The diploma thesis is devoted to freshly emerging TV shows about architecture and public space on the platforms of the two biggest internet TVs in the Czech Republic: Stream.cz and MALL.TV. The work specifically analyzes the following broadcasts: Gebrian VS, Gebrian: Surprising Buildings, Gebrian: PLUS/MINUS, in terms of their distinctive formats. The main purpose of the thesis is to point out the existence of these programs and to identify the formal and genre aspects that shape their unique form. The important part of the research is carried out by comparing the shows based on the platforms on which they are created and which provide different conditions for production. The following theoretical foundations were used: genre theory, presentation of specific genres related to the examined programs, media convergence and internet TVs and their recent production. The qualitative elements, including the visual communication means, which lead to the recognition of the genre construction of a specific TV show, are examined by combined visual and semiotic analysis. Quantitative elements such as tone and footage are analyzed by content analysis. The research reveals some significant differences in the examined TV shows based on a platform they are made on. These are identified as different approaches to...

Utrymmen som kräver styrning mellan olika ljusscener på grund av rummets olika funktioner eller atmosfärer kräver även någon form av styrpanel. Ett problem i dagsläget är att kontrollpaneler ofta är svåra att förstå. Ett av de problem som orsakar svårmanövrerade kontrollpaneler är att slutanvändaren inte förstår den information som ges. Informationenförmedlas via text eller grafiska symboler.Syftet med studien var att ta reda på hur grafiska symboler på kontrollpaneler för belysning kan förmedla tänkta ljusscenarier.Detta undersöktes genom att ta redapå vilka aspekter som var viktiga för att en grafisk symbol ska beskriva ljusegenskaper i ett rum.Frågeställningen besvaradesmed hjälp av en enkät onlinedär tre olika ljusscenarier (allmänbelysning, punktbelysning och vertikalbelysning)och niografiska symboler undersöktes.Symbolerna utvärderades av 42 deltagare.Enkäternagenererade kvantitativa data som visade vilka grafiska symboler som hade högst preferensför varje ljusscenariosamt kvalitativa data där deltagaren beskrev deras val av symbol mer ingående.Resultatenvisadeatt det fanns olika aspekter hos symbolerna som kundeförmedlaljusets egenskaper.Bland dessa var ett sätt att visualisera ljuset somett eget fysiskt objekt eller att enbart visualisera de fysiska objekt som redan fanns i rummet.De viktigaste egenskaperna som förmedlades var intensitet och ljusspridning. Resultaten visade ävenatt det fanns mer som påverkade utformningen av symboler på kontrollpaneler och inte enbart de aspekter som visualiserade ljusets egenskaper. Deltagarna kunde välja bland alla grafiska symboler förrespektive ljusscenario, men det framkom att vissa symboler valdes oftare för vissa ljusscenarier.Studienbidrar till förståelsen för hur man kan underlätta kommunikationmedanvändarenoch på så sätt bidra till att rätt ljus används för rätt tillfälle och funktion. Studien kartläggervilka egenskaper de grafiska symbolerna behöverför att förmedla ljusegenskaperoch bidrar därmedtillatt lösa problemet för hur ljusdesignernbör kommunicera med slutanvändaren. / Spaces that requires lighting control between different lighting scenarios due to the fact that the room have different functions oratmospheres also requires some kind of control panel. A problem at present is that control panels often are difficult to understand. One of the problems that are causing control panels to bedifficult to maneuvereris that fact that the end user sometimes cannot understand the information provided. Information is mediated through text or symbols.The aim of this study was to investigatehow graphicalsymbols on control panels for lighting mediates light scenarios.This was examined using a research questioninvestigatingaspectsthat areconsidered important for graphical symbolsto describe lighting characteristics ina room.This was examined using a poll withthree different lighting scenarios (general lighting, point lighting, vertical lighting) and nine graphical symbols.Symbols were evaluated byan online questionnairewith42 respondents.The questionnairesgenerated quantitativedata showing whichsymbols that was preferredfor each lighting scenario and qualitative data in whichthe participantsdescribed thereasons for theirchoicesinmoredetail.The results showedthat the symbols had different aspects that could contribute to mediatelight characteristics.One way was to visualize the light as its own physical object or visualize the physicalobjects within the room. The most important properties conveyed were light intensity and light distribution. The result further showed thatnot only the aspects mentionedaffect the compositionof graphical symbols for control panels. Non-light related aspects are also important for the composition of graphical symbols. Another finding was that somesymbols where more frequently chosenthen othersfor different lighting scenarios although the participants were able to choose amongst all symbols for each lighting scenario.This study contributes to the understandingofhow to facilitate communication with the user and thus help to use the right lightand symbolfor the right occasion and function. The study maps what characteristics the symbols need to convey light properties andthus helps to solve the problem of how communication should be given to the end user.

This design project takes the form of an illustrated story told from the perspective of a young adult middle-class Swede who feels uncertainty in the face of larger issues in the world. Where do all our stuff come from? Is he buying unethical products? Is he actively making a situation worse elsewhere through his choices? How would you even know, when the consequences of such actions might only become evident far, far away from Sweden? How do you relate to this? What should you do? As the protagonist wants for answers, he decides to try and find out what the situation is really like, and what could be done about it. But, as he would soon find out, the answer is not a simple one… In this work-in-progress story, a middle-class Swede must contend with the fact that he’s part of a subset of humanity that in large part benefits off of the thankless work that may be found in the so-called Global South. In his investigation, he seeks to find answers to important questions. What’s the nature of this economic relationship between the Global South and the Global North? Is it really enough to buy ‘more sustainable’ products to relieve the impact on environments and societies? What are the hidden perspectives and stories that those in the Global South experience every day? How can one try to be a good person and create positive change in the world when faced with overwhelming systemic issues on a global scale? Through the story, the nature of global wealth disparity is illuminated as the Swede tries to make sense of global power relationships in relation to labor and production, and so too offers a reader who may be having similar worries an opportunity to learn. As uncomfortable truths are revealed, a greater systemic issue becomes evident. As economic growth takes precedence over social and environmental wellbeing, who wins and who loses – and where? This is the written thesis section of the project, which seeks to elaborate on the different concepts included in the story, as well as surrounding it. Aspects such as the purpose of the project and target audience are gone over, emphasizing the need to communicate complex subjects to wider audiences while avoiding the act of oversimplification of the issues presented. The methodology of the work is presented, and aspects of the design process are documented. The project cumulates into a digital exhibition with other design students, where a work-in-progress version of the comic book is presented digitally for reading. The end of the thesis features a reflection of the result and the design process in order to identify where improvements could be made, as well as the answers the author of this thesis found in relation to the project questions. In summary, there seem to be an indication that working collectively as opposed to individually may be more effective towards creating positive change, in opposition to individual-focused solutions. Finding appropriate solutions to issues may not have to be found immediately, but may be found through a process affected by several different people in a collective that are able to contribute with their differing skills and knowledge to locate the most appropriate path forward. / <p>Here is an updated version, using the template of the front page that was suggested.</p>

This thesis details the theoretical framework, methods, and results of the design project “Log In or Sign up”. The result of this project is an ebook sharing the same title. It consists of short stories and poems that revolve around digital surveillance and its effects on the self and society. The writings explore how the digital sur- veillance ecosystem affects our behavior and self-image in ways that we might not even realize. The context is our digital lives in a time where we rely more and more on the internet for our daily activities. The writings attempt to portray the emo- tions we go through while using digital platforms that are designed to extract our personal data. The stories and poems are presented in an interactive layout. Along with the aforementioned topics this thesis also addresses the responsibility of design in creating advanced digital surveillance methods created by companies such as Google, Facebook, Amazon, and Microsoft. For example, through the gami- fication of social media, deceptive presentation of data protection rights, and cura- tion of content for emotional effect.

In the article Language of Lighting, Schielke (2019) states creation of visual material as the most efficient way to reproduce design related solutions. According to Self (2018), to fully summarize a lighting solution in words prove to be insufficient when the receiver of the information is not able to visualize the results of the design. Progress has been made in understanding how visualizations are used as a driving force to mediate solutions, although knowledge of the everyday usage is still deficient. The purpose of the study is to examine the use of visualizations in the lighting industry, through the process of architectural lighting projects. To understand the importance of visual material and the implemented tools used to create these, the study is based on the experience of seven active consults and project leaders in the business of lighting and architecture. By applying qualitative interviews, a collection of empirical data could be sampled and analyzed to answer the two research questions of this study, which focuses on techniques used for visualizing lighting concepts and the basis for the choices of techniques. The results clearly suggest that the execution of visualizations depends strongly on available resources. However, the respondents stated they were rarely involved in projects where sketching has been done by hand and instead referred to digital software products as a more valuable medium. Presenting well elaborated visualizations has been recognized as one of the most efficient ways to persuade the costumer, as well as including elements beyond lighting that is of importance for each individual costumer. However, this aspect should be considered cautiously since it tends to create false representations of the final results.  Although several aspects are of great significance in the process of creating visualizations to represent the chosen project, all the respondents agreed that a communication between the client and other parts involved are crucial for a project to be successful. To avoid unappreciated consulting hours, responsible designers need to understand demands and desires of the client and produce the amount of visual material necessary – leading back to the importance of communication. / I artikeln Language of Lighting skriver Schielke (2019) att visuell representation står som det mest effektiva tillvägagångssättet för att presentera designrelaterade lösningar. Enligt Self (2018) innebär belysning ofta stora svårigheter när lösningar förmedlas verbalt, då mottagaren sällan besitter förmågan att kunna bilda sig en tydlig bild av designvalen. Framsteg har gjorts kring användandet av belysningsrelaterade visualiseringar även om kunskaper kring vardagligt användande är begränsade. Syftet med denna studie är att undersöka användandet av visualiseringar ute bland belysningsföretag i branschen och hur dessa implementeras i designprojekt. Erfarenheter har samlats från sju konsulter och projektledare, med bakgrund inom ljusdesign och arkitektur, för att bättre förstå vikten av visuellt material samt de verktyg som används för att framställa dem. Genom användandet av kvalitativa intervjuer har empiriska data kunnat utvinnas och analyseras för att svara på studiens två frågeställningar som fokuserar på tekniker som används vid visualisering av belysningskoncept samt vad val av teknik baseras på.  Resultaten antyder att skapandet av visualiseringar delvis beror på tillgängliga resurser. Handritade skisser används sällan då digitala verktyg anses vara mer användbara och värdefulla vid projektering. Genomarbetade visualiseringar förekommer alltmer och ses nu som ett av de mest effektiva sätten att sälja in projektidéer till beställare. Visualiseringar gör det även möjligt att inkludera designelement bortom belysning vilket också kan vara av kundintresse och säljande faktor. Det är dock viktigt med aktsamhet för att inte ge en missvisande representation av det slutliga resultatet. Även om aspekterna för att producera genomtänkta och tydliga visualiseringar är många kunde samtliga deltagare enas om att strategin bakom ett framgångsrikt projekt ligger i att upprätthålla god kommunikation, både med kund och samtliga övriga involverade parter. För att undvika för många arbetstimmar gäller det även att designers är medvetna om kundens önskemål och att krav på visuellt material motsvarar behovet – vilket leder tillbaka till vikten av god kommunikation.

The purpose of this essay is to examine nine posters from 2018 made by the Uppsala City Theater to determine how the posters communicate with the beholder. The questions asked are: How does each poster work to persuade its beholder that the play it refers to is of interest to the beholder? What strategies are used? And how do the posters correlate to each other? Are there any common or reoccurring themes?  The theoretical framework consists of previous research about both movie and theater posters, semiotics, aesthetics and visual communication. A semiotic analysis shows that the posters favor the plays’ aesthetics over information about the production and that the Uppsala City Theater’s visual marketing is adhering to their brand, leading to the posters having a coherent style. Differences between how movie posters and theater posters are designed and the use of nudity in theater marketing are also discussed.

This thesis investigates the factors that influence whether visitors to art exhibitions experience accessible introductory art labels or not. From the need of making art exhibitions and their communication available to more people of society the aim with this study is to increase awareness about the factors that influence accessibility and generate ideas about useful theory concerning accessible labels. By connecting theory concerning the purpose of art exhibitions, the social context of art exhibitions, orientation and disorientation and different views related to exhibition labels the author, by influence from the swedish Special pedagogy educational authority (Specialpedagogiska skolmyndigheten) accessibility model ”tillgänglighetsmodellen”, creates a accessibility model concerning the context of introductory art labels. The study gathered material from visitor interviews and observations from two different art exhibition institutions in Stockholm: Bonniers Konsthall and Spritmuseum, one art gallery and one cultural museum with an art exhibition feature. The analysis from the field work then formed the content of the accessibility model concerning the context of introductory art labels. As a background to the ideas behind the labels interviews where also performed with personnel in command of the communication concerning the labels. The results show that the visitors experience of accessible introductory art labels can be related to physical, social and pedagogical factors. Where the physical factors included reading situation, placing, lighting and soundscape. The social factors included other visitors, the willingness to ”do things right” and disorientation, confusion and uncertainty. The pedagogical factors included legibility, readability and well worth reading. The study also shows that the visitors pre-knowledge of art and habit of visiting art exhibitions could influence the visitors experience of accessibility. Where visitors without pre-knowledge about art history in the art gallery Bonniers Konsthall all found the texts non-accessible depending on a mix of physical, social and pedagogical factors. At the cultural museum Spritmuseum however visitors without pre-knowledge of art could find the text accessible. There a positive experience of the reading situation, including lightning and few other visitors, made visitors feel that the text where more accessible even when they experienced some difficulty with the accessibility related to pedagogical factors like text length. The study shows that the different factors of accessibility related to introductory art labels interacted and influenced the overall experience of text accessibility. This is a two years master's thesis in Museum and cultural heritage studies.

This diploma thesis addresses the topic of contemporary art in contemporary school. It deals with the relationship between contemporary art and contemporary school. The theoretical part of the thesis presents ideas and stimuli to think about contemporary art, which are based on people associated in the field of art, art theory and art pedagogy. Furthermore, the thesis pays attention to the relationship of contemporary art to the recipient and Czech education system. In the research part, the thesis focuses on five case studies of art teachers and their approaches to contemporary art in teaching. The next part of the diploma thesis presents a view of the artistic work of two Czech and two foreign contemporary artists. Their works are used in the didactic part for the didactic transformation of the content. Based on it, teaching units for teaching art education at secondary schools are created. Furthermore, this part presents reflections on lessons taught in the form of conceptual analysis. KEYWORDS contemporary art, postmodern society, art education, visual communication, the Framework Educational Programme

Design is reemerging again as an active system of enquiry for cultural production with a wide ranging set of methods - not only to address short-term formal problems and limited functions, but as a discipline that is uniquely placed in its relations to other fields of visual culture, special settings and textual production. A new generation of designers are currently reassessing the positions within graphics, product design and architecture and picking up loose ends of progressive historic developments.

Denna uppsatsen handlar om utmaningen att få distans till ett visuellt material på Instagram och varför ett material betraktas på sättet det görs. Syftet med uppsatsen är på så sätt att hitta en djupare förståelse för min ståndpunkt i det visuella meningsskapandet och hur dagens visuella kultur speglas på Instagram. Uppsatsen uppnår detta genom en kritisk och subjektiv forskningsansats med hjälp av den teoretiska grundeni fenomenologi, feministisk ståndpunktsteori och autoetnografi. Undersökningen sker genom en metodkombination av autoetnografi och kritisk bildanalys där en instagramdagbok kombineras med foton från influensers eller kreatörer. I den autoetnografiska metoden tar jag, uppsatsens författare, ståndpunkten som ung kvinna medan jag i den kritiska bildanalysen tar ståndpunkten som grafisk designer. Metodkombinationen ger ett resultat som visar hur ståndpunkten, objekt och människans erfarenhet kan vara med och påverka en tolkning av ett foto. Resultatet visar även att influensers och kreatörer har en tydlig visuellt kommunicerad självrepresentation på Instagram. Den slutsats som kan dras genom uppsatsen är att den egna ståndpunkten har en avgörande betydelse i en analys av visuellt material, samt att branchen bör överväga ståndpunktens roll och ge betraktaren en större transparens.