Research Catalogue

In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children: how they love, amongst other. I wanted to emphasise that element, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp, but intimate twist, as commentary, in the British tradition of political satire, to the otherwise dark subject matter. Finally, this artistic style refers to the populist character of actors. The text is written like trip-hop songs: two of the pseudonyms I gave are the artistic names of musicians of colour from the British band "Massive Attack", formed in Bristol. I use heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition is underpinned by an underlying Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, as painting, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For Nikos ('Ramadan', 'Mr X'), Filip ('Philip'), and Brandon ('Magna') - August, September, and October 2024. For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego"), Julien ('Moussa') and 'Gaetan'- December 2024, January 2025, May and June 2025. Three men of colour and five white men. Who were also targeted, directly and indirectly. Who are not politicians, but are doing something political, so they must take care of what they do. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

Focaris parte de la conexión entre el fuego y el hogar como espacios de encuentro, protección y transformación. La obra se desarrolla a través de un diálogo entre la expresión individual y el encuentro colectivo, representado por la reunión en torno a una mesa o una hoguera. Cada bailarín expresa su "fuego interno" en solos apoyados por el grupo, generando conexiones y contrastes a través de la coreografía. La narrativa de la obra está construida bajo la estructura del teatro griego, donde el coro acompaña, enfatiza y dialoga con las acciones individuales. La accesibilidad está integrada en la dramaturgia, transformando la LSC, la audiodescripción y los elementos visuales en recursos estéticos. El papel, como material escénico, simboliza la metamorfosis del fuego: puede ser plegado, roto, iluminado y animado, representando los diferentes estados de la llama y la transmisión de energía. A través de la combinación de movimiento, sonido y visualidad, Focaris no solo busca ser una experiencia sensorial envolvente, sino también un espacio de inclusión donde cada espectador, independiente de sus capacidades sensoriales, pueda conectar con la obra de manera autónoma y significativa.

Digital dokumentasjon av utstillingen Minnekommisjonen

The Bachelors’s Programme in Dance Pedagogy at Stockholm University of the Arts, Sweden, have gone through a major restructuring leading to an updated program, on demand by students and staff. This exposition gives you an overview of the process of changing the program during the years 2020 - 2023. It guides you through the phases of the change project, highlights documents governing and forming the changes made, and links to research that were conducted during the project period and that deepened the knowledge created through the change process. Our first step was to listen into the field’s concerns and ideas about dance education today. We scanned the field for signals of change and created a collaborative map of dance pedagogical practices in contemporary times. From this map we derived design principles and scenarios for a new BA in Dance Pedagogy. After a workshop series with students of the department, it was decided that the new program should be based on the hybrid research methodology A/R/Tography. A new educational plan and course plans were created for the new BA. Courses corresponding to the positions as artist, researcher, and teacher of A/R/Tography were developed for the program, and dance genre specific courses were also created. All new courses of the program combines theory and practice, and students are prepared for a changing and complex work life combining artistic, teaching and researching practice. This exposition is part of the peer-reviewed article: Østern, T. P., Reppen, C., O’Connell, S., & Daneberg, M. (2025). Choreographer/researcher/teacher: Developing a/r/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2). https://doi.org/10.7577/ar.5460

Sammendrag: Denne oppgaven utforsker hvordan estetiske intensjoner kan utvikles og formidles gjennom interaktiv liveprosessering i et moderne jazzensemble. Prosjektet NEKSUS tar utgangspunkt i fem komposisjoner som gjennom en tredelt prosess utvikles fra tradisjonelle jazzkomposisjoner til mer eksperimentelle lydlandskap. Gjennom fasene dekonstruksjon, estetisk intensjon og bandsamspill, undersøkes hvordan elektronisk prosessering kan fungere som et kreativt bindeledd mellom musikerne, og hvordan dette påvirker samspill og improvisasjon. Ved å etablere spesifikke estetiske rammeverk for hver komposisjon, legges det til rette for nye interaksjonsformer i ensemblet. Oppgaven dokumenterer denne utviklingsprosessen i detalj og reflekterer over hvordan teknologiske verktøy kan integreres som en naturlig del av det improvisatoriske uttrykket. Forskningsprosjektet viser at liveprosessering kan fungere som en neksus – et knutepunkt for musikalsk samhandling – som åpner for nye estetiske muligheter i spenningsfeltet mellom komposisjon, improvisasjon og teknologi. Samtidig belyses utfordringer knyttet til teknologisk implementering i livesammenheng, og hvordan disse kan overkommes gjennom grundig forberedelse og estetisk bevisstgjøring. Abstract: This thesis explores how aesthetic intentions can be developed and expressed through interactive live processing in a contemporary jazz ensemble. The project NEKSUS examines five compositions that, through a three-phase process, evolve from traditional jazz compositions to more experimental soundscapes. Through the phases of deconstruction, aesthetic intention, and ensemble interaction, the research investigates how electronic processing can function as a creative connection between musicians, and how this affects interplay and improvisation. By establishing specific aesthetic frameworks for each composition, new forms of interaction within the ensemble are facilitated. The thesis documents this development process in detail and reflects on how technological tools can be integrated as a natural part of the improvisational expression. The research project demonstrates that live processing can function as a nexus – a point of connection for musical interaction – that opens up new aesthetic possibilities in the intersection between composition, improvisation, and technology. Simultaneously, it highlights challenges related to technological implementation in live settings, and how these can be overcome through thorough preparation and aesthetic awareness.