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I denna avhandling står slöjdlärarens kommunikation i centrum. Genom olika typer av dokumentation och intervjuer analyseras och beskrivs slöjdlärares kommunikation när en handlingsburen kunskap förmedlas. Åtta olika kommunikationsformer identifieras och beskrivs. Vidare analys av de olika kommunikationsformerna visar att det finns olika sätt att använda dem i förhållande till fiktivt kommunikation (en ”som om handling”) eller konkret kommunikation (i handling ). En slöjdlärares val av kommunikationsform har stor didaktisk betydelse. Läraren som väljer att använda sig av konkret visande som inledande instruktion skapar flera möjligheter för den lärande att ta till sig instruktionen. Det konkreta kräver inte samma förförståelse som det fiktiva där den lärande kan behöva någon form av förförståelse för att kunna ”läsa av” det som instrueras. Medvetenhet om kommunikationsform i relation till vad som ska förmedlas och vem som ska ta emot instruktionen är avgörande för utfallet.

Förord Arktis är inte Mozart och ingen hjärna, möjligen en krympande tomhet. Svårt att säga vad denna tomhet är annat än skillnader, troper och figurer upprepar sig i oändlighet, motivet konkret, zoner av tektoniska förskjutningar, temat abstrakt, ”So much depends”, så mycket/beror på/ var man över-/nattar/och i vilken/årstid, och på hur det hela översätts, och på att inget förskönas, och på att man inte är hemma en enda minut, på allt oskrivet, på det oskrivbara, på döden för var och en ombord. Inom denna forskningsrapport kring projektet Komposition vid det konceptuellas gränser. En krympande tomhet – mening, kaos och entropi ställs de skiftande in- och utgångarna inom programmet bredvid varandra. De övergripande slutledningarna och konsekvenserna av framställningen får sökas i relation till den ’helhet’ som kan skönjas som ett resultat av summan av de olika texterna och artefakterna, men även genom de motsättningar vidstående delar eventuellt alstrar inom denna preliminära helhet. En slags ’poetisk’ strategi har lagt grunden för såväl utformningen av enskilda projekt och texter som för den samlade presentationen. En strategi som givetvis kan vara prövande för en läsare/lyssnare då det kan krävas att man tar in ett antal texter och gestaltningar för att ’summeringseffekter’ eller tematiska noder eventuellt ska kunna göra sig gällande. Språket växlar mellan svenska och engelska i de olika texterna. Det övergripande forskningsprogrammet söker spåra några mindre delar av det vidsträckta landskap av mänskliga och icke-mänskliga betingelser, strategier och komplexiteter som ligger till grund för arbetet inom musikalisk och litterär komposition. Ett grundläggande syfte har varit att formulera frågeställningar och gestaltningar rörande delar av djupstrukturerna inom och bakom just musikaliskt och litterärt skapande. Ett försök har här gjorts att efter introduktionerna samla text- och ljudmaterialet i två sektioner: Section 1 inleds med utdrag ur Tapeshavet som är en text kring plats, natur, dikt och poetik, och där de geologiska beskrivningarna även blir en metafor för diktsamlingens egen organisationsprincip. Detta följs av reflektioner kring bakomliggande tankar, vidare gestaltningar, och meta-reflektioner. En del kompositionella frågeställningar tas vidare genom presentationer av och reflektioner kring ett antal musikaliska kompositioner, ljud-installationer och gestaltade konsert-föreställningar. Sektion 2 diskuterar litterära och musikaliska praktiker och skilda verksamma poetiker utifrån bland annat Inger Christensen, Elfride Jelinek, Kommissarie Maigret och Bengt-Emil Johnson, samt en Epilog som på ett ’symmetriskt’ sätt, också i förhållande till de inledande raderna i prologen och introduktionen, får avsluta rapporten. Inom konstnärlig forskning kan man i många fall finna projektets 'impact' redan i de initiala formuleringarna, och där de enskilda konstnärliga projekten formulerar såväl (affektiva) utvidgningar som specificeringar av frågeställningarna. Det är i och genom det konstnärliga arbetet som problemställningarna materialiserar sig mot ett ’resultat’. I boken Perspectives on research assessment in architecture, music and the arts beskriver Catharina Dyrssen i essän The accuracy of artistic judgment den konstnärligt forskande bearbetningen: “A process that does not focus evaluation standards but emphasizes and continuously encourages relational discourse and evolving, compositional explorative judgement and logics.” Detta understryks ytterligare av Anthony Gritten i artikeln Dispath from the shores of Artistic Research när han påtalar den något osäkra relationen mellan resultat och (på)verkan: “The boundaries between output and impact are somewhat more permeable in AR than they are in mainstream music research. […] Output and impact leak into each other; both embody elements of indeterminacy; and their reciprocal cross-contamination is indeterminate and unpredictable: it can be modelled but not guaranteed.” En pågående kompositionell och materiell process som håller öppet för det osäkra och det oförutsedda och låter det bli till potentiella delar i det som undersöks och formas. På ett liknande sätt ingår de här föreliggande textliga och ljudliga presentationerna i en process fångad mitt i steget, och där även en del inledande skisser och försök ges en plats i rapporten. Delprojekten har på olika sätt undersökt förhållanden och gränser kring konstnärlig betydelseproduktion genom musikaliska, textuella och iscensatta ljud- och i några fall tvärkonstnärliga sammanhang. Ett antal studier/konstprojekt har på olika sätt varit relaterade till begreppen entropi, komplexitet och poiesis. Men även begrepp som epigenes (konstruktion i rörelse), symmetri (-brott), autopoietisk, ikonisk, mening, Intentional Fallacy, Nested spaces (sammanflätade rum), kropp och kognition, perception, sinnesförnimmelse och tid har, vid skilda tillfällen och med olika grader av vikt, blivit satta i rörelse inom de olika textliga och musikaliska projekten. Några delprojekt har som en gemensam nämnare haft att på olika sätt närma sig frågan om hur en utvidgad och fördjupad – i brist på bättre uttryck – "känsla av plats", både i verklig (affektiv) och metaforisk mening konstnärligt skulle kunna konfigureras och gestaltas/ komponeras. Vilka (konstnärliga) möjligheter ligger dolda i en större medvetenhet om hur olika komplexiteter och meningsfulla tolkningar uppstår?

This research project examines a repeated focus on time and slowness that I have experienced over years in connection with my hand-weaving practice using the Scandinavian technique of rya. Research through my own studio practice has led me to question a public image of weaving as time-consuming or slow and why temporality is attributed to the finished object, while I claim that it is only experienced in the making process. The claim of weaving as slow does not consider the body that weaves. I have wanted to highlight the myth of slowness in crafts and handweav- ing that does not always match my experience of the bodily knowledge of weaving. The aim is to use myself and my own practice as a hand-weaving artist to explore what is beyond these recurring concepts. My knowledge includes conditions such as frustration, boredom, irritation, as well as joy, curiosity and fascination. This research is thus motivated by what I see as incomplete knowledge, where my contribution consists of under- standing my own practice, with transparency through my own knowledge development that I hope is useful more generally to future craft research. I have combined my writing with several rya projects made in recent years (2016–2022) structured from a personal perspective around my interest in reflection on artistic practices, my body in making and the figurative rya weaves I create. My research offers an example of how the connection between claims about weaving as slow and time-consuming collide with the experience of the development in the studio, as well as with my own body, in a hand-making practice.

How can we understand the design of interior spaces in prisons, forensic psychiatric hospital and special residential youth homes? These spaces are unfamiliar to most people, though we have “visited” prison cells and patient rooms through documentaries and films. For some reason we tend to take the design of them for granted, but how come they are designed the way they are? Living these spaces means living an everyday lifeworld in the tension between heavy security measures and rehabilitation —between incarceration and care. Yet, what meanings do these environments create for the individuals who inhabit them day and night? This dissertation explores the relationship between individuals and the physical environment within Institutions of Care and Incarceration (ICI). Given the limited existing research on the meaning of interior design and objects in ICIs, one of the primary objectives of this dissertation is to contribute to the design research field and the broader discourse on ICIs. The analytical process is guided by a phenomenological approach, focusing on the lived experiences of individuals incarcerated in instructional care settings. It is worth noting, however, that both the methodological and theoretical approaches may hold relevance for fields beyond design. The interest in designing for compulsory care environments originates from the author's practical experience in creating interior objects for these institutions. This experience has subsequently driven academic research parallel with his practice, and a vast amount of hours has been spent in the field. The primary emphasis has been on developing ethnographic design research methods, specifically the Sketch and Talk, customized for high-security care environments. An essential tool of this methodology involves on-site sketching with pen and paper, capturing the lived experiences of participants within cells, patient rooms, and social areas. Several of these sketches, illustrating these environments, are presented in the dissertation. Undoubtedly, there are significant opportunities to implement the potential for designing for well-being, and this dissertation proposes new approaches through the Sketch and Talk method. It posits that by ‘restraining’ ourselves and adopting a perspective that allows us to see 'what is actually going on,' we can build knowledge by 'borrowing' lived experiences and understanding the connections between people, interior design, and 'stuff,' both ontologically and epistemologically. The author's intention is that this dissertation can provide support to governmental agencies, architects, designers, clients, patients, youths, and other stakeholders involved in designing or contributing knowledge to the process of creating new institutions. The aim is to encourage an approach to design in which interior design and objects are not solely considered in relation to economy and traditional methods of designing for care but are also regarded as ethical and existential considerations. This perspective presents an opportunity to foster new horizons of change and hope. Bio: Franz James holds the position of associate professor in furniture design at Campus Steneby, University of Gothenburg. In addition to his academic role, he is a practicing designer and partner at Healsafe Interior. He specializes in designing therapeutic environments and self-harm resistant products for care settings such as prisons, psychiatric hospitals, and youth homes.

The dominant approach in design research is based on observations of how designers work. This approach limits the theoretical understanding of design practice to a reflective point of view, as the aesthetic experience that only occurs in the present cannot be accounted for by the same means. That is the assertion of Ariana Amacker in her thesis Embodying Openness: A Pragmatist Exploration into the Aesthetic Experience of Design Form-Giving. Ariana Amacker is an architect, but also has a background in modern dance. Her research project has evolved from her interest in design as an artistic and creative process. Approaching design as a physical experience differs from the traditional, analytical way of doing research in design. Her project is empirical and the artistic method she uses reflects and theorises around design practice based on her experience of Butoh, a Japanese form of improvisational dance. The project is based on an embodied approach and the inner experience of design. Amacker believes that a creative way of working is deeply tied to emotional questions of ‘self’, the fragility of the designer’s own ego and his/her ability to open him/herself up to a physical sense of uncertainty, failure, ridicule, or fear that come with facing the unknown. The dissertation shows how creativity in design has its roots in bodily experience. It also extends design methodologies by introducing a movement-based inquiry that engages artistic perception and expression of aesthetic experience. One of Ariana Amacker’s aims of the thesis is to contribute to the development of a theoretical platform for design, where aesthetic experience also has its rightful space, a qualitative space that is central to further developing research and education on artistic ground. The dissertation was defended in September 2017 at HDK – Academy of Design and Crafts, University of Gothenburg.

Undertaken against a background of urban aestheticization processes, this doctoral research explores how Swedish postwar suburbs are imagined and how design is employed through “urban renewal” projects that seek to rebrand urban areas. The research project investigates nostalgia in particular, arguing that its social and political function in this context is to distinguish the studied suburbs from stigmatized and racialized suburbs by rendering them as historically rooted and thus “Swedish.” The central case study is the suburban center of Hökarängen in Stockholm, and the urban renewal project Hållbara Hökarängen, which took place 2011–2015. In addition, the two nearby suburban centers of Bagarmossen and Bandhagen are also studied in relation to the primary case, in order to follow the migration and developments of the concepts and practices embedded in Hållbara Hökarängen. Methodologically, the research proceeds by way of a discourse analysis of: 1) a signage system manual; 2) interviews with representatives of the property ownership and management of the studied suburb centers; and 3) other collected media, documents, and publications that are related to the renewal projects. The discourse analytical study is informed by, tested through, and intertwined with a series of situated artistic/archival interventions framed as “reparative interstices.” A combination of paranoid–reparative (Kosofsky Sedgwick, 2003) operational modes, based on a double situatedness as resident– practitioner, stand as central to this methodology. The study shows the importance attributed to micro-practices and sensory and atmospheric qualities when imagining how public spaces in Swedish suburbs could be redesigned. Building on Bourdieu’s (1984) notion of distinction, the study further describes design strategies as “distinction-making,” (Trinch & Snajdr, 2017) a term employed in order to describe how design establishes narratives of an “authentic” and “progressive” character, with connotations of the (idealized) inner-city. This place identity and narrative is constructed and conveyed, inter alia, through the sense of the ‘50s as a central theme and rhetoric, which can be understood as “restorative nostalgia” (Boym, 2001). The study thus challenges the idea of the renewal project in general, and its claims to authenticity and progressiveness in particular, showing that the design practices employed in the field of urban renewal are not innocent: rather, there are powerful social and political implications and exclusionary mechanisms at work in them that need to be attended to. Furthermore, the study offers a renegotiation of the designer’s role and suggests methods for reparative practices based on a “dig-where-you-stand” positionality (Lindqvist, 2023 [1978]).

The purpose of the research has been to explore the creative possibilities in applying strategies derived from the domain of digital media and glitch art to a range of processes in the domain of textiles—specifically weaving, knitting, bobbin lace—with particular attention to the role of notations and coding in both domains. The enquiry presented in this dissertation is based upon the proposition that there are creative possibilities that arise when approaches and strategies from new-media and glitch art are transferred to some textile processes, and that this is possible because objects of new media and textile objects share features not limited to the grid. The research focuses on strategies from digital media and glitch art in the domain of computing and applies these strategies directly to the code and structures in the domain of textiles. The textile objects share some features of new-media objects: formal representations (making them subject to algorithmic manipulation), a separation of content and interface, objects can be easily scaled, and they are open for hacking, which is a repurposing of the code. Strategies employed in this research include developing algorithms to generate structures and behaviour, deliberately inserting error into autonomous systems and exploring the aesthetic spaces generated by the error systems, exploring the manipulation of coded objects, understanding aesthetic spaces generated by algorithms as navigable spaces. In this research, these transfers have been tested and conducted through an applied process, creating artefacts of the artistic process, such as artworks, tools for creating artworks, and trial pieces to test techniques and strategies. These artefacts have been produced within the digital domain and the textile domain. The practical works realised in this way demonstrate the viability and the generative potentials for artistic and design practice that this transfer of strategies between domains yields. The work presented in this dissertation is thus an initial set of experiments laying the groundwork for future explorations employing this transfer of strategies, based on innovative cross-relations and exchange between the domain of computing and the domain of textile production.

This doctoral research explores the capacity of site-specific practices of sound installation to bring about transformation. It claims that in order to understand this capacity, we need to address the complexity of the transversal processes that make up artistic practices in this field, and understand that these transversal processes in fact precede sound. This includes understanding site-specificity as a complex, affective practice spanning across and connecting the material, social, discursive, artistic, and technical realms at the same time in a given situation in public space. Based on experiences from the author’s site-specific practice of sound installation, the thesis explores three approaches, and a series of related conceptual tools, in order to articulate the nuances of such transversal processes. These approaches, informed by a philosophy of immanence, are: mapping the affective lines, establishing new connections, and becoming non-autonomous. These three approaches look to re-negotiate some of the traditions, tendencies, and assumptions that dominate existing artistic sonic strategies. By exploring these three approaches, the dissertation suggests that it is possible to emphasize and practice transversality. This in its turn, has the potential to affect site-specific sonic practice artistically and in terms of research and education. Further, the dissertation shows how such an approach activates the ethical dimension of site-specific sonic practice. In particular, it involves dismantling the established separation between artist-subject, site, and work, in order to acknowledge the transversal affective relations between specific and diverse “bodies” with agencies—human as well as non-human. Beyond making visible the transversal nature of site-specific sonic practice, the explorations also open up future perspectives in thinking about the field. Not least, the research points towards the importance of overcoming hierarchical models of thought that dominate within a range of discourses and institutions central to art practice. Such a shift has the potential to radically transform the power structures that exist between commissioners of art, artists, a site’s own inherent agencies, and the visitor. Further, a change in our thinking of the type described in this work is also needed if we are to broaden existing dialogues on the artistic work, representation, material, and process.

"This doctoral research is structured by singular encounters, that happened between 2014 and 2018. Together with a series of collaborators, I have developed a critical and poetic methodology through what I call “mixture”, “contamination” and the practice of “un-goaling”, in which my “flutist-body-flute” relation encounters the practices of other artists. A search for flexible modes of being a flutist, as a way of working around a dominant characteristic of Western musical practices: what I call a fragmented specialisation, or a specialised fragmentation. A flute-body traverses a body-flutist, a pulsating: metamorphosis. A practice of metamorphosis traversed my body-musician. It sowed a fragility, awoke a taste for a creating-in-mixture that also traversed the transverse flute that keeps up with me. It stirred a mixture-experimentation flavour that was already inside, but constrained. It aroused an inexplicable hunger. It taught me how to sustain the time of an estrangement. From the practice of metamorphosis, I imagined a mixture, a “mix-arts” as a method of artistic investigation. I would mix art modalities. I would mix roles: interpretation, improvisation, composition. I would mix “mine” with “yours” through co-creations. I would mix my body with a body-flute until it becomes a “flutist-body-flute” relation. Mixture as method grew out of my growing concern at being an expert at being an excerpt of myself. Without being able to combine the practices that coexisted inside me, almost isolated, I searched for a way to tune out a certain being-flutist, an image-inside that has guided my practices so far. But the mixing did not happen in a random manner: it was guided by encounters. Encounters emerged as method and structure; as a method for finding ways of de-anaesthetise the forces of creating, for finding ways in which artistic creation is guided by a vulnerability to the other as a living presence. The practices of co-creation/composition and performance have been translated into sound/video and written essays, in a process of “deciphering” and “remembering”. Through this method, I claim that each encounter sets the practices that will guide the mixture. These practices are as many as possible encounters, and made sensible to the reader through the present dissertation." Marina Pereira Cyrino

"Denna bok är den andra delen av min konstnärliga doktors-avhandling i filmisk gestaltning. Den första delen består av en essäfilm, Melankoliska fragment (73 minuter). Genom att göra den ville jag undersöka hur en konstnärlig filmpraktik fungerar som ett tänkande. Vad innebär det att jag med hjälp av och genom den filmiska processen försöker generera ett tänkande? Och hur påverkar det den filmiska gestaltningen och uttrycket? Filmen i sig är att betrakta som ett svar på dessa frågor. Filmen iscensätter ett tänkande i och genom en konstnärlig process. Texterna i denna bok behandlar tillkomsten och arbetet med filmen, liksom min undersökning i film som tänkande." Patrik Eriksson

"In my research, I consider craft as a discipline that is extremely elastic in terms of propositions and positions. Today craft exists in a highly dynamic space — what I will refer to as the World Wide Workshop — and is essential for noticing, caring, mending and negotiating the complex relationships that individuals and communities have with their sociopolitical, economic and natural environment. By moving away from the self-reliance implied by traditional studio-based craft practice, I use situated making and situated learning together with and in response to others, as methods that enable me to pay attention and respond to my surroundings, and to observe connections and entanglements offered by craft — what I will refer to as a craft of noticing. This thesis considers craft’s role and potential in a world that is interconnected, globalised, and disrupted by human-caused phenomena. The research focuses, firstly, on understanding how craft can be both a connector and a method for noticing, and for problematising complex global production and economic issues in today’s postindustrial society. I approach craft as both a physical but also a virtual entity and explore where and how craft-based disciplines are learned, passed on, practised, and shared. Secondly, I look for ways craft can play a strategic role in revealing hidden histories and behaviours. In the process, I have observed how the awareness of entanglement in a complex world system, where it is no longer possible to think in terms of opposites or dichotomies, challenges an anthropocentric worldview and decentralises the human in our relationships to nature and to material resources. Through my own methodological propositions and personal reflections on making within the realms of contemporary craft and jewellery, the thesis aims to build from the craft of noticing (Tsing 2015) to propose actions of response-ability (Haraway 2016) in the service of a praxis of care and resurgence in a time of environmental crisis. My practice questions our roles and response-abilities as makers in an entangled, damaged world and attempts to move away from a linear extract-produce-discard model to a more circular approach (Tsing 2005, 2015; Haraway 2016), thus testing the possibilities offered by a harvest-care-remediate model." Nicolas Cheng

"This doctoral thesis presents how the orchestration of timbre is investigated from a performer’s perspective as means to “unfold” improvisational processes. It is grounded in my practice as a pianist in the realm of improvised music, in which I often use preparations and objects as extensions of the instrument. As practice-based research, I explore multiple, combined, artistic, and analytical approaches to timbre, anchored in four of my own works. The process has also involved dialogues and experimental collaborations with other performers, engineers, an instrument builder and a choreographer. It opposes the notion of generalizable, reproducible, and transferrable techniques and instead offers detailed approaches to technique and material, describing object timbre, action timbre, and gesture timbre as active agents in sound-making processes. Whilst timbre is often understood as a purely sonic perceptual phenomenon, this view does not accord with contemporary site-specific improvisational practice; hence, the need to explore and renew the potentiality of timbre. I introduce and argue for an extended understanding of timbre in relation to material, space, and body that embraces timbre’s complexity and potential to contribute to an ethical engagement with the situated context. I understand material, spatial, and embodied relations to be non-hierarchical, inseparable, and in constant flux, requiring continuous re-configuration without being reduced or simplified. From a performer’s perspective, I define “orchestrating” timbre as the attentive re-organization of these active agents and the creation of musical structures on micro and macro levels through the sculpting and transitioning of timbre—spatially, temporally, physically, and mentally—within a variety of compositional frameworks. This requires recognizing the multiple and complex roles that memory plays in contemporary improvisational practice. I therefore introduce the term timbral memory as a strategic structural, reflective, and performative tool in the creation of performing and listening modes, as integrated parts of timbre orchestration. Reaching beyond the sonic, my research contributes to the field of critical improvisation studies. It addresses practitioners and audiences in music and sound art, attempting to also constitute a bridge from artistic research in music—often viewed as a self-contained discipline—into multiple artistic fields, to inspire discussions, creation and education." Magda Mayas

Doktorsavhandling vid Högskolan för scen och musik, Göteborgs universitet 2020. I Ingrid Hedin Wahlbergs doktorsavhandling i musikpedagogik undersöks relationer mellan kunskap och makt inom högre musikutbildning i folk- och världsmusik. Den övergripande frågan som ställs i denna avhandlingsstudie är vilka normer som styr de sätt som kunskap produceras på inom utbildningsområdet.

Den typiska svenska kulturskoleeleven är en flicka som är född i Sverige och har välutbildade föräldrar. Har hon musikutövande föräldrar ökar chansen ytterligare för att hon är kulturskoleelev. Varför ser det ut så här och vad skulle kulturskolan kunna göra för att locka barn ur alla grupper i samma mån? Dessa och fler frågor som rör den svenska kulturskolan och breddat deltagande står i centrum i denna avhandling av Cecilia Jeppsson, i ämnet "Estetiska uttrycksformer med inriktning mot utbildningsvetenskap", Högskolan för scen och musik, Göteborgs universitet, 2020. Fyra artiklar bidrar var och en på sitt sätt till att väva samman bilden. Svenska sjätteklassare kommer till tals via en nationell enkät och kulturskolelärare och -chefer bidrar med sitt perspektiv via fokusgruppsamtal och intervjuer. Å ena sidan kan kulturskolelärares och chefers strategier i ett Bourdieu-inspirerat perspektiv beskrivas som ortodoxa och heterodoxa positioneringar i kampen om legitimitet på kulturskolefältet. Å den andra sidan samspelar kulturskolans erbjudande och barns önskan att delta på komplexa sätt där trådar kan kopplas samman på nya sätt. Cecilia Jeppsson har lång erfarenhet av instrumentalundervisning i kulturskola. Hon har skrivit avhandlingen i ämnet estetiska uttrycksformer med inriktning mot utbildningsvetenskap vid Högskolan för scen och musik, Göteborgs universitet. Avhandlingen är skriven inom ramen för forskarskolan Centrum för utbildningsvetenskap och lärarforskning vid Göteborgs universitet. Dissertation våren 2020.

"In the last thirty years, there has been an increased interest in supporting children’s participation in society, where the results of these practices may or may not have contributed to more democratic outcomes. In this thesis, I focus on the democratic character and potential of the 'processes' driving such practices, and their outcomes, which, to date, have mostly been overlooked. My inquiry is situated within the context of participatory design with children and explores how adult-initiated practices that work on children’s participation in society, can, in addition to producing a democratic outcome only, also be actualised as a democratic process. Here, a 'democratic process' is understood as a process based on child–adult interactions that respect fundamental democratic values such as freedom, equality, and justice. My design practice, in this case, the 'Public Play' project, formed the core of my fieldwork and empirical material. 'Public Play' was a series of five participatory design workshops where groups of children and I worked together on children’s participation in public space in Belgium and Sweden. A new research approach: 'research through design' interventions was developed and used for the exploring of “openness” (Eco, 1989[1962]) as well as the study of its effects by analysing some key workshop situations through a theoretical framework drawn from Gaver et al. (2003). The thesis foregrounds how ambiguity — the quality of being open to the simultaneous coexistence of several meanings — can be a resource for the actualising of a pluralistic democratic process. Exploring ambiguity revealed both the adult designer and the child participants being enabled to express their meanings when defining the content, roles, and agenda of the process, and that the actualising of a democratic process also requires certain ways of negotiating and fulfilling responsibilities. The thesis also highlights the 'particip-actor' role the children can play, as well as new roles for the facilitator when designing 'for' and 'with' ambiguity. Through my inquiry, an 'ambiguity approach' comes into being, which helps designers work with ambiguity in a more controlled way, as well as providing them with a strategic framework informed by learning-by-doing, learning-over-time, and learning-from-peers."

The fundamental motivation for this research project is that listening is central to all musical activities, and that semiotic means for visualizing, representing, and conceptualizing music are central to educational endeavors aimed at developing trained listening. There is, however, a lack of research on how such semiotic means are taught and learned, especially in the aural skills and music theory subjects and in secondary education. Therefore, this thesis investigates upper secondary music students’ processes of learning the circle of fifths and some associated music-theoretical concepts, and how those processes relate to the practice of aural skills and music theory education they are engaged in. I ask two research questions: 1. How do participants introduce, reproduce, and use the circle of fifths in the educational practice? 2. How do the specific ways in which the circle of fifths is introduced, reproduced, and used in the educational practice facilitate learning processes? Theoretically, the study draws on Vygotsky’s distinction between scientific and everyday concepts, and conceives of the circle of fifths as an inscription. The study takes a qualitative case study approach, combining interviews with students and observation of lessons, both documented by video. The analysis focuses on how participants interact, how they use inscriptions, and on how this constitutes co-constructive microgenetic processes. The analysis shows an educational practice where the circle of fifths is deployed as a tool for solving transposing problems, and where the ability to use mnemonic techniques to reproduce the diagram is highly valued. This focus on mnemonics and algorithms for problem-solving tends to foreground the logic of the representations, rather than the logic being represented, which makes it difficult for students to apply the algorithms on different kinds of problems. For example, circumscribing a group of chords in the diagram is used to represent a key. This makes it difficult to distinguish major and minor keys, and to conceive of key as a property of melodies. The circle of fifths is used to visualize central concepts, which are then used to explicate the circle of fifths, creating a circular conceptual system. While some circularity may be unavoidable given the previous knowledge of the students, it is proposed that the circularity is exacerbated by a lack of musical examples and formal definitions.

Andjeas Ejiksson är konstnär verksam i Stockholm som i sin avhandling Television Without Frontiers söker betydelsen av public service i det samtida europeiska samhället. Boken kretsar kring en serie experimentella tv-sändningar som utforskade möjligheten att skapa en public service-kanal med räckvidd över hela Västeuropa och delar av Medelhavsområdet. Sändningarna genomfördes 1982 under namnet Eurikon, initierades av European Broadcast Union och organiserades som ett samarbete mellan femton nationella public service-tjänster. Avhandlingens utgångspunkt är att Eurikon markerar ett avgörande geopolitiskt skifte, särskilt inom mediepolitiken, då de nationellt definierade gränserna för mediedistribution i Europa började lösas upp. Den består av två överlappande delar: den ena är en film den andra är en essätext som utforskar idéer om public service och åskådare, liksom de relationer och institutionella strukturer som omger produktionen, distributionen och visandet av filmen. Så undersöker avhandlingen det komplex av ideologiska, strukturella och materiella förhållanden som delvis konvergerar i Eurikon. Den liberala demokratins legitimitet vilar i stor utsträckning på föreställningar om en sammanhållen offentlighet, på ett slags föreställd samtidighet och ett avgränsat geografiskt kontinuum som definieras av nation, nationell kultur och gemensamt språk. Genom en kritisk undersökning av idéer och former för översättning och gemenskap, och av åskådarens roll och status, driver avhandlingen ett argument om att förändringar i dessa förhållanden har lett till en kris för den europeiska liberala demokratins legitimitet. I den belysningen kan Eurikon kan läsas som ett tidigt försök att pröva hur den nationella offentlighetens strukturer och institutionella format, och med dem legitimiteten, skulle kunna överföras till ett transnationellt, europeiskt sammanhang.

The aim of this thesis is to critically scrutinize, identify and problematize discourses in music education within teacher education towards younger ages. The study explores how teaching practice and examinations in music are constructed, and what kind of strategies are used to handle the dilemmas that emerge in music teaching practice. Theoretically, the study is based on social constructionist theory, and the thesis deploys a discourse psychological methodology and approach. The data consist of observational films and field notes, and the material was produced within a period of three years. It included 91 students, 26 student groups and three teacher educators at three Swedish teacher education institutes. The results show two overarching discourses. First, a discourse focusing on care was articulated and legitimized based on an idea that student teachers are scared of express themselves within music education and that they lack confidence in teaching music. This discourse was expressed within a framework of a culture of silence that has a protective function for student teachers lacking self-confidence. Second, a discourse focusing on benevolence was articulated and legitimized based on an idea that a student teacher’s boldness could compensate for their lack of musical skills. This discourse was expressed within a framework of a tolerant and compensatory culture of assessment which has a protective and supportive function for student teachers with a lack of musical skills. To provide a basis for new pedagogical discussions concerning progress and development of quality, the conclusion discusses critical aspects in teaching practice in music within teacher education.

Saxophonist and composer Uwe Steinmetz researches religiously inspired jazz. His primary research interests include the generation of religious meaning in jazz music, how religious experience can inspire jazz composition, and practice-based adaptions and explorations of George Russell’s Lydian Chromatic Concept. Steinmetz inter-weaves aspects of jazz history with his own artistic practice, basing his theories on transdisciplinary fields such as music theory, neurology, the history of religion and theology in twenty-five original compositions. Conclusions from this dissertation present six distinct ways of expressing religious belief in jazz, generating new post secular perspectives on jazz, and demonstrate how Russell’s musical philosophy builds a bridge between Western classical sacred music and jazz. Suggested areas for further research include microtonality and twelve-tone tonality in jazz, as well as the embod¬iment of faith through music as an extension of the institutional church in society.

Sedan millennieskiftet har deltagande designers alltmer börjat engagera sig i samforskningsprocesser i den så kallade Globala Syd, med fokus på hållbar utveckling. Denna avhandling, vilken har ett metodfokus, syftar till att bidra till mer hållbara samarbeten där olika röster görs hörda. Samslöjd och samskrivning är två metoder som undersökts med syfte att skapa agens i form av kapabiliteter. Since the turn of the millennium, participatory designers have increasingly begun to engage in collaborative research processes in the so-called Global South. This dissertation aims to contribute to more sustainable collaborations where different voices are heard. Co-craft and co-writing are two design methods that have been investigated, aiming to create agency in terms of capabilities.

In this book, visual artist André Alves describes the artistic research project “A Never-Ending Thirst: Artistic Reforms to Neoliberal-Imperviousness”, conducted at HDK-Valand—University of Gothenburg (2016-2021). At the core of this project is the debate about the effects that capitalism has in the loss of sensitivity and imagination in culture, and the potential of art or its complicity in such loss. The book opens with the description of an encounter Alves had with an unusual street ad with the text “Sede do Grupo da Juventude Cansada” (translates to English as “Thirst/Headquarters of the Group of the Fatigued/Fed-up Youth”) in the city of Porto (Portugal) in 2015. That encounter is trigger of Alves doctoral research project focusing on the post-industrial capitalism capture of subjectivity. At the departure of the project is the attempt to visualize the shaping of subjectivity through the relationship with work in the post-industrial capitalism. Inspired by the Maria Franco Ferraz concept of “Teflon-Skin” used to describe post-industrial capitalism’s pattern of self-preservation and desensitization, Alves addresses how can artistic research contribute with new political imaginaries and rehabilitations of sensitivity and imagination to counter what he describes as “Neoliberal-Teflon Imperviousness.” At stake in this research is the ways in which artistic strategies can be deployed to undo the perception of others as threats felt as “delaying” us, “troubling”, “demanding”, “hard work”, and which influence us to align with what is already familiar, predictable to us. Throughout the book, Alves enunciates these problems and introduces different artistic practices that experiment with increasing permeability in the bunkered culture of late capitalism. Proposing visual art as an incomplete way of seeing-knowing that calls for a listening horizon, throughout the book Alves addresses the reader with the question of how we might live a listening life together.

How can live-performed chamber operas be conceptualized as immersive games with interactive features? This artistic study has resulted in a sys¬tem model through which degrees of immersion may be generated and analyzed from physical, social, and psychical stimuli. A differentiation of immersive modes has been made possible by the framing of opera-making as game design. The findings indicate that so-called ludo-immersive opera could be developed into operatic chamber opera play for self-reliant par¬ticipants, constituting an intimate and alternate practice in which dynamic game-masters may replace supervising directors. However, this practice is entangled with the question of future training for operatic practitioners outside the mainstream opera format, and beyond both Wagnerian and Brechtian spectatorship. The shift from the traditional audience/performer relationship to a novel form of immersive interaction requires a new mind-set and preparation for opera practitioners, to encourage autonomy and active participation by individual visitors. Theoretically, the study connects recent innovations in opera to the aesthetic principles of the Apollonian and the Dionysian and positions ludo-immersive opera in relation the these. The principles bridge immer¬sion, opera, and game-playing, articulated by a reinterpretation of Roger Caillois’ taxonomy of play. The issue of immersion as an artistic aim in opera is highlighted. Moreover, artists’ and visitors’ reciprocal participation in ludo-immersive opera is discussed in regard to its historical context of operatic event-making and forms of presentation. The project explores the detailed consequences of perception and perfor¬mance in chamber opera with ludic and immersive features, primarily in¬spired by live-action role playing. The main objective has been to investigate how operatic events can be presented as immersive adventures rather than spectacles, and consequences that the integration of playing visitors in pro¬fessional opera implies for artistic practice.

At a moment in history when “post-truth” and “alternative facts” epitomize a political and media landscape that feeds on the circulation of doubt and distrust, the doctoral dissertation The Objectivity Laboratory: Propositions on Documentary Photography addresses ethical dilemmas that emerge when artists’ approach the realities and experiences of others. Prominent photography criticism in the 1970s and 1980s brought a heightened awareness to the politics of representation, resulting in the emergence of a “documentary distrust.” The main objective in this research is to articulate “propositions” that address the documentary blockages that define photography’s framework and possibilities. The propositions—assembled under the headings MONTAGE, INVESTIGATION, RESISTANCE, and NEARBY—seek to contribute to the dynamic dialogue that has evolved in documentary photography in recent years, which has approached photography as an expandable and unfixed practice. Truth and a “situated objectivity” are investigated as radical tools in the artist’s approach of urgent matters in the world. A commitment to credible, rich, situated knowledges with a basis in reality materializes. Through this research project that has aimed to explore and appreciate the possibilities of photography anew, it is suggested that documentary photography has the potential to lead to important knowledges about the world. This potential, it is argued in The Objectivity Laboratory, builds on a responsiveness in relation to the violations that photography can inflict. Values of critical reflexivity, ethics, and responsibility unfold as essential documentary attributes. The Objectivity Laboratory has been formulated as a search for considered and considerate procedures in the documentary engagement with the world. In the pursuit of reliable knowledges and counter-narratives, transformation, reflection, and contestation emerge as integral aspects of reliability and credibility. The research is anchored in practice; developed in dialogue with artists and artworks, it is led by the primary research methods of artistic and curatorial practice. The natural sciences—the setting for Kerstin Hamilton’s artistic practice—has inspired the theoretical outlooks and overall focus of the research and particularly Karen Barad and Donna Haraway’s perspectives, developed within feminist science studies, have acted as a catalyst in the quest for productive takes on contemporary documentary photography. Kerstin Hamilton is an artist and lecturer in photography. Her dissertation The Objectivity Laboratory: Propositions on Documentary Photography is an artistic practice-based PhD research project, carried out at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg. This doctoral dissertation is No 91 in the series ArtMonitor Doctoral Dissertations and Licentiate theses, at the Faculty of Fine, Applied, and Performing Arts, University of Gothenburg

Notbildens symboler kan för musiker många gånger upplevas som problematiska i samband med konstnärliga ställningstaganden inför framföranden. Detta gäller i synnerhet för dem som upplever den klassiska uppförandetraditionen som hämmande i gestaltningsarbetet. Syftet med denna avhandling är att – inom området noterad västerländsk konstmusik – undersöka det potentiella gestaltningsutrymmet och dess möjligheter att utvidgas. Två omgångar med gestaltningsexperiment utifrån två verk av den svenske tonsättaren Ludvig Norman (1831–1885) föregicks av kontextuell källforskning kring tonsättaren och hans tid samt parametriska analyser av partiturens notation. Resultaten av dessa – tillsammans med ett nytt förhållningssätt till både verksyn och noterade symboler – utgjorde utgångspunkten för det gestaltande arbetet. Detta inkluderade medvetet förändrade eller omskapade versioner av musiken, liksom parametriska improvisationer utgående från konstnärligt utforskande bortom den ursprungliga notationen. Musikaliskt material som inte emanerade ur notbilden kunde ibland också tillföras. Sammanflätningen av gedigen forskning och analys samt ett experimentellt förhållningssätt ändrade förutsättningarna för gestaltningslösningarna. Inom det nya vidgade och fluktuerande gestaltningsutrymmet kunde de musikaliska parametrarna – genom avsiktliga och förutsättningslösa omgestaltningar – tillåtas att förvärva nya egenskaper och nya relationer i förhållande till varandra. Härigenom utvecklades såväl nya klangliga verkligheter och nya konstnärliga insikter som okonventionella och gränsöverskridande gestaltningar. Denna föränderlighet i innebörder och uttryck genom reflekterande och förutsättningslöst utforskande är ett kreativt sätt att få noterade musikaliska verk att leva vidare och utvecklas i nya kontexter – oavsett när i tiden de tillkom, och oavsett tonsättarens ursprungliga musikaliska intentioner. Tomas Löndahl (f. 1952) var under åren 1980–2005 anställd vid Sveriges Radio P2, bland annat som inspelningsproducent för Sveriges Radios Symfoniorkester, redaktionschef och chef för livemusiken. Under åren 2005–2010 var han verkställande direktör och konstnärligt ansvarig för Helsingborgs Symfoniorkester och Helsingborgs Konserthus. Han invaldes som ledamot i Kungl. Musikaliska akademien 2003 och utsågs 2011 till dess Ständige sekreterare. Denna post innehade han till sin pension 2017. Under åren 2016–2020 var han dessutom adjungerad professor i musikalisk gestaltning vid Musikhögskolan i Malmö.

Avhandlingen Slöjdundervisning med nyanlända elever – om multimodal interaktion och kommunikation i slöjdklassrum syftar till att identifiera och beskriva slöjdlärares och nyanlända elevers multimodala interaktion och kommunikation, och hur detta kommer till uttryck i slöjdundervisning och lärmiljön i slöjdklassrummet. En handhållen kamera används för att dokumentera slöjdundervisning med nyanlända elever på två grundskolor i årskurs 8–9, under en termin. Avhandlingen utgår från en sociokulturell och multimodal teoriram. Ytterligare utgångspunkt är teorin om praxisgemenskap. Den teoretiska ansatsen möjliggör ett fokus på delaktighet, interaktion och kommunikation i slöjdundervisning mellan nyanlända elever och slöjdlärare. Resultaten visar att slöjdundervisning och lärmiljön i slöjdklassrummet erbjuder nyanlända elever rika möjligheter till multimodal kommunikation och interaktion i en situerad kontext. Lärmiljön i slöjdklassrummet möjliggör sociala möten och delaktighet för nyanlända elever, vilket eleverna tar egna initiativ till. Vidare visar resultaten hur ämnesspecifika begrepp är komplexa och abstrakta i slöjden, men med utgångspunkt i elevernas slöjdföremål sätts ämnesspecifika begrepp i en konkret kontext för nyanlända elever. Vidare visas hur nyanlända elever ges möjlighet att visa sina kunskaper multimodalt i slöjdundervisning och att kunskaper i svenska inte är avgörande för elevernas deltagande. Avhandlingen är en sammanläggningsavhandling och består av fyra artiklar och en kappa.

This research explores how film practice, both as methodology and outcome of the inquiry can be mobilised to explore negotiated imaginations of the Bengal famine from a caste-subaltern perspective? The Bengal famine of 1943, in which nearly three million people died, was man-made. A multitude of factors led to the famine, including British colonial policies, war, hoarding and profiteering by local elites and businesses, and existing faultlines of caste, class and gender. In recent years, scholars have focused on scrutinising the famine from an anti-colonial perspective. Still, a gap exists in exploring the intersectionality of caste-related subalternities and the famine. However, the immediate concern with filling this gap is ethical-methodological: even from the lens of caste-subaltern consciousness, how does one arrive at and share stories of the famine, and can they ever be ‘recovered’ and ‘represented’? This dilemma and tension animate this PhD in Artistic Practice. Taking the Gramscian notion of subalterns as people/groups on the margins of history, subaltern studies, especially in India, have consistently focused on the need to write history from below. On the one hand, scholars and historians have looked at archival materials for erasures of subaltern history and foregrounded them. On the other hand, they have mobilised methods such as oral history to recuperate the subaltern histories. In a limited sense, this research adheres to this tradition. It looks at existing films on the Bengal famine and makes critical interventions in them to foreground the caste question, and it also aims to create ‘new’ material through collaborative fieldwork-filming and workshops. However, this PhD also departs from the tradition as it is not a recuperative historical project. It focuses on the creative, collaborative, and negotiated processes of imagining and engaging with that history. Through an iterative, collaborative and reflective film practice, this research suggests that filmmaking can foreground subaltern epistemologies and ontologies when it is not merely seen as product-oriented but also as a knowledge activity. Moreover, it can foreground an ethos of active and continuous negotiation and enable the emergence of multiple, contested and layered narratives. Lastly, this research proposes a shift away from ‘recovery’ and ‘representation’ of the ‘authentic’ caste-subaltern experiences of the famine and toward negotiated imagination. About the author: Ram Krishna Ranjan works at the intersection of research, pedagogy and film practice and currently teaches in the film program at HDK-Valand, University of Gothenburg.

Lena Ostendorf, phD, född 1980 och uppvuxen i Oldenburg i norra Tyskland, kom till Sverige som 23-åring för att studera musik på Kävesta folkhögskola. Innan forskarutbildningen inom ämnet estetiska uttrycksformer med inriktning mot utbildningsvetenskap vid Högskolan för scen och musik, Göteborgs universitet, studerade hon till instrumental- och ensemblelärare på Musikhögskolan i Malmö och arbetade flera år som cellopedagog med barn och unga i kulturskolan. Hennes personliga erfarenheter av lärarutbildningen ledde till en nyfikenhet på de oskrivna reglerna och normer som är styrande i olika kontexter. Även på ämneslärarprogrammet i musik finns det specifika normer, eller diskurser, som reglerar vad som är legitimt och rätt. Detta kan bli problematiskt när vissa studenter inte känner sig invigda och inbjudna och därför kanske vantrivs eller till och med avstår från att söka sig till utbildningar. Det blir också svårt att få syn på både det som är bra och det som är mindre bra inom utbildningen när styrningen är mer eller mindre osynlig. Därför syftar studien till att synliggöra styrning och vad den innebär för utbildningens aktörer. Normer och förgivettaganden har inte uppstått ur tomma intet utan vuxit fram historiskt. Avhandlingen är en genealogi utifrån den franske filosofen och vetenskapshistorikern Michel Foucaults (1926-1984) förståelse av begreppet. Genealogin används som analysredskap för att undersöka historiska praktiker i relation till nutiden. En genealogisk studie fokuserar hur vissa aspekter eller fenomen historiskt har konstruerats som problem som behöver hanteras och lösas och därmed blivit styrbara. Att vara i otakt med tiden, det vill säga inte tillräckligt modern och aktuell, är det som framställs som problem i studiens empiri som består av samtida intervjuer med lärare och studenter vid ämneslärarprogrammet och historiska dokument från år 1954 till 2008.

This doctoral thesis proposes the philosophical concept of ontopoetics in relation to an artistic practice of sound and listening. The concept of ontopoetics is used as the backdrop of the developed notion of techniques of ecstasy essentially as an intermediary between listening and language. Ontopoetics becomes the bridge between the archaic and contemporary man. The research is practice-based but nevertheless finds a form of dissemination where the word, the sound and the image work together like a body. Through placing the shaman and the mystic (the ones who originally wield the techniques of ecstasy) as the figure of our present-day artist the thesis offers a more immersive understanding of the artist, and the possibility of imagining how sound, listening and a form-of-life (understood as a way-of-being-in-sound) still can be considered as a way and method of shaping our world. On an equal level of importance, the thesis consists of several musical compositions which extend and materialize what in the thesis is proposed as potentiality and the condition for making music. This interdependence of sound, word, and image (the tracing of sound) is given its own importance in the realization of a strategy of sound. A method, but at the same time not; the strategy gives way to this thesis’s tentative conclusion. Listening is a way of knowledge, through listening the world emerges. And this knowledge is accessible through music’s immediacy of expression. Throughout the thesis the work on sound is given predominance. However, a rich material of dialogue partners of both musical, artistic, and philosophical characters is included, most prominently exemplified by the writing of Lotta Lotass where the thesis’s strategy of sound finds a dialogue partner – a dialogue also with the philosophy of Immanuel Kant, Martin Heidegger, Simone Weil, the ravings of Antonin Artaud and Giorgio Agamben as well as the music of Diamanda Galás, Giacinto Scelsi and Luigi Nono. The author of this work, places them in a strange and shared space, where the artist and the shaman are brought to a common, wordless, end in a music which is as much sound as silence. I denna doktorsavhandling utforskas det filosofiska begreppet ontopoetik i relation till en konstnärlig praktik där musik (ljud) och lyssnande står i centrum. Begreppet ontopoetik används som bakgrund till det i avhandlingen centrala resonemanget om extatiska tekniker. Extatiska tekniker ses i huvudsak som en evig länk mellan lyssnande och språk och blir till ett mer djuplodande och samtidsfilosofiskt ramverk genom införandet av det ontopoetiska. Ontopoetiken blir i denna avhandling bron mellan det arkaiska och den nutida människan. Min avhandling är ett exempel på ’praktikbaserad’ forskning, men det i en form där ordet, ljudet och bilden samverkar som en kropp. Genom att spegla schamanen och mystikern (ursprungliga användare av extatiska tekniker) gentemot konstnären av i dag ger avhandlingen en fördjupad förståelse av konstnären och möjliggör inblicken i en poetik där ljud, lyssnande är en livsform (förstått som ett sätt att vara-i-ljudet) som fortfarande är det sätt på vilket vår värld formas. Schamanen och mystikern är också vägvisare till ett utforskande av ontopoetiken som ett sätt att förstå ljud, lyssnande och kommunikation – det är något som föregår tolkad mening, men är ändå kunskap. Flera komponerade verk av författaren i detta sammanhang av likvärdig status som avhandlingstexten – utvidgar och materialiserar det som i avhandlingen föreslås som potentialitet och villkor för det ontopoetiska. Denna ömsesidighet mellan ljud, ord och bild visas tydligast i det som i avhandlingen kallas en strategi för ljud i kapitel 5. En metod, men samtidigt inte; strategin ger plats och visar på den process som leder fram till denna avhandlings försiktiga slutsats, eller snarast anmodan: lyssnandet är en väg till kunskap. Genom lyssnandet framträder världen. Denna kunskap står oss till buds genom musikens omedelbara uttryck. Avhandlingen genomsyras av resonemang och exempel på en praktik och en filosofi om ljud och musik. En omfattande författardialog upprättas, av både musikalisk, konstnärlig och filosofisk karaktär. På det skönlitterära planet är den framför allt exemplifierad av författaren Lotta Lotass, för det filosofiska utgör Immanuel Kant, Martin Heidegger, Simone Weil och Giorgio Agamben navet. Antonin Artaud, Diamanda Galás, Giacinto Scelsi och Luigi Nono är de främsta företrädarna för konsten och musiken. Författaren till denna avhandling placerar dem alla i ett märkligt och delat rum, där konstnären och schamanen förs till ett gemensamt, ordlöst slut i en musik som är lika mycket ljud som tystnad.

This book is structured as a compilation thesis which includes the different materials that came out of the performance laboratories carried out at specific places in Gothenburg and Rio de Janeiro such as articles, video-essays, questionnaires, laboratory reports, and film. Divided into six chapters, it provides an epistemological and methodological overview of the concepts and approaches that were relevant for exploring site-oriented performance documentation and screen practice. In chapter 1, the focus lies on the selection and sort of “excavation” process of a place, especially by using the concepts of hidden narratives and performative moments as artistic strategies. This is expanded in chapter 2, where the field of site-specific performance is introduced, especially by looking at how the notion of site-specificity can be approached through different forms of agency. In chapter 3, the history of performance documentation is highlighted by, on the one hand, examining how documentation has been contributing to mediate and/or translate a performance work and on the other, by exploring how the camera work can (re)inscribe the body both in a specific place and in the recorded material. This is elucidated further in chapter 4, where the main research methods – mapping, sensing, and recording – of the performance laboratory work are described. In chapter 5, a practical insight into the design process of the screen work I am the Camera, is given, which emerged from Lab #3 at Götaplatsen. Based on the engagement with the Hasselblad memorial, this screen work explores the human relationship with the camera through the co-presence of three characters – influencer, documentary filmmaker and clown – and their technological devices. A matter which is elucidated further in the closing chapter 6, which is devoted to the editing process of I am the Camera, as well as to the idea of using montage as a way of (re)writing and/or (re)imagining the space of the image. Throughout and in-between the chapters, follow the publications produced for different journals and/or contexts during the PhD research. While these publications offer an insight into the performance laboratories and how they connect with other artistic research projects (e.g., “Territórios Sensíveis” in Brazil), they also reflect the research trajectory from site-specific practice to screen performance research. About the author: Nathalie S. Fari is a German-Brazilian performance artist, researcher and lecturer dealing with questions of documentation, mediation and translation of site-oriented performance practices. Since 1997, she has been presenting her work in collaboration with other artists and/or researchers across Europe and Brazil at various contexts such as art-exhibitions, performance-art, performing-arts and film festivals, artist-in-residencies, architecture, design and fashion events. Additionally, she has been since 2010 developing educational programs with the focus on the concept of Body Mapping and on issues around site-specific performance and documentation.