everything has its opposite and the new has the old; booth can only exist together, responsible for the process in the evolution. My essay examines the problematic around the new in a philosophical and critical way. It contains a large research about our relationship to the new and how it can appear in life. With Boris Groys article “on the new” I bring a problem between museum and art. Peter Dittmars article “the fascination of the new” shows also my point of view within art. “art shouldn´t be just beautiful, it should be creative, innovative and contemporary. Transformation “when the old passes to the new” shows the difference between 2 standing points of the new “the new as repetition in form of a copy” and “the new between the living and the dead” – a repetition in form of a mirror picture which is not just a repetition or copy, it is a another view of the new”. This difference is playing an important role in my practical work. My research is based on facts which appear in books and articles I collected around the contemporary art world. These facts will be put in contrast to each other, so it can automatically flow in a bride discussion which will be the most interesting and main part of my essay „the new“. My intention from the beginning to the final conclusion of this essay is clearly not to define „the new“ in any sense, it is more about an investigation of arguments which will help me to find theories about „the new“ in my practical work. Michel Foucaults questions about an author in the interpretation of the new structure my essay and will also be described in pictures which open a completely new dimension for the essay.What is the new?Do we have proofs of its authenticity and originality?What are the modes of the existence?From where does it come from, how is it distributed, from which controlled?

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    Das Neue
  • 192.
    Strasser, Monika
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Can body modifications be seen as craft?2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The main question of this essay is: "Can body modifications be seen as craft?". Craft is the essence of the author's work and her passion. But she is also interessted in beauty and has a critical approach to the fact that beauty generate pressure in society. Through history different ideals of beauty have been existing. Ideals of beauty and body modifications are very much conetected to each other. Within this essay the author tries to connect the process of the interventions made to the body, in order to reach beauty, to her field of work the crafts. As a trained crafts woman, she has also a critical view on existing hierarchies between different kinds of skilled making.

    Other artists with similar ideas in their work are presented. It is investigated how different sources define craft, making tools, and body modification. Using this background, four ways to connect craft and beautification are presented: the use of tools, the making of tools, the body, and the process of making.

    It can be concluded that there is indeed a connection in the tools used to perform each task and the relation to the human body.

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  • 193.
    Svensson Skolling, Helena
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    En hydraulisk press och en virknål: två sidor hos mig1997Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 194.
    Sylwan, Pernilla
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Is less more?2004Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 195.
    Sylwan, Pernilla
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Smycken för känsliga2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 196.
    Särelind, Emil
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Murkeldansen2014Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    Murkeldansen

    Bland skum och körtlar badar fina djur som har en mun.

  • 197.
    Särström, Pernilla
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Silver, vatten och salt2001Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 198.
    Söderberg, Helene
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Det vita, det röda, det svarta: tre halsobjekt1997Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 199.
    Söderberg, Helene
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Diva1998Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 200.
    Taylor, David
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    At this point in time1999Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
12345 151 - 200 of 222
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