Aziza's Friendship Compendium, 1st Edition is my illustrated textbook that is part-compendium, part-manifesto. It provides a social, cultural and political analysis of friendship as an inherently anti-oppression, radical tool of resistance. 

This study of friendship investigates the form and function of friendship, as well as how neoliberalism and the patriarchy cause friction in its functioning, and the ultimate fantasy of friendship that is possible through its untangling of systems of oppression.

The Annotated and Expanded version of the Compendium shared here details the process and outcomes surrounding this publication and my master's degree project as a whole. This project is an argument for friendship, a celebration of friendship, a dissection of friendship and a resurrection and recontextualisation of friendship. 

˜”*°•♥ I hope you & your friends enjoy it ♥•°*”˜

/ˈfluːɪd/ is a project that explores the retail part of the fashion world. By creating an inclusive shopping experience, this project aims to escape the binary world of clothing stores. Working with second-hand pieces, the goal is not to create new garments, but to give everyone access to the full spectrum of clothes. In that way, /ˈfluːɪd/ aspires to provide a safe place which inspires self-expression and stimulates individuality as well as a sense of togetherness.

Fluidity being the core concept, the proposal addresses different matters, such as gender, size and audacity. To implement gender fluidity, there will not be any gender categorization, but the clothes will be sorted by colors only. Getting rid of the existing labels and producing a new flexible size chart will initiate a personalized experience and harmonize the systems between the different brands. Designing /ˈfluːɪd/ is designing both an experience and a physical space, to provide a place which encourages anyone to express themself in public.

Jag har valt att som examensarbete kritiskt studera arkitektur och industridesign ur ett genusperspektiv för att därigenom hitta frågeställningar som skapar nya tolkningsprocesser och tankesätt i skapandet av byggnader och produkter.

In 2010, the project MER was funded be The Knowledge (KK) foundation. Lars Eriksson, associate professor in applied aestetics and creative events at Grythytte Academy Örebro University, initiated the project MER which focuses on the way people move and interact in the environment around the meal.

This project has conducted a number of studies about the meeting between utensils, food and the guest in motion, creating the culinary experience. The poster presents a summary of a provocative method applied in all of the different studies.

Denna undersökning ställer frågor kring omförhandling av genus och maskulinitet genom förekomsten av homosexuella hjältar i superhjälteserier, och hur homosexuella superhjältar bryter mot maskulina normer. Under ”taket” för socialkonstruktionism utgår undersökningen från genusteorier och visuell kultur. Med fokus på Avengers: The Children’s Crusade, en superhjälteserie från förlaget Marvel Comics, granskas amerikanska mainstreamserier. Serien innehåller två öppet homosexuella karaktärer och bearbetas som en populärkulturell text med semiotiska och diskursanalytiska metoder. Syftet att generera förståelse för bilders roll i konstruktionen av genus, genom att synliggöra omförhandlingar av superhjältegenrens heteronormativa och traditionella konventioner. Allt som exkluderas från heteronormen betraktas som avvikande och benämns i undersökningen som normbrott. Brottet görs när det homosociala övergår till det homosexuella. En hjälte behöver dock inte uppfattas som heterosexuell för att utföra hjältedåd. Superhjälteserier speglar den verkliga världen, och normbrott behöver normaliseras för att ge utrymme åt nya genusroller.

   An analogy between the social idea of success and the concept: on top of the mountain, using as an interactive and participative method, the activity of climbing mountains. What is success? Why do we climb the mountain? Is there enough space at the top? I try to answer these questions, by sharing thoughts and experiences with other mountain climbers, aiming to find an alternative to values like conquest, dominance, competition, independence and painful sacrifice. Do I have to play the hero to go to the top?These values reproduce a hierarchical structure that is deeply rooted in the patriarchal society, starting with our visual conceptualization of the bottom and the top, ideas on status and an oppressive one-way relationship with nature and other human nature. The final result is a short Film, which aims to reproduce a feeling that has to do with sisterhood, togetherness, care, reciprocity, equality, and gratefulness; based on the utopic idea of interdependence and thinking the top as a transitional space.

The aim of this dissertation is to analyse how conceptions of sexuality are interlinked with and formed through connections with different types of matter, and also to study what significance matter (that is, bodies, space and things) has in shaping and actuating norms, particularly heteronorms.

The study is based on transcribed semi-structured interviews and go-along interviews with persons who deviate from the societal norm of man and the societal norm heterosexual. In addition, the material consists of signposts, spaces, architecture, legal documents and texts found on websites.

The dissertation is mainly dedicated to the study of processes wherein bodies, things and space are linked together or separated. Bodies materialise as non-heterosexual (or heterosexual) in processes that entangle movements, spaces, things and language. Apart from analysing bodies as morphous, I also emphasise that the boundaries between bodies and things must be understood as transient. Things can integrate into bodies and limbs can turn into things. I also cast light on the fact that heteronorms are imprinted into matter such as the built environment. Boundaries are materialised, but LGBTQ- defined safe spaces are concurrently being formed. Such spaces tend to be transient in character. This stands in contrast to such things that tie into societal norms, which tend to survive the passing of time whether they be buildings, monuments or urban planning. Thus, norms are both created by and imprinted into matter. The memories, experiences and assumed needs of certain bodies and their ways of living together are given solidity. Spatially organised differences are, on the other hand, primarily accepted when packaged into events, temporary and clearly marked, which inadvertently highlight Sweden’s (imaginary) openness and diversity. 

Bilder har en framträdande plats i vår vardagskultur. Estetiska och kulturella uttrycksformer – framför allt visuella – har också fått allt större betydelse för unga människors identitetsarbete. När unga kvinnor ska pröva möjliga roller och positioner för sina verkliga liv fungerar mediekulturens kvinnobilder som exempel på former för kvinnlighet. Vilka teman och konventioner är det då som dominerar i dessa kvinnobilder? Vilka modeller finner de unga kvinnorna? Anette Göthlund diskuterar dessa frågor bland annat utifrån reklam för mensskydd.

This article approaches urban ethics through critically examining the production and reproduction of an eco-modern sociotechnical imaginary of sustainable urban development in Sweden, and the conditions and obstacles this poses for a just transformation. We see that notions of ecological modernization re-present problems of urban sustainability in ways that do not challenge the predominant regime, but rather uphold unjust power relations. More particularly, through an approach inspired by critical discourse analysis, we uncover what these problem representations entail, deconstructing what we find as three cornerstones of an eco-modern imaginary that obstruct the emergence of a more ethically-engaged understanding of urban sustainability. The first concerns which scales and system boundaries are constructed as relevant, and how this results in some modes and places of production and consumption being constructed as more efficient—and sustainable—than others. The second cornerstone has to do with what resources and ways of using them (including mediating technologies) are foregrounded and constructed as more important in relation to sustainability than others. The third cornerstone concerns the construction of subjectivities, through which some types of people and practices are put forth as more efficient—and sustainable—than others. Utilizing a critical speculative design approach, we explore a selection of alternative problem representations, and finally discuss these in relation to the possibility of affording a more ethical urban design and planning practice.

In a Nordic cooperation project the acoustical conditions in open-plan offices was investigated. Measurements have been carried out in five open plan offices accompanied with an inquiry gathering the subjective judgments by the staff. A program for the acoustical measurements was designed specifying how to perform the measurements and which type of parameters to measure. The acoustical parameters included in the measurements are Reverberation time T20, Early Decay Time (EDT), Clarity (C50), Speech transmission index (STI), Speech intelligibility index (SII), Privacy Index (PI), Rate of spatial decay of sound pressure levels per distance doubling (DL2 ), Excess of sound pressure level with respect to a reference curve (DLf), background noise levels in occupied and unoccupied offices. In two of the offices are furbishment program was carried out. Measurements as well as questionnaire were accomplished after refurbishment. The effect on room acoustic parameters DL2 and DLf and on subjective judgments by the staff will be presented in this paper.

In Chapter 4, “MODERN 2.0 – Post-Criticality & Transdisciplinarity”, Rolf Hughes and Ronald Jones give an account of a graduate seminar on transdisciplinarity they led in December 2009, for the Experience Design Group at Konstfack University College of Arts Crafts and Design, Stockholm. Rather than deliver a pair of prepared monologues, they decided on a more dialogic mode of presentation. This chapter is the record of their conversation. Developing Jack Burnham's identification of a paradigm shift from an “object-oriented” to a “systems-oriented” culture, Hughes and Jones consider how contemporary designers pursuing greater responsibility, influence, and relevance might contribute to today’s complex social problems. Their answer: by designing transdisciplinary social, political, economic, and educational “systems”. In a global economy, the authors argue, the seductive promise of epistemological transformation is less significant than the transdisciplinary design team’s capacity to impact meaningfully on urgent social, political, and ethical questions in ways beyond the reach of corresponding monodisciplinary, crossdisciplinary or even interdisciplinary initiatives. They discuss the increasing need to design transdisciplines “as interdisciplinary methods begin hitting walls, finding their own limits of relevance”. Citing examples ranging from Hans Haacke’s Rhinewater Purification Plant and Filipe Balestra’s Samba Architecture project in Brazil, to Freeman Dyson’s vision of artists and designers in the near future using genomes to create new forms of plant and animal life that will proactively reverse the effects of global warming, their vision is that of a debugged modernism - a post-critical, transdisciplinary project - a “Modern 2.0” capable of “realistically rebooting the Modern dream of an attainable Eden”

Det vi kallar lyx sätter guldkant på tillvaron, men är också ett statement och en form av kommunikation - lyxen får sällan verklig mening om den inte syns.

I denna uppsats utforskas hur vi kan förstå och arbeta med materialet papper i gymnasieskolans bildämne på ett sätt som lyfter fram papprets materiella egenskaper, tillverkning, återvinning och hållbarhet. Med hjälp av research-creation som forskningsmetod organiseras sammanlagt nio forskningshändelser som vill öppna upp för olika praktiker och sätt att förstå papper i bildämnet. Forskningshändelserna analyseras med hjälp av en nymaterialistisk tolkningsram och med begreppen response-ability och materiell litteracitet.

I studien synliggörs hur användningen av papper i bildundervisningen innefattas av en variation av olika slags papper, konstnärliga uttryckssätt och tekniker. I studien framkommer att förståelsen för papprets tillverkning, återvinning och hållbarhet försvåras då bildämnets genomgripande kursplan inte nämner eller tar upp dessa begrepp. Bildlärare och elevers intresse för papper kan dock skapa rum och förutsättningar för att moment som berör papprets tillverkning, återvinning och hållbarhet tas upp i bildundervisningen.

Med hjälp av en nymaterialistisk ingång till en praktik med papper framträder hur olika substanser, kroppar och material samverkar i papprets materiella egenskaper och tillverkningsprocess. I denna praktik och förståelse synliggörs hur papper som material är process-baserad och relationell. I denna förståelse öppnas möjligheterna till att förstå och se kontakter och bindningar som finns mellan papper, material, växter och miljöer. Med hjälp av begreppet response-ability aktualiseras också etiska och moraliska frågor kopplade till praktiker med material och papper.

Manlighet redovisas med två delar, den ena består av fem intervjuer. Tre av personerna som är yrkesverksamma inom behandling av män som misshandlar eller förgriper sig på kvinnor och barn. Den fjärde är mansforskare som är docent i pedagogik och den femte är sociolog, som bland annat arbetar för Brottsförebyggande rådet.Den andra delen består av illustrerade berättelser som berör bland annat sorg och erfarenheter av våld. Dessa går under titeln Om jag säger vad jag känner, kommer ni då fortfarande tycka om mig? Detta är ett symboliskt försök att agera preventiv mot eventuella egna dåd. Om män tillät sig att uttrycka sina svagheter och känslor av sorg, rädsla, hjälplöshet, osäkerhet, litenhet, otrygghet, saknad. Skulle det inte behöva ta uttryck i våld.Målsättningen var att göra en konstnärlig gestaltning om orsakerna till mäns sexuella våld. Med projektet ville jag bidra till den fortsatta debatten om mäns våld genom att undersöka och problematisera ämnet. Tanken var från början att jobba vidare med de metoder som jag arbetade med i ett tidigare projekt kallat FemDefence där jag använde mig av produktdesign och marknadsföringens språk.Upplägget för Manlighetsprojektet var uppdelat i research, gestaltning och installation. Researcharbetet kom att ta betydligt längre tid än vad jag hade förväntat mig. Under researchen läste jag olika slags litteratur, så som böcker, rapporter, utredningar, artiklar om män, manlighet och våld.Redan från

The acoustic conditions in open-plan offices were investigated in a Nordic cooperation project. Measurements were carried out in five open-plan offices along with a questionnaire to gather the staff’s subjective judgments.

A programme for the acoustic measurements was drawn up, specifying how to perform the measurements and which type of parameters to measure.

The acoustic parameters included are Reverberation time T20, Early decay time (EDT), Clarity (C50), Speech transmission index (STI), Speech intelligibility index (SII), Privacy index (PI), Rate of spatial decay of sound pressure levels per distance doubling (DL2 ), Excess of sound pressure level with respect to a reference curve (DLf), and background noise levels in occupied and unoccupied offices.

A refurbishment programme was carried out in two of the offices. Measurements were performed after refurbishment and a questionnaire was completed. It is concluded that parameters relating to sound propagation, such as DL2 and DLf, are appropriate for the acoustic evaluation of open-plan spaces.

A refurbishment programme was carried out in two open-plan offices. It has been shown that DL2 and DLf are sensitive to the acoustic treatment carried out and that they also reflect an improvement in the subjective judgment as regards the acoustic environment in general. Moreover, these parameters can be converted into a (comfort) radius indicating the distance for achievement of a certain reduction of the sound level from a sound source.

This application could serve as a practical tool for the acoustic planning of open-plan offices.

Room acoustical measures for open plan spaces

Utifrån föreställningen om Butlers genus som en "stiliserad upprepning av handlingar" som kommer till uttryck i gester, rörelser och stilar och Iris Marion Youngs studie av vad det innebär att "kasta tjejkast", undersöks performativa aspekter av att göra design. Utifrån tre bilder ur FORM diskuteras hur föreställningar om kön får effekter i designpraktiken så som den porträtteras i tidskriften.

SummaryKey artists' writings that have influenced and catalyzed contemporary queer artistic practice.

Historically, “queer” was the slur used against those who were perceived to be or made to feel abnormal. Beginning in the 1980s, “queer” was reappropriated and embraced as a badge of honor. While queer draws its politics and affective force from the history of non-normative, gay, lesbian, and bisexual communities, it is not equivalent to these categories, nor is it an identity. Rather, it offers a strategic undercutting of the stability of identity and of the dispensation of power that shadows the assignment of categories and taxonomies. Artists who identify their practices as queer today call forth utopian and dystopian alternatives to the ordinary, adopt outlaw stances, embrace criminality and opacity, and forge unprecedented kinships, relationships, loves, and communities.

Rather than a book of queer theory for artists, this is a book of artists' queer tactics and infectious concepts. By definition, there can be no singular “queer art.” Here, in the first Documents of Contemporary Art anthology to be centered on artists' writings, numerous conversations about queer practice are brought together from diverse individual, social and cultural contexts. Together these texts describe and examine the ways in which artists have used the concept of queer as a site of political and institutional critique, as a framework to develop new families and histories, as a spur to action, and as a basis from which to declare inassimilable difference.

Otherwise: Imagining queer feminist art histories is the first book to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of 'queer' to feminism in other disciplines of the humanities and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive. This book fills the gap by providing a range of chapters by key North American and European scholars, both emerging and established, who address the historiographic and political questions arising from the relationship between art history and queer theory in order to help map exclusions and to offer models of a new queer feminist art historical or curatorial approach.

Sexuality and Gender at Home is the first book to explore the meanings and experiences of home through the framework of sexuality. Looking at a broad spectrum of sexuality, gender and domesticity, it examines the many ways in which home is constructed, performed and experienced in relation to sexuality and gender. Considering identity issues such as age, class, ethnicity and gender, the authors problematize intimacy and question conventional ways of thinking about allegedly ‘private’ home space.

Comprehensive introductions to each of the book’s three sections – on Intimacy and Home, Queering Home, Beyond Home – provide a coherent overview of the existing literature as well as additional historical and cultural context. Fourteen chapters present ground-breaking research and insights into sexuality, gender and home across culture, time and space. Written by academics from a range of subject disciplines, chapters are based on research covering countries including Australia, France, Sweden, the UK, the USA, Guyana, Israel and Singapore.

This highly original text is the ideal starting point for anyone wishing to get to grips with the emerging field of sexuality, gender and home and will particularly appeal to researchers and students in anthropology, architecture, gender studies, sociology and human geography.

We must accept the present reality – only thereby do we have the possibility to understand it, relate to it to influence it and create culture that is a flexible tool for the transition.

This is the opening paragraph of "Vitiden - an energy fiction"¹ where the transition to a more sustainable society is explored through interacting text and image. In the forward-looking and text-based manifesto, Vitiden is outlined as an answer to today's ecological and social challenges. The high pitch and ambitions of the manifesto are commented on by an image-based future archaeology, constructed by fictional fragments of the future. Inset images from the acceptera manifesto², which is also paraphrased in the introductory paragraph of Vitiden, relates the energy fiction to the modernist societal development and the critique thereof. A generous body of annotations contributes with further perspectives.

1) The term Vitiden is Swedish and can be translated to the 'we-age'. In contrast to other 'ages' such as the bronze age or the atom age, Vitiden is not a description of a historical era, but a suggested future, an age yet to come, distinguished by its emphasis on togetherness.

¹An energy fiction is a design fiction or essentially any image of the future dealing primarily with questions related to energy, in this case as an enabling and constraining factor for sociomaterial entanglements and practices to emerge and endure.

²Asplund, G., Gahn, W., Markelius, S., Paulsson, G., Sundahl, E., Åhrén, U. 1980[1931] acceptera. Tiden förlag. Faksimil.

This essay focuses on processes wherein human bodyfluids are materialized as foody and potentially edible. Influenced by Gilles Deleuze and Félix Guattari, I follow a milky rhizome (2015). This brings me to, among other things, breastmilk rings in China, breastmilk ice cream and to cows whose genes have been manipulated to produce breast milk. Scholars within critical animal studies pinpoint that animals are made absent when their bodies are transformed into edible matter. Carol J. Adams terms this the structure of the absent referent (2004, 2013). In this article however, I show that, in a similar way, the foodiness of human bodies is continuously made absent. Situations when humans appear as foody tend to generate feelings of disgust and repulsion. At the same time, I also argue that processes such as these can be interpreted in widely different ways depending on the (body and) context, and that the milky flows are considered most threatening when they are connected with – or emanate from – the bodies of Others.

kokoligrafin är en kokongskrift [av gr. κουκούλι], silkesspinnarens skrift. som läsare kommer du att få möta olika varelser, du kommer att spinnas in i olika samtal: om silkesmaskar, konsumentmedborgare och motstånd; om sidenflärd och pollution; om koronakokonger och filterpuppor. boken börjar i en grekisk småstad och slutar i pandemonium – ett tidsrum präglat av marknadskapitalism, moralism och polarisering.

ur texten springer frågor om möjliga, omöjliga och förlupna revolutioner. en sorts kokolisofi skisseras: den föreslår en framtid där vi snarare än att ta mer plats i anspråk, träder tillbaka. en framtid där vi bejakar de grå metamorfosernas radikala potential.

Feminist theories have long been concerned with the violent impact of (normative) Universal Man on society and nature, aconsequence of a modern phantasy divide between Nature and Culture. In this planetary era some call the Anthropocene, it isclearer to us how the environment is in us, and we humans are fully in the environment. The modern Nature/Culture divideimplodes violently on itself. For too long those regarded as less cultured, less-than-human and particularly nonhumans,like the very ecologies that sustains us, have been approached as mere resours or background for Universal Man. What canbe done - in practice, in thinking and in scholarship in such a situation?The present postnatural situation disrupts modern figurations of thought and scholarly practice, and begs new ones. Withclimate change, oceanic disturbance, habitat loss and rampant species extinction on the one hand, and new syntheticbiologies, technobodies and algorithms we live by on the other, it asks feminist sciences and arts for extradisciplinaryresponses, for new designs of practice.No longer can a division of academic labour be sustained, where technoscience does naked facts, use/abuse nonhumans andextract raw nature while artistic research, humanities and social science does culture, ethics and politics. Spurred by morethan-human feminisms, thicker forms of situated knowing have already emerged, for instance as practices of critical, creativeand feminist posthumanities.Such more-than-human humanities come in response to the pressing need to a) alter and decolonize such dividing knowledgeforms and to b) change the very ways we think, eat, and live with nonhumans in society. Sharing a Darwinian feeling forhow everything is connected, critically and creatively, with a relational ethics of care and concern, more-than-humanfeminisms and postdisciplinary disciplines, have paved way for environmental humanities and other more-than-human formsof the posthumanities. What are the stakes and challenges in these transformations? Why do we need them? And whatfeminist genealogies gets recognized?This lively round-table talk brings diverse scholars together for a spirited conversation on the usefulness and potential impactof feminist theorizing on sustainability, design, and on how to bring art and science to the social humanities, and insights tothe people living in a more-than-human world. It will be fun, but deadly serious.