In this project, I speculate about a parallel world where a parliament chair for more-than-humans to ‘speak up’ exists within a human fabricated democratic construct. Along the narrative, we are to notice the grammar of other beings and to relearn the ethic of respect and interdependency by ‘deep listening’ to our often ‘quiet’ neighbors on this planet. The intention is to take a closer look at the actant nature of other-than-human beings, at the political of them through exploring the tension between power and empathy. The project adopts voting cards as a probing tool for humans’ involvement in the scenario. It explores the balance between chairs’ power connotation and the materiality of paper as well as the emotional character of sounds. It is an invitation of entering an alternative reality where imagination and affection towards a more inclusive and attentive relation with other-than-humans could be envisioned and questioned.

Under min tid på Konstfack fick jag utrymmet att påbörja en animerade kortfilmsserie om manlighet och mansrollen med målet att nå ut till unga killar. Och när jag säger påbörjat så syftar jag till att jag har, under denna period på ett och ett halvt år, tagit fram två animerade kortfilmer i en serie som började i 6 delar. Som sen kan bli hur lång och hur kort som helst.  Utöver filmerna finns ett format, ett koncept och material som bara fick en kort stund i rampljuset under utställningen. Detta kommer jag djupdyka i bland annat under denna uppsats.

Landscapes have been exploited and polluted by humans in order to obtain metals. Materials are treated as commodities: extracted, used inside our devices and appliances, then discarded as useless matter. The timespan of efficiency is shortened more and more due to obsolescence, material desire and constant innovation. That’s a paradoxical perspective compared to the deep time those metals embody, born in the outer space from star collision and arriving to Earth as meteors, 4 billion years ago. Rocks in vogue is an exploration on the material flows within the electronic devices production and their disposal. Very often the connection between consumers and source is invisible and well-masked behind the slick surfaces of our laptops and smartphones. Through the disassembling of old broken devices, the metals found inside represent values, stories and resistance. The material’s agency is expressed through low-power ceramic batteries; the elementary reaction moving from copper to iron represents a narrative of slow processes, material exhaustion and care. The batteries move from being something that supports our technological desires to statement objects that make things speak.

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In this thesis, I have explored the possibilities of what furniture can look like on a moon base. How they will be made and what resources to use. What will the living conditions be like and why producing on a faraway place is important for future interstellar missions. By combining art and design, I will present a realistic concept that fits the need of the astronauts stationed on the moon and know what one might need when on a moon station.

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Abstract. In the worldview of a traditionally Eastern cultural context, consciousness and matter are intertwined.  In that context  negative and positive spaces relate to each other. With that in mind, the vessel is an interesting object to work with. In my master work I explore "Thinking- through- making", a process where making and thinking alternate back and forth, in iterations. The making or designing can be taking place intuitively.  Scaling down the vessel, to the point where it has no contemporary practical function,  as a way of talking about the exercise of sensitivity, in a fast, loud and insatiable present. Questioning the prevailing value system. By re:learning to become more sensitive, empathy for different types of existence becomes possible, and togetherness between human beings and their companion species opens up. By making (diminutive) stoneware vessels, I enter a long tradition of the time-consuming, hand-building technique of Yixing clay. And hence, contrasts with the technology and scale of contemporary mass production.  Perhaps my vessels are pots to plant seeds for the hope of a future human existence? Or, maybe they are vessels for tears, over human existence? At least they are parts of bedrock coming back together from dissolution, for union.

Detta är den rapport jag skrivit om mitt masterarbete Osynlig sjuk vilket jag arbetatpå från vt2021 till vt2022 vid Konstfack. Målsättningen jag gick in i projektet medvar att börja arbetet med att bredda narrativet och förståelsen om reumatism. Skapanya bilder för att visualisera den fysiska, känslomässiga och mentala upplevelsen avkronisk sjukdom. Att ge en större och bredare bild av vad det innebär att vara sjuk,till de som inte är det men också till de som är det.I slutändan blev detta projekt en samling med berättelser om reumatisk sjukdom.Genom intervjuer samlade jag in upplevelser från 17 individer, vilka alla har olikatyper av reumatism, de upplevelserna tillsammans med min egen blev grunden tillprojektet. Jag skapade en mängd illustrationer vilka jag publicerade på en hemsidasamt deltog vid Konstfacks vårutställning för master-och bildlärarstudenter. Minförhoppning är att genom mina illustrationer utbilda och informera, men även skaparepresentation för oss som kanske aldrig förut sett oss själva.Det finns många fler berättelser och upplevelser än de som existerar här,detta är inget annat än en början.

Today cities are consuming 75% of the world’s resources, which puts significant pressure on areas far from the cities themselves (Stockholm Resilience Center 2022). Food is among the largest drivers of global environmental change contributing to climate change, biodiversity loss, freshwater use, interference with the global nitrogen and phosphorus cycles and land-system change (C40 2024). This thesis describes a proposal for collecting and distributing rain- and stormwater within the context of urban farming and gardening. It explores how design can be a part of creating and promoting self-sufficient cities that are less resource intensive than they are today. Through the lens of Transition Design the proposal are aiming for a positive, system level change and a transition toward desirable long term futures. It can be divided in three sections, The Urban Farmer, The Vessel and The Wooden Aqueducts. The Urban Farmers would live in apartments throughout the city, forming a network of colleagues. The people in the neighborhood would get more understanding of the work that their local farmers do, and they would get more aware of where their food comes from. The vessel collects rain and stormwater and then distributes it when needed. It could act as an object not only for the use of water, but also as a way of sparking discussion, and just as it directs water to the trees, it just as well directs our minds and our attention towards them. The Wooden Aqueducts, inspired by the old craft, could potentially be created as a community practice to engage residents in the surrounding area. When the aqueducts are no longer needed they can remain at the site and be allowed to molder to make the cycles of organic matter visible and to challenge what is considered to be a well managed area. The Urban Farmer, The Vessel and The Wooden Aqueducts are all means to a future vision through a combination of short term, long term, small and big solutions and suggestions.