Den 5 juni 2012 vaknade jag förlamad och i det ögonblicket blev min kropp min fiende. Jag har inte kunnat lita på den sedan dess. Jag är rädd att den kommer svika mig igen. Jag känner mig fast i den, men samtidigt alienerad av den. Nu är det dags att försonas, hitta frid. Friden försöker jag hitta genom ull, ull är säkert, den påminner mig om min mamma och den påminner mig om Island. Ull betyder hem. I mitt arbete vill jag konfrontera min rädsla, alienation från min kropp och förhoppningsvis se det vackra i den till slut. Jag vill skapa en plats där jag känner mig omgiven av min egen kropp, där jag kan titta på den, röra vid den och se att den inte är lika skrämmande som jag trodde. / On 5th June 2012, I woke up paralysed and in that moment my body became my enemy. I haven’t been able to trust it ever since. I’m afraid it might betray me again. I feel stuck inside it, and yet, I feel alienated from it. Now it’s time to reconcile, find peace. I’ll try to find this peace through wool, because wool is safe. It reminds me of my mom and reminds me of Iceland. Wool means home. In this project I want to confront my fear, the alienation from my body, and hopefully find beauty in it. I want to create a place where I feel as if I am surrounded by my own body, where I can look at it, touch it, and see that it’s not as frightening as I thought / <p>Healing through craft</p>

This is a noticing and a return - a good old-fashioned call and response. An understanding and a becoming. At present, the noticing is on brokenness and the response on reparation. The work is filtered and guided through my background in traditional woodworking and furniture design. A lifetime love of comic books, storytelling, and illustration refuses silence, and it escapes in bursts as I work intuitively through design and material. A newly discovered love of writing finds meaning in that intuition. It’s impossible, even irresponsible, for me to notice and question the brokenness around me without questioning the brokenness within me. It’s cyclical. The noticing becomes self-examination; the response becomes self-discovery. By leaving my surroundings in a more secure, joyful state than I found them, I am assured of the following: They have been revived; given the opportunity to thrive once more in my absence. I am leaving better too.

The purpose of this study was to investigate why adult students engage in arts learning and what they gain from that experience. Specifically, this research combined case study and narrative inquiry methods to produce a richly textured understanding of the John C. Campbell Folk School and the experiences had by students, instructors, and staff at the school. Due to the unique nature of a rural, interdisciplinary folk arts school, a survey of the Folk School’s history and educational philosophies was conducted to provide a framework for understanding the school’s specific environment. Through informal narrative interviews with students, instructors, and staff, individual accounts of the Folk School experience were established. By identifying what drives enrollment and outcomes of attendance, this study draws conclusions about what individuals seek through informal arts learning. The findings of this study indicate consistent motivations for initial enrollment at the school, but a broad range of reasons for re-enrollment. The reported outcomes were strongly related to personal development, enjoyment, and relationships built at the school. Based on the findings of this study, key components of informal, adult arts learning were identified that can inform other schools and institutions as they promote adult programs. / text

No description available.

No description available.

In the post apartheid state, education is viewed as an important tool for rapid socio-economic development. The economic, ecological, technological and political conditions that characterized the South African crisis were assumed to be a result of inadequate education partly due to Bantu education. Accordingly the new democratic government with the view of revamping the education system in compliance with the provisions as stipulated in the Constitution and other subordinate laws endeavoured to decentralize power and authority to School Governing Bodies (governance) and administrative management of schools to principals. It must be appreciated therefore that some among those who were appointed to positions of school principals lacked the craft-literacy and craft-competency skills to devise effective and efficient administrative management processes needed to produce functional schools in a constitutional democracy. The research therefore seeks to determine the levels of craft-competency and craft-literacy of public school principals in administering case law in schools as required by the Constitution of South Africa, 1996, the Employment of Educators Act, 76 of 1998 and The Promotion of Administrative Justice Act (PAJA), 3 of 2000 to mention but a few legislative instruments. In principals’ exercise of power and authority during the process of administering their schools, the administrative actions must be lawful, reasonable and procedurally fair in line with the relevant empowering provisions in their disposal. The qualitative case study used was meant to interpretively test the impact of the admissions policy as amended by The Education Laws Amendment Act, 50 of 2002 in public schools. It appears that only craft-competent and craft-literate principals are better positioned to adopt correct administrative actions that ensure that the rights of learners are not infringed upon and that their interests are taken care of at all times. It also seems that , generally speaking, principals lack craft-competency and craft-literacy skills and that they receive inadequate support. / Dissertation (MEd)--University of Pretoria, 2008. / Education Management and Policy Studies / unrestricted

Craft brewing has seen a remarkable growth, from the first steps in the late 1960s in the USA until today. Breweries in the USA and Western Europe saw a long period of brewery fusions, concentration and closings from after the 2nd world war until roughly late 1990s/early 2000s. This trend also affected Sweden, where a market with smaller breweries in almost every town or municipality ended up in a situation with a dominating giant. The emerging craft breweries have totally changed this picture. Previous research has shown that craft brewing often starts as a hobby and evolves over time to a commercial business. The process for how these breweries fund themselves at the time of establishment has been researched in several papers, but how breweries that get past the initial step, start to grow and need additional capital to remove some of the bottlenecks that occur is considerably less examined. Since craft brewing is a unique business and the research in Sweden is scarce, theories and practises from small and medium enterprise (SME) financing have been applied. By using semi‐structured interviews and a thematical analysis, six craft beer brewery representatives were interviewed about their own perceptions of the methods they chose to overcome their financial obstacles, both initially but also when experiencing growth and needs for expansion. The breweries were chosen from a combination of size and geographical position in Sweden. Some of the breweries are situated in rural and some in urban areas. All the breweries fulfil certain financial criteria, and experienced production bottlenecks that needed to be solved financially. The thesis arrives at the conclusion that each microbrewery had its unique set of circumstances. The chosen financial solutions were affected by the owner’s perceptions and previous experiences. This supports previous research where new business establishment is highly depending upon the owner or the owner’s own money, which can partly also be explained by how the owners initially looked at their business (hobby/part hobby versus the intention to immediately start a commercial business). Raising capital for further expansion gives a diversified picture meaning that classical financing theory is only partially applicable on the craft brewing industry.

No description available.

No description available.

The Coulomb propulsion system has no exhaust plume impingement problem with neighboring spacecraft and does not contaminate their sensors because it requires essentially no propellant. It is suitable to close formation control on the order of dozens of meters. The Coulomb forces are internal forces of the formation and they influence all charged spacecraft at the same time. Highly nonlinear and strongly coupled equations of motion of Coulomb formation makes creating a Coulomb control method a challenging task. Instead of positioning all spacecraft, this study investigates having a sensor craft be sequentially controlled using dedicated drone craft. At least three drone craft are required to control a general sensor craft position in the inertial space. However, the singularity of a drone plane occurs when a sensor craft moves across the drone plane. A bang-bang control method with a singularity check can avoid this problem but may lose formation control as the relative distances grow bounded. A bang-coast-bang control method utilizing a reference trajectory profile and drone rest control is introduced to increase the control effectiveness. The spacecraft are assumed to be floating freely in inertial space, an approximation of environments found while underway to other solar system bodies. Numerical simulation results show the feasibility of sensor craft control using Coulomb forces. / Master of Science