Background: The aim of this study is to investigate if the rural areas in the middle of Sweden offer the same possibilities for young artists/cultural workers to develop their art work in the same way as the bigger cities can do. Objective: I wanted to find answers to three questions: What is the meaning of a place for an artist/cultural worker? How is the artwork connected to attitudes, norms and values of a place? Is there a relation between existing cultural policy, the artwork and the importance of a place? Methods: The study is based on deep interviews with three cultural workers who have returned to their native place of birth after living in bigger cities for several years. The theoretical framework in the investigation is based on Richard Florida, Högni Kalsö Hansen, Lars Aronsson, Gun Jonsson among other researchers. Results: The study show the possibilities a place can offer are important for cultural workers. It doesn’t matter if the place is a small town or a big city. The result show that a smaller place even have better possibilities as it gives easier access to public authorities and to coworkers. The positive attitude towards entrepreneurs also give good condition for making your own business. The negative attitude that the rural areas are only for losers, and that the city is the place for those who want success, and also the way culture entrepreneurs have to deal with an attitude that culture is nothing to pay for, makes it difficult for those who want to make a living as a culture entrepreneur. These attitudes along with the lack of higher education locally within the field of culture, can contribute to the lack of human capital and cultural capital in the region. Conclusions: The analysis makes it clear that politicians have the responsibilities and the possibilities to make changes and to give support to these cultural workers who want to make a change in the society. Key words: creative class, rural areas, young artists, cultural workers, cultural policy.

AI-generativa bildkonst verktyg använder sig av generative adversarial networks (GAN) för att skapa bilder. Generative adversarial networks blir desto bättre ju mer information den förses med. Denna studie undersöker hur teknologiskt accepterat det är med AI-genererade bildkonst verktyg med hjälp av modellen Technology Acceptance Model (TAM). Syftet med studien är att undersöka om unga konstnärers syn och inställning på AI-genererad bildkonst och verktygets framfart samt om de anser att det är accepterat. Studien genomfördes med små n-studier med semistrukturerade intervjuer för att få en rik och detaljerad beskrivning om acceptansen kring AI-generativa bildkonst verktyg. Studiens intervjufrågor byggdes upp för att besvara TAM2s olika delar. Respondenterna var konstnärer från Sverige och valdes ut genom bekvämlighetsurval kombinerat med snowball sampling. Konstnärerna som intervjuades under studien var positivt inställda till att använda AI-bildverktygen som inspiration och hjälpmedel till deras egna konst, och de flesta konstnärerna ansåg inte att AI var ett hot för dem eftersom de höll på med fysiska konstverk, och såg AI mer som ett hot för digitala konstnärer. Dessutom tyckte de flesta konstnärerna i studien att även om det är en själv som har skrivit in instruktionerna till AI-bildverktygen för att få en genererad bild, så är det diskutabelt om man kan göra anspråk på verket. / AI generated visual art tools use generative adversarial networks (GAN) to create pictures and digital art. Generative adversarial networks get better the more information they are provided with. This study investigates how technologically accepted it is with AI generated visual art tools using the Technology Acceptance Model (TAM). This study was carried out with small n-studies with semi-structured interviews to get rich and detailed description of the acceptance of AI generative visual art tools. The study’s interview questions were built to answer the TAM2-model different parts. The respondents were artists from Sweden and were selected through convenience sampling combined with snowball sampling. The purpose of the study is to investigate how young artists view and attitude towards AI generated visual art and the progress of the tool and whether they believe it is accepted. The artists interviewed during the study were positive about using the AI generated art tool as an inspiration and aid to their own art, and most of the artists did not consider AI as a threat to them because they were doing physical artwork, seeing AI more as a threat to digital artists. In addition, most of the artists in the study felt that even if one has entered the instructions to the AI generating tools themselves to get a generated image, it is debatable whether one can claim the work. This thesis is written in Swedish.