<p>Projektet är ett glasdesignprojekt där visionen var att ta fram en nyskapande belysningsarmatur för privat,</p><p>offentlig och exklusiv miljö.</p><p>Målet var att ta fram en nyskapande belysningsarmatur med avseende form, teknik och material med</p><p>möjlighet till rationell tillverkning. Syftet var att undersöka glasets möjligheter, begränsningar och uttryck genom en komplex form och specifika krav på utseende. Jag ville undersöka glasets möjligheter och</p><p>formbarhet. Hur mjukt och böljande går det att forma glaset? Kan glaset få samma mjukhet och svallande egenskaper som textil? Jag ville även undersöka hur ljuset påverkas av glasets form, tjocklek och färg.</p><p>I projektet har jag fått ta hänsyn till många olika parametrar så som tillverkningsteknik, ljuskälla, ljustyp, tekniska lösningar m.m. Jag har även fått kompromissa när det gäller form och storlek på mitt objekt p.g.a den korta tiden.</p><p>Objektet blåstes av Mikael Johansson i hyttan i Pukeberg.</p> / <p>This project is a glass design project with the vision to create a innovative armature for private, public and exclusive environment.</p><p>The goal was to create a innovative armature in meaning of form, technique and material with contingency of rational production. The aim was to examine the possiblities, limitations and expression of the glass through a complex form and specific demands of appearance. I wanted to examine the possibilities and formablity of the glass. How smooth and billow can the glass be formed? Can the glass get the same softness and billow</p><p>appearance as fabric? I also wanted to examine how light is affected by the shape, thickness and colour of the glass.</p><p>In these project I have had to take into concideration several parameters, like manufacturing techniques, light source, light type, technical solutions etc. I also have had to compromise concerning form and size of my object due to the short project time. The objects where blown by Mikael Johansson in the blowing room of Pukeberg.</p>

This dissertation studies and applies the signature theory of Jacques Derrida to two American poets, Sharon Olds and John Cage. I begin by looking at the two texts by Derrida that most closely apply signature theory to poetics: Glas and Signsponge. Along the way, I narrow the scope of Derrida's writing somewhat by focusing on psychoanalytic aspects that relate to Jacques Lacan's ideas and to the concept of the superego. From this work I isolate some protocols for reading, which are then used to study Olds and Cage, two poets who have clearly developed their own signature styles. Here are the protocols:1. Treat Olds' and Cage's texts as blazons.2. Read for anthonomasia---Derrida's neologism combining the words anthology and antonomasia (the trope of using proper nouns as common nouns and vice versa).3. Look for (and practice) hypogram and anagram.4. Trace the placement in abyss.5. Post-death-of-the-author, read and write for and as if mourning.6. Eat the proper names, continuing whatever encryption of the letters can already be read. My studies of Olds and Cage alternate between application of these protocols and my attempt to follow the respective laws of their own signatures. In Olds' poetry the most prominent signature effect is the encryption of the Sh-effect. Cage's poetics places his rebus-signature in the abyss of his texts.

In recent years, Hjalmar Söderberg’s novel Doktor Glas (1905) has been conceived as more complex compared to its contemporary interpretations, and has been associated with many different ideas. The novel stands the test of time and forces readers to reflect on difficult issues. However, only sporadic attention has been paid to the connection between Doktor Glas and tragedy, hidden in the form of direct references or allusions to Greek antiquity and occasional reminiscences of Greek tragedy.    Tragedy is a branch of drama and for centuries Aristotle’s Poetics offered the only definition of tragedy available. Nevertheless, renowned philosophers and thinkers have offered alternative definitions of tragedy that describe aspects of tragedy not adressed by Aristotle; the list of tragic requirements seems to change and vary through the ages and by extension the term may be applied to ”a conception of the tragic”.     This thesis explores the experience of tragedy and the tragic in Doktor Glas. That will be accomplished with four idea analyses of the novel, each one from a different ”tragic” point of view. In other words, through dialogue between the novel and the tragic conception as conceived by Georg Wilhelm Friedrich Hegel, Arthur Schopenhauer, Friedrich Wilhelm Nietzsche and Albert Camus in order to embody in the novel the ”image” of the tragic as created by each of the above-mentioned important philosophers and thinkers, with focus directed towards the old question of the aristotelian term katharsis. One of the main results of the present study is that from a ”tragic” point of view, Doktor Glas is remarkably modern.    The author aims to perform a divergent, still creative approach to the ambiguous Doktor Glas according to her background and previous education in the anthropocentic discipline of studies in Classical Philology.

On the market there is a gap between the functional and the aesthetic light tables. It is in this gap, I have chosen to work. As the light table is a piece of furniture that usually is used only a few hours a day, I have expanded the application area by exploring the possibilities of light in the table. I have designed a piece of furniture that can be used as a work surface, as well as a light source. By tilting the tabletop it can be adjusted to fit the users need. In the flat position when working at the table and in a tilted position the light shines on the walls and in the ceiling, and then reflects out in the room in your desired color, strength and tone. My investigation has been on how we are affected by light and the lighting effects which otherwise occur in natural light.

This thesis contributes to critical theoretical interpretation of Sophocles' Antigone. Analyzing texts by Kelly Oliver, Jacques Lacan, and Judith Butler, the thesis demonstrates how the work of these writers re-installs oppositional binarism, the form of thought that undergirds the hierarchical structure of Western metaphysics as exemplified in the dialectical philosophy of G. W. F. Hegel. Focusing on texts by Carol Jacobs, Martin Heidegger, and Jacques Derrida, the thesis analyzes the performative effect of Antigone, as sister figure, in the graphics of these works. Employing a deconstructive and performative critical approach, the thesis explores the theoretical productivity of a "sororal" graphics, that, dispersing and subverting binarism, opens the texts and their interpretation to alterity. The thesis demonstrates how critical reading of the performativity of Antigone as sister figure implicates ethicological discussion on justice in relation to family, genre/gender, classification, and inheritance.

Saarbrücken, Universiẗat, Diss., 2001. / Erscheinungsjahr an der Haupttitelstelle: 2001.

Universiẗat, Diss., 2004--Freiberg (Sachsen).

Techn. University, Diss., 2005--Dresden.

Utmärkande för Uppsalas arkitektur är domkyrkan och slottet. En känslighet för den så kallade Uppsalasilhuetten (domkyrkan och slottet sedda på avstånd) som länge har präglat stadens stadsplanering och är ett av flera skäl till att antalet byggnader högre än 5–6 våningar anses vara lågt. På västra sidan av Fyrisån finns ytterligare en del arkitektoniska sevärdheter, bl.a. Gustavianum och Carolina Rediviva, som även dessa ingår i denna kulturella och historiska nod av landmärken.   Uppsalas nya konstmuseum i hamnesplanadområdet ska i bästa av fallen kunna ingå i denna knut av attraktioner. Tanken är att även den aningslösa turisten ska kunna urskilja konstmuseet utifrån dess unika och specifika form, hon ska inte ovetandes råka gå förbi ett annars menlöst muséum för att en vecka senare, väl hemma, upptäcka att hon missat museibyggnaden (och dess konst).   Uppsalas nya konstmuseum markerar sig som ett tydligt element på platsen, en volym med en egen identitet. Museet samspelar med stadens befintliga stadslandskap och typologi, läser dess arkitektur och organisation.   Hamnesplanadområdet är idag en korsning av olika byggnadstyper och en produkt av skiftande samhällsplanering där det bl.a. finns hus i park, kvartershus, industribebyggelse och parker. Med en sådan variation är konstmuseet sin enskilda, igenkännbara byggnad.   Uppsalahemisfären är en sammanhållen anläggning som tydligt definierar en yttre gräns. En skulpterad kropp griper tag i den förhållandevis glesa platsen den står på och skapar här en påfallande karaktär.Siktlinjerna är tydliga, konstmuseet blir identifierbart på håll. Från kanterna av Fyrisån blir byggnationen perceptibel i förhållande till den omkringliggande rektangulära bebyggelsen och står som en märkbar referenspunkt. / Distinguishable for Uppsala’s architecture is the cathedral and the castle. A sensitivity to the so-called Uppsala Silhouette (the cathedral and the castle seen from a distance) that has for long characterized the city’s urban planning and is one of several reasons why the number of buildings higher than 5-6 floors is considered to be low. On the west side of Fyrisån are some additional architectural landmarks, including Gustanavium and Carolina Rediviva, these are also a part of this cultural and historical node of attractions.   Uppsala’s new art museum, at the harbour-esplanade area, will in the best of cases figure in this knot of landmarks. The idea is that even the most oblivious tourist could differentiate the art museum based on its unique and specific form, she should not accidentally happen to walk past an otherwise tedious museum for a week later, well at home, discover to have missed the museum (and its art).   Uppsala’s new art museum marks itself as an explicit part of the place, a volume with its own identity. The museum interacts with the city’s existing urban landscapes and typology, reads its architecture and organization.  The Harbour-esplanade area is today an intersection of various building types and a product of the diverse urban planning, where there is e.g. house in park, block house, industrial buildings and parks. With such variation the art museum stand as an individual, recognizable building.   The Uppsala Hemisphere is a cohesive system that clearly defines an outer boundary. A sculpted body grabs the relatively sparse site it stands on and creates here a striking character.The visibility lines are clear, the art museum is identifiable from a distance. From the edges of Fyrisån the construction becomes perceptible in relation to the surrounding rectangular buildings, and stands as a marked reference point.

This candidate.’s work includes designing of a house with it.’s structural components and installations. The house had to be actual with Building Regulations (Boverkets Byggregler). Beside designing of all the crucial systems necessary for completing of claimed regulations even an optional topic within building engineering had to be chosen. The task included designing of heating, ventilation, sanitation and electricity systems. Structural engineering models has been made in compliance with Eurocodes. Materials for facades, floors and roof were chosen and evaluated. As recessed portion of the work, evaluating of possibilities in designing of a glass roof was chosen. Glass roof included glass beams and transparent building envelope to achieve maximal interaction with the natural environment around the house. Result of these exciting studies on one of the most successful materials in structural engineering, beside concrete, steel and timber, has been made and presented below. The work on designing the roof was made with accordance to the designed house overall function and systems. When working with this project we learned us that the process of designing a complete house is a hard task to achieve and that all the functions and installations need accurate planning. Also, by studying properties of structural glass, we learned us a lot about that interesting material.