Detta examensarbete har genomförts hos Gestamp Hardtech i Luleå på Tooling Design-avdelningen. Idag arbetar företaget med både I-DEAS och NX för att konstruera presshärdningsverktyg som används för att tillverka säkerhetsdetaljer för bilar. Under examensarbetet har jag studerat den metodik som används av konstruktörerna när de arbetar i NX och utför trimning av formdelar och spegling av presshärdningsverktyg. Idag sker det här arbetet manuellt vilket leder till många steg som måste utföras av konstruktörerna för varje trimning eller spegling. Det leder till att arbetet blir både tidskrävande och att risken för fel ökar eftersom det inte finns något enkelt sätt för konstruktörerna att kontrollera att trimning har skett med rätt formyta eller att alla namn på de speglade delarna stämmer. Arbetet resulterade i två program som konstruktörerna kan använda i NX för att underlätta deras arbete. Båda programmen är begränsade så att all inmatning av data sker i första dialog rutan som kommer upp då programmet startas. Genom att indata samlas in under ett steg minskas risken för fel och gör arbetsprocessen lättare för konstruktörerna. Utvecklingen av båda programmen har genomförts med hjälp av Visual Studio från Microsofts som är deras eget IDE, Integrated Development Environment. Enligt de standarder som Hardtech lagt fram så skall Visual basic användas som programmeringsspråk. För att de färdiga programmen ska kunna kommunicera med NX har jag använt mig av NX API till båda lösningarna. För att kontrollera resultaten i projektet och kontrollera så att programmen har fått rätt funktioner har konstruktörerna fått prova på att använda båda programmen i verkliga projekt och kommit med feedback. / This master thesis has been conducted at Gestamp Hardtech in Luleå at their Tooling department. Today the designers uses 3D CAD such as I-DEAS and NX to develop and build press-hardening tools that are used in the manufacturing of safety details for the automotive industry. This thesis discuss the methods that are used today by the designers to shape the forming dies and the mirroring of a presshardeningtool and how this work can be improved. Today, both the shaping of the forming dies and the mirroring of a presshardningtool are done manually.  This work is done in many steps by the designers  and the designers can easily make errors especially since there is no easy way for the designers to check if the forming dies have the correct geometry. The manual process is therefore very error prone and improvements are very much needed.  As part of this work, two programs have been developed for NX for the designers to use in order to reduce the risk for errors during the process of shaping the forming dies and mirroring the presshardningen tool. A lot of focus has been spent on making the programs as easy to use as possible e.g. collecting all input data at the start of the program and designed the product as close as possible to a One Button Interface. Both of the programs have been developed with Microsofts own IDE, Visual Studio, and the code is structured according to the guidelines that was given by Hardtech. The programing language used for both programs are VB.NET. To make sure that the communication between NX and the program NX own API is used. The validation process for both solutions have been in the form of interviews and discussions with the tool designers. Through the entire project, the tool designers have tested and validated the programs in both test environments and real projects.

This thesis examines the development of policy towards the creative industries in the UK in the period 1997-2008. It argues that this can be seen in the light of New Labour's understanding of the knowledge economy, an understanding that influenced its development of education and social policy, as well as economic policy. It thus provides a unique insight into New Labour politics in general. The thesis asserts that New Labour's account of the knowledge economy was a deterministic one, which took its cue from what it believed to be long-term social and economic trends. In this, it is consistent with other critiques of New Labour politics, which argue that it can be seen as a development of prevailing neoliberal ideas (Hay 1999; Thompson 2002; Finlayson 2003; Clarke 2004); but in this case, I argue, it is a variety of neoliberalism that is heavily influenced by institutionalism (Bevir 2005). The importance of institutionalist ideas can be seen in the emphasis in creative industries policy on networks, characterised by social and ethical norms, as opposed to a neoliberal focus purely on marketisation. New Labour produced an essentially benign account of the knowledge economy; the creative industries were capable of producing 'good work', which offered opportunities for highly skilled labour. In addition, because of its links to popular culture, they could offer inclusion through work, for those deemed socially excluded. I argue that this account continued throughout the period under examination, despite mounting evidence, discussed in several of the publications below, that the creative industries produce labour markets that are highly unequal in terms of race and class. It is in attitudes to the labour market that the failures of New Labour's creative industries policy can be seen most sharply. The roots of that failure, and what it tells us about New Labour's creative industries policy, is the subject of the thesis.

The aim of this research project is to investigate the practical application of some ideas regarding how dancers can create certain types of mental images that are formed through their kinesthetic perception, which we shall define as ‘kinesthetic images’, and to study the spatial or geometric structures that are often utilized in choreographic and pedagogical dance praxis. The term kinesthetic image is a label for a certain types of mental imagery that are generated through the sensation of moving body, as well as dynamic qualities that are kinesthetically perceived from movement. Dancers can create mental images from these type of kinesthetic experiences by enhancing their sensory awareness and sensorimotor knowledge, which are both innate and acquired through training. My dance practice also concerns a development of an improvisation method in which dancers explore an interaction between these kinesthetic images and a visualization of morphodynamic volume (hereafter MDV), which is a three-dimensional volume in a constant state of flux. The term intensive space will be introduced to give a definition to this related type of spatial categorization, one which involves continuous and dynamic transformations of both danced space and the images associated with it, such as stretching, folding and connectivity. This spatial paradigm will be contrasted with its opposite, namely extensive spaces or geometries, which involve the division and subdivision of danced space in terms of metric properties like points, lines, and planes. The first chapter is a review of how choreographically structured movement has been historically conceived and created using spatial concepts and imagery which involve the spatial structures of these types of extensive geometries. This historical analysis commences during the Enlightenment, at a time when the aesthetics and basic movement vocabulary of classical ballet were in a state of genesis. The discussion of geometric paradigms in dance practice continues through this chapter chronologically through to modernity, looking at the characteristics of the choreographic practices of George Balanchine, Rudolf Laban, Merce Cunningham, and William Forsythe. The second chapter discusses the Improvisation Technologies conceived by Forsythe as a paradigmatic example of the utilization of kinesthetic images and extensive geometry for the purposes of movement creation during dancers’ improvisation. This analysis of Forsythe’s methodology brings forth with it questions as to how choreographic praxis can utilize intensive space as an alternative geometric paradigm with which dancers can interact for the generation of movement. This discussion is rooted in some theoretical elements, such as phenomenology, the philosophy of perception, cognitive science, and mathematical topology, which creates a theoretical foundation for an improvisational practice that suggests intensive spatial structure as an alternative ideational mechanism for movement generation. The third chapter is a documentation of the chronological development of a pedagogical improvisation method, based on these concepts of kinesthetic imagery and intensive spatial structuring. For the purposes of investigating both choreographic and pedagogical aspects, an extensive period of practice-based research resulted in the production of two improvisatory performances entitled Mix:01 and Mix:02. These performances are discussed and are coupled with the critical observation of the preceding series of studio sessions. Both the performances and the creative processes that led to them are subsequently analysed for the purposes of isolating effective practice.

This study shows that the historiographical understanding of the life and work of Erwin Panofsky, that most ‘famous’ of art historians, remains curiously unresolved, and that the unsatisfactory nature of this appraisal centres upon just how Panofsky’s scholarship developed after 1933, when he was forced to migrate from his home in Germany to the United States of America. Utilising Panofsky’s correspondence this study then provides a contextualised re-evaluation of Panofsky’s experience of acculturation in America, and the effect of this acculturation upon the development of his work.

This thesis examines arts development and policy in rural Scotland in recent years. In this formerly unexplored field, it looks at the relationship between arts policy and arts development practice in rural Scotland and the impacts and (dis)connections that the nationwide arts policy has had on arts in rural Scotland, particularly during a period of major change in Scottish arts policy between 2010 and 2013. Nine rural regions with a population density of under 30 people per kilometre2 as of 2009 were selected as the key geographic regions in this research: Dumfries and Galloway, Scottish Borders, Argyll and Bute, Highland, Eileanan Siar (Western Isles), Orkney Islands, Shetland Islands, Moray and Aberdeenshire. Examples and data on particular regions, arts organisations and events were drawn from the said regions to investigate the role of the arts in rural development and the role of local communities, local authorities and national agencies in shaping the arts in rural Scotland. This thesis will articulate and discuss the relationships between the arts and local communities and the economy in rural Scotland and further demonstrate how the arts in rural Scotland have been surviving. The thesis concludes with presenting the advantages and issues caused by common approaches in arts development for rural Scotland, advocating what is needed for the arts in rural Scotland today with suggestions for future top-level policy development.

This paper examines Human Computer Interaction artworks and how notions of interactivity are evolving due to the presence of expanding architectonic schemes in and around these artworks. This research draws on sources that use rapid ethnographic methodologies to collect data and argues for a redefinition of current understandings of interactivity within the field of multimedia and art practice. My research has been practice based and is reflected in the arworks and writing that I have produced. Participants' highly differential levels of commitment with an artwork while examining understandings of co-creativity are explored. Artworks of contemporary artists who use Human Computer Interaction and computer technologies to experiment with the idea of expansiveness through spectator participation in the field of HCI artworks are discussed. In varying degrees, and due to varying aspects of immateriality, artworks are considered as being extended beyond the confines of both the multimedia interface and even the architectural structure of the art gallery or exhibition space. Terms such as architectonics, touchpoints, configuration and agora are employed when describing interactive processes in the field of Fine Art installation. Modernist writer and critic R.H. Wilenski is referenced regarding the relationships between art, architecture and the artist/spectator. Current and past understandings of interactivity, as well as terms used by contemporary interface designers such as Don Norman and Dan Saffer are used in relation to the study of HCI artworks. In addition, this paper focuses on the modes in which audiences 'look away' and use a range of devices that exist around artworks to expand the architectonic schemes in and around them.

At the turn of the millennium, some commentators hailed the advent of new digital video and computer technology as precipitating a ‘digital revolution’ in movie-making. However, this has been discussed and theorised primarily in terms of the image, with no consideration of sound. Adopting a sound-centric perspective, this thesis examines key feature-length works of digital movie-making over a ten-year timespan that share aesthetic and production characteristics, most of which have been critically positioned as a low-budget, digitally-enabled response to a perceived mainstream or precedent. Writing in 2002, Lev Manovich identified these works as a reaction to “the increasing reliance on special effects in Hollywood” (Manovich 2002: 213), and used the term DV realism to position the aesthetics of this cycle of features in opposition to the aesthetics of films heavily reliant upon digital special effects. These works tend to be characterised visually by the use of shaky, hand-held camera suggestive of unpredictable, documentary-like shooting conditions; moreover, they tend to eschew post-production special effects in favour of capturing the pro-filmic action as it spontaneously unfolds. I argue firstly that the lack of consideration of sound and its earlier digital turn in the late 1980s and early 1990s leads to over-emphasis of the ontological shift in image-making from celluloid to digital. Secondly, I demonstrate that the use of digital video to shoot features does not necessarily determine the aesthetics of sound in low-budget DV movies; in spite of this, the feature-length works analysed in this thesis share a stylistic approach to sound that I define as DV realist sound, after Manovich. Chapters 2 to 6 use textual analysis of sound-image relations in sets of sub-categories of DV realist digi-features. I argue that DV realist sound design uses the material qualities of location-recorded sound as a means of ‘authenticating’ the images accompanied, as well as sonic characteristics that intertextually reference other media. Now that shooting digitally is commonplace, this formal analysis represents a shift away from discussion of digital movie-making as ‘new’ and argues for millennial convergence cinema to be discussed quasi-historically, as a millennial trend within feature film-making reacting thematically and aesthetically to perceived shifts within media production.

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This thesis examines the extent to which such cultural policy instruments as arts centres in Britain and Norway are recognising and accommodating the cultural policy goal of widening audience access and developing new audiences. After establishing what the cultural policy is that arts centres in Britain and Norway are supposed to deliver against (Chapter 1). 1 continue to sketch out the history of the arts centres concept in the two countries, and to form an idea of what an arts centre is that aims to transcend national borders and work as a basis for determining how cultural policies in Britain and Norway have impacted on the role arts centres have as cultural policy instruments (Chapter 2). Before taking a closer look at two specific arts centres in Britain and Norway. I examine how audience relationships are managed in the arts in general by first mapping how the arts marketing concept has evolved and then how an engagement with marketing in the arts has led to the development of the concept of audience development which seems to be specific to this industry especially in Anglo-American cultural policy debate (Chapter 3). Scrutinising the audience development concept I discover that in Britain there seems to be very little agreement over what it really means; and with respect to Norway, the concept has hardly yet started to influence discussion over audience relations. I discuss some key concepts - commodification, managerialism or governance in the form of new public management - and their impacts on how arts organisations are expected to relate to their audiences under current public management ideas and conclude that audience development simply is arts marketing upgraded; and a term concocted to serve political objectives - i. e. a term that encompasses both the instrumentality of recent public policies and the ideas of cultural policies of the post World War II era of democratisation of cultural policies and cultural democracy. To investigate whether arts centres are accommodating such cultural policy objectives I conduct case studies of two arts centres in Britain (Colchester Arts Centre. Essex) and Norway (Ibsenhuset, Telemark). I conclude from my findings that the influences of " the relevance to their communities; and " their own objectives in supporting the realisation of their mission as arts organisations seem to carry more weight than the expressed performance propositions of governmental cultural policy agencies(Chapter 4). However, I also conclude that the management style employed internally and in relations with community partners influence an arts centre's ability to address the needs of its audiences. Hence I close this thesis by conceptualising a broad audience relationship management model which has the capacity to maximise the contribution to artistic value which arts centres are so well positioned to make (Chapter 5).

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