The aim of this multidisciplinary-oriented dissertation is to explicate the value and importance (the role) of human knowledge in context of informatization of socio-economic environment. The effort to bring interpretation in context is supported by theoretical and methodological background, which were formulated/defined based on number of relevant domestic and foreign resources. The analysis was performed using both quantitative and qualitative research methods and provides results applied to three areas within the document - economic system, education and information management. The issue of education is proving to be essential. Although we should react to the conditions changed due to an ongoing process of informatization, individual knowledge is being instrumentalized and fragmented. The conclusion shows that informatization may contribute to the fragmentation of knowledge and to reduce its value.

The subject of this diploma thesis is to improve the manufacturing of ISO standard valves using basic Lean manufacturing methods. Focus was at two levels, the macro level dealing with auxiliary processes for the whole manufacturing area and the micro level looking at removal of waste in the processes on one particular production cell.

Researched topic of the thesis is The role of art teacher education focused on the presentation of art works. Art teacher is given in context to the curator of the exhibition, the curatorial activities. Curator of the exhibition is a relatively new professional level, very important especially for contemporary art. The theoretical part of the work confronts profession of educator and curator of the exhibition. It searchs for a new fields of two environment meanings that combines art. Interest is whether and how the profession of the teacher and curator of visual encounter is met. I search and describe this during studies. Subsequent interest is the presentation of pupils' work, and whether it is an important part of the activity of fine art teacher, looking for steps it goes through. As well as what the teacher's attitude towards exhibitions and other forms of presentation of pupils' work. Educated high school students are familiar with the possibilities and circumstances presenting their own works of art, learn about the background of the exhibition project. On the basis of the theory and history of art, conceptual art are the art works created and then are applied for the exhibition. From the didactic point of view exhibition is an educational component of learning. Of the findings, supported by...

Mikrofibersläpp vid tvätt lyfts ständigt som ett återkommande problem eftersom de små fragmenten leds ut i vattendragen och påverkar miljön negativt. Mängden mikroplaster är svåra att se och mäta vid endast visuell antydan. Med hjälp av en ny standard för bestämning av mikrofibersläpp finns det nu möjligheter till att bestämma mängden fibrer som lossnar påverkas vid tvätt. För att textilbranschen ska kunna bli mer hållbar krävs ytterligare undersökningar på huruvida teoretisk hållbara val av tillverkningsmetoder verkar i praktiken. Genom att använda sig av olika testmetoder för en simulerad åldring på textilier med olika infärgningsmetoder kan användningsfasens visuella och fysiska påverkan studeras, för att på så vis underlätta vid hållbara val i den textila värdekedjan. Den simulerade åldringen är anpassad efter användningsfasen av de material som används i denna studie. Skillnaden i resultat för vattenavvisningsförmåga, färghärdighet samt den mängd fibrer som lossnar under tvätt, jämförs före och efter den simulerade åldringen. Studien resulterade i att den mer hållbara metoden för infärgning av textil inte bara är teoretiskt bättre utan också genomgående presterade bättre i de tester som utförts på tygerna. Detta med undantag för resultatet i fibersläppsmetoden som efter genomförandet inte kunde jämföras enligt standarden då metoden inte kunde utföras helt korrekt. Problemet visade sig tillsynes vara värdefullt för studien då det resulterade i att det inte bara var fibrer som lossnade vid tvätt utan också beläggning, vilket ansågs vara ännu sämre. Metoden för den genomförda studien har varit användbar för att kunna dra slutsatsen att det spinnfärgade tyget fortsatt är ett mycket bättre val än det styckfärgade. Detta konstaterades efter en statistisk analysmetod av resultaten från de utförda testmetoderna men också genom den visuella indikationen. / Microfiber-pollution from washing is a recurring topic and problem because of the small fragments coming out into the water. The amount of microplastics is hard to see and measure with visual analysis, but by using the new standard method to determine the microfibres when collecting the loss of material it opens facilities to see what and how the quantity is affected. To make a more sustainable business in the textile industry, more studies about how the differences in the manufacturing processes affect the textiles have to be done. By using different test methods for a simulation of aging textiles with two different methods of coloring, the phase of use can be studied and in best case support sustainable choices in the textile value chain. The simulated aging is customized for the phase of use for the material used in this study. The results that will be analyzed are for the water repellency, color fastness and the loss of material, before and after the simulated aging. The study concluded that the more sustainable method for coloring the material is a better choice both theoretical and practical. This was found out from all the tests performed on the materials. Except for the results in the microfibre test that after being performed could not be compared according to the standard when the method could not be accomplished completely correct after problems with the filtration. Otherwise, the problem turned out to be useful for the study after being analyzed because it was not only fibers detached from the specimens but also the water repellency coating. The method for the study has been successfully useful to be able draw the conclusion that the solution dyed material is a better choice than the one being piece dyed. It was found out after the statistical analysis of the results from the performed test methods, but also through a visual indication.

I detta projekt behandlas ämnet misslyckande i relation till mitt framförande av stycket Failing: a very difficult piece for double bass, skrivet av Tom Johnson år 1975. Stycket består av musik för solokontrabas som även har en textrad som ska läsas samtidigt som musiken spelas. Detta med syftet att framföraren ska misslyckas med sitt framträdande. Stycket Failing sätter praxis för att spela musik på sin spets, då det blir oklart vad vi egentligen är ute efter i spelandet. I denna uppsats gör jag ett försök att reda ut hur musikaliska misslyckanden fungerar, samt hur min inställning till misslyckanden kan påverka mitt spelande. Detta sker genom reflektion och begreppsliga resonemang, med vissa referenser till litteratur inom psykologin. Slutsatsen är att jag så länge jag gör ett kvalificerat försök att spela Failing, så kan jag inte misslyckas med mitt framträdande. Detta synsätt leder till minskad prestationsångest vilket kan ge en förhöjd publikupplevelse. Det kan finnas värde i att applicera de begrepp jag kommit fram till på framtida framträdanden, eller fortsätta projektet att skapa tydliga begrepp kring musikaliska framträdanden. / <p><strong>Konsertprogram</strong></p><p>J.S. Bach: <em>Allemande</em> ur Cellosvit nr. 3</p><p>A. Desenclos: <em>Aria</em> ur Aria et Rondo</p><p>S. Koussevitzky: Konsert för kontrabas, Op. 3</p><p>T. Johnson: <em>Failing: a very difficult piece for double bass</em><em></em></p><p><strong>Medverkande</strong></p><p>Joel Hedtjärn, solokontrabas</p><p>Katarina Ström-Harg, piano</p>

Das Innenhochdruck-Umformen (IHU), ein Verfahren der Metallformung zur Herstellung von anspruchsvollen Bauteilen mit komplexer Geometrie aus meist hohlzylindrischen Halbzeugen, wird in einigen Branchen seit mehreren Jahrzehnten mit großem Erfolg angewendet. Insbesondere die vielfältigen Applikationen aus dem Automotivbereich wie z.B. Elemente der Abgasanlage, Strukturbauteile oder auch Antriebselemente können hergestellt werden. Da die Trends der Rohr- und Blechumformung in Richtung Leichtbau, komplexer Bauteile mit geringen Ausbringungsmengen und hoher Genauigkeit gehen, ist perspektivisch mit der Erschließung weiterer Anwendungs-gebiete zu rechnen. Um das Verfahren effizienter zu gestalten, können zusätzliche Prozesse in das IHU-Verfahren integriert werden. Beispiele dafür sind das Lochen sowie das Kragenziehen und weitere Fügeprozesse. Typische Bauteile sind Leicht-baunockenwellen, bei denen die Nocken innerhalb des Umformprozesses auf die Rohre form- und kraftschlüssig gefügt werden. Ungeachtet einer beliebigen dreidimensionalen Formgebung und der hohen Flexibilität unterliegt das IHU-Verfahren gewissen Restriktionen. So werden im industriellen Umfeld generell nur Halbzeuge mit Wanddicken ab 1,5 mm bis maximal 3,5 mm umgeformt. Bei dünnwandigen, rohr-förmigen Bauteilen sind Wanddicken unter 1 mm üblich. Diese erfordern spezielle technologische Maßnahmen im Bereich des Werkzeugbaus insbesondere Anforderungen an Dichtsystem sowie Werkzeuggravur und unterliegen Prozessparametern mit entsprechend kleineren Prozessfenstern.

Hydroforming, a metal forming process for the production of sophisticated components with complex geometries from mostly tubular semi-finished products, has been successfully applied in some industries for several decades. Particularly, various applications from the automotive sector such as elements of the exhaust system, structural components or drive elements can be manufactured. As trends in tube and sheet metal forming move towards lightweight construction, complex components with low production volumes, and high precision, the prospective expansion into further application areas is anticipated. To enhance the efficiency of the process, additional processes can be integrated into the hydroforming process. Examples of this are punching, collar pulling and other joining processes. Typical components include lightweight camshafts in which the cams are form- and force-fitted onto the tubes within forming process. Despite arbitrary three-dimensional forming and the high degree of flexibility, the hydroforming process is subjected to certain restrictions. Generally, in an industrial environment, only semi-finished products with wall thicknesses from 1.5 mm to a maximum of 3.5 mm are formed. Wall thicknesses of less than 1 mm are common for thin-walled, tubular components. These require special technological measures in the area of toolmaking, particularly regarding sealing system and tool engraving, and are subjected to process parameters with correspondingly smaller process windows

Architecture is visuality. Its object is what Norman Bryson has referred to as a screen of signs. "Between subject and the world is inserted the entire sum of discourses which make up visuality, that cultural construct, and make visuality different from vision, the notion of unmediated visual experience. Between retina and the world is inserted a screen of signs, a screen consisting of all the multiple discourses on vision built into the social arena." (Norman Bryson, from Practice; Architecture, Technique, and Representation, by Stan Allen) Architecture and representation are integral to the screen. How do we make architecture? Is the act of making architecture a montage? Can architecture be made through montage? What is the role of montage in an architecture for life and death? The process of making architecture is not a prescribed methodology with a predetermined outcome. Architecture, crafted by the hand of the architect, is a divine act of assemblage of subconscious allegorical thought, image, and tectonics. Through this art of assemblage, an architecture is born capable of instigating a narrative of metaphor and memory. Metaphorical narrative has the innate ability of summoning memory, and is critical in an architecture for life and death. Architecture is the only total sensory means of narrative. / Master of Architecture

Trata-se de uma pesquisa teórica, de cunho filosófico-educacional, visando analisar o dispositivo saber-poder da didática e propor a base epistemológica para a construção de uma Didática da Obra de Arte. A partir da perspectiva pós-estruturalista, com destaque para a produção de Michel Foucault, busquei encontrar algumas condições enunciativas que produziram o sujeito que ensina como alguém que depende da comunicação e de seus meios para transmitir mensagens claras e verdadeiras. Isolei uma série histórica constituída pela Bíblia, pela Didactica Magna de Comenius, pelo O Emilio de Rousseau e pelo Democracia e Educação de Dewey, entendendo-os como discursos que compartilham, a despeito de suas especificidades e diferentes objetos, o mesmo paradigma geral segundo o qual se estruturam os saberes científicos da comunicação. Conforme as idéias de Foucault, busquei, também, os efeitos dessas descrições na realidade, principalmente em relação à forma que essas descrições aparecem em sua materialidade. Concluí que, apesar das especificidades de cada uma das teorias pedagógicas, existe um aspecto que está presente em todas elas: o paradigma da comunicação como transmissão de mensagens, e, conseqüentemente, a idéia de ruído como uma exceção à regra. O paradigma da comunicação que entende o ruído como exceção faz parte de um outro paradigma mais forte e poderoso que sempre esteve presente no pensamento ocidental. O paradigma da disjunção, que preconiza a separação e a dicotomização entre sujeito e objeto do conhecimento, que preconiza a linguagem como representação do real e que não compreende toda a complexidade do pensamento humano. Entretanto, o ruído faz parte do processo de comunicação não como uma exceção, mas como uma regra. E como tal, possui sua especificidade e tem uma parte ativa no processo comunicacional. Por isso, também a partir da perspectiva pós-estruturalista, com destaque para a produção de Gilles Deleuze e Felix Guattari, propus a base epistemológica para a construção de uma Didática da Obra de Arte. Para tanto, resgatei as idéias de Deleuze e Guattari sobre linguagem, a palavra de ordem e a linguagem agramatical; as idéias de Maturana e Varella em relação ao aprendizado, a autopoiese; e as idéias de Pierre Lévy sobre inteligência, a inteligência coletiva. Segundo penso, assim como Deleuze afirmou que existe uma pedagogia que é do Conceito, existe uma Didática que é da Obra de Arte. Essa didática pode nos ajudar a compreender os momentos em que o processo de ensino e de aprendizado se processa entre o caos e o conhecimento, no mundo do ruído e da construção de sentido. Ela se caracteriza, principalmente, por compreender o entre-ensino. / This is about a theorical research, built on educational-philosophical basis, viewing to analyse the know-power device of the didactics and propose the epitemological basis to the construction of a Didactics of the Master Piece. From the post structuralism perspective, outlining Michel Foucault´s production, I tried to find some compositional conditions that produced the person that teaches as someone who depends on the communication and its means to transmit clear and true messages. I isolated a historical series formed by the Bible, by the Didactica Magna of Comenius, by Emile of Rousseau and by the Democracy and Education of Dewey, understanding them as speeches that share, despite of their specificities and diferent objects, the same general paradigm, according to wich is structured the scientific knowledge of the communication. Following the ideas of Focault I also searched the effects of this descriptions in reality, mainly relating to the form in wich these descriptions appear in their materiality. I concluded that in spite of the specificities of each one of the pedagogical theories there is an aspect present in all of them: the communication paradigm as message transmission, and consequently, the idea of a noise as exception to the rule. The communication paradigm that understands the noise as exception makes part of another paradigm more powerful and stronger, that has always been present in western thinking. The disjunction paradigm that proclaims the separation and the dichotomization between subject and object of knowledge, that proclaims the language as representation of the real and does not comprehend all the complexity of the human thinking. However, the noise makes part of a communication process not as an exception, but as a rule. As such, has its specificity and an active part in the communicational process. Because of this, also from the post structuralist perspective, outlining the production of Gilles Deleuze and Felix Guattari, I suggest the epitemological basis to the construction of a Didactics of the Master Piece. For this I rescued the ideas from Deleuze and Guattari on language, the word of order and the non grammatical language; the ideas from Maturana and Varella relating to the learning, the autopoiese, and the ideas of Pierre Lévy on inteligence, the collective inteligence. According to me , just like Deleuze affirmed that there is a pedagogy that comes from the Concept, there is the Didactics that comes from the Master Piece. This didactics can help us undesrtand the moments in wich the process of teaching and learning happens between the caos and the knowledge, in the world of noise and the sense construction. It is mainly caracterized by comprehending the inter-teaching

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