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This thesis investigated the effects of repetitive tropes and shorthand in media, by using the corset as a case-study. The aim was to reveal how choices made during media productions, especially period films, often forgo historical richness for either artistic liberty or heavily opinionated social commentary. Methods of research included watching and reading interviews with costume designers, examining the historical accuracies of the films discussed, drawing direct lines between the social beliefs of the creators involved and the product they have released. The historical research about the corset was done through reading professional texts, listening to content by experts in their fields, and by examining historical photographs. The results showcase that today's abundance of media makes it more difficult for us to filter all the information given to us when much of it is shrouded in shorthand and our modern lives are so attached to said media. The thesis concludes that the best way to combat this type of propaganda is to demand better from media productions, and to educate yourself on the rich history behind the content you consume.

The goal of this thesis was to examine how collaborative projects can be used to facilitate communication and storytelling between generations. Encouraging and developing cross-generationally interactive activities have become increasingly relevant as family structures change and generations diverge. Continually improving and finding new approaches ensures that family heritage and legacies continue to be communicated. Art has been used as a documentational and communicative tool for centuries. The research presented in this thesis shows that collaborative art can incite valuable intergenerational communication and that intergenerationally interactive projects have the potential to preserve familial legacies and cultural heritage, as well as improve general well-being. A combination of elements from analysed artworks and findings on intergenerational legacy work was exhibited in the thesis project Golden Places (2022). Golden Places is a four-part artwork made together with the artist’s grandparents. The working process and outcomes are presented in the form of a case study. The case study demonstrates that collaborative art can be used to bond the grandchild and grandparent and successfully produce art that embodies family stories and legacy. This thesis, specifically Golden Places, is intended to motivate and instruct others to partake in similar projects.

The goal of the thesis study was to create a culture travel concept based on the Finnish-Karelian mythology and the national epic Kalevala. The Kalevala kartalle -project was a pilot to evaluate and demonstrate the concept for Japanese tourists during 01/2020-12/2021. The Stefan Moritz ́s service design model was utilized as the methodology to conduct the product-oriented thesis. Cultural heritage raises emotions and opinions how to utilize it. Although the mutual opinion is, that traditions and immaterial heritage are everyone ́s right and at everyone ́s responsibility, the praxis seems more complicated than that. The tourism industry has developed travel and leisure experiences inspired by cultural elements, stories, and myths. Nevertheless, the Finnish folklore is not widely known among international tourists. Stories are an impactful means to engage, educate and immerse the audience during the travel. Cultural routes demonstrate a journey through time and space; the heritage of a country and its culture contributes to a living and shared cultural heritage. The concept of the travel route was developed in co-operation with stakeholders from the public and private sector and other relevant organizations. Two pilot groups were created: one in the capital region of Finland and the other one in the region of Kainuu. These destinations created the touch points of the route, from Helsinki ending to Kuhmo city. The outcome of the pilot project was the concept of the Kalevala kartalle -culture travel route, digitally and on-site. Two seminars were organized with Visit Finland, a digital trip was produced and piloted for Japanese travellers and the concept launch was organized for the Finnish audience. The Kalevala kartalle -project gained a lot of attention in the media and was raised to the public discussion in March 2021. The IPR conflict with Kalevala Koru Oy underlines the importance and relevancy of mutual understanding of the use of cultural heritage in a commercial context. The development of new services with an ecosystem of stakeholders requires continuous work and financing. The conclusion of the pilot project is that the Japanese market has an interest in travel experiences combining the learning aspect of local culture and nature activities.

Understanding linear perspective is a fundamental skill when the goal is to create the illusion of depth on a flat surface. This requires a lot of analytical thinking, spatial awareness, and good hand-eye coordination. The learning process can feel very technical and distant from the concept of figurative art, and this is one of the main reasons students skip the fundamentals, only to come back later after realizing how important it is. This thesis goes through the basic principles of linear perspective which form the basis for the presented constructive drawing method. Learning to visualize the three-dimensional nature of objects is at the core of this method. The purpose of this thesis was to demonstrate the importance of understanding linear perspective as a part of the creative process when drawing human figures. The focus was to show how to constructively draw the fundamental framework of human figures rather than create detailed and fully rendered artwork. The findings indicated that the tools and methods presented in this thesis can help to create an efficient and progressive learning process. Students and professionals involved with representational drawing can use this thesis as a guideline for the study of drawing human figures in perspective.

This thesis will describe the Great Bell Temple's desire to promote tourism at the Great Bell Temple Museum by designing and selling souvenirs with unique cultural significance, and to attract more visitors to the temple through popular cultural and creative products. A cultural tourism product can be defined as anything that is based on cultural tourism resources and is offered to tourists participating in cultural tourism to satisfy their cultural needs and desires. The question around whether tourism souvenirs can promote tourism in Great Bell Temple. This thesis studies the history of tourist souvenirs, development trends, the development of tourist souvenirs in China, the situation of the Great Bell Temple itself and the development of tourist souvenirs in the Forbidden City. The thesis uses a quantitative survey, using a questionnaire tool for data collection, to draw conclusions. This quantitative study concludes that tourism can be promoted when the design features of tourism souvenirs include a unique culture, are cost effective, have adequate promotion and marketing methods, and have commemorative and collectible value.

The purpose of this thesis is to investigate the relationship between the self and the collective from multiple perspectives. Its dialectical relationship will initially be explored from a political perspective, followed by a psychological study on the theme, giving way for a philosophical take and, finally, a scientific view. The artwork that inspired this investigation is featured after this analysis, followed by an analysis on the art that inspired it. The data collected in this thesis mostly come from journals, books, and research papers, all of which deal with the interactions between the individual and itself as well as various manifestations of the collective. The literature utilized here spans from the 19th century all the way to the 2010s and counts with authors such as Alfred Adler, Carl Jung, Erich Fromm, and Kierkegaard. It was found that a distorted understanding of the self and its properties is at the root of most dysfunctional relationships between the latter and itself and, in turn, the collective. That collectivity can take the form of society, the sum of the publicly available knowledge produced by our species as well as the values of our civilizations, among others. This suggests that a constructive, self-aware, bilateral, and non-hierarchical dynamics between self, itself and collective would provide solutions for many of these problems.

Dear Artist, is about becoming a visual and conceptual artist. It is an artistic journey, from theory to practice. The text explores an iterative cycle of an artistic series called Journal intime (2022 –). This ongoing series, Journal intime, is based on private visual and textual archives of an artist, her diaries. This Thesis is an attempt to formulate a diaristic practice, a dialogue between past and present, towards a series of emotional and conceptual installations. Journal intime is based on a concept of a camera as a psychological tool, and photographs as tactile and emotional objects. Dear Artist, is mapping out thinking processes around various photographic and visual practices, like auto-portraits and Polaroids, auto-fiction, and autobiographical writing. It is about a private artistic process which is in dialogue with contemporary art, other artists and theoretical concepts like archive and subjectivity.

The objective of this study was to gather information on how love has been expressed and interpreted in various forms in contemporary art. Specifically, romantic love will be discussed as the main topic for the thesis. Furthermore, to analyze different expressions in the contemporary art field, different types of emotions accompanying love are also explored as examples. The data of this thesis were collected from articles, publications, book, inter-views, and web resources. Biological and psychological information is studied for in-depth understanding of the topic. As examples of advanced artworks re-lated to romantic love in the contemporary art field, the works of Marina Abramović & Ulay, Félix González-Torres, and Paolo Raeli were reviewed and analyzed. In conjunction with the written part of the thesis, the five-panel acrylic paint-ing Rush me like water, I’d be happy to be drowned was progressed from deep research and theoretical basis. Containing the artist’s concept of love, Rush me like water, I’d be happy to be drowned visualize the emotional state of love. The work was exhibited at Galleria Himmelblau for the part of the Embers Degree show by Fine arts study path in Tampere University Applied Sciences.

Preserving cultural heritage sites has always faced many challenges in a rapidly growing and changing world, mainly in urban areas [Dastgerdi et al., 2019]. Overall, the urban environment faces imminent risks due to climate change, which are amplified due to extensive anthropogenic activities, development, and land-use changes [IPCC, 2014a]. In development strategies, urban planners consider not only the differences in UHI magnitude between urban and rural but also the different levels within the city [Wicki and Parlow, 2017]. Historic towns retain unique urban forms, which are hard to analyse compared to modern and contemporary development and despite that there is a lack of studies in this aspect. A local climate zone (LCZ) can display the scale of UHI impact in various parts of the city depending on the build-up types, and these LCZ classes depend on morphological parameters [Steward and Oke, 2012]. This scheme works well in cases of homogenous development types in the U.S but is less effective in the case of European cities, whose old core consists of organic development patterns with narrow streets and irregular urban forms. Therefore, in the case of Edinburgh, the morphological parameters were calculated in the high-resolution grid (15m) from different sources. Land use / Land cover was introduced as a parameter needed to classify the LCZ classes. The combination between LULC and morphological parameters was not completed fully as the thresholds of different LCZ classes overlap, so the mean values were used. LULC representing the characteristics of cultural heritage assets of Edinburgh are recommended for future combination. UHI can affect different sectors in a city due to the direct relation to outdoor thermal comfort. Tourism is a crucial sector for income in Edinburgh, with the world's fourth-highest tourist-to-local ratio in 2019. The thermal comfort at New Town, an important World Heritage tourist destination, is overcoming improvements by the City of Edinburgh, which will affect the tourist’s experience. This study measures the implications that new improvements, such as materials with a high albedo, can bring to thermal comfort. In case of a heat wave, the new implementations will lower the air temperature, but apart from new shaded areas, the thermal comfort (PET) can worsen compared to the actual state. The improvement of thermal comfort and adaptation of climate-sensitive solutions in cases of World Heritage properties are burdened by guidelines to preserve the integrity and the authenticity of the cultural asset.

Animation is principally associated with the American production of cartoons which to this day takes the leading position in the worldwide industry. Simultaneously, animated films created in the Soviet Union are mostly unknown be-yond the post-Soviet states due to the decades-long Iron Curtain and isolation despite their immense cultural value and impact to the people acquainted with them. The objective of this work was to gather information about the origins of the American and Soviet animation, to study the key points of the development of animation in both countries in the 20th century and to compare the animated films produced by the United States and the Soviet Union. Firstly, the thesis provided an outlook on the key points of the development of animation and historical impact on its cultural role in the USA and USSR based on an extensive review of scientific literature. Secondly, the examples of the American and Soviet animated adaptations of the same books were presented, analysed and compared. The findings demonstrated that against the censorship and lack of access to the innovative technologies, Soviet animation developed its unique way of ex-pression acquiring profound, hidden sense, aiming to deliver cultural values to both children and adults and mastering the sound and the image to deepen the meaning of the story and characters. In its turn, American animation, being a pioneer in the technical development, was able to innovate and master the techniques of creating animated films, yet being perceived as a genre for chil-dren from its origins, it maintained the entertaining spirit rather than attempted to hide a deeper meaning and concentrate on the delivery of the moral value of the story.