Estetiska lärprocesser används och värderas på olika sätt av dagens lärare. En milstolpe för estetikens etablering i skolans undervisning är införandet av läroplanen 2011, där estetiska lärprocesser är tydligt framträdande. Det finns däremot sparsamt med forskning som inriktar sig på att undersöka effekterna av estetikens tydligare betydelse kopplat till lärarens undervisning. Denna studie syftar därför till att undersöka hur olika lärare resonerar om estetiska lärprocesser. Om det skiljer sig mellan de lärare som har tagit examen innan 2011 och efter 2011, samt om ålder har någon påverkan gällande inställning och användning av estetiska inslag bland lärare som undervisar från förskoleklass till årskurs tre. För att undersöka ovan nämnda syfte föll valet på en kvalitativ metod med kvantitativa inslag och fenomenografisk ansats, där semistrukturerade intervjuer och enkäter användes. Mitt urval inför intervjuerna var fyra pedagoger, två yngre och två äldre, för att belysa båda perspektiven gällande ålder och examen före och efter 2011. Den insamlade empirin bearbetades genom tematisk analys av lärarintervjuer och stapeldiagram för att tolka enkätundersökningen. Resultatet av min studie visar på att synen på och användningen av estetiska lärprocesser skiljer sig mellan de valda grupperna. Den yngre gruppen med senare examensår har genom sin utbildning, god kännedom om estetiska lärprocesser, men använder metoden mer sällan. De ser utmaningar med tid och resurser, samt är mer bundna till att följa läroplanen i jämförelse med lärare av den äldre gruppen med tidigare examensår. Denna grupp svarar att de använder estetiska inslag mer frekvent, läroplanen ses inte som ett hinder och de uppfattas vara trygga i sitt grunduppdrag. Däremot innebär inte detta att estetiken alltid ges plats i den ordinarie undervisningen. Studien visar sambandet mellan erfarenhet, trygghet och intresse. / Aesthetic learning processes are used and valued in different ways by teachers today. A milestone for the establishment of aesthetics in school and teaching, is the introduction of the curriculum in 2011, where aesthetic learning processes are clearly prominent. On the other hand, there is sparingly with research that focuses on investigating the effects of the importance of aesthetics linked to teacher's teaching. This study therefore aims to investigate how different teachers reason about aesthetic learning processes. If there is a difference between the teachers who obtained their degree before 2011 and after 2011, and whether age has any significance for the attitude and use of aesthetic elements among teachers who teach in pre-school class from age six to grade three in elementary school. To investigate the above-mentioned purpose, the choice fell on a qualitative method with quantitative elements and a phenomenographic approach, where semi-structured interviews and questionnaires were used. My selection for the interviews was four educators, two younger and two older, in order to include both perspectives regarding age and degree before and after 2011. The collected empirical data was processed through thematic analysis of teacher interviews and bar graphs to interpret the survey. The results of my study show that the attitude and use of aesthetic learning processes differ between the selected groups. The younger group with later graduation years have a good knowledge of the aesthetic learning processes through their education, but use the aesthetic less often, see challenges with time and resources, and are more bound to follow the curriculum. In contrast, teachers of the older group with earlier graduation use aesthetics more frequently, do not see the curriculum as an obstacle and are perceived as more secure in their basic tasks. However, this does not mean that aesthetics always are given a place in regular teaching. The study shows the connection between experience, security and interest.

Denna uppsats undersöker användningen av stop motion-estetik i den CGI-animerade serien Oni: Thunder God's Tale. Syftet är att analysera vad denna estetik kan framkalla känslor och vad för påverkan CGI-tekniken har för påverkan på dessa känslor. Undersökningen styrs av frågeställningen Vilken effekt får användningen av stop motion-estetik i CGI-producerade serien Oni: Thunder God's Tale (2022) enligt en visuell analys? Metoden är en kvalitativ visuell analys med fördjupning i filmanalys där teorierna nostalgi och remediering tillämpas för att förstå de estetiska valen och CGIs inverkan på tolkningen av serien.  Resultatet visar att de visuella elementen, textur, ljus och rörelsekvalitet inte bara frammanar minnen av stop motion-estetik, utan anspelar på leksaker och gosedjur som väcks till liv. Detta förmedlar en känsla av trygghet från barndomen och väcker en känsla av nostalgi. Fortsättningsvis tolkas CGI-tekniken i serien som ett sätt att skapa uppskattning för stop motion genom estetiken, även om en nutida teknik används. Medieproduktionen för denna student består av två videor för språkkursen Tagalog nivå 1, som erbjuds av Folkuniversitetet. Videorna är utformade med en collage- och stop motion-estetik för att skapa en engagerande kampanj, särskilt anpassad för sociala medier med fokus på Instagram. Med utgångspunkt i Folkuniversitetets grafiska manual har videornas innehåll noggrant utformats och berikats med kulturella referenser.

This thesis explores the ethical grounds for distinguishing between the treatment of beauty and intelligence in society, two innate characteristics that significantly affect individuals' life chances. Focusing on the question of whether it is ethically justifiable to treat beauty differently than other innate abilities, the thesis examines lookism and its parallels with intelligence through analyses within merit, economics, and biology. Although both beauty and intelligence are innate and impact individuals' opportunities, the analysis shows that beauty is often judged on subjective and culturally variable grounds, leading to superficial assessments and immediate conclusions about a person's value. This contrasts with intelligence, which can be linked to measurable skills and thus serves as a more objective and meritorious factor in society. However, it is acknowledged that beauty is not wholly problematic and can confer significant benefits, influencing positive social and economic outcomes. Despite these benefits, beauty, due to its subjectivity and potential for arbitrary assessment, appears as a more unjust innate characteristic compared to intelligence. These insights challenge how society values and regulates these characteristics, pointing to the need for a reassessment to promote a more equitable and just society.

This essay provides a thorough reading of Gilles Deleuze’s (1925–95) philosophy of nature and the way music relates to this philosophy. It does so with regards to changes in the view of nature in 20th century science, especially in the theories of self-organisation as developed by, among others, Ilya Prigogine. Deleuze’s metaphysics is viewed in relation to these theories, and is also compared to the philosophy of Immanuel Kant, which is related to classical science. The essay then investigates certain key issues in Deleuze’s philosophy concerning difference and univocity (or immanence), developed in his doctoral thesis Différence et répétition (1968). Also, certain aspects of the further evolution of this philosophy of immanence in Mille plateaux (1980), co-written with Félix Guattari, are examined. The essay then studies the role of aesthetics in Deleuze’s philosophy, and the way he transforms the aesthetics of Kant. The following chapter deals with Deleuze & Guattari’s primary text concerning music, ”De la ritournelle” in Mille plateaux. In this text, they develop a highly abstract concept of music, which, in their philosophy, is: 1) granted a cosmological reach regarding rhythms and motives; 2) made an essential aspect of the emergence of art, which they find in animals creating a territory (especially in the songbird); 3) used to discuss Baroque/Classicist, Romantic and 20th century musical styles. Apart from analysing these aspects, this chapter focuses on 20th century music, with a thorough examination of Gustav Mahler and of spectral music, demonstrating that Deleuze’s philosophy can deepen the understanding of this music. The chapter also discusses problematic tendencies in Deleuzian research on contemporary music, which does not take the entirety of Deleuze’s philosophy of nature into account. This essay argues that such knowledge is necessary to correctly examine the implications of Deleuze & Guattari’s philosophy of music. The lack of awareness of Deleuze’s philosophy of nature is also significant in the critique that Deleuze’s aesthetics has received by Jacques Rancière, which is analysed in the final chapter. This chapter also discusses Michael Gallope’s reading of Deleuze & Guattari, in which he makes a distinction between a metaphysical and an ethical-aesthetic philosophy of music. Although the relation between metaphysics, ethics, and aesthetics, is key to understanding their philosophy of music, this essay argues that Gallope’s idea of what sort of music they advocate is incorrect.

Denna uppsats utforskar vikten av att läsa Platon inte bara som en filosof men också som en poet med utgångspunkt i dialogformen och genom begreppet mimesis.

This thesis investigates conditions from an aesthetic and ethical viewpoint under which an artistic expression such as dance can exist in the realm of general education. In the thesis dance and education are regarded as acts of transgression and change. Efforts are made to define spaces where the acts of dancing and education take place and to enquire whether dance and pedagogy can share such space gainfully. The focus of the study is on dance in its own right, as an artistic mode of knowledge and expression, and as a manner of being with others. Dancing in teaching and curriculum learning activities is left outside the scope of this study. Research questions are asked about the essence and distinctive character of dance, its possibilities to bring about experiences of aesthetic and ethical nature and to provide a space in education for people to come together, dance and be with each other while finding knowledge and meaning in doing so. Questions are asked to the learner, i.e. the child, the pupil, the student, in this inquiry to two groups of students in teachers’ education, to describe their encounters with dance in a designed experiment. The accounts are analysed from an aesthetic and ethical angle and conclusions are drawn with implications for pedagogy and the educator. The theoretical framework to the study is informed by John Dewey’s and Maxine Greene’s thinking on arts and experience and on aesthetic education and literacy, in dialogue with Gert Biesta’s post-structural thinking on education and subjectivity, as well as the stances of Merce Cunningham and other creators in postmodern and contemporary dance. The empirical study consists of a field study at a teacher education program at Södertörn University. Data were collected, transcripts from two student group conversations concluding a series of instructional seminars in creative dance within a freestanding course on children’s existential questions. Methodologically, discourse analysis with Wetherell and Potter’s analytic tool interpretative repertoire were applied. The results of the study, analysed in accordance with the method, indicate that the participants through their utterances, making use of a variety of linguistic tools and metaphors, constructed meaning in their experiences of dancing primarily in terms of relational actions. Spaces were created in which these actions unfolded, characterised by presence, concentration, togetherness, speechless communication, proximity, trust, consideration, receptiveness and intensified perception. Creating dance appeared to be experienced in Dewey’s sense of aesthetic experience, and the relations described could be understood as ethical in line with Arendt’s and Levina’s philosophical thinking applied to education, fundamental in Biesta’s and Greene’s visions of education as a space for new beginnings and possible change. Resistance was experienced and dealt with in a range of manners and strategies. The creative aspect of dancing was experienced with great affect and an awareness of an intersubjective and disjunctive space of action. Conclusions of aesthetic and ethic nature may suggest that conditions can be provided to have people come together in an educational setting and dance and appear in front of one another, when consideration is taken to both the specific demands of dance and pedagogy as art expression and transgressing discipline, entailing the need of a clear and conscious design for the activities and the pedagogue’s readiness to guide the children and young to explore their individual dance expression, emotions and lived experiences.  Further implications and issues for continued research are to which extend dance as free expression can be maintained and granted a space in education when addressing specific urging social and ethical issues of coexistence and plurality in a rapidly changing global world, how academic and artistic research can cross-fertilise each other, how practical professional artistic and pedagogical knowledge and theory can inform one another, and to further investigate adequate research methods, designed experiments and appropriate linguistic means for research in the intersection of arts and science, dance and pedagogy.

Studien handlar om estetiska lärprocesser i ämnet engelska. Syftet med studien är att bidra till en ökad förståelse för hur pedagoger i årskurs 1 - 3 arbetar med estetiska uttrycksformer i engelskundervisning och hur de kombinerar det med icke-estetiskt lärande. Frågeställningarna undersöks mot bakgrund av tidigare forskning samt vad pedagoger på fältet har för åsikter, uppfattningar och erfarenheter om estetiska uttrycksformer och läromedel som kombination i engelskundervisningen på lågstadiet. Studien är baserad på två forskningsfrågor som undersöks och blir besvarade: Hur kombinerar pedagoger estetiska uttrycksformer och icke-estetiskt lärande i engelskundervisningen i årskurs 1 - 3? Hur ser pedagoger på relationen mellan estetiskt lärande och icke-estetiskt lärande i engelskundervisning i årskurs 1 - 3? Studien består av en teoretisk och en empirisk del där fokus ligger på estetiska lärprocesser med ingång i uttrycksformerna musik och drama samt ett icke-estetiskt lärande som lutar mot läromedel i engelskundervisning. Den teoretiska delen utgår från det sociokulturella perspektivet med Vygotskijs syn på estetiskt lärande där han vill ha in det estetiska perspektivet i skolans undervisning. I denna studien har det framkommit att med hjälp av estetiska lärprocesser som hjälpmedel förstärks elevernas möjligheter att nå kunskaper i engelska språket. Kroppsspråket och sinnena är också en viktig del som hjälper eleverna att på ett enklare sätt befästa engelskkunskaper. Kombineras det estetiska och icke-estetiska lärandet med varandra så blir det en relation mellan lärandeformerna som leder till ett varierat lärande i engelskundervisningen i grundskolan. / This study is about aesthetic learning processes in the English subject. The purpose of the study is to contribute with an increased comprehension of how teachers in grade 1 - 3 work with aesthetic learning processes and how they combine aesthetic learning with non-aesthetic learning in the English subject. The study draws on previous research as well as working teachers’ opinions, perception and experience of working with the combination of the aesthetic form of expression and the teaching media in the English subject in primary school. The foundation of the study lies on two questions which were examined and answered during the course of the study. The questions are as follows: How does the teachers combine aesthetic learning with non-aesthetic learning in the English subject in grade 1 - 3? What do teachers think about the relations between aesthetic learning and non-aesthetic learning in the English subject in grade 1 - 3? The study consists of a theoretical and an empirical section where the main focus lies on aesthetic learning processes drawing on music and drama, on the one hand, and non-aesthetic learning based on teaching media, on the other, in the English classroom. The theoretical framework of the study has its roots in the sociocultural perspective with Vygotsky’s view on aesthetic learning in education. It emerged in the study that with the aid of aesthetic learning processes the pupil’s knowledge of the English language has increased. The body language and senses have an important function in helping the pupil’s to acquire the English language in an easier way. If aesthetic learning is combined with non-aesthetic learning it creates a relation between the two learning processes which leads to a varied learning in the English subject in primary school.

<p>The purpose of this project has been to redesign an already existing cook-book. The title of the book <em>(directly translated)</em>, “Season in food – the year around with herbs and spices”, contains what the headline imposes: spices, herbs and food. But when the author tries to entwine these parts and communicate it to the reader it is not working all to well due to a poor and inconsistent graphic design.</p><p>I have followed the theories and values of information design when I redesigned the book layout with the intent to simplify the communication between author and reader. In the progress to make a complete dummie of the book I did multiple literature studies, book analysis, tests and a vast number of drafts.</p><p>In this report I will describe the whole process from start to finish. It is impossible to explain every aspect of every theory and still make it interesting to read. Instead I try to explain the processes in a more comprehensive way. But details are inevitable and at those times it helps to use the appendix.</p> / <p>Mitt examensarbete har inneburit att göra en redesign på en redan befintlig kokbok. På bokensomslag står det: ”Kryddan i maten – året om med örter och kryddor” och den handlar om just detrubriken antyder: örter, kryddor och mat. Tyvärr har författarens syfte, att knyta samman dessa tvåbitar, gått förlorad i bokens inlaga. Detta beror på en inkonsekvent och ostrukturerad formgivning.</p><p>Mitt arbete har varit att med hjälp av informationsdesignens regler och teorier göra om och styraupp bokens layout på ett sånt sätt så att informationen på nytt blir lättillgänglig för användaren. Föratt lyckas med det har jag förutom ett gediget skissarbete även utfört utprovningar, litteraturstudiersamt bokanalyser.I denna rapport avhandlar jag hur hela arbetsprocessen sett ut– från bakgrund till färdigt resultat.</p><p>Rapporten har omöjligt kunnat behandla alla de frågor och tankegångar jag ställts inför utanbehandlar processen på ett mer övergripande sätt. Ibland beskrivs vissa moment detaljerat för attläsaren skall förstå, men genom bilagorna går det att snabbare få en förståelse för vad som menas.</p>

Sweden has an active and growing culture of feminist comic book artists that use comedy as a mean of disseminating political ideas and critic. In this essay I do a reparative reading of Sara Granér’s comic book All I Want for Christmas is planekonomi in order to find out if it advocates alternative orders and/or ways of expression. By exploring what the comic book does to me as a reader and how, using the term ”skev” – a hybrid of queer that examines normativity not strictly tied to sexuality – and gulesque theory – a mix of feminism, cuteness, the grotesque and riot grrrl –, I show that the comic book, through the use of comedy, works as a trojan My Little Pony, reclaiming the girly franchise, while challenging several so-called dichotomies, such as: femininity/masculinity; youth/adult; high art/kitsch. I conclude that the comic book contain feminist figures of resistance, and that it creates affects and nourishment that can be used as a means to imagine a feminist other.

This essay investigates interpretations of evil as expressed in contemporary music, focusing mainly on lyrics in contemporary popular music. The purpose is to analyze whether there is acertain aesthetic embracing of risk and innovation on display when discussing such subject matters, and to relate such aesthetic connotations to cultural and religious aspects. Lyrical interpretations of evil in a musical context appear to be existent in different forms andare in various ways attempts to integrate the existence of evil acts, as leading to suffering and pain, by incorporating such themes into lyrical material. There appears to be a possible aesthetic embraced when artists are advocating evil acts, however, not totally separable from the aesthetics of the extreme metal scene. Such forms of creative practice appear as reliant on the dialectic between historical perceptions of morality,modern society as globalized, segmented and restructured and the reoccurrence of religion in a secularized perspective. Themes regarding evil appear in this form of aesthetic in different ways to traditional discourse; making use of historical and contemporary images of evil and portraying them as desirable in various ways. In some instances such creative release is also linked to religious belief and practise, making the artistic performance equivalent of a transcendental event.