In my master`s thesis project, I studied different ways to practise the Sibelius violin concerto to become a better violinist.The work describes my personal journey with the Sibelius violin concerto: how in one year, I studied to play the first movement of the concerto. Through this process and this project, I was able to see what my skills as a violinist are and what things I still need to develop. For the study, I got help from my colleagues, who are Finnish violinists, and I interviewed them. I was especially interested in their technical development during their studies so that I could connect the information to my own violin playing. I wanted to improve my technical skills to practise the Sibelius violinconcerto. Other things that I used to study the concerto were literature and recordings to get new ideas and support for my thinking. Also, music courses and master classes were important sources of information for this investigative work. After one year practising the concerto, my technical and musical skills became better. Preparing adifficult romantic concerto raised my level as a violinist. Through the videos I made aboutpractising the Sibelius violin concerto, it was possible to start to develop my performance skills. All the methods and literature I used gave me a more professional view of my violin playing and musicianship. After this research, I can start to work with my art now that I have so many usefultools for practising and performing.   In my master`s thesis project, I studied different ways to practise the Sibelius violin concerto to become a better violinist. The work describes my personal journey with the Sibelius violin concerto: how in one year, I studied to play the first movement of the concerto. Through this process and this project, I was able to see what my skills as a violinist are and what things I still need to develop. For the study, I got help from my colleagues, who are Finnish violinists, and I interviewed them. I was especially interested in their technical development during their studies so that I could connect the information to my own violin playing. I wanted to improve my technical skills to practise the Sibelius violin concerto. Other things that I used to study the concerto were literature and recordings to get new ideas and support for my thinking. Also, music courses and master classes were important sources of information for this investigative work. After one year practising the concerto, my technical and musical skills became better. Preparing a difficult romantic concerto raised my level as a violinist. Through the videos I made about practising the Sibelius violin concerto, it was possible to start to develop my performance skills. All the methods and literature I used gave me a more professional view of my violin playing and musicianship. After this research, I can start to work with my art now that I have so many useful tools for practising and performing.

Tanken med detta arbete är att utforska hur man genom materialitet kan främjasinnesupplevelsen av känsel när man designar objekt, för att ge objekten ett större värde fördess ägare eller användare.Det här projektet har en teoretisk del som har fungerat som en plattform för reflektion ochett praktisk gestaltande genom design av fem produkter. Det praktiska arbetet harutforskat materialitet och känselns upplevelse av materialitet. Upplevelsen av material, skerigenom våra sinnen, händelser som känns abstrakta men egentligen är väldigt konkreta. Jagdiskuterar i den här uppsatsen hur rikedom och fyllighet i de här upplevelserna påverkardom känslor och relationer som vi bygger med objekt.Jag utforskar hur komposition av materialitet är ett ämne som kan påverkasinnesupplevelsen av objekt, framförallt hur kompositionen kan bearbetas med beaktningtill sinnet; känsel. Min design i projektet fokuserar också på ”användande” istället för”funktion” som grund i uppgiften att skapa design. En subtil skillnad i formulering som fåren markant skillnad i vad som kan ses som ett gott resultat. / The purpose of this thesis is to explore how a designer through materiality can create atqualitative sensory experience through the sense of touch. With ambition to give objects agreater value for its owners or users.This project includes a theoretical part that has served as a platform for reflection and apractical part through the design of five products. The practical part has exploredmateriality and our experience of materials through the sense of touch. The experience ofmaterials is registered by our senses, a process that feels abstract but really is very concrete.In this thesis I discuss how richness in these experiences affect the feelings andrelationships that we have with objects.I explore how the composition of materiality is a subject that can affect the sensoryperception of objects, especially how the composition can be put together withconsideration to the sense of touch. The products in the project also focuses on the use of aproduct instead of its direct function, s subtle difference that makes a significant differencein what can be seen as a good result.

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The paper's purpose has evolved during the process of researching and writing it. In the beginning it was to investigate if art and culture could increase the strength and knowledge of a brand and if there existed a knowledge about this amongst Swedish companies, situated in Stockholm. During the process the purpose has evolved into exploring the type of companies that acknowledge this and those that don't. By using Bourdieu's terminology and tools, the reasons behind the use of art has been analyzed. The paper employs an explorative approach by accessing data through interviews and public data provided by the Internet through web pages and government files. The paper comes to the conclusion that what Holt calls cultural branding has not evolved, when looking at the companies that are accurate for this study. Out of 24 companies only one comes close to observing socio cultural movements through the arts. The rest are occupied with emotional branding. To reach a level where a person or a company actually uses art to add emotions to the brand in a strategic way, that person, and the company as an extension of the persons habitus, need to have a large accumulated bank of cultural capital and be able to use it in social events to widen their social capital and therefore realize the possibilities of gaining from these relationships in a monetary capital sense. Art is also used in an unconscious way to add to the holistic brand. When the act is not done with a strategic plan in mind, it is explained by the fact that these individuals lack cultural capital that is evaluated by the group at large. The study of the field indicates that a movement is made from the economic field into the cultural without an equal movement in the other direction. In the economic sector cultural capital seems to be important and the Swedish cultural field contains smaller fields in the field, for example the tribe that hold the power. This tribe is well entangled in both the top hierarchy of the economic and the cultural field.

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Diss. (sammanfattning) Uppsala : Uppsala universitet, 2006. / Härtill 3 uppsatser.

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Adhocism, the dilettante and appropriation are the focal points of this interview stylised essay. The aims are to define and give myself as the artist, points of reflection which are seldom possible when engaged in the making process

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