<p>Based on 30 years of work experience in TV and film production, I have made a phenomenological analysis of my perception of meaning in work - how it arises and how it is undermined. The story starts in my experience of early professional film making in the 1980's and describes how a change to work in TV production required the development of a new professional identity. </p><p>The text also illustrates how as a female director I have managed my role in a male dominated and structured work environment. Being defined as an exception from the male norm has pushed me towards femininist reflection and the need to redefine my own work role - the generally accepted view having felt uncomfortable. </p><p>An analysis of structural change in TV and film production shows how market pressures and ways of thought have increasingly invaded cultural endeavour. Professional spheres of influence are weakened, while developments in the media are characterised by a commercialism which encroaches more and more upon artistic, spiritual and moral values. This attitude, where quality is in retreat, has transformedprogramme makers from creative originators into becoming suppliers of raw material in a factory- like process geared to produce great volume at low cost.</p><p>The aim of this essay is to show how changes in society and in TV and film making have affected my perception of my work. Structural transformation in the media has circumscribed the scope for creative play as an important source of energy and inspiration in work and it has eroded my feeling that work is personally meaningful.</p><p> </p>

<p>Kostnaderna för fuktskador i Sverige uppskattas årligen uppgå till mångmiljard belopp.</p><p>Fuktskador i byggnader medför också en ökad risk för ohälsa hos brukarna. Kunskapen för</p><p>att producera fuktsäkra byggnader finns men utnyttjas inte i den omfattning den borde.</p><p>Den 1 juli 2007 träder en ny upplaga av Boverkets byggregler i kraft. Förtydliganden har</p><p>gjorts i avsnittet gällande fukt, vilka underlättar verifieringen av entreprenadens</p><p>fuktsäkerhet. Reglerna innefattar också krav på kritiska fukttillstånd i material. Denna studie</p><p>syftar till att kartlägga brister i produktionsskedet och hur produktionen kan utvecklas för att</p><p>motsvara de i Boverkets byggregler ställda krav på fuktsäkerhet.</p><p>Intervjuer har förts med olika representanter i byggbranschen för att ge en helhetssyn av</p><p>fuktproblematiken. Göran Hedenblad vid Boverket menar att tillsynen och kontrollen av</p><p>fukt kan och måste bli bättre på byggarbetsplatsen. Fuktkonsulten Tord Nilsson hävdar att</p><p>de nya kraven innebär ett paradigmskifte som medför stora förändringar på dagens sätt att</p><p>producera byggnader. De intervjuer som gjordes med beställare och entreprenör visar dock</p><p>på både bristande fuktkunskap och bristande strategi för att nå ett fuktsäkert byggande.</p><p>Vid fältstudien påvisades brister i produktionen med avseende på skydd av material och</p><p>konstruktion, uttorkning och utförandet av fuktkvotsmätningar. Många av dessa brister</p><p>härrör från att fuktproblematiken inte har en central roll vare sig i program-, projekteringseller</p><p>produktionsskedet. Vidare konstateras att kunskapsnivån för att hantera fukt kan</p><p>utvecklas hos all personal och i alla delar av byggprocessen.</p><p>Av de observationer som gjorts under fältstudien har åtgärdsförslag till en ökad fuktsäkerhet</p><p>sammanställts i rapporten. Vidare har ett informationsblad utarbetats för att informera om</p><p>fukt och dess skadeverkningar samt att ge några förslag till åtgärder som kan förbättra</p><p>fukthanteringen ute på byggarbetsplatsen. Informationsbladet bör placeras på</p><p>byggarbetsplatsen för att stödja entreprenören i sitt fuktsäkringsarbete.</p><p>Eftersom ramverket för projektet är fastslaget då produktionsfasen tar vid innebär detta</p><p>begränsningar för fuktsäkerhetsarbetet. För att skapa bättre förutsättningar för en fuktsäkrare</p><p>produktion anser vi att en fuktsakkunnig skall anlitas så tidigt som möjligt i projektet.</p> / <p>The costs regarding moisture damages in buildings in Sweden are expected to reach several</p><p>billions SEK each year. These moisture damages also result in an increased risk regarding</p><p>health issues among the users. The knowledge of how to produce moisture secure buildings</p><p>exists, but it is not beeing used to the extent it could be.</p><p>The first of July 2007 a new edition of Boverket´s regulations regarding buildings takes</p><p>effect. Boverket is the Swedish board of housing, building and planning. Clarifications have</p><p>been made concerning moisture issues which facilitate the verifications of moisture security</p><p>in the chain of building production. The regulations also contain demands according to</p><p>critical levels of moisture in building materials. This study is meant to survey errors in the</p><p>production phase and how the production can develop to correspond to the regulations stated</p><p>by Boverket regarding moisture safety.</p><p>We interviewed different representatives in the building sector to give a general impression</p><p>of the moisture issues. Göran Hedenblad at Boverket states that the supervision and control</p><p>regarding moisture on the construction site can and must be improved. The moisture</p><p>consultant Tord Nilsson believes that the new demands will result in huge changes</p><p>concerning the way buildings are produced. The interviews carried out with the future</p><p>proprietor and the contractor displayed a lack of knowledge and strategy concerning how to</p><p>produce moisture secure structures.</p><p>The field study pointed out incongruities concerning how building materials and the</p><p>constructions were protected from moisture influence, evaporation and the control of the</p><p>moisture levels in the structure. Many of these flaws originate from the fact that moisture</p><p>issues are not a central matter, neither in the phase of planning nor production. Further it can</p><p>be established that the level of knowledge regarding how to deal with moisture problems can</p><p>be developed among all personnel and sectors in the building process.</p><p>The observations implemented during the field study have resulted in several preventive</p><p>measures which are compiled in this thesis. Further has an information sheet been put</p><p>together with the purpose to inform about these preventive measures and the damages</p><p>moisture inflicts upon structures and human beings. The information sheet should be placed on the construction site to support the contractors in their work for a more moisture safe</p><p>production.</p>

<p>Syftet med det här arbetet är att undersöka hur barnteatern kan se ut idag och om den uppfyller barnens krav.</p><p>Observationer gjordes på tre slumpmässigt utvalda barnföreställningar för lågstadiet. Därefter intervjuades medverkande och publik som i detta fall bestod av barnen och dess lärare. Intervjufrågorna behandlade dels hur medverkande tänker inför en föreställning för barn och hur publiken uppfattade den, dels hur de anser att en bra barnföreställning bör vara.</p><p>Resultatet i undersökningen visar några tydliga tendenser. De tre barnföreställningarna höll en god kvalitet i avseende på framförande, musik och dekor. Men barn är ofta ovana teaterbesökare och har svårt att ta in information genom bara iakttagande. Därför behöver de en annan typ av föreställning än de tre jag observerade. En föreställning med mera delaktighet.</p> / <p>The purpose of this study is to investigate the current state of children’s theatre, and if it meets the needs of the children.</p><p>Observations were carried out in three randomly chosen children’s theatre performances. After the observations, performers and the audience - in this case, children and their teachers - were interviewed. The questions dealt with how performers think prior to a performance for children, and how the audience reacted to it, in addition to how they think a good children’s theatre performance should be.</p><p>The result of the study indicates some clear tendencies. The three children’s theatre performances received good reviews with regard to performance, music and décor. But children are seldom familiar with the theatre and have trouble attaining information through watching alone. Thus, they need a different kind of theatrical performance than the three I observed. A performance in which they are more involved in the action.</p>

Hvordan kan en omkostningskalkulationsmodel udformes under moderne og fleksible produktionsforudsætninger, og hvordan påvirker stokastikken fra produktionen en given kalkulationsmodel, når der tages højde for samtlige indsatte ressourcer fra produktionen? Disse forhold er diskuteret med udgangspunkt i den existerende kalkulationsteori på området og i relation till to konkrete case-virksomheder. For at kunne gøre konkrete beregninger af stokastikkens virkninger, er der udformet en model baseret på et FMS-system, som har været testet via stokastisk simulering. Resultatet heraf viste, at variationer i processerne, transport og leadtid kan have relativ stor effekt på stykomkostningerne sammenliget med det deterministiske tilfælde. Med en stokastisk omkostningsmodel er der også mulighed for, at estimere effekten fra Design For Manufacturability (DFM) via standardafvigelsen. Dermed bliver det muligt att søge efter at minimere stokastikken og variationen fra produktionen. / Diss. Stockholm : Handelshögskolan

In today’s fast-changing and dynamic business environment, the pressures on manufacturing companies to compete on the global arena have been intensified. Production is challenged to handle and benefit from ever increasing competitions in terms of cost, delivery capability, and flexibility. In order to gain and sustain the competitive advantage under such circumstances, strong and constant development of production must be ensured not only with continuous improvements but also with radical improvements. Continuous improvement or called Kaizen has been an established approach of production improvement. The concept of Kaizen is well described and many tools and methods that support Kaizen have been developed and widely applied in industry. However, for radical improvement or “Kaikaku” in Japanese, the need and the importance of Kaikaku are still limitedly recognized at companies. Moreover, the knowledge of structured support that facilitates an effective and efficient execution of Kaikaku has been insufficiently developed. The purpose of the research presented in this thesis is to develop models and methods that address the need and the importance of Kaikaku in production and facilitate the realization of it. The research consists of a literature study and three case studies. The literature study was conducted in order to structure the concept of Kaikaku. As a result of the study, a conceptual framework of Kaikaku was developed. The three case studies were conducted to identify influential factors to the realization of Kaikaku. Both Swedish and Japanese companies were studied and analyzed. These case studies led to identify a way of realizing a certain type of Kaikaku. Some characteristics of organization setting were also found influential to the realization of Kaikaku. To conclude, the research has contributed to creating a foundation of the research area related to Kaikaku. This has opened up opportunities for further research in this field.

No description available.

Prosodi varierar mellan olika språk och innefattar det talade språkets rytm, melodi och dynamik. Flerspråkighet blir allt vanligare i det svenska samhället, vilket gör det viktigt att studera flerspråkighet ur ett logopediskt perspektiv. ITAP är ett icke-språkligt prosodiskt test som prövar perceptions- och produktionsförmåga av intonation och rytm. Testet har hittills testats på en grupp enspråkiga svensktalande barn med typisk språkutveckling. Syftet med föreliggande studie var att testa produktion och perception av intonation och rytm hos flerspråkiga barn, med hjälp av ITAP, samt att jämföra resultaten med en enspråkig svensktalande grupp. I studien deltog totalt tio barn. Fem barn med svenska och somaliska som språk, samt fem barn med svenska och arabiska som språk. Deltagarna var mellan 4;7 och 9;1 år gamla. Resultaten visar att det inte finns några signifikanta skillnader i den totala prestationen mellan den arabiska och den somaliska språkgruppen. Det framkom inte heller några signifikanta skillnader mellan de båda flerspråkiga grupperna jämfört med den svenska kontrollgruppen. Signifikanta skillnader framkom vid jämförelse av perception och produktion inom de båda flerspråkiga grupperna. Studien ger ökad kunskap om prosodisk förmåga hos flerspråkiga barn i Sverige, samt om ITAP:s kliniska användbarhet.

In line with the company-wide CS09 project being carried out at Volvo CE Components, Cell 14 will have changes in terms of distribution of machines and parts routing to meet the lean manufacturing goals established.  These changes are of course dependant on future production volumes, as well as lot sizing and material handling considerations. In this context, an important emphasis is given to the awareness of the performance measures that support decision making in these production development projects.  By using simulation as a confirmation tool, it is possible to re-assess these measures by testing the impact of changes in complex situations, in line with the lean manufacturing principles. The aim of the project is to develop a discrete event simulation model following the methodology proposed by Banks et al (1999).  A model of Cell 14 will be built using the software Technomatix Plant Simulation ® which is used by the Company and the results from the simulation study will be analyzed.

Based on 30 years of work experience in TV and film production, I have made a phenomenological analysis of my perception of meaning in work - how it arises and how it is undermined. The story starts in my experience of early professional film making in the 1980's and describes how a change to work in TV production required the development of a new professional identity.  The text also illustrates how as a female director I have managed my role in a male dominated and structured work environment. Being defined as an exception from the male norm has pushed me towards femininist reflection and the need to redefine my own work role - the generally accepted view having felt uncomfortable.  An analysis of structural change in TV and film production shows how market pressures and ways of thought have increasingly invaded cultural endeavour. Professional spheres of influence are weakened, while developments in the media are characterised by a commercialism which encroaches more and more upon artistic, spiritual and moral values. This attitude, where quality is in retreat, has transformedprogramme makers from creative originators into becoming suppliers of raw material in a factory- like process geared to produce great volume at low cost. The aim of this essay is to show how changes in society and in TV and film making have affected my perception of my work. Structural transformation in the media has circumscribed the scope for creative play as an important source of energy and inspiration in work and it has eroded my feeling that work is personally meaningful.

Syftet med det här arbetet är att undersöka hur barnteatern kan se ut idag och om den uppfyller barnens krav. Observationer gjordes på tre slumpmässigt utvalda barnföreställningar för lågstadiet. Därefter intervjuades medverkande och publik som i detta fall bestod av barnen och dess lärare. Intervjufrågorna behandlade dels hur medverkande tänker inför en föreställning för barn och hur publiken uppfattade den, dels hur de anser att en bra barnföreställning bör vara. Resultatet i undersökningen visar några tydliga tendenser. De tre barnföreställningarna höll en god kvalitet i avseende på framförande, musik och dekor. Men barn är ofta ovana teaterbesökare och har svårt att ta in information genom bara iakttagande. Därför behöver de en annan typ av föreställning än de tre jag observerade. En föreställning med mera delaktighet. / The purpose of this study is to investigate the current state of children’s theatre, and if it meets the needs of the children. Observations were carried out in three randomly chosen children’s theatre performances. After the observations, performers and the audience - in this case, children and their teachers - were interviewed. The questions dealt with how performers think prior to a performance for children, and how the audience reacted to it, in addition to how they think a good children’s theatre performance should be. The result of the study indicates some clear tendencies. The three children’s theatre performances received good reviews with regard to performance, music and décor. But children are seldom familiar with the theatre and have trouble attaining information through watching alone. Thus, they need a different kind of theatrical performance than the three I observed. A performance in which they are more involved in the action.