I decided to start writing this thesis considering mainly all the books and texts read during my Art Academy education that made a strong impression on me in order to analyze the essence of my work. The reason to study at Konstfack is after all, to find a context and a reference to my art production. When I started collecting all the thoughts and ideas that been significant to me I BECAME AWARE of that every time I found the words describing them became PHYSICAL. Every word has a strength and tone. I confront a difficulty writing in English, learning theory in Swedish and having as a native language Spanish. So, with all respect to the interest and passion I have for languages, I would like to dedicate the fear of writing this thesis to the “information generation” for ABUSING the “language” making it richer but making it harder in my attempt to describe the essence of my work.

It has been claimed that there was a clear correlation between the fall of the Soviet Unionin 1991 and the exponential growth and democratization of information technology in thelater decades of the 20th century. The last head of state of the Soviet Union, MikhailGorbachev, admitted in 2005 that emerging decentralized electronic communication was“a big factor” for fostering democracy in the Soviet Union.1For my generation, born in the late 1980’s, computers and the Internet are used on a dayto-day basis and provide possibilities that, for the most part, lead to less dramaticconsequences. On the other hand, I believe that these information technologiesnevertheless force us to constantly reevaluate norms about the relationships betweenconsumer and business companies and private and public life.My practice is founded in an examination of questions about media, popular culture,consumers and real events; more specifically how communication and trading systemsbetween these “territories” are organized and what effects it has on culture. I will in thischapter give a description of recent developments in information technologies. Althoughbrief and simplified, it serves to illustrate how they help to determine the ways in whichwe consume culture.It may be impossible to summarize “post-Cold War culture” but one definingcharacteristic is the decreasing distance between the professional and the amateur.Today’s hackers and bedroom programmers may turn into tomorrow’s billionaireentrepreneurs, as a result of the information age. In this fairly new situation, culturalconsumption, production and exchange of media often occurs in front of screens.As the view of the consumer and the audience as passive entities becomes more nuanced,so too does old notions about visual communication and interaction. A 21st centurycitizen is equipped with different - some say significantly better - tools for reading,decoding and reacting to media than a person living in the early 1900’s.2The dreams of a totally transparent Internet/society, born in the minds of cyber pioneersin the 1980’s, have not yet crystallized. Neither have we seen a true, global “creativeclass” come to fruition.2 Despite this, one could sense that today’s consumers are to alarge extent a cross between consumers and producers, givers and takers. Americanmedia scholar and professor at University of Southern California, Henry Jenkins, writesabout this cultural and technological shift:Rather than talking about media producers and consumers as occupying separateroles, we might now see them as participants who interact with each otheraccording to a new set of rules that none of us fully understands. Not allparticipants are created equal. Corporations – and even individuals withincorporate media – still exert greater power than any individual consumer or eventhe aggregate of consumers. And some consumers have greater abilities toparticipate in this emerging culture than others.3If there is any truth to this description, one must ask what the implications are for asociety that is partially governed by a new set of puzzling rules. It is not always simple tomap out a definitive answer of who will succeed in being heard and seen. As Jenkinswrites, a power struggle still exists. Questions that are linked to these matters are part ofthe framework of my artistic practice.

Every image locates intelligence.1 I decided to become an artist due to this premise. Mostof my childhood was spent in front of a TV-screen. By channel surfing across the rangeof our satellite dish I created new narratives of my own, based on the different channelsexisting images. The disappearance of images became as important as their appearance.Art offered me a way of preserving and study these transient images of contemporaryculture.

Title: Analysis of practise and training of volleyball set in youth teams Objectives: In this work I tried to analyze practise and training of volleyball set at setter in youth teams. Above all I will be deal with types of sets and practising the sets. I will examine their training and using in training units. I will be also concetrated on the person of setter. I am intrested in what is supposed to have the skills and abilities. Abstract: This thesis is dedicated to all volleyball fans and mainly to volleyball coaches who are interested in problematics of practise and training volleyball set in youth teams. It can be also dedicated to volleyball coaches who are starting with their career. This thesis contains of chapter from history of volleyball, performance of game and the analysis of set, the set itself, division of set and skills and abilities of setter. This analysis was based on the questionnaire responses of selected coaches from volleyball clubs in Czech Republic. Key words: The volleyball, practise, training, set, setter

<p>For youths leisure activity the organized sport is vital. Young people become increasingly sedentary</p><p>and the healths of young people are the various municipalities responsibility. In Eskilstuna, the</p><p>handball is very popular but there are only three grounds that meet the standards of the dimensions of</p><p>a handball pitch, 40x20 meters. The same dimensions are used by floorball. Eskilstuna municipality</p><p>owns one of these, the other two is privately built and owned and the municipality rents time in the</p><p>halls.</p><p>IF Guif and HK Eskil are two handballclubs in the central part of Eskilstuna. They have access to only</p><p>one 40x20 meters pitch that they have to share between their 45 teams. Hence forth the handball</p><p>player’s in Eskilstuna rarely has the opportunity to practise at full-size pitches before they reach junior</p><p>age. In the part of Eskilstuna called Torshälla, the situations for another handballclubb is much better.</p><p>Gökstens BK uses the full-sized Ellfolkarenan together with Torshälla IBK, a floorballclub. The new</p><p>built Ellfolkarenan has been a big boast for Gökstens BK and they are now pleased white their access</p><p>to practice areas.</p><p>Floorballclubs in Eskilstuna have, due to private construction, access to two full-sized halls. In</p><p>addition, they are practising in halls which are just below the authorized dimensions. Despite this, they</p><p>have difficulties to get access to the new hall times to expand their club by starting up new teams with</p><p>practise at attractive times of the day.</p><p>With only three full-sized halls, Eskilstuna is among the big-sized municipalities in Sweden with most</p><p>people per full-sized hall. If a new multipurposearena with three pitches would be built in Eskilstuna,</p><p>the municipality would count themselves by those of the big-seized municipalities that are below</p><p>average of people per full-sized hall.</p>

<p>The main purpose of this study is to identify and compare classical pianists' understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musicians performing music thoroghly gone through.</p>

The main purpose of this study is to identify and compare classical pianists' understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musicians performing music thoroghly gone through.

For youths leisure activity the organized sport is vital. Young people become increasingly sedentary and the healths of young people are the various municipalities responsibility. In Eskilstuna, the handball is very popular but there are only three grounds that meet the standards of the dimensions of a handball pitch, 40x20 meters. The same dimensions are used by floorball. Eskilstuna municipality owns one of these, the other two is privately built and owned and the municipality rents time in the halls. IF Guif and HK Eskil are two handballclubs in the central part of Eskilstuna. They have access to only one 40x20 meters pitch that they have to share between their 45 teams. Hence forth the handball player’s in Eskilstuna rarely has the opportunity to practise at full-size pitches before they reach junior age. In the part of Eskilstuna called Torshälla, the situations for another handballclubb is much better. Gökstens BK uses the full-sized Ellfolkarenan together with Torshälla IBK, a floorballclub. The new built Ellfolkarenan has been a big boast for Gökstens BK and they are now pleased white their access to practice areas. Floorballclubs in Eskilstuna have, due to private construction, access to two full-sized halls. In addition, they are practising in halls which are just below the authorized dimensions. Despite this, they have difficulties to get access to the new hall times to expand their club by starting up new teams with practise at attractive times of the day. With only three full-sized halls, Eskilstuna is among the big-sized municipalities in Sweden with most people per full-sized hall. If a new multipurposearena with three pitches would be built in Eskilstuna, the municipality would count themselves by those of the big-seized municipalities that are below average of people per full-sized hall.

The purpose of this thesis is to examine the benefit of emotional intelligence on musical development and performance. The paper sets out to explore how purposeful applications of emotional intelligence can benefit a musician's ability to manage; performance anxiety, musical development, focus and flow, and working successfully with others in ensemble environments. / <p>Johannes Brahms Clarinet Trio in A minor Op. 114 </p><p>performed by the Danish Chamber Players</p><p>Clarinet: David Somchai Howie</p><p>Cello: Tobias Lautrup</p><p>Piano: Jakob Westh </p>

Detta är en skriftlig undersökning och reflektion inom konstnärligt självständigt arbete på kandidatnivå. Syftet med undersökningen är att diskutera kring tekniskt invanda mönster, om det är möjligt att förändra dessa och i så fall hur dessa vanor kan förebyggas och åtgärdas. Som hjälpmedel för undersökningen används Sergej Prokofjevs andra violinkonsert i g-moll, i vilken det finns många tekniska svårigheter som hör ihop med de aspekter som behandlas. För att undersöka detta används olika metoder såsom förändringar i vardagen, olika övningssätt och mental träning. Det genomförs även en intervju med Cecilia Zilliacus, professor i violin vid Kungl. Musikhögskolan i Stockholm. Undersökningen av dessa metoder antecknas regelbundet och deras effektivitet relaterande ämnet diskuteras. I resultatet av undersökningen jämförs olika metoder med varandra och det diskuteras vad som är det mest effektiva sättet att hantera tekniska vanor. Undersökningens slutsatser visar att det går att analysera och förändra de egna vanorna med hjälp av olika metoder som förändrar den egna övningen. Detta kan vara användbart för musiker på alla nivåer som vill hitta strategier för att bli av med sina mönster eller fungera som inspiration för att hitta nya övningsmetoder. / This is a written investigation and reflection within artistically independent work at graduate level. The purpose of this study is to discuss technical habits and patterns, if it is possible, and in that case how these habits can be prevented and remedied. Sergei Prokofiev's second violin concerto in G minor is used as an aid to the investigation, in which there are several technical difficulties associated with the aspects being discussed. To investigate this, different methods are tested, such as changes in everyday life, different practice methods and mental training. It also contains an interview with Cecilia Zilliacus, professor of violin at the Royal College of Music in Stockholm. The development of these methods is regularly written down and their effectiveness related to the topic is discussed. In the summary of the survey, the different methods are compared with each other and it is discussed what is the most effective way to manage technical habits. The investigation shows that it is possible to analyze and change ones pattern with different methods that change the practice sessions. The study's conclusions can be useful for musicians of all levels who want to find strategies for getting rid of their patterns or serve as an inspiration for finding new practice methods. / <p>Inspelning av Sergej Prokofjevs andra violinkonsert, sats 1 tillsammans med pianist Erik Lanninger</p>