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English titel: Dandelions, memory and mysticism in the image world of Cecilia Edefalk. Content: Cecilia Edefalk (born 1954) is one of the most wellknown and respected artists in Sweden and worldwide. She started out as a postmodernist  with today iconic works as ”Baby” and ”Another movement” in the late 80´s.  Gradually she has switched her focus towards a more minimalistic expression with a great interest to visualize the invisible world. She here operates in the same tradition as many painters from the beginning of the 20th century, as Vassilij Kandinsky and Hilma af Klint - the later has she acknowledged as one of her major influences.  The  essay´s aim is  to analyze ten of her major works from the late 90´s and forward from the  starting point: How does she reproduce  the spiritual world in her highly personal visual language? She has an aesthetical dimension as well as an ideological foundation as an artist  with the conceptual thinking as starting point. Simultaneously she  has a romantic vein and  her work reflects her strong sense of intuition and feeling, present in all her techniques as painting (tempera), video, spatial and sound installation and sculpture. In her most recent series (she often works with a repetition of motives and themes over a length of time, using the notion of memory to recreate and rebuild certain images. She arranges seed heads of dandelions into still lifes as an image of fragility in nature. The dandelion becomes a vivid metaphor of natures susceptibility to decay.  Hereby she creates a tension between  the ephemeral and the eternal. The recreation of Marcus Aurelius head into a bronzer sculpture as well as her ”blowball” reflects  the repetitious cycle of nature and our own fragility. Key words: invisibility, Hilma af Klint, the spiritual world, conceptual thinking, romanticism, repetition of motives, fragility, cycle of nature, eternity.

The energy use in the existing building stock must be reduced and historic buildings need special attention, both in terms of practice and policies. The general objective of this study is to provide an improved evidence base regarding the energy use in the historic residential building stock in Sweden. Data from the Swedish data base of energy performance certificates (EPC) has been used, which are based on measured energy use.  The aim is to use the building energy data to inform on the energy use in historic buildings. Since national data on heritage values in the building stock are unavailable age, is used as a proxy, and buildings built before 1945 are studied in more detail. In the study policies for energy targets are compared with the real energy performance of the older buildings in the building stock, and based on the results their possible contribution to energy saving on a national level is discussed.  Buildings built before 1945 stand for a significant part of the energy use in the Swedish building stock, and well planned measures, taking heritage values in account, could achieve significant energy savings. Buildings built before 1845 account for a very small part of the energy use for buildings and should not be prioritised in achieving national targets for energy saving. Buildings built 1945–1974 are those that use the most energy and where renovation could have limited impact on heritage values.  Apartment buildings with district heating built between 1845 and 1945 have an average energy performance that is twice the target for new and renovated buildings. The average value or the mode value of the group could be assumed to represent a realistic target. Using this method we could identify buildings or groups of buildings that represent best practice in a given segment of the building stock. General targets for energy saving when applied to historic buildings can result in negative effects on the heritage values of the buildings. This method and the results of this study can be used to set more realistic targets for policy planning and renovation aiming to improve energy performance in the Swedish historic building stock.

A great deal of evidence exists in support of Bronze Age intra-Aegean trade, but the dynamics and material goods that made up these exchanges are still being explored. Initially, foreign glass most likely originated in Western Asia and Egypt. Recent excavations at the Minoan sites of Chryssi, Papadiokambos, and Mochlos have provided evidence of such trade on Crete. All three sites yielded glass beads that, judging by their rarity in the region, must have come from elsewhere. While glass artifacts such as those found on Minoan Crete are often assumed to be Egyptian in genesis, a Western Asian source has not been sufficiently ruled out. Based on their findspots, appearance, and our present understanding of shipping and trade in the Bronze Age Aegean, it is most likely that the beads from Chryssi, Papadiokambos, and Mochlos were manufactured in the Levant and arrived in Crete from the East. / Art History

Emanating from a large, gaseous star forming the center of the universe - commonly referred to as the sun - light colors the world. Light is a mystifying, transient element, a source of energy and life that has transfixed mankind for centuries. Also seduced by the wonders of light (and color) is contemporary artist, Spencer Finch. He has embarked on a quixotic mission of trying to measure, capture, and replicate the temporal qualities of light and color. His interest lies in capturing the fleetingness of the moments he experiences. To some extent Finch is successful in his impossible quest. Even in failure, his artworks become a vehicle for exploring the intricacies of human vision and perception. Mixing scientific inquiry and art, Finch utilizes remnants of the past - iconic sites and figures, famous literary texts, etc. - to reflect on personal memories and experiences. His artwork is a means of working out his own questions and ideas about vision and perception. By grounding his work in the known, Finch allows the viewer to enter and understand his works. Viewers are offered a unique chance to consider the ways in which the world is seen and understood. In the end, Finch hopes he is able to offer an almost out-of-body, or maybe just deeply insightful, experience in which vision is called into question, allowing an insight into understanding what it means to perceive. / Art History