Crowdfunding is a method for financing a product, investment or project. It means that all people, individuals or companies that have an idea and Internet connection can outsource the idea on a crowdfunding platform. The purpose with this crowdfunding is that the creator turn to many people with small amounts of money. This paper focus on the users of crowdfunding platforms though. There are a lot of articles on the Internet about Crowdfunding but not so much information about the users. In a try to identify the people who uses this kind of financial method I have made a survey with 200 respondents. In the empirical chapter, every single question and the answer is displayed in a respective figure.

This paper is based on another paper I have written, what can we say about the users of crowdfunding platforms? This paper focuses on advantages and disadvantages with crowdfunding and the users of crowdfunding platforms. Previously researchers mean that there are both positive and negative things about crowdfunding and these will be analyzed and raised in this paper. There is not much information about the users of crowdfunding platforms. In a previous paper I did a survey to try to identify who the users of crowdfunding are. In this paper the result from that survey will be analyzed and hopefully succeed in identifying the characteristics of users of crowdfunding platforms.

Abstract Aim: This project deals with ‘employee involvement in the implementation process of waste management. The research focus on Volvo Cars Corporation since the company involves a set of departments in such process. The purpose is to identify the dominant factor(s) affecting employee involvement during waste management execution. These factors are ‘the creators of employee involvement’ and they are organizational culture; communication; training and education; teams; employee empowerment; and rewards. Thus, the research question that has been addressed is ‘how does employee involvement take place in organizations during the implementation of waste management strategies?’ Method: Case study design was applied since it serves as ground for understanding the phenomenon; and it is connected to qualitative research. The authors collected mixed data. Secondary data were gathered from the firm’s sustainability reports, while primary data is obtained from interviews with Volvo’s employees who were related to waste management implementation. Results were offered by applying coding, categorization and content analysis. Results and Conclusions: Volvo demonstrates a green corporate culture with informal and participative channels of communication. Employees work in cross-sectional and self-managed teams and they are not intensely trained in environmental oriented issues. Decentralization in decision-making is the common approach within the company. Moreover, a bonus reward system exists there. Limitations and Suggestions for further research: As the results from representative case studies design cannot be generalized, a comparative case study design regarding a number of automotive companies is recommended. The employee involvement factor has been explored in this study, however, additional research regarding firm’s performance and employee involvement outcomes is decidedly suggested. In addition, the authors recommend to conduct further studies related to other green strategies such as lean production, reduction of toxic emissions, reuse, recycle, etc. Contribution: training and education programs plus rewards packages are found irrelevant in the employee engagement with waste management. Conversely, the conducted study find out additional factors. They are the ‘social component’ and the ‘ecological mentality’ of the business which have to be considered for managers and society as important dimensions in the course of the employee involvement. Key words: HRM, employee involvement, waste management implementation process, creators of employee involvement.

Med teknologins ständiga framsteg har det uppkommit nya distributions- och produktionsmöjligheter vilket resulterat i en förändring i strukturen inom musikindustrin. Nya inkomstkällor har identifierats, och musikskapare kan agera mer självständigt än tidigare tack vare portabla inspelningsprogram och digitala plattformar såsom Spotify och Soundcloud. Den förändrade strukturen har fått som följd att relationen mellan musikskapare och musikbolag har förändrats.   Syftet med denna studie är att granska hur oetablerade musikskapares relation till musikbolag har förändrats, sett till den teknologiska förändringsprocess som skett. Detta för att skapa en djupare förståelse för fenomenet såväl som det musikindustriella landskapet. För att uppnå detta syfte har vi arbetat utifrån följande forskningsfråga: Hur har oetablerade musikskapares relation till musikbolag förändrats, sett till den teknologiska utveckling som skett? Studien bygger på en induktiv ansats där vi utgår från den insamlade empirin för att bilda oss en uppfattning om det studerade fenomenet och utifrån detta skapa en teoretisk förankring. Empirin består till stor del av sju semistrukturerade intervjuer med såväl musikskapare i den inledande fasen av sin karriär som en aktör aktiv inom musikbolag. För att styrka denna empiri har vi valt att komplettera med sekundärdata, både kvalitativ i form av artiklar och akademiska studier, men även kvantitativ i form av statistiskt underlag från branschorganisationer, såsom IFPI och Musiksverige. Denna studies slutsats tyder på ett begynnande mönster kring hur relationen mellan musikskapare och musikbolag har förändrats. Studien ämnar inte att generalisera eller konkretisera fenomenet utan att, genom materialet vi samlat in, diskutera fenomenet utifrån flertalet faktorer. Vi har i arbetet bland annat tagit upp entreprenörskap, ökad individuell kunskap, samt en ökad mängd musikskapare som bidragit till större konkurrens. Den ökade konkurrensen har bidragit till ett svårläst industriellt landskap där det nu finns en mängd verktyg att använda, men det garanterar inte en ökad chans till att ta sig igenom “bruset”. / The constant progress of technology, along with the new distribution and production opportunities that has appeared, has resulted in a structural change in the music industry. New sources of income has been identified to allow music creators to act more independent than before, as a result of portable recording software and digital platforms, such as Spotify and Soundcloud. Thus, the structural changes has led to modifications in the relationship between music creators and music companies. The intention of this study is to examine how music creators relationship to music companies have changed, during the initial phase of the music creators career, in terms of the technological transformation that has occurred. This is to create a deeper understanding of the music industrial landscape. To achieve this purpose, we have been working with the research question stated below: How has music creators relationship to music companies changed, in the initial phase of the music creators career and in terms of the technological transformation that has occurred? The study is based on an inductive approach, as our starting point is in the empirical field, in order to create a perception of the studied phenomenon and establish it theoretically. The empirical data largely consist of seven semi-structured interviews with music creators in the initial phase of their career, as well as an representative of the music companies. To further strengthen the data, we have chosen to complement it with secondary data. These come in the forms of qualitative data, such as articles and academic studies, as well as quantitative data, such as statistics from industry associations as IFPI and Musiksverige. The results of this study indicates an incipient pattern regarding the changed relationship between music creators and music companies. The aim of this study is not to generalize or concretize the phenomenon, but to, through the gathered material, discuss the phenomenon based on a plurality of factors. In the study, we have addressed topics such as entrepreneurship, an increase in individual knowledge as well as an increase in music creators, which has contributed to a growing competitive market. The increase in competition has resulted in a landscape that is more difficult to read, where there’s now an immense amount of tools to use, but no guarantee for breaking through the spectrum.

Research question: How can Crowdfunding be used as a marketing tool?Purpose: The purpose of this paper is to explore the anomalies and trends in crowdfunding in order to explain how crowdfunding can be used as a marketing tool.Method: This research is exploratory with an inductive research approach. Primary data was collected with qualitative techniques. Semi-structured interviews was used when interviewing the participants in order to withdraw data.Findings: The empirical data showed that crowdfunding can be used for marketing and creating a buzz or awareness. These findings lead us to create a proposed model for how crowdfunding most effectively can be used as marketing.

The main goal of the thesis is to establish market value of the company Koh-i-noor Hardtmuth to the date of 1.1.2009. In the first part, there is a summary of the financial and the strategic analysis which was the subject of the thesis written by Jakub Štěpán. The first part includes the specification of the operation assets as well. The fifth part is focused on the prediction of the value creators which are further used in the following chapter as a base of the financial plan. The last part contains the overall valuation of the company. As a main method is used DCF Entity and as an additional method the market comparison. The value of the company is established as an interval range.

A relação entre criador e receptor se faz presente de forma peculiar em grande parte das obras de João Guimarães Rosa, inserida também intratextualmente em suas estórias. Para destacar tal relação, serão analisadas três novelas de Corpo de Baile: \"Campo Geral\", \"Cara-de-Bronze\" e \"Dão-lalalão\". Embora haja contadores ao longo de todo o ciclo novelístico, o corpus escolhido apresenta mais acentuadamente protagonistas que narram para os outros e, de certa forma, para si mesmos. Miguilim narra principalmente estórias infantis; Grivo reconta a trajetória pessoal de Cara-de-Bronze, modificando a versão inventada e vivida pelo fazendeiro, e, por fim, Soropita repassa questões pessoais por meio de devaneios. As estórias internas provocam um efeito sobre seus ouvintes, agindo ora como aprendizado, ora como impulso para buscas ou para ações distintas. A partir daí, este trabalho tem por objetivo tanto delimitar os criadores e receptores dessas estórias, refletindo acerca de seus papéis, quanto evidenciar as funções e conseqüências de tais narrativas para suas personagens, mostrando que os contadores internos auxiliam, com experiências ficcionais, não só a própria \"vivência\", mas também a de seus ouvintes. / The connection between creator and receiver is present in a peculiar way in great part of the work of João Guimarães Rosa. And this is also finded intratextually in his tales. To put this connection in relief, this study will analyze three novels from the book Corpo de Baile: \"Campo Geral\", \"Cara-de-Bronze\" and \"Dão-lalalão\". Although there are storytellers in all the novelistic cycle, the chosen corpus presents with more emphasis protagonists that narrate to others and, in a certain extent, to themselves. Miguilim narrates essencially juvenile tales; Grivo retells the personal trajectory of Cara-de-Bronze, changing the invented version and the experienced one by the farmer and, at last, Soropita examines again personal matters throught dreams. The internal tales cause an effect on the listeners sometimes operating as a way of learning and sometimes as a drive to different searches and actions. From this point, the purpose of this study is to define creators and receivers of this tales, reflecting about their roles, and also emphazise functions and consequences of these accounts to its characters, demonstrating that internal storytellers favour through fictional experiences, not only their own \"experience of life\", but also the one of the listeners.

A relação entre criador e receptor se faz presente de forma peculiar em grande parte das obras de João Guimarães Rosa, inserida também intratextualmente em suas estórias. Para destacar tal relação, serão analisadas três novelas de Corpo de Baile: \"Campo Geral\", \"Cara-de-Bronze\" e \"Dão-lalalão\". Embora haja contadores ao longo de todo o ciclo novelístico, o corpus escolhido apresenta mais acentuadamente protagonistas que narram para os outros e, de certa forma, para si mesmos. Miguilim narra principalmente estórias infantis; Grivo reconta a trajetória pessoal de Cara-de-Bronze, modificando a versão inventada e vivida pelo fazendeiro, e, por fim, Soropita repassa questões pessoais por meio de devaneios. As estórias internas provocam um efeito sobre seus ouvintes, agindo ora como aprendizado, ora como impulso para buscas ou para ações distintas. A partir daí, este trabalho tem por objetivo tanto delimitar os criadores e receptores dessas estórias, refletindo acerca de seus papéis, quanto evidenciar as funções e conseqüências de tais narrativas para suas personagens, mostrando que os contadores internos auxiliam, com experiências ficcionais, não só a própria \"vivência\", mas também a de seus ouvintes. / The connection between creator and receiver is present in a peculiar way in great part of the work of João Guimarães Rosa. And this is also finded intratextually in his tales. To put this connection in relief, this study will analyze three novels from the book Corpo de Baile: \"Campo Geral\", \"Cara-de-Bronze\" and \"Dão-lalalão\". Although there are storytellers in all the novelistic cycle, the chosen corpus presents with more emphasis protagonists that narrate to others and, in a certain extent, to themselves. Miguilim narrates essencially juvenile tales; Grivo retells the personal trajectory of Cara-de-Bronze, changing the invented version and the experienced one by the farmer and, at last, Soropita examines again personal matters throught dreams. The internal tales cause an effect on the listeners sometimes operating as a way of learning and sometimes as a drive to different searches and actions. From this point, the purpose of this study is to define creators and receivers of this tales, reflecting about their roles, and also emphazise functions and consequences of these accounts to its characters, demonstrating that internal storytellers favour through fictional experiences, not only their own \"experience of life\", but also the one of the listeners.

Syftet med föreliggande uppsats är att bidra till en ökad förståelse för hur technostress yttrar sig hos projekt- och produktionsledare inom olika områden i mediebranschen. Detta genom att undersöka vilka technostress creators (techno-overload, techno-invasion, techno-complexity, techno-insecurity och techno-uncertainty) som påverkar denna yrkesgrupp, samt hur anställda hantera dessa. I genomförandet av studien har två kvalitativa- och en kvantitativ metod tillämpats. Den kvalitativa datainsamlingen utgjordes av en fokusgruppsdiskussion samt enskilda intervjuer med projekt- och produktionsledare verksamma i Malmö. Den kvantitativa undersökningen gjordes i form av en enkät som skickades både till projekt- ochproduktionsledare inom mediebranschen i Malmö, samt till Nätverket Pirayas medlemmar.Studien visar att projekt- och produktionsledare inom mediebranschen framförallt upplevertechno-overload samt techno-invasion. Insamlade data tyder också på att den medieteknik som främst ligger till grund för detta är e-post och mobiltelefoner. Tillsammans möjliggör de en hög arbetsbelastning som informanterna och respondenterna upplever som svår att hinna med under kontorstid. Därtill innebär medieteknikens mobilitet – och därmed arbetets tillgänglighet utanför kontoret – att informanterna och respondenterna tidvis har svårt att hålla isär arbetsliv och privatliv. Utlåtande från informanterna och respondenterna tyder emellertid på att förekomsten av techno-complexity, techno-insecurity och techno-uncertainty är låg hos projekt- och produktionsledare inom mediebranschen. / This study aims to examine whether project- and production managers within different areas of the media industry experience technostress due to any of the five technostress creators:techno-overload, techno-invasion, techno-complexity, techno-insecurity and techno-uncertainty. Furthermore, the study examines how employees handle the effects of these. In the study, both qualitative and quantitative methods have been applied. The qualitative data collection includes a focus group discussion as well as individual interviews with project- and production managers operating in Malmö. The quantitative data collection was conducted in the form of a survey sent to both project- and production managers in the media industry in Malmö and to Nätverket Piraya’s members. The results show that project- and production managers in the media industry mostly experience techno-overload and techno-invasion. The collected data indicate that information communication technologies (ICT) such as email and mobile phones are the main reason for this. Together, they enable a workload that is difficult for the respondents to keep up with and finish during office hours. The mobility of these ICT’s also allows the respondents to work outside the office, making it difficult for many to separate work and personal life. The study also shows that the presence of techno-complexity, techno-insecurity och techno-uncertainty is low among the respondents.

The creator economy is a growing phenomenon in business, entrepreneurship and the global economy. This thesis seeks to explore the identity of content creators and the format of creator accelerator programs to help understand the growing phenomenon of the creator economy. In comparing the two ecosystems of content creators and entrepreneurs we can begin to understand the effects and implications. The thesis also aims to understand the similarities between upcoming content creator accelerator programs and mature startup accelerator programs. Through qualitative methods, primary sources are collected to compare content creators to entrepreneurs and creator accelerator programs to startup accelerator programs. By reviewing one hundred eighty-two (182) content creators and four hundred and three (403) entrepreneurs, the results are divided into three categories; the top roles identified, the number of times the role appeared in the group, and the percentage of roles based on the total number of people. The primary difference between content creators and entrepreneurs is content creators focus on the content produced, whereas the entrepreneur focuses on the organization, product or services. In exploring similarities between the two types of accelerator programs four categories emerge in organizing the program information: length of the program, goals, mentorship or networking opportunities, and funding. This paves the way in understanding the growing creator economy phenomenon by finding overlap amongst content creators and traditional entrepreneurs alongside accelerator programs.