Efter ett sekel fyllt av sammanslagningar, nedläggningar och centralisering på den svenska bryggerimarknaden introducerades under mitten av 90-talet en ny trend med inriktning mot hantverksbryggd öl. Mikrobryggerierna har varit en del av den svenska bryggeribranschen i knappt två decennier men har först på senare år växt sig allt starkare. Autenticitet har sagts utgöra en av grundpelarna i modern marknadsföring, något som även gäller för mikrobryggerier vars identitet ofta är starkt förknippat med genuinitet. Syftet med studien har varit att undersöka hur aktörerna på den svenska mikrobryggeribranschen kopplar autenticitet till sitt varumärke och för att besvara frågeställningen har semi-strukturerade intervjuer med tre olika bryggerier genomförts. Genom denna studie kan det konstateras att autenticiteten främst är kopplad till mikrobryggeriernas hantverksmässighet samt kärleken till bryggandet. Studien indikerar även att rollen som ett hantverksbryggeri tycks vara viktigare än rollen som ett mikrobryggeri.

The creative project involved the exploration and to cone 06 in an development of eight large handbuilt ceramic vessels. False bottoms, double walls, and amorphous forms were constructed inside the vessels and textured with various implements. To create contrast on the exterior of the forms, a variety of experimental glazes, porcelain slips, and stains were applied. The pieces were then fired electric kiln. After this process, the outer surfaces were manipulated again with the use of a sandblaster and sandpaper.Each piece created for this project had a particular character and life of its own. A constant factor also remained in the work, which held it together as a whole. / Department of Art

I am interested in humans, bodies, movements, directions and how they affect each other. How we move towards each other or away from each other, inside a home or outside. How we relate to each other and to what people say and do. Co-operations between people that occasionally, possibly, do not work; how certain relationships, like certain materials, can have various breaking-points; that materials can be laden with numerous preconceptions, for instance what they should be used for. Beginning from the perspective of a feminist commune, I have explored the concepts of family, belonging, and loneliness. I have interviewed, observed, photographed, and through living in the commune during shorter periods of time, I have taken part in their every-day life. Through this investigation I have become more aware of my view on loneliness and belonging, regarding both myself and others. Can we as humans stand alone, or is interdependence necessary to reach our full potential? Can we experience loneliness in spite of co-existence? And can we feel togetherness in our loneliness? I have created objects in which I hope the observer can recognise themselves, in the emotions I wish to communicate. It may be about shame; shame for not fitting in; not belonging; a nagging sensation that you are not “right”. It may be the dark side which can arise through togetherness; like being situated in an environment where you are surrounded by people but still do not feel you belong; but also the feeling of release that a self-imposed seclusion can give. Through my jewellery I want to show that the way in which something or someone is decorated can raise standards, values and preconceived ideas. / <p>Har tagit bort bilder av upphovsrättsliga skäl</p>

This thesis statement is about the ongoing examination of the relationship between my mother and myself as viewed through works of art. I will explore the parallel actions we take in our daily lives that are obsessive and escapist in nature. My mother’s obsession is her passion for reading Romance novels, while mine is the repetition and labour-intensive quality of using domestic craft as a medium in my studio practice. For us, the escapism is two-fold: both can, and often do, serve as an escape from the struggles of daily life. At the same time, however, each medium allows time for reflection on life and the ability to process issues in a non-linear fashion. The following paper will explore the functions of the Romance Novel and domestic craft and will analyze various elements of both my art and other contemporary artists working in similar themes.

No description available.

No description available.

Poly'nAsia is a practice based research project that identifies and builds from the affinities between traditional Tongan and Indian textile techniques. It seeks to explore and synthesize the parallels between two textile traditions - tapa1of Tongatapu in Tonga and kalamkari2 of Masulipatnam and Kalahasti in Southern India.The project functions within the framework of the wider cultural and social contexts. It does not follow a strictly premeditated path or a rigid time line. An intuitive, organic approach is adopted instead, to complement cultural traditions, taking time to build understanding, trust and respect. A collection of contemporary fashion garments and textiles is produced, inspired by yet distinct from these traditional textiles. The collection is synthesized i.e., it combines elements of tapa and kalamkari to form a coherent whole. This collection has contemporary relevance, while retaining the traditional handcrafted component of tapa and kalamkari. The investigative and creative process that culminates in the Poly'nAsia collection is documented in this exegesis. The collection was presented at a fashion show on 3rd February, 2005.

Thesis (M.F.A.)--Rochester Institute of Technology, 1981. / Typescript. Includes bibliographical references (leaf 28).

Thesis (M.F.A.)--Rochester Institute of Technology, 1981. / Typescript. Includes bibliographical references (leaf 45).

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references.