Research Catalogue

neither fish nor fowl is an act of refusal, witnessing the growth of a NO toward Western industrial design from the point of view of a graduating student. By claiming, “I don’t want to design and produce anymore”, the discipline - known for being a problem-solving and sense-making practice - is called into question. This decision stems from the urgency to pause the relentless capitalist cycle of production and consumption of which design is a part. Consequently, a paradox arises to provoke thought: can we stand still in the midst of constant hyperactivity? The research highlights the process of this growth as the main focus of the project - the negative space normally overlooked in favor of an alluring outcome. It branches out through theoretical studies and an exercise-based practice of unlearning. Concepts such as nothingness, stillness, unproductiveness, un-functionality and no-senseness are explored in a space of co-creation and ongoingness.

ES / EN Este artículo presenta la dimensión de mentoría creativa del Método LGP, una forma transdisciplinaria de soporte para artistas y profesionales multidisciplinarios que buscan integrar deseo, obra y proyecto vital. Este artículo fue escrito por L.C. en el marco del proceso performativo del método LGP. Algunas imágenes, mapas e intuiciones emergen del acompañamiento realizado con F.F., artista visual con background en medicina, cuya colaboración discreta y sensible nutrió el tejido emocional y estratégico del texto. A través de un acompañamiento performativo-emocional, el método ofrece herramientas para sostener procesos, tomar decisiones, y atravesar una nueva identidad sintética. This article introduces the creative mentorship dimension of the LGP Method —a transdisciplinary form of support for artists and multidisciplinary professionals seeking to integrate desire, artwork, and life projects. This article was written by L.C. within the performative process of the LGP method. Some images, maps, and insights emerge from the accompaniment shared with F.F., a visual artist with a medical background, whose discreet and sensitive collaboration nourished both the emotional and strategic layers of the text. Through performative-emotional guidance, the method offers tools to sustain processes, make decisions, and move through a new synthetic identity.

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. I wanted to emphasise that, 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 twist, as satirical comment, in the British tradition of political satire, to the otherwise dark subject matter. Finally, the artistic style refers to the populist character of actors, mainly far right of the XRW, but also others. The text is written like a trip-hop song. 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, 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 ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Daddy G", 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego"), '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'.

This thesis explores how late-diagnosed autistic individuals and their close circle can redesign their relationship after their diagnosis through communication that aligns with autistic ways of being. Grounded in the neurodiversity paradigm, the social model of disability, and the double empathy problem, the research combines interviews, co-creation sessions, and visual storytelling to uncover emotional and relational dynamics during post-diagnosis identity shifts. Through a neurodivergent lens—rooted in sensory awareness, pattern recognition, and visual thinking—this work challenges deficit-based narratives and proposes a compassionate, co-created communication framework. The goal is not assimilation but mutual understanding: enabling autistic individuals to embrace their authentic selves while guiding loved ones to meet them with compassion and openness. Ultimately, the project reimagines design as a tool for creating connection, not correction—honouring difference, restoring balance, and building inclusive systems where all ways of being are valid, visible, and valued.

This exposition investigates the potential of a/r/tography as a methodological framework within an artistic context characterized by improvisation in movement, dance, and theatre. Through a small-scale exploratory study, theory, practice, and reflection are integrated to examine how knowledge and understanding are generated within and through improvised artistic processes. The exposition includes documentation of practical components, reflective writings, and theoretical perspectives, and illustrates how a/r/tography can operate as a dynamic and responsive research methodology within the field of performative arts. 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).

This visual essay explores images generated through AI-based expansion of a simple photographic composition. Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there. The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.