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  • 201.
    Taylor, David
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    The purity of silver1997Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 202.
    Thulén, Erik
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Förbi Tradition och Praktik2012Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    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. In high school I learned different handicraft techniques, and I continued to work with craft until I came to college. Before I started at college I had changed my fascination from craft to art. I wanted to become an artist, working with fine art. This was problematic; how does handicraft transcend into art? What possibilities and strengths do I have with my background in handicraft? What is the difference between handicraft, art and craft? In my essay the result is focused on how material can be proceeded, not with a skill or technique, but with an attitude. The attitude being craft, not as a tradition, but as an approach. 

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    Förbi Tradition och Praktik
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  • 203.
    Thyselius, Andréas
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Keep It Together, No Matter What.: En studie i maskulinitet, kroppsfixering och manlig identitet.2015Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Gregory. P. Stone writes in ”Apperance and the self, Dress and identity” published in Arnold. M. Rose anthology Human Behavior and Social Processes; an Interactionist Approach. (New York: Houghton Mifflin 1962) P. 94 

    ”To situate the person as a social object is to bring him together with other objects so         situated, and, at the same time to set him apart from still other objects. Identity is            intrinsically associated with all the social joinings and departures of social life. To have an identity is to join with some and depart from others, to enter and leave social relations at once.”

    This quote became the starting point for my thesis, together with my own experiences of the situation in the changing room. How identity gets constructed out from the   parallels and/or distinctions one do to other bodies. How the will to transform the body to something else can drive a person to the extreme. An obsession for training or an eating disorder can become tools for this transformation. But it´s still a taboo for men to talk about their weaknesses, therefore my work strives to open up the discussion about the male body. The physical work connected to the essay aims to create jewelry as tools for communicating the suppressed emotions associated to an eating-dissorder, and lift the shame from the person exposed to the illness. The objects materialized based on the result from several interviews and the stories that the persons shared with me.

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  • 204.
    Tidäng, Erik
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Föremål av konstruerad natur1999Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 205.
    Tidäng, Erik
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Nya föremål på gammalt vis1997Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 206.
    Timóteo, Camilla
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Gravlykta2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 207.
    Touloumidi, Vivi (Paraskevi)
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    What will kosmos say?2012Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    The word κόσμος - kosmos/cosmos in the Greek language has diverse definitions, beyond the profound known one that relates to notions of the universe or the world. It has the meaning of order and harmony or beauty too. But kosmos stands also for jewellery in Ancient Greek and is equivalent for “the people” in neo-Greek. By reloading these meanings to the question “What will kosmos say?”, its impact changes. It can evolve to “What will people say?” or “What will jewellery say?” It can have a personal/private or collective/public notion at the same time.

             Based on these diverse meanings of the word “kosmos”, where the detail constructs the whole and the whole is subtracted in small particles, the title of the work implies several interpretations and sets a bridge between adornment, self-exposure and engagement in the public realm.

    The current social/political struggles of our times emphasize the need to rethink and rebuild ways of operating within the society through the function of “catharsis”. Starting from the individual and leading further, to the “catharsis” of the society, of the whole. The aspect of wearing one‘s kosmos and presenting oneself to others contributes to a hopefully evolutionary dialogue.

    This work investigates the position of jewellery in times like these. Aspects like individual participation, public interaction through wearing jewellery, protest, demonstration and display of social comments are highlighted. Through numerous examples I present how fellow artists have investigated the phenomenon of jewellery within the society and what messages this medium can transmit. The essay clarifies the aims of this project and the intentions that the chosen material and methods fulfill.

    (This abstact belongs to the written part of the master thesis that also consists a creative part, an installation)

  • 208.
    Tuupanen, Tarja
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Notions of skill2013Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The starting point in the field of research in this essay, is skill in contemporary craft. The term is loaded with values and preconceptions. The essay pays attention to how the topic is discussed currently in the craft field. Society is changing and naturally the variety and amount in skills is changing accordingly. The role of education, teaching and learning in the acquisition of skills is discussed. Skill in craft is viewed in two of its extreme ends, sloppy craft and “hypermaking”. Sloppy craft is a trend where the craftsmanship is not demonstrated by a consious choice. “Hypermaking” refers to artists whose technical skills are tremendous. .

     

    The main part of the investigation of skill is made through artistic research in the field of contemporary jewellery. The maker’s practice is dominated by one material, stone. Throughout the investigation, a diary has been kept in order to record the thinking and making in the working process. This has revealed notions of different aspects of skill: silent knowledge in manual skill, how the skill can trick the maker, and how skill grows by time. Artistic research has also clarified the maker’s relationship to stone.  The essay focuses on how the traditional stoneworking skill is challenged by the maker by using readymade instead of a raw stone material. The reason for challenging is the need of confrontation in artistic development.

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    Notions of skill
  • 209.
    van Doorn, Anita
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    We have received borders not to move2015Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Institutions of power exert their control over us, sometimes in very obvious and grand ways, but also often in far more insidious and covert ways. This paper looks at forms of control, specifically relating to movement of individuals and populations, that are exerted on the body, internalised by the body and subsequently expressed through the body. It seeks to offer insight into the ramifications of such strategies of control on the physical and social body, for example manufacturing of shame, the other, illegality, and the body as a thing.

    With the phenomenon of the border line as a starting point, this paper approaches the human ramifications of western power structures on the body through Foucault's notion of 'governmentality', and the employment of the term, (reflecting the artistic approach to the nature of this research paper), the illegal body.

    From developments in certain forms power structures and obedience throughout western history to nationalist constructions, an analysis and critique some of the normative ways of thinking about space and place in relation to the body and identity is offered. Produced in conjunction with the practical body of work of the same title (a very conscious appropriation of the title of Barabara Kruger's work 'We Have Received Orders Not To Move', which deals with power and gender), theoretical and philosophical aspects as they fed into choices of formal aspects of the making process, and vice versa, are discussed.

    What is asserted is that systems and technologies of control are very effective at deeply embedding normative ideologies into the body, in essence ideologies become hardwired into the response systems of the body This is particularly concerning when we consider that once again, national security and border protection are two of the main concerns of governments.  

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    We have received borders not to move
  • 210.
    Vostrovska, Ivca
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Get your hands dirty: A Manifesto2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Modern jewellery making techniques can be very seductive, not least the ease with which an artist can design a piece on a computer and forego the time-consuming, and often frustrating, process of manufacture. But, the question needs to be asked: is something being lost by the artist who absents themselves from that part of the process? In this essay, I argue that such artists are subjected to a truncated creative process. Their design doesn’t come up against the limits of the material, and that of their own abilities. They aren’t forced to modify or refine their design in the face of such obstacles. By contrast, the artist with a handmade approach, such as Peter Bauhuis or Karl Fritsch, continues to have input by physically participating in the manufacture of the piece. The hurdles they must overcome in realizing their idea stimulate and extend the creative process, and the result can be a superior piece. But it doesn’t always turn out that way. The nature of the process is such that the artist can hit a brick wall and have nothing to show for their efforts other than wasted time and material. But it’s worth the risk. The increasing homogenization of culture has lead to a reaction of individuality, and a return to some old ways: the artisanal approach. Adorning one’s body with jewellery is part of a person’s attempt to define and express that individuality, and nothing can express that uniqueness like a custom, one-off piece. A handmade piece. This isn’t a new idea, of course, and it finds expression in ancient aesthetics, such as the raw beauty of wabi-sabi, right up to the work of more contemporary practitioners, whose work is discussed here.

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  • 211.
    Vuorinen, Maria
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    As endless as is my love: Betweeness (performance art - jewellery art) as the method of defining (and leaving behind)2006Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 212.
    Westerberg, Cecilia
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Smycken av sten2000Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 213.
    Westerberg, Sissi
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Takt2002Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 214.
    Westergren, Ulla-Britta
    University of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    TRANSLATING OUR CONSTANT MIGRATING IDENTITIES: Jewellery to carry, fill and let go of2014Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
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  • 215.
    Westling, Simon
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Nyfikenhet i relation till konstnärlig process och presentation2011Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    The curious nature of humans has been the puzzle of psychologists, philosophers and scientists since the time we began to use those terms. Why are we curious? Why do we behave the way we do and why? The span of views on curiosity covers all. From being viewed as part of our animalistic nature and compared to instincts, to be viewed as a virtue to scientists and the reason behind why we explore space. Behaviorists tried to define it as an innate drive and some say that it has a crucial role in our ability to learn and understand. The science around curiosity reached its peak in two separate waves during the 1960s and 1970s and modern psychology has been revolving around the views defined by those two waves of popularity since then. I find that through art history, psychology has been a popular theme but where is the discussion on curiosity? There is a vast amount of work regarding how an object or environment can stimulate curiosity in a human to the point where an object can actually manipulate and change the behavior of a human being. In this essay I focus on the link between curiosity and art. What actually happens in the head of an art viewer when he goes to an exhibition? And how has artists and galleries been working with these mechanism?

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    Nyfikenhet i relation till konstnärlig process och presentation
  • 216.
    Wistedt, Eva
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Gamla känslor och modern symbolik1997Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 217.
    Wistedt, Eva
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Lilith1999Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 218.
    Ylipää, Lena
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Intryck och uttryck: en text om att se sig själv i ett sammanhang och vad som kom ut av det1996Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 219.
    Zetterlund, Christina
    et al.
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Hyltén-Cavallius, CharlotteRosenqvist, JohannaUniversity College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK).
    Konsthantverk i Sverige: Del 12015Collection (editor) (Other academic)
  • 220.
    Årsjö, Mikael
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Scoping out cannibalism2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 221.
    Öberg, Kajsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Det dukade bordet2004Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 222. Linton, Agneta (Curator)
    Zetterlund, Christina (Curator)
    University of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Sandell, Maj (Curator)
    TUMULT: Dialog om ett konsthantverk i rörelse, 10 oktober 2009 - 10 januari 2010 i Gustavsbergs konsthall2009Artistic output (Refereed)
2345 201 - 222 of 222
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