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I detta arbete undersöks workshops med barn som metod för kreativitet och mötet mellan barn och vuxnas skapande som inspiration till kreativitet inom scenproduktion. Det här arbetet har huvudfokus på design men rör sig inom flera områden inom scenproduktion då alla områden är likvärdigt beroende av kreativ förmåga hos den som utför dem. Arbetet undersöker skapande och metoder för skapande vilket ger kunskap om kreativitet som går att applicera på de flesta designorienterade områden. Syftet med uppsatsen är att undersöka om vuxna i samarbete med barn, kan få en ny syn på kreativitet och inspiration. I en workshop fick dansare och barn i olika åldrar samarbeta, skapa och gestalta tillsammans. Detta följdes upp med en fokusgruppsintervju där resultatet sedan analyserades och ställdes i dialog med teorier från angränsande områden. / This thesis examines workshops with children as a method for creativity and the encounter between children's and adult's creativity as inspiration for creativity in stage production. This thesis has the main focus on design, but is moving in several areas in the field of stage production since all areas are equally dependent on creative ability on those who perform them. The thesis explores the creation and methods of creation which gives knowledge ofcreativity that can be applied to most design oriented areas. The aim of this paper is toinvestigate whether adults, in collaboration with children, can get a new way of looking at,and find creativity and inspiration. In a workshop dancers and children of different ages got to collaborate, create and form together. This followed by a focus group interview where the results then were analyzed and summarized in dialogue with theories from neighboring areas.

Lärare i trä- och metallslöjd är oftast ensamma om att nyttja sina salar. Detta gör att de har större möjligheter att påverka inredningen och utformningen av salarna. Inredningen spelar en stor roll i salens funktion och hur den fungerar som pedagogisk miljö. Denna studies syfte är att studera hur trä- och metallslöjdlärare resonerar kring inredningen av sina salar och även hur de anpassar denna. Tre frågeställningar har ställts, dessa gäller hur lärare resonerar kring en inspirerande sal, en funktionell sal samt ramfaktorer som är främjande och hämmande för deras möjlighet att påverka inredningen. För att uppnå syftet har kvalitativa intervjuer utförts med fem lärare som är aktiva inom ämnet. Som ramverk har ramfaktorteorin fungerat som teoretisk utgångspunkt. Resultatet visar att ramfaktorer spelar en stor roll i lärarnas möjligheter att påverka inredningen.  Det visar också att åsikterna kring inspiration och funktion skiljer sig åt bland lärarna.

In this theses Oskar Nöbbelin explores new ways of finding inspiration for writing modern jazz using recordings of vocal improvisations made by non-musicians and finding ways to incorporate their outsider perspective into his own music. The text follows the process and difficulties collecting these recordings. Initially failing at street interviews and later finding success with friends and acquaintances, and even recordings of himself as a child. It then moves on to the compositional work of processing the recordings into a finished product using an array of compositional tools, some of which acquired through an interview with saxophonist and composer Nils Berg, going through each song one by one. Lastly, he reflects on how working with the non-musicians’ improvisations and the compositional tools affected the music that was written and concludes that inspiration might not be as important as he first thought going into the project. / <p><strong>Musik:</strong></p><p>”Riffraff”</p><p>”En Vals”</p><p>”P.S puss”</p><p>”Fler än jag”</p><p>”Godnattvisa till mina vänner”</p><p>”Allt kommer bli bra” </p><p>All musik är skriven och arrangerad av Oskar Nöbbelin</p><p></p><p><strong>Medverkande musiker:</strong></p><p>Oskar Nöbbelin - Klaviatur</p><p>Sabina Levin - Sång</p><p>Hannes Arason - Trumpet och flygelhorn</p><p>Johannes Bäckström - Kontrabas</p><p>Ture Lewin - Trummor</p>

The primitive hut, which is regarded as the initial model of architecture, came from humans' desire to survive and be sheltered from the severe weather outside. Architecture lays its root in practical use but when mankind thrives and begins to flourish, the practical use is no longer the only objective architecture needs to fulfill. My thesis is an exploration of processing architectural design when the practical program becomes the minor factor. The architect's inner pursuit for aesthetic satisfaction becomes the major motive in my thesis. Instead of a project that has an end, I consider my thesis as a continuing research of recording daily inspirations. Inspirations come from memories and could stimulate creations. Different architectural moments that come from my inspirations are pictured in this project in the aim of inspiring other people. I am exploring my own identity as a person who studies architecture. / Master of Architecture

Le dessein de cette étude est de formuler une description adéquate de la création artistique. Elle part de l’hypothèse que les descriptions existantes de ce processus sont finalistes et, en conséquence, erronées. Elles sont finalistes, en cela qu’elles postulent la possibilité de prévision du résultat du travail artistique. Ce postulat repose sur l’erreur de construire une théorie de la création en partant de l’expérience de la réception, ce qui revient à se livrer à une « prophétie rétrospective ». Une fois établie la généalogie de cette erreur, il est possible de proposer une description concurrente, qui n’est plus finaliste, mais générative, concentrée non sur les éventuels objets visés par les pratiques, mais sur les modalités selon lesquels l’acte créatif se déploie. / My main concern is to offer a correct description of the way artistic creativity works. My starting point is to acknowledge that most existing descriptions of artistic creativity fail because they are “goal-oriented”: they operate as if it was possible to foresee what an artwork will be, even before this artwork is actually produced. They do so because they are, on a logical level, essays in reverse engineering: they start from the way we receive artworks, and they try to deduce from it they way we produce artworks. After establishing that this retrospective prophecy is an error, I show that a “means-oriented” and generative description of creativity is more convincing, and more fitting to both the organicity of artistic creation and the organic unity of artworks.

Inspirés par les propriétés optiques des yeux composés de la mouche et par l’observation de micromouvements périodiques de sa rétine, différents capteurs visuels ont montré qu’il était possible de localiser un contraste très précisément. Ce fut les premières démonstrations d’hyperacuité visuelle de l’œil de la mouche.Dans cette thèse, un œil composé artificiel, doté d'un large champ de vision, est utilisé. Grâce à un nouvel algorithme de fusion des données visuelles, cet œil peut mesurer le déplacement d’un robot et lui permettre de se stabiliser au-dessus d’un environnement texturé. Localiser un contraste de manière linéaire sur l'ensemble du champ visuel demeure toutefois difficile. Un deuxième algorithme permet d’améliorer la localisation d’une barre grâce à un étalonnage, mais montre une certaine dépendance aux variations de contraste et de luminosité ambiante.Afin d'éviter ce processus d’étalonnage, un troisième algorithme qui s’appuie sur les travaux d'Heiligenberg et Baldi, a été proposé pour localiser deux contrastes. Ces auteurs ont montré que la somme pondérée de plusieurs capteurs ayant un champ récepteur gaussien pouvait fournir une estimation linéaire de la position d'un stimulus. Nous avons, pour la première fois, appliqué une variante de ce principe à un œil composé artificiel. Cet œil, une fois monté sur un robot permet de suivre une cible à une distance constante.Finalement, un œil composé artificiel dont la résolution intrinsèque est faible, peut être doté d’une hyperacuité visuelle et permettre de suivre une cible avec précision. Ces travaux ont ainsi conduit à proposer des stratégies bio-inspirées pour la localisation et la poursuite de cible. / Inspired by the optical properties of the fly compound eyes and the observation of its retinal periodic micro-movements, several visual sensors established that the localization of a contrast can be made very precisely. It was the first demonstration of the visual hyperacuity of the fly compound eye.In this thesis, an artificial compound eye with a wide field of view was used. Thanks to a novel algorithm fusing the visual signals, the sensor embedded onboard an aerial robot measures its displacement and enables the robot to hover above a textured environment.The localization of a contrast precisely over the whole field of view is still difficult. A second algorithm improved the localization of a bar thanks to a calibration. But it has a dependency to the contrast and the illuminance variations.In order to avoid a calibration process, a third algorithm was proposed to localize two contrasts. It is based on the work of Heiligenberg and Baldi, which showed that an array of Gaussian receptive field can provide a linear estimation of a stimulus position. For the first time, we applied a modified version of their estimation to an artificial compound eye. This sensor mounted on a rover allows following a target precisely at a constant distance.Finally, an artificial compound eye with a coarse spatial resolution can be endowed with hyperacuity and enables a robot to follow a target with precision. A step forward has been made toward bio-inspired target localization and pursuit.

This thesis explores children’s and pedagogues’ participation in project work in a Swedish preschool inspired by the pedagogical philosophy of Reggio Emilia and its associated participatory agenda. The overall aim is to investigate how children are involved in the shaping of project work in everyday interactions. The study examines how children’s participation and involvement in project work, as it unfolds over time, is organized and negotiated in interaction; what children and pedagogues are oriented to and what communicative, embodied, visual, and material resources that are used. The empirical material was collected during a six months long video ethnographic study among four to five years old children. The video recordings and field notes collected during participant observations are analyzed from an ethnomethodological and a socio-cultural perspective. The study sheds light on how both children and pedagogues are active agents in the constitution of project work and the various communicative and material resources that they draw upon when participating in project work. The findings highlight how the pedagogues work to create conditions for children’s participation and how this work is intimately connected to and dependent on children’s agency. Moreover, it is shown that the pedagogues are creating conditions to facilitate children’s participation through various activities that at first glance appear as controlling. Among other things the pedagogues vary how wide ranging content is allowed. When participating in project work the children are treated and act as competent. They relate to tasks as active subjects and participatory agents in that they coordinate various resources to solve problems and to create products. In their interpretations and reinterpretations of a given task, the children take into account as well the pedagogues’ instructions as their own and other children’s interests. / Forskarskolan: Globalisering, literacy och utforskande lärprocesser: Förskolebarns språk, läsande, skrivande och matematiserande

Zugl.: München, Hochsch. für Philosophie, Diss., 2007.

Grâce aux progrès réalisés dans les domaines de la robotique et des systèmes de transport intelligents (ITS), les véhicules autonomes du futur sont en train de devenir une réalité. Comme les véhicules autonomes devront se comporter en toute sécurité en présence d’autres véhicules, de piétions et d’autres objets fixes ou en mouvement, une des choses les plus importantes qu’ils doivent faire est de percevoir efficacement à la fois leur mouvement et l’environnement autour d’eux. Dans cette thèse, nous avons d’abord étudié comment des capteurs visuels bio-inspirés, qui mesurent le flux optique en 1-D en utilisant seulement quelques pixels sur la base du système visuel de la mouche, pourraient être utilisés pour améliorer les manœuvres de stationnement automatiques. Nous avons ensuite travaillé sur une nouvelle rétine de silicium bio-inspirée, en montrant que le nouveau pixel, appelé M²APIX, est capable de s’auto-adapter dans une gamme de 7 décades et de répondre de manière appropriée à des changements de luminosité rapides jusqu’à ±3 décades, tout en conservant une sensibilité aux contrastes aussi bas que 2%. Nous avons enfin développé et testé un nouveau capteur de flux optique basé sur cette rétine auto-adaptative et sur une nouvelle méthode robuste pour le calcul du flux optique, qui est robuste aux variations de lumière, textures et vibrations que l’on retrouve en milieu routier. Nous avons également construit un robot de type voiture, appelé BioCarBot, qui estime sa vitesse et son angle de braquage au moyen d’un filtre de Kalman étendu (EKF), en utilisant uniquement les mesures de flux optique délivrées par deux capteurs de ce type regardant vers le sol. / Thanks to the advances in the fields of robotics and intelligent transportation systems (ITS), the autonomous vehicles of the future are gradually becoming a reality. As autonomous vehicles will have to behave safely in presence of other vehicles, pedestrians and other fixed and moving objects, one of the most important things they need to do is to effectively perceive both their motion and the environment around them. In this thesis, we first investigated how bio-inspired visual sensors, giving 1-D optic flow using a few pixels based on the findings on the fly’s visual system, could be used to improve automatic parking maneuvers. We subsequently tested a novel bio-inspired silicon retina, showing that the novel pixel, called M2APix, can auto-adapt in a 7-decade range and respond appropriately to step changes up to ±3 decades, while keeping sensitivity to contrasts as low as 2%. We lastly developed and tested a novel optic flow sensor based on this auto-adaptive retina and a new robust method for computing the optic flow, which is robust to the light levels, textures and vibrations that can be found while operating on the road. We also constructed a car-like robot, called BioCarBot, which estimates its velocity and steering angle by means of an extended Kalman filter (EKF) using only the optic flow measurements delivered by two downward-facing sensors of this kind.