<p>Syftet med denna studie var att undersöka hur skisser och dokumentation kan integreras i undervisningen på frisörprogrammet, samt undersöka om kreativt skapande med hjälp av skissen kan överbrygga inlärnings- och förståelsesvårigheter i de praktiska momenten. En kvalitativ undersökning med hjälp av intervjuer gjordes. Två lärare och fyra elever deltog i studien och besvarade frågorna om kreativt skapande, skisser och dokumentationens betydelse för inlärning och i undervisning. I ett undervisningsförsök genomfört av mig, fick eleverna skapa frisyrer kreativt utifrån egna förutsättningar. Skissen användes av eleverna för att utveckla tankar och idéer. Dokumentationen användes medvetet för att eleverna ska kunna gå tillbaka i sina arbeten och reflektera över metoder och resultat vid ett senare tillfälle. I min litteraturgenomgång belyses exempel på hur inlärning sker i samspel med andra människor. Resultatet från intervjuer, undervisningsförsök och litteraturgenomgången visar att inlärningsoch förståelsesvårigheter ofta kan överbryggas med hjälp av skisser och dokumentation av kreativt skapande.</p> / <p>The purpose of this study was to examine how sketching and documentation can be integrated into the hairdressing programme. Besides this, the study explores whether developing creativity by means of sketching can bridge learning and understanding difficulties when working with practical items. A qualitative study based on interviews was carried out. Two teachers and four students participated in the study answering questions about creating with creativity, sketching and documentation and their importance for learning and overall in hairdressing education. In an educational trial set up by myself, the students developed creative hairstyles, from their own ideas. Sketching was used by the students to elaborate thoughts and ideas. Documentation was consciously used so that the students could have a retrospective look at their work and reflect over methods and results later on. In my literature study there are illustrative examples of how learning takes place through interaction with other people. The result of interviews, educational trial and exposition of literature shows that learning and understanding difficulties often can be bridged by means of sketching and documentation of creative work.</p>

Syftet med denna studie var att undersöka hur skisser och dokumentation kan integreras i undervisningen på frisörprogrammet, samt undersöka om kreativt skapande med hjälp av skissen kan överbrygga inlärnings- och förståelsesvårigheter i de praktiska momenten. En kvalitativ undersökning med hjälp av intervjuer gjordes. Två lärare och fyra elever deltog i studien och besvarade frågorna om kreativt skapande, skisser och dokumentationens betydelse för inlärning och i undervisning. I ett undervisningsförsök genomfört av mig, fick eleverna skapa frisyrer kreativt utifrån egna förutsättningar. Skissen användes av eleverna för att utveckla tankar och idéer. Dokumentationen användes medvetet för att eleverna ska kunna gå tillbaka i sina arbeten och reflektera över metoder och resultat vid ett senare tillfälle. I min litteraturgenomgång belyses exempel på hur inlärning sker i samspel med andra människor. Resultatet från intervjuer, undervisningsförsök och litteraturgenomgången visar att inlärningsoch förståelsesvårigheter ofta kan överbryggas med hjälp av skisser och dokumentation av kreativt skapande. / The purpose of this study was to examine how sketching and documentation can be integrated into the hairdressing programme. Besides this, the study explores whether developing creativity by means of sketching can bridge learning and understanding difficulties when working with practical items. A qualitative study based on interviews was carried out. Two teachers and four students participated in the study answering questions about creating with creativity, sketching and documentation and their importance for learning and overall in hairdressing education. In an educational trial set up by myself, the students developed creative hairstyles, from their own ideas. Sketching was used by the students to elaborate thoughts and ideas. Documentation was consciously used so that the students could have a retrospective look at their work and reflect over methods and results later on. In my literature study there are illustrative examples of how learning takes place through interaction with other people. The result of interviews, educational trial and exposition of literature shows that learning and understanding difficulties often can be bridged by means of sketching and documentation of creative work.

Denna uppsats beskriver utvecklingen inom projektet att skapa en redesign av en intranätmall till företaget Circuit i Stockholm. Denna intranätmall representerar de intranät som företaget producerar och används för att sälja in intranät till nya kunder. På grund av att många uppdateringar och nya funktioner tillkommit i de senaste intranäten som levererats vill företaget uppdatera sin intranätmall och som en del i arbetet skapa en ny design till den. Det som levererades inom projektet var slutgiltiga Photoshopskisser med syftet att beskriva designen i detalj, samt påbörjad kodmässig implementering i front-end med hjälp av ramverk för responsiv design. / This report describes the the production within the project of creating a redesign of an intranet template for the digital full-service agency Circuit in Stockholm. This intranet template represents the intranets the company produces and is used as a demonstration of the services for new clients. Due to many updates and additions of functionalities in the newest delivered intranets, Circuit wants to update their template version and as a part of that work creating a new design for it. The deliveries in this project was several final Photoshop-sketches which described the design in detail, and initiated front-end implementations using frameworks for responsive design.

This licentiate thesis is based on visual art didactics and the school subject visual art, but focuses on the design process in a college design education. The aim is to explore and understand the innovative and exploratory learning processes and the importance of visual mediation in this context. With a phenomenological approach the study focuses on design students experiences in this context. These experiences are made subject on reflection and formulation, through phenomenology and visual semiotics. The empirical materal of the study consists of interviews and sketches and images collected from student workbooks. The results of the study show that the design process does not occur by itself among the students. It must be learned. The need for learning probably also applies to the processes of creative learning in other fields. Furthermore, the results indicate that the process is best understood and appropriated in pragmatic learning situations. Three kinds of visual representations of the basic aims of process work are identified in the analysis: images for communicative purposes, images for reference and discussion purposes and images as a support for one's own thinking. From the perspective of visual art dididactics the results of the study reveals four important dimensions, wich may be of relevance as a fundamental didactic structure in efforts to promote understanding of a practice-oriented learning in context of visual mediations. Together with a split vision guiding principles, existing premises and action-based learning processes may provide a supporting unit in this structure. Based on the results, it seems important that pupils and students have the opportunity to learn to master and appropriate the creative process in order to use it in an investigative purpose. Considering the structure of the process, a didactic model can facilitate learning and at the same time provide a valuable complement to the subjective approach of inspiration in the aestetic learning process. In summary, the results of the study indicate that the fields of design and didactics are related to each other and that the field of design training can bring knowledge and experience of exploration and creative learning processes to the school subject visual art.

Este trabalho procurou fazer uma reflexão sobre a prática pedagógica no ensino escolar de Geografia, focalizando as dificuldades enfrentadas pelo professor iniciante na transposição didática do saber universitário para o saber ensinado e na escolha das metodologias a serem utilizadas em sala de aula. Procuramos uma metodologia que auxiliasse nossos jovens a sistematizar e compreender o grande volume de informações a que temos hoje e correlacioná-las a sua própria realidade. Através da elaboração de croquis cartográficos pretendemos, pois, investigar o processo de desenvolvimento do raciocínio geográfico em nossos alunos de 3º ano do Ensino Médio, tendo por fim contribuir com a proposta metodológica de Cartografia no ensino de Geografia de Simielli (1996). Acreditamos que esse encaminhamento apropriado a uma abordagem em pesquisa-ação, valorizou uma participação mais ampla e ativa de nossos alunos e buscou a autonomia dos mesmos, proporcionando-lhes um aprendizado continuado. / The main purpose of this work was to reflect on the pedagogic methods used to teach Geography in schools. A special emphasis was given to discuss the difficulties faced by beginning teachers in the situation where they have to didactically transfer their academic knowledge to their students in a way that will permit it to be assimilated. We have also discussed how to choose the methodology to be applied in the classes. We have looked for a methodology that would help our children to systematize and understand a large amount of information, and to make it easily accessible and related to their own reality. Using the elaboration of cartographic sketches, we have intended to investigate the process of the development of geography thoughts in our third grade high school students, with the objective of using the methodological cartography proposed in the studies of geography from Simielli (1996).

Este trabalho trata das questões relativas ao ensino na Educação Infantil através da investigação das contribuições que os croquis de localização oferecem ao processo formativo das crianças pequenas. Busca nas teorias sócio-históricas os fundamentos para compreender a importância da mediação no aprendizado das crianças, defendendo que os croquis são importantes instrumentos no processo ensino-aprendizagem. Recorre à Geografia para compreender os conceitos essenciais, lugar e paisagem, representações e linguagem gráfica, discutindo a espacialização das crianças como processo que exige sistematização e planejamento. O Estudo identifica nas práticas pedagógicas a possibilidade de garantir os fundamentos para uma formação que aprimore as práticas socioespaciais na perspectiva de construção e fortalecimento da cidadania ativa. A Educação Infantil é compreendida na dimensão do direito, assegurado a toda criança. A ação educativa capaz de tratar das questões relativas ao Conhecimento de Mundo que se deve assegurar às crianças deve estar fundamentada na Ciência, no conhecimento filosófico, na Arte e na Ética. / This work deals with questions related to the infant education teaching through the investigation of the contributions that the sketches of the localization offer to the formative process of small children. It searches on social historic theories the basis to understand the importance of the mediation on childrens apprenticeship, defending that sketches are important tools on the teaching-apprenticeship process. It recurs to the geography to comprehend the essential concepts, place and landscape, representations and graphic language, discussing the spaciousness of the children as a process that demands systematization and planning. The Study identifies in the pedagogic practices the possibility to guarantee the principles for a formation that improves the social-spatial practices on the perspective of the construction and enforcement of the active citizenship. The infant education is understood on the dimension of the law, assured to all children. The educative action able to treat these matters related to the world knowledge that must be assured to children, it must be based upon science, on philosophic knowledge, on art and ethic.

This licentiate thesis is based on visual art didactics and the school subject visual art, but focuses on the design process in a college design education. The aim is to explore and understand the innovative and exploratory learning processes and the importance of visual mediation in this context. With a phenomenological approach the study focuses on design students experiences in this context. These experiences are made subject on reflection and formulation, through phenomenology and visual semiotics. The empirical materal of the study consists of interviews and sketches and images collected from student workbooks. The results of the study show that the design process does not occur by itself among the students. It must be learned. The need for learning probably also applies to the processes of creative learning in other fields. Furthermore, the results indicate that the process is best understood and appropriated in pragmatic learning situations. Three kinds of visual representations of the basic aims of process work are identified in the analysis: images for communicative purposes, images for reference and discussion purposes and images as a support for one's own thinking. From the perspective of visual art dididactics the results of the study reveals four important dimensions, wich may be of relevance as a fundamental didactic structure in efforts to promote understanding of a practice-oriented learning in context of visual mediations. Together with a split vision guiding principles, existing premises and action-based learning processes may provide a supporting unit in this structure. Based on the results, it seems important that pupils and students have the opportunity to learn to master and appropriate the creative process in order to use it in an investigative purpose. Considering the structure of the process, a didactic model can facilitate learning and at the same time provide a valuable complement to the subjective approach of inspiration in the aestetic learning process. In summary, the results of the study indicate that the fields of design and didactics are related to each other and that the field of design training can bring knowledge and experience of exploration and creative learning processes to the school subject visual art.

This written explication deals with the integration of the forms of stand-up comedy and domestic comedy in order to create a comic text. The comic text explores issues regarding the presentation and representation of Jewish cultural identity. The integration results in both the experienced and imagined truths of the playwright to become present on stage. These were points of enquiry in the writing, directing and performing of DRIVEN: A COMEDY IN 70 MINUTES, which opened at The Intimate Theatre, Orange Street, Cape Town on the 23 November 2004. The Introduction deals with defining key terms and forms to be used and discussed in the thesis, informing the reader of the writer's purpose in creating comic text by integrating stand-up and domestic comedy. In the first chapter the generating of comic text is explored. The generating of comic text is achieved by using the comic persona. The comic persona is developed using identity, outside voice. Once the comic persona is in place it is possible to: create an authentic stage persona for the stand-up comedian and to create a 'theatrical climate' consisting of plot, characters, themes and narrative storylines. In the second chapter the idea of pastiche (borrowed elements) is explored in terms of its impact structurally and stylistically in the writing, directing and performing of DRIVEN. Structurally this impact is evident via the use of 'pastiching' the structure of situation comedy (sitcom) and stylistically through the use of Yiddish and the influence of other comedians' performance styles on the comic persona. The third chapter delves into the way Jewish cultural identity is represented through stand-up comedy and Jewish cultural identity is presented through domestic comedy. The stand-up comedian, through persona, audience relationship and other devices associated with the form, becomes the representation of Jewish cultural identity. Characters, story and situation, through the use of both comic traits (elements associated with Jewish cultural identity) and stereotypes, become the presentation of Jewish cultural identity.

Celebrities such as Halle Berry, Dave Chappelle, Kathy Griffin, and Don Imus have recently evoked public ire for making what some people have seen as tasteless jokes. Their notorious humorous communication shares two notable qualities: the discourse was mass mediated and the “jokes” were all premised on stereotypes. This two-part dissertation addresses the complicated subject of understanding the meanings viewers co-create with humorous mediated communication that is premised on racial stereotypes. I focus on Chappelle’s Show as my primary text of analysis, but the findings here have applicability to the wider genre of humorous mediated communication that is premised on stereotypes. In the first part of the dissertation I survey humor theory and humor criticism, noting weaknesses in the ways that communication scholars have previously studied humorous mediated texts. I then suggest that humor scholarship can be improved through two principal methods: 1. humor scholars of various academic disciplines need to use a unified set of terms that refer to the humor stimulus, humor motivation, and the possible effects of the humor, and 2. critics of humorous mediated texts need to approach them as a unique genre, with a critical lens that accounts for the polysemy inherent in many humorous texts. In the next part of the dissertation, I model a multi-methodological approach to mining the mélange of meanings in Chappelle’s Show. My in-depth case study of racial stereotype-based humor in Chappelle’s Show incorporates textual analysis of a dozen sketches, qualitative analysis of viewer opinions about the show, and a quantitative analysis of viewing behaviors as well as the relationship between viewing the show and prejudice. This multi-methodological approach helps better mine the polysemic meanings of the text because it explores the spectrum of the communication model from stimulus to receiver. I conclude that Chappelle’s Show can both encourage and reduce prejudice. While inconclusive conclusions are an anomaly in media criticism, I advocate the pursuit of such conclusions in humor criticism. Stereotype-based mediated comedic texts demand an exploration of their multiple meanings, not a definitive statement about how they should be interpreted or how they affect an audience. / text

Artists in interaction: creation processes in official collaborative projects is a doctoral thesis that explores the creation processes of artists, when the project owner defines the purpose, theme and framework. The area is explored from the artists' perspective and the overall research question deals with the opportunities and obstacles that artists face when working in collaborative projects. To be able to explore the artists' working processes, in which sketches and models were tools, concepts from the visual research field were combined with knowledge theories that derive from the area of practice-based research. The knowledge theories draw on an updated understanding of ancient philosophy developed by, among others, the philosopher Martha Nussbaum. Rudolf Arnheim’s concepts of visual thinking are also vital for the interpretation of the visuals. The results indicate that skills in different sketching techniques build trust and enable communication. However, the artists experienced that it was more difficult to integrate the more indefinable parts of their knowledge, which relates to improvisation and intuition, even though this was highlighted as the most vital force in their working processes. The consequence is that the artists have not always followed their artistic intentions, which in some cases also meant compromising the quality of the works of art  they produced. The collaboration between the artists and the project-owner representatives could be more enriching for both parties if the artists' implicit knowledge is respected as a resource and given some room, although this may involve certain risks. The study also provides results regarding the interpretation of models and sketches, and discusses in what way different sketches can support (or hinder) communication in different stages of a design process, i.e. what aspects are important to consider when sketches are used to support communication. Particularly interesting is that the findings demonstrate that spoken and written language has a significant impact on how sketches are interpreted; the use of verbal language is therefore an important factor in presentations built on visuals. / Avhandlingen Konstnärskap i samspel: om skapande arbetsprocesser i myndighetsledda samverkansprojekt undersöker konstnärers arbetsprocesser i projekt där uppdragsgivaren formulerat tema, syfte och ramar för gestaltningsarbetet. Genom tre fallstudier har konstnärers arbetsprocesser i samverkansprojekt, med inriktning på utställning och gestaltning i musei- och kulturmiljö undersökts. Den övergripande frågeställningen behandlar vilka möjligheter och begränsningar konstnärer upplever i sin praktik i myndighetsledda samverkansprojekt. Materialet till studien har samlats in via intervjuer, observationer, artefakter och dokument. Till artefakter räknas skisser, modeller och verk. För att undersöka konstnärernas arbetsprocesser, där olika typer av skisser är ett verktyg, har teorier från det visuella fältet kombinerats med teorier om praktisk kunskap. Från det visuella fältet är Rudolf Arnheims teorier om visuellt tänkande centrala och vad gäller kunskapsteorier är utgångspunkten en samtida tolkning av Aristoteles teori om olika kunskapsformer som utvecklats av bland andra filosofen Martha Nussbaum. På en övergripande nivå visar studien att skicklighet i hantering av olika skisstekniker möjliggör kommunikation och skapar förtroende, medan mer svårbeskrivbara delar av konstnärers kunnande med improvisation och intuition som vitala krafter är svårare att integrera i samverkansprojekten. Följden av detta är att konstnärerna inte alltid valt att genomdriva sina intentioner i projekten till fullo, vilket i ett par fall också inneburit avkall på gestaltningens kvalitet. Samverkan mellan offentliga uppdragsgivare och representanter från den kreativa sektorn (som konstnärerna i projekten representerar), skulle kunna bli mer berikande för båda parter om konstnärers implicita kunnande ses som en resurs och om uppdragsgivaren ger utrymme för improvisation, även om detta innebär visst risktagande. Studien förmedlar också ny empiribaserad kunskap beträffande olika skiss- och presentationsformers funktion i kommunikationsakten mellan konstnär (skissproducent) och uppdragsgivare (beställare). Detta kan komma till nytta i flera sammanhang där skissmaterial används vid presentationer av idéer, i kommunikationen med en beställare eller som ett verktyg i grupprocesser. Intressant nog demonstrerar resultaten också att talat och skrivet språk har stor inverkan på hur skisser tolkas. Därför är detta en viktig aspekt att beakta i presentationer som inkluderar visuella material, både för skissproducent och beställare.