"Only Architecture that considers human scale and interaction is successful" — Jan Gel As architects we cannot control how humans act or how someone will use the spaces that we create. However, as architects we can use our designs to influence the way someone will act within a space. We can use architecture to promote social interaction, in an attempt to create a sense of community. This can be done by designing public spaces that architecturally encourage one to stop, gather, and interact with one another. This Thesis is an architectural exploration of the use of "public" and "private" spaces through the development of artist housing. The purpose of this project is to create necessary housing for artists in an area that needs it. While also striving to create a housing project that promotes a sense of community and interaction within the building and the surrounding neighborhood. / Master of Architecture

<p>Sammanfattning</p><p>Ända sedan den moderna publiken, gemene man, bjöds in till att beskåda konsten i 1700-talets Sverige har det funnits delade uppfattningar och funderingar över amatören och konstnären. Skulle de båda verkligen få hänga sina alster sida vid sida på en utställning, var frågan. Trots Konstakademiens öppnande och att Konsthögskolorna utbildade konstnärer finns det än i dag ingen tydlig konstnärslegitimation. Hur ska man som elev på det Estetiska programmet; Bild och form, egentligen kunna veta vem som får kalla sig konstnär eller inte? Detta blir ett bildpedagogiskt dilemma för bildlärare att fundera över, dels för egen del och för att hitta argument inför sina elever.</p><p>Undersökningen är gjord utifrån en kvalitativ metod och formen som antagits ligger under benämningen; Fokusgruppsamtal. Huvudfrågeställningen; ”Vem får kalla sig konstnär” besvaras genom samtal med två fokusgrupper, en lärargrupp och en elevgrupp, för att därigenom utröna eventuella åsiktsskillnader dem emellan. I resultatet framkommer skillnader mellan grupperna; lärarna diskuterar utifrån sina erfarenheter och ur ett historiskt perspektiv och anser framför allt att Konsthögskolan är kriteriet. Eleverna pratar utifrån sig själva och hävdar att vem som helt får kalla sig konstnär bara man gör något med en tanke bakom. Konstnärsbegreppet är utan tvekan en bildpedagogisk utmaning.</p> / <p>Since the modern public was invited to view art in Sweden in the 16th century, there have been split opinions about the amateur and the artist. Should they be allowed to hang their paintings side by side at an exhibition? Despite the opening of the Swedish academy of art and the fact that the universities were educating artists you can’t be certified as an artist. How can a student attending upper secondary school know who can call themselves an artist or not? This becomes an educational challenge for teachers to think about, partly for their own sake and partly for finding arguments for their students.</p><p>This survey is made from a qualitative method named focusgroup. The main question “Who can call themselves an artist” is answered by discussing with two focusgroups, one group of teachers and one group of students. The results of the two group’s answers were then compared to find out possible differences. In the results we find differences between the groups; the teachers discuss on the basis of their experience and from a historical perspective and find that the main criteria is to have attended the University of Arts. The students however find that anybody can call themselves an artist as long as there’s a thought behind the work. The concept of an artist is without a doubt an educational challenge.</p>

<p>The music industry today is undergoing a revolution with digital distribution of music taking over the traditional sales of physical CDs (Mewton, 2008). The peer-to-peer networking and illegal music piracy is a problem that lately has been widely discussed in forums of ethics, legal issues and economical aspects, followed by a music industry trying to solve the situation with new business models enhancing digital sales, e.g. the tip jar model (Hiatt & Serpick, 2007). The tip jar model embodies the problem the industry is facing since it allows the consumer to choose whether to pay or not. Therefore the question of what leads the consumer to pay instead of download or pirate music has been researched in many aspects. However it has been made to a lesser extent in theory of loyalty and liking and their implications on the new business models’ success and the new consumer of music.</p><p>Previous research within music piracy has mainly explored demographics, macro- and micro economical perspectives such as artist and record company loss of welfare and consumer surplus (Coyle et al., 2008). We find it of interest to instead further explore the impacts of theories about consumer liking, loyalty and attitudes (Wells & Prensky, 1996; Shiffman & Kanuk, 1987; Solomon et al., 2002) as an addition to this existing knowledge to enhance the understanding about the new consumer of music. The purpose of this thesis is to analyze artist liking, artist loyalty and attitudinal factors’ impact on consumers’ music piracy intentions. The study is an explanatory study based on quantitative data collected in the region of Jönköping where the collection of data has been conducted by using two questionnaires; one among students at the School of Education and Communication (Jönköping University) and one at the A6 shopping-center. This data has been summarized to create independent variables used in a multiple regression analysis to calculate their impacts on piracy to confirm or reject the from theory deduced hypotheses.</p><p>The results from the multiple regression analysis show that the attitudinal factors do not have a direct impact on piracy intentions; however the other two independent variables, measuring the artist loyalty and artist liking have a larger impact. Surprisingly, a higher level of loyalty increases the intentions to pirate music while, as anticipated from theory (Solomon et al., 2002; Shiffman & Kanuk, 1987), higher liking decreases intentions. The conclusion is that the artist liking variable and artist loyalty variable are resulting in a bridge over piracy where the pillars are built of liking and the bridge itself is built of loyalty, stressing the importance of maintaining high levels of liking to maintain purchasing behavior online.</p>

Sammanfattning Ända sedan den moderna publiken, gemene man, bjöds in till att beskåda konsten i 1700-talets Sverige har det funnits delade uppfattningar och funderingar över amatören och konstnären. Skulle de båda verkligen få hänga sina alster sida vid sida på en utställning, var frågan. Trots Konstakademiens öppnande och att Konsthögskolorna utbildade konstnärer finns det än i dag ingen tydlig konstnärslegitimation. Hur ska man som elev på det Estetiska programmet; Bild och form, egentligen kunna veta vem som får kalla sig konstnär eller inte? Detta blir ett bildpedagogiskt dilemma för bildlärare att fundera över, dels för egen del och för att hitta argument inför sina elever. Undersökningen är gjord utifrån en kvalitativ metod och formen som antagits ligger under benämningen; Fokusgruppsamtal. Huvudfrågeställningen; ”Vem får kalla sig konstnär” besvaras genom samtal med två fokusgrupper, en lärargrupp och en elevgrupp, för att därigenom utröna eventuella åsiktsskillnader dem emellan. I resultatet framkommer skillnader mellan grupperna; lärarna diskuterar utifrån sina erfarenheter och ur ett historiskt perspektiv och anser framför allt att Konsthögskolan är kriteriet. Eleverna pratar utifrån sig själva och hävdar att vem som helt får kalla sig konstnär bara man gör något med en tanke bakom. Konstnärsbegreppet är utan tvekan en bildpedagogisk utmaning. / Since the modern public was invited to view art in Sweden in the 16th century, there have been split opinions about the amateur and the artist. Should they be allowed to hang their paintings side by side at an exhibition? Despite the opening of the Swedish academy of art and the fact that the universities were educating artists you can’t be certified as an artist. How can a student attending upper secondary school know who can call themselves an artist or not? This becomes an educational challenge for teachers to think about, partly for their own sake and partly for finding arguments for their students. This survey is made from a qualitative method named focusgroup. The main question “Who can call themselves an artist” is answered by discussing with two focusgroups, one group of teachers and one group of students. The results of the two group’s answers were then compared to find out possible differences. In the results we find differences between the groups; the teachers discuss on the basis of their experience and from a historical perspective and find that the main criteria is to have attended the University of Arts. The students however find that anybody can call themselves an artist as long as there’s a thought behind the work. The concept of an artist is without a doubt an educational challenge.

The music industry today is undergoing a revolution with digital distribution of music taking over the traditional sales of physical CDs (Mewton, 2008). The peer-to-peer networking and illegal music piracy is a problem that lately has been widely discussed in forums of ethics, legal issues and economical aspects, followed by a music industry trying to solve the situation with new business models enhancing digital sales, e.g. the tip jar model (Hiatt &amp; Serpick, 2007). The tip jar model embodies the problem the industry is facing since it allows the consumer to choose whether to pay or not. Therefore the question of what leads the consumer to pay instead of download or pirate music has been researched in many aspects. However it has been made to a lesser extent in theory of loyalty and liking and their implications on the new business models’ success and the new consumer of music. Previous research within music piracy has mainly explored demographics, macro- and micro economical perspectives such as artist and record company loss of welfare and consumer surplus (Coyle et al., 2008). We find it of interest to instead further explore the impacts of theories about consumer liking, loyalty and attitudes (Wells &amp; Prensky, 1996; Shiffman &amp; Kanuk, 1987; Solomon et al., 2002) as an addition to this existing knowledge to enhance the understanding about the new consumer of music. The purpose of this thesis is to analyze artist liking, artist loyalty and attitudinal factors’ impact on consumers’ music piracy intentions. The study is an explanatory study based on quantitative data collected in the region of Jönköping where the collection of data has been conducted by using two questionnaires; one among students at the School of Education and Communication (Jönköping University) and one at the A6 shopping-center. This data has been summarized to create independent variables used in a multiple regression analysis to calculate their impacts on piracy to confirm or reject the from theory deduced hypotheses. The results from the multiple regression analysis show that the attitudinal factors do not have a direct impact on piracy intentions; however the other two independent variables, measuring the artist loyalty and artist liking have a larger impact. Surprisingly, a higher level of loyalty increases the intentions to pirate music while, as anticipated from theory (Solomon et al., 2002; Shiffman &amp; Kanuk, 1987), higher liking decreases intentions. The conclusion is that the artist liking variable and artist loyalty variable are resulting in a bridge over piracy where the pillars are built of liking and the bridge itself is built of loyalty, stressing the importance of maintaining high levels of liking to maintain purchasing behavior online.

Background: Being an artist in the Swedish music industry in 2023 has been found to labor relations involving challenges related to health, hope, creativity and inspiration(Rödblom et al., 2023). Previous studies have also examined the working environment of artists, such as challenging work relationships, how artistic expression demands emotional awareness, and how this may impact the mental health of artists. However, what is the actual experience of health among artists, and why?Purpose and Objectives Summary: Through this investigation, I contribute to filling the existing knowledge gap and mapping how artists perceive health, and the reasons for their experiences in the contemporary music industry.Methodology and data collection: This thesis constitutes a qualitative study with an inductive approach. To structure the research study, I have chosen to adopt Grounded theory, which has involved entering the field with an open mind, collecting information,and subsequently compiling, coding and reflecting upon the data. I have conducted unstructured interviews with three artists and three managers to gain insights into how artists perceive health, and later also discuss why they perceive health in that way.Results: The findings reveal that the artists' experience of health is shaped by various challenges such as establishing a balance between work and leisure, motivation, social media and how artists engage with it, and challenges regarding their health. There is no doubt that they have a passion for their profession and that this is truly what they wish to dedicate their time and efforts to. However, the sacrifice involved in doing so encompasses factors that pose challenges to their overall well-being and health in various ways. The reason why the abovementioned themes have been highlighted in my interpretation, is because the artists experience a certain frustration, wherein they perceive a lack of support, structure, sustainability, and health in the mentioned aspects. This complicates the artists'existence, encompassing everything from the working environment to their personal life.Conclusion: The results of the study suggest that a clearer demarcation between work and leisure would be advantageous for both artists and their managers. Furthermore, the conclusion reveals that the primary motivation of artists, linked to "a calling" or "the questfor meaning," is intimately tied to their identity and positively correlated with the experience of good health and well-being. The results also indicate that artists encounter stress related to the use of social media, and managers propose that increased insight and openness to alternative creative solutions are necessary, a proposition supported by relevant theories. The implementation of these solutions may potentially enhance the health of artists by mitigating the stress associated with social media. Ultimately, the results also concludes that health is a crucial and topical discourse within the music industry, particularly as certain artists do not perceive their health in a satisfactory manner today.

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Cette thèse observe le phénomène du livre d’artiste pour enfants. L’objectif premier de l’étude est de relier notre objet à une interrogation plus fine concernant la place de l’art et une forme de pratique artistique spécifique dans la construction du concept d’enfance en résonance avec des problématiques éducatives. Nos travaux tentent de mettre au jour une esthétique de l’enfance présente dans un contexte de renouveau socioculturel des années 1968. En effet, c’est dans cette même période que l’on peut observer des mouvements et pratiques artistiques issus de l’avant-garde ayant participés à l’élaboration d’un autre regard sur l’enfance au moyen de l’art pour et auprès de l’enfant. Notre réflexion s’inscrit dans le champ des sciences de l’éducation mais aussi dans celui de l’histoire de l’art car le livre d’artiste fait partie de ces objets hybrides situés à mi-chemin entre le livre et l’œuvre d’art. On interroge ainsi notre objet : si d’une façon générale, le livre pour enfants est porteur d’une certaine représentation qu’une société se fait de l’enfance, s’il est comme un miroir de ce qu’elle souhaite offrir comme modèles d’enfances, le livre spécifique qui nous intéresse, le livre d’artiste pour enfants, ne peut-il pas nous dire lui aussi quelque chose de spécifique au sujet de l’enfance d’aujourd’hui ? Afin d’appréhender notre objet dans toutes ses dimensions, il semble pertinent d’interroger l’évolution de l’image de l’enfance dans le livre mais également d’interroger les artistes qui créent les livres artistiques destinés à la jeunesse comme Leszek Brogowsky (2010) le préconise dans le cadre d’une méthodologie d’étude des underground artistiques. On procède alors à un examen attentif des livres d’artistes considérés comme des dispositifs, des espaces alternatifs (Dupeyrat, 2012), lieux d’expression d’un certain regard porté sur l’enfance. C’est en interrogeant les artistes, en tentant de retracer leur trajectoire (Passeron, 1990) que notre objet deviendra également plus lisible et visible. Pourquoi des artistes à part entière ont fait ce choix de créer pour l’enfance ? En quoi le livre d’artiste pour enfants peut-il être représentatif d’un nouveau regard sur l’enfance ? Nos travaux mettent au jour des regards croisés afin d’observer l’art et l’enfance autrement. / This thesis observe the phenomenon of the artist book for children. The primary objective of the study is to link our object to a deeper questioning concerning the place of art and how a form of specific artistic practice can take part in the concept of childhood and educational issues. The research attempt to clarify an aesthetic of childhood in the years 68, a significant development in a context of socio-cultural change in progress. Indeed, it is in this same period we can observe avant-garde artistic movements and practices which take part in the development of another perspective on childhood with art for and with children. Our reflection is in the field of the sciences of education but also in the history of art because the artist's book is part of these hybrid objects located halfway between the book and the work Of art. We question our object: if in a general way, the children's book carries a certain representation that a society makes of childhood, if it is like a mirror of what it wants to offer as Models of childhood, the specific book that interests us, the artist's book for children, can not it also tell us something specific about the childhood of today? In order to understand our object in all its dimensions, it seems pertinent to question the evolution of the image of childhood in the book but also to question artists who create art books intended for youth such as Leszek Brogowsky (2010) advocates it in the context of the study of specific artistic practices . We then proceed to a careful examination of artists' books considered as devices, alternative spaces (Dupeyrat, 2012), places of expression of a certain regard focused on childhood. It is by interrogating the artists, while trying to retrace their trajectory (Passeron, 1990) that our object will also become more readable and visible. Why have full-fledged artists made this choice for creation for childhood? How can the artist book for children be representative of a new look at childhood? Our work wish brings to light new looks to observe art and childhood otherwise.

In this essay I analyze the performative aspects relating to Marina Abramović's The Artist Is Present, which took place in spring 2010 at MoMA in New York, from the context of the artist and work, institution and documentation. In this performance work, for the duration of the exhibition, Abramović sits completely still opposite another chair where anyone from the audience may sit. The art arises through this participation. The audience are not only viewers, but also the observed, thus becoming part of the work and the negotiation of this exchange of living gazes. The performative pervades this work on multiple levels. The Artist Is Present reached a surprisingly large public, of over 500,000 visitors and continues to circulate in the form of blogs, documentary film and photography long after the exhibition duration. In order to conduct a performative analysis of The Artist Is Present I apply the theories of Peggy Phelan, regarding the relationships between the political and representative visibility in contemporary culture. Phelan's explanation of the unmarked field reveals the importance of the 'other' to see oneself. This is especially relevant in Abramović's performance which challenges and revolves around self reflection in the other. Phelan's theories are also pertinent in analyzing what Abramović as the performer and her work create for re-negotiations around positions and the gaze. The assertions of Carol Duncan in considering the Art Museum as a place of ritual are applied to the ritualistic context of The Artist Is Present, which may well build up a form of liminality. Duncan's claims of the museum as ritual in combination with Phelan's theories provide interesting grounds to further investigate the effect and eventual mythology of the performance work and artist. How do these contexts of institution, documentation, artist and art, which I propose contribute to a kind of myth creation, operate in a ritualized performance art work? This essay analyses these contexts together in order to find a connection between the performative aspects and the effect that they have on the viewer and receiver, which have contributed to the public success of this exhibition. Despite that we now live in an era of reproduction, perhaps the wishes of our era still revolve around a cult value? That even in this post industrial age of reproduction, new needs are recreated for mythology and cult? Or can it be that the reverse is true, that the rites and symbols speak to us before the mythology has fully arisen?

Syfte och Forskningsfrågor Syftet med uppsatsen är att skapa förståelse för hur relationen och rollfördelningen mellan managers och artister kan se ut och vad som påverkar detta, samt hur manageryrket har påverkats av den förändring som skett i musikbranschen i och med den tekniska utvecklingen. För att nå upp till detta syfte har vi arbetat med tre forskningsfrågor: Vilka roller och vilken arbetsfördelning finns mellan managers och artister? Hur ser managers relationer till deras artister ut och vad påverkar detta? Hur påverkar nya förutsättningar managerns roll och relation till artister? Metod Vår forskning har haft en induktiv ansats då vi ville utgå ifrån empirin och låta de intervjuades berättelser styra uppsatsens riktning. Vi valde en kvalitativ metod då vi ville få en bild av hur våra intervjupersoner själva upplevde sina roller och relationer. Vår empiriska studie består av intervjuer med 6 managers och 4 artister. Slutsatser Vi har genom vår analys och slutdiskussion sett att roller, arbetsfördelning och relationer mellan managers och artister kan se väldigt olika ut från fall till fall. I grunden anses att artisten ska ansvara för de kreativa delarna och managern för de affärsmässiga delarna av artistskapet. Det är dock vanligt att parterna lägger sig i och vill vara involverade i varandras arbete. Vi har också upptäckt att det ofta är svårt att skilja mellan vad som är kreativt och vad som är affärsmässigt. Managers ser sig ofta som både anställda, säljare, samarbetspartners och en extra bandmedlem samtidigt. Relationen mellan managers och artister är ofta både personlig och professionell, och vilken del som upplevs som viktigast påverkas bland annat av hur parterna ser på sina roller gentemot varandra. Tillit är avgörande för en fungerande relation oavsett hur personlig eller professionell relationen är. De nya förutsättningarna i musikbranschen har inte minskat managerns uppgift, men däremot förändrat den. Bland annat krävs det idag att managern har kunskaper inom fler områden än tidigare. / The purpose of this paper is to increase the understanding for the different roles, division of work and the relationships between artists and music managers and what factors that may affect it, as well as what influence the new technological changes within the music industry have on the music managers’ work. The study is based on interviews with six artist managers and four artists. We can draw the conclusion that roles, division of work and the relationships between artists and music managers may look very different from one case to another. Basically, both artists and managers believe that the creative parts should be the artists’ responsibility while the business parts should be the managers’ responsibility. However, we have found that it is common that both actors want to participate in the other’s work and that is often is difficult to separate the creative tasks from the business tasks. The relationship between artists and music managers is often both personal and professional. However, trust is always important. The changes in the music industry have not reduced the importance of the music manager, but might have changed the roles and tasks that the manager will have to face.