The project addresses issues of value and meaning in objects while at the same time considering more sustainable approaches to designing, making and consuming, through the reuse of already existing materials. By exploring concepts such as durability and ephemerality, the precious and the mundane, I have sought to show possibilities for reconciling the production of objects with reduced environmental effects of their production, use and disposal. This was an issue that tended to be neglected during the period of modernist design with its embracing of technology and the machine aesthetic. Since the 1960's with the emergence of designers and writers such as Victor Papanek and Buckminster Fuller there has been a growing concern to develop more sustainable approaches to design, and a broader consideration of meaning and engagement with objects. Some of the significant contemporary designers addressing these issues include Paolo Ulian, Hella Jongerius and Constantin and Laurene Boym. It is with reference to this field that I contextualise my practice. Through the research project I have recognised the importance of a local focus, in supporting more sustainable approaches and engagement with objects. In the process I have identified factors specific to designing with reuse materials, and have used them to guide the direction of the research. These include: material availability, perceived value of materials, time or cost required to achieve a high finish, design complexity and sophistication, and perceived value of the finished product. What has also emerged from the research is the importance of commercial considerations in designing for sustainability, as I believe economically viable objects contribute more than purely symbolic ones in influencing the perceptions and habits of designers and consumers. The project has shown that engagement with objects and sustainable approaches, when considered as integral to a design's development, can be mutually beneficial and lead to aesthetically sophisticated and highly valued objects.

This project investigates new ways to apprehend and visually reconfigure aspects of concealed or disputed pasts.' The intention of this work is to enable a viewer to experience obscured or nearly forgotten narrativesnarratives of memory, time, absence, location and representation. The works utilise found and constructed objects and techniques from the visual arts, the museum, the library, the shop, the garden. One common methodology is the arrangement of multiple objects to activate a surface optically, and encourage a viewer to read it as a means of temporarily holding the objects in place. In doing so they find themselves part of the work. These pieces are experiments in understanding how viewers can travel around an artwork and in this process move their position back and forth, flickering between past and present and personal and national memory. Most works incorporate ideas of movement or stasis either technically or in the story which they may be partially relating to the viewer. This suggestion of waiting or of motion summons a viewer to enter into the work as a timekeeper. This is an anxious position where many of the materials inviting curiosity, and initially implying the humorous, accrue a sinister edge as the viewer reaches a point of understanding his/her caged predicament within the work. For the first time all these works will be exhibited together. Showing them in different locations raised considerations of setting both spatial and conceptual - and recent works have developed that are about journeying across time and place. The investigation has emerged from very personal considerations of the place of memory, forgetting, loss, denial and the potency of the past within my own family. Artists who have explored similar terrain, visually reconfiguring the marginal or the textual, include Gordon Bennett, Fiona Foley, Tracey Moffatt, Christian Boltanski and Fred Wilson. This project has been a journey through many stories across time. These have inevitably been incorporated into my own memory, my own life, and my own increasingly open narrative of deciphering self in the process of relating the past. Each work has been built from the outcomes of the last, and represents a claiming within a larger consideration of ways to personally invoke and involve nation, viewer and self in acknowledging our entangled histories.

This paper presents problems that may occur during transformations, color correctionsand incorrect use of data of a digital image. The theoretical part will go into the depth of what a digital image is. It will explain whata pixel is, how color depth and channels work, what filtering is and what the differenttransformation operations are. A series of test are then made where different kinds oftransformations and color corrections are tested one by one, pre-comps will then berendered with some missing data to show what can happen to a composite wheninformation is lacking. Finally a test of different workflows is done. When making a composite it is important tomask out the parts of the image that needs to be corrected. By doing so you canminimize the destruction of the image. Two kinds of workflows for masking the imageand handling the masked part will be compared.

This thesis examines for the first time the role of Sir Frederic William Burton (1816-1900) as director of the National Gallery, London, during the period 1874 to 1894. I argue that his directorship is important because it was followed by the second major administrative re-organisation in the Gallery’s history, namely the Rosebery Minute of 1894, which significantly reduced the authority of the director in making acquisitions. This power had been bestowed upon the director in 1855 after an in-depth parliamentary Select Committee examining the running of the Gallery, which had established the post for the first time. My thesis seeks to determine to what extent and how Burton’s tenure prompted this major reassessment of the Gallery’s management structure. The enquiry addresses the question from a variety of perspectives including Burton’s acquisitions, the display of the collection, his attitude to the social function of the Gallery and the relationship of the Gallery authorities with government departments and individuals. These topics are informed by a methodological approach that takes as its starting point the large volume of archival material and correspondence both at the National Gallery and in other gallery archives and libraries relating mainly to Burton and his trustees, chiefly Sir Austen Henry Layard and Sir William Gregory. Using these sources my thesis examines the background, interests, motivations and personal relationships of key individuals, assessing the impact of personal biography upon institutional history. The thesis also sets these case studies within the broader cultural context of the development of the discipline of the history of art and the challenges this posed to the identity of the Gallery. The final chapter reassesses the Rosebery Minute of 1894 in the light of this research, highlighting the importance of both a detailed ‘micro-historical’ approach and a broad contextualisation of developments at the National Gallery at the turn of the twentieth century.

This paper presents my master project “Grey Flowers” which is an incarnation of a poetic metaphor to a ceramic flower sculpture. The project is an installation of crafted flowers as a strong symbol of a short lived moment which has now stopped for ages. This sculptural work is based on the notion of decadence of the 19th century and presents a new way which it can been interpreted. Ceramics, clay and firing processes are used as a methods of unpredictability and a “happy accident”. The main aim of the project is to create a feeling of abandonment by showing decaying and dying beauty. The sculptural work investigates the different aspects of the flower and its representation trying to show different approaches tothinking and working while telling about the same idea.

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Denna uppsats beskriver hur karaktärers förhållningssätt kan se ut utifrån ett fenomenologiskt perspektiv. Med hjälp av Terrence Malicks främsta filmer The Thin Red Line, The Tree of Life och Knight of Cups kommer karaktärernas förhållningssätt till externa objekt och situationer att undersökas, detta genom det icke-kronologiska berättandet, karaktärers relation till objekt och karaktärers inre som speglas i det yttre. I centrala begrepp som känslor, tankar och inre subjektivitet samt objektivitet analyseras karaktärerna för att utifrån detta försöka att se ett sammanhang inom det fenomenologiska perspektivet. Som inledning introduceras det olika teorier som berör karaktärer i helhet och fenomenologi i allmänhet samt i filmiskt sammanhang. Utifrån centrala figurer inom fenomenologi redogör Maurice Merleau-Ponty och Gilles Deleuze samt Vivian Sobchack teorier om människans tänkande och varande i världen. Således belyser de hur människan kan agera och betraktas som objekt och subjekt. De påpekar även människans relation till objekt i omvärlden samt hur dessa kan komma att skapa en djupare mening. Fenomenologi introduceras som ett filosofiskt tankesätt men även en metod i filmiskt sammanhang, denna kunskap används därmed för att analysera Malicks filmer och undersöka karaktärers förhållningssätt. Sammanfattningsvis upptäckte jag i denna studie att fenomenologin följer en stark röd tråd, trots att det är tre olika filmer. De alla tre filmer innehöll därför ett spår av fenomenologin, oavsett om den var tydligare i en av de andra filmerna eller inte så fanns den tydligt där ändå. Vidare kom jag fram till att fenomenologin i alla tre filmer yttrar ett gemensamt syfte genom undersökningsområdena i det icke-kronologiska, karaktärers relation till objekt och gestaltningsstrategier som används.

This thesis provides an assessment of the Scottish television broadcasting landscape within a previously unexamined contemporary context. In particular, the work explores the impact of developments that have occurred since the Scottish Broadcasting Commission in 2007. Through a critical realist lens, it does so by using a combination of desk research, elite interviews and an online audience survey to answer the main research questions: how well does the current broadcasting landscape serve the television industry in Scotland; how well does the current broadcasting landscape serve the television audience in Scotland; to what extent is there an appetite for a new television service for Scotland and what type of service might be viable? By mapping the historical, political and economic terrain, the research also analyses the themes and theoretical concepts that underpin the specificity of the experience of Scottish television within the UK context. It demonstrates the way in which these dynamics interrelate creates a curious environment, whereby Scotland’s position in the UK-wide broadcasting framework is perceived to produce both indispensable advantages and debilitating disadvantages. Findings show there is a certainly a perception that the television broadcasting landscape currently falls short in serving both the industry and audience satisfactorily, and a latent demand was found for a supplementary television service for Scotland. This finding is now particularly significant due to the BBC’s recent announcement that a new television channel for Scotland will be launched in the Autumn of 2018.

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An artist essay written by Axel Versteegh regarding his artist practice and his graduation show at Galleri Mejan in February 2018 / Documentaion of the show, The smile that hides the soul