Belysning i kulturhistoriskt värdefulla miljöer är en komplicerad fråga, där generella riktlinjer och råd saknas. Kulturvården och belysningsbranschen sitter på stor kompetens inom sina respektive områden och här finns stor potential till värdefulla samarbeten över branschgränsen. När sådana samarbeten uteblir får det konse- kvenser för både de belysningsmässiga och antikvariska aspekterna. Ljus och belysning har stor inverkan på upplevelsen av rum och byggnader. När detta översätts till kulturhi- storiska värden, har ljuset inte minst en påverkan på upplevelsevärden och symbolvärden. Därför kan gestalt- ningen av belysning ha en inverkan på kulturhistoriska värden, som överskrider inverkan av den fysiska belys- ningsinstallationen. Det här beaktas sällan när beslut om ny belysning fattas. Ljus kan även betraktas som ett eget immateriellt kulturarv, vilket ytterligare komplicerar frågan om belys- ning i kulturhistoriska miljöer. I egenskap av kulturarv kan ljus, ljusupplevelser och ljusfenomen tillskrivas kul- turhistoriska värden som endast berör det immateriella. Om dessa också tas hänsyn till blir det inte bara en fråga om att vårda med ljus, utan även att vårda ljuset. / Lighting in historical environments is complicated question, lacking general guidelines and advice. The conser- vation sector and the lighting industry have good expertise in their respective areas and there is great potential for valuable collaborations. When such collaboration fails, it has consequences for aspects regarding both lighting and conservation. Lighting has a major impact on the experience of rooms and buildings. When it comes to conservation and questions of cultural significance this can be translated into experience values and symbolic values. Therefore, the lighting design can have an impact on the cultural significance, that exceeds the impact of the physical lighting installation. This is rarely taken into account when deciding on new lighting installations. Light can also be considered its own intangible cultural heritage, which further complicates the question of lighting in historical environments. It becomes not only a matter of lighting as a tool for preservation but also of preserving light.

Kungsleden is Sweden's oldest walking trail with a widespread system of cabins. The cabins are an important part of the safety system in the mountains, offering both comfort and shelter for the hiker. With building functionality in focus, the cabins are constantly renovated and modernized to ensure standards are maintained. Material is replaced with little or no thought to the cultural historical implication of this change. The southernmost stage of Kungsleden stretches from Hemavan to Ammarnäs, along the walking trail there are five cabins which were built in the 1980s when Kungsleden was extended and the area became a nature reserve. This thesis focuses on those five cabins. The thesis aims to contribute with an overall documentation of the cabins along Kungsleden walking trail between Hemavan and Ammarnäs and to investigate and determine whether the cabins possess cultural-historical value. To answer that, interviews are completed with both the owner (the county administrative board) and the tenant (Swedish Tourist Association, STF) of the cabins. The interviews are conducted with the purpose of investigating how the cabins are valued by owners and users, with the collected empirics analysed using value theory emotivism (Bergström, 2012). The thesis study is subsequently included as part of a cultural-historical evaluation together with the help of a government sponsored platform for evaluating the cultural-historical significance of buildings (Riksantikvarieämbetets Platform för kulturhistorisk värdering och urval) (2015) to answer the main question of this study: do the county administrative board and the Swedish Tourist Association (STF) consider the mountain cabins to be culturally and historically significant buildings? The result of the thesis demonstrates that the cabins are buildings with cultural and historical value and should therefore be managed accordingly. However, the county administrative board and the Swedish Tourist Association do not share this view, and believe that the cabins do not possess a cultural or historical value due to their very recent construction, this is a reoccurring argumentation lifted by researchers in this field (Vesterlund, 2019; Serrander, 2019; Lindberg, 2019). The aim of the thesis is to broaden the view of what is seen as a cultural-historical valuable building beyond age, and challenge the perspective currently held by both the owner and tenants. Furthermore, I would like to highlight the discussion concerning the consequences of identifying a building as culturally and historically significant. Can this classification in the case of the cabins have potentially negative consequences or is it a necessary step to ensure that cultural heritage is not lost before it has even been discovered.

I detta konstnärliga projekt har jag agerat producent och planerat för och genomfört en inspelning av två nyskrivna låtar med mitt band. I denna uppsats har jag undersökt hela den konstnärliga processen noggrant för att förstå vad som händer i den och hur man kommer fram till och kan påverka resultatet. Jag har även valt ut två musikaliska referenser och tagit reda på hur deras produktionsmetoder sett ut och jämfört dem med varandra, samt tagit inspiration därifrån till min egen process. Reflektionerna kring processen kretsar främst kring de tekniska och fysiska förutsättningarna inspelningen har haft och den beslutsfattande roll jag som producent har haft. Detta har resulterat i två grundmixar som ska produceras vidare. Låtarna är inspelade på ett sätt som kan mixas för att matcha flera olika ljudideal och kommer därmed med stor sannolikhet kunna uppfylla min vision av produktionen senare. I den avslutande diskussionen redogör jag mina insikter om att tid och pengar är stora faktorer för vilka förutsättningar man har, vikten av att vara förberedd för att kunna vara tidseffektiv i studion, samt att det mesta går att lösa ändå med hjälp av noga förberedelser och planering.

This study explores the role of visual arts in two projects that aimed to integrate refugees and migrants into Swedish society, and in what way art was considered to help the integration process. Qualitative content analysis and a cultural policy model have been used to analyze the material consisting of interviews with the leaders of two projects, and some texts. The result shows that art was considered to have an instrumental role in both of the projects, but educational and social values were also mentioned. The use of visual arts was considered successful for integration purposes because of its perceived ability to help people communicate without using words, and helping people to learn the language through conversations about art.

The purpose of this essay was to find and analyse Finnskogen’s actors and their opinions about the place’s cultural and natural heritage values. Also, the process so far to become a World Heritage Site. The methods used in the essay were hermeneutic and argumentation analyses; the first was used in the process of finding the sources, the second, to analyse them. The results show that the actors have different arguments to why they want to make the place a World Heritage Site and also that collaborations they have with other projects and people that are involved are important. The results also show that they also follow UNESCO’s conventions about world heritage and cultural heritage, even if they have not said it officially. The conclusion of the essay is also that the actors sometimes have conflicting arguments  to why Finnskogen should become a World Heritage Site and how to proceed with the application process in the future.

The purpose of this study is to analyze the political debate that arose during the development of a municipal art policy in Sunne municipality. This is based on how Sunne municipality has previously worked with public art and how the debate might change it. The study also discusses and analyzes how the local culture plan and art policy work with the national cultural policy goals. The method for the study is a descriptive argumentation analysis. The arguments presented are then further analyzed in the light of the theory of Linda Nochlin about women's misrepresentation in art history. The analysis is also illustrated by theoretical concepts that deal with public art, gender equality and artistic quality. The result shows two different sides of the argument where gender equality goals are set against the idea of an intrinsic value of art.

A group of Canadian films emerged in the 1980s and 1990s that has come to be known as the “Toronto New Wave” (TNW). Most scholarship regarding this “wave” considers the films usually identified with it not as an ideologically or aesthetically cohesive ensemble, but as a disparate mélange engendered by the merely coincidental socio-political, economic, and government policy circumstances that developed at the beginning of the 1980s. Critics who engage more robustly with the cinematic content of these films often make reference to a new global sensibility of the filmmakers and almost universally discuss the theme of urban social alienation that permeates the film narratives. However, the motif of urban social alienation is always understood by these critics as merely a theme in these films. These critics overlook or openly reject the possibility of what anarchist cultural studies refers to as philosophical praxis, an active effort to intervene in cultural meaning-making and to change dominant ideologies. Moreover, the urban alienation theme upon which so many of the TNW narratives trade seems to map very specifically onto more progressive understandings of the term “apocalypse” in the project of philosophical praxis. In the following dissertation, I will argue against the commonly held view that the films of the TNW do not share any significant aesthetic or political unity. In doing so, I will make a case for the marriage of theories of apocalypse with both anarchist cultural philosophy and perception-based psychoanalytical theory as a means to understand a selection of films from within the TNW that I argue are particularly “anarchist-apocalyptic” in their cultural and political work. / Graduate / 2022-08-16

During the summer of 2008 many movies were released with superhero protagonists. Combining textual readings and theoretical accounts to provide a phenomenological analysis of the representation of the counter-hegemonic struggle against corporate control and the achievement of posthuman masculinity in these recent superhero films, this thesis compares and contrasts specific visual and thematic elements that consistently appear in four of these films: The Dark Knight, Wanted, Iron Man, and Speed Racer. Providing intertextual exploration of the cultural status of specific cinematic superheroes, this project explores possible relationships between culture, society, and cinema, treating popular superhero cinema as an industry, while also considering the relationship between cinema and its audiences and potential implications for social and cultural identity.

Kunskapsöversikten syftar på att belysa det multimodala filmskapandets betydelse i bildundervisningen. Översikten innehåller nio artiklar och två doktorsavhandlingar där författarna på olika sätt gjort undersökningar om vilken betydelse filmskapande har i undervisningen. Forskningsresultatet visar att kreativitet, engagemang och motivation gynnas av filmskapande då elever tillåts att fritt få skapa multimodala filmer genom digital produktion, även elevers meningsskapande och ämneskunskap fördjupades. Forskningsresultatet framhäver även vikten av att lärare besitter digital kunskap för att kunna lära ut digital produktion till sina elever.

Mitt syfte med detta examensarbete har varit att undersöka skillnaderna i hur undervisningen i engelska påverkar elevernas intag av kunskap i årskurserna 4-9 på min skola när den genomförs på ren engelska eller blandas mellan engelska och svenska. Målet var således inte att hitta en enda lösning utan snarare analysera olika svårigheter och hur dessa kan te sig i undervisningen på min skola samt huruvida pedagogerna arbetar med det. Jag valde att genomföra en empirisk studie via kvalitativa observationer följd av kvalitativa intervjuer då det framstod som ett tydligt och enkelt sätt att uppnå resultat som är tagna från verkligheten. Klasserna har en varierande kunskapsnivå och arbetar med moment som jag vill belysa. Det var märkbart att majoriteten av elever med svaga språkkunskaper i engelska uppvisade svårigheter under lektionerna medan elever med starkare språkkunskaper gagnades av helengelsk undervisning. Det var tydligt att klasserna i mellanstadiet upplevde större problematik än högstadiet.