This thesis describes my artistic practice as essentially project-based, site-responsive and hypermediating. Hypermediacy—i.e. the tendency of certain media or objects to keep their various constituents separate from their structure—is to be understood as opaque, juxtaposed and after a recurring contiguity with different kinds of interfaces. Accordingly, and within the context of the various projects that constitute this thesis, it is demonstrated how, in response to the particular places I work and to the various people I collaborate with, different kinds of materials and methodologies are incorporated in broader hybrids that are mediated (interfaced) in miscellaneous ways to this way result in original works of art. Materials and methodologies are shown to be intertwined and interdependent with each other as well as with the different ways in which they are interfaced, which accounts for an explicitly projectbased, rather than artwork-based, approach which, on its turn, de-emphasises the finished artefact in favour of process, performance, research and exploration. Projects are, then, shown to be explicitly site- or situation- responsive, as they are not implementations of preexistent ideas, but rather emerge as my original response to the particular sites, materials, people and the various other constituents that are involved in their very production. Interfaces to such hybrids as well as their very material and methodological elements are also shown to be hyper-mediated. It is finally argued that such an approach essentially accelerates multi-perspectivalism in that a project may spawn a number of diverse, typically medium-specific and/or site-specific, artworks that all exemplify different qualities which are congenital to the particular nature of each project.

Denna studie bygger på Research through Design (Frayling, 1993), d.v.s att undersökningen syftar till att generera ny kunskap genom analys av datorspel och design av en gestaltning. För att uppnå detta används ett annoterat portfolio och dess underliggande principer (Gaver, 2012; Bowers, 2012). Det annoterade portfoliot består av fyra utvalda datorspel och en egenutvecklad gestaltning. Detta portfolio analyseras för att definiera vilka gemensamma och icke-gemensamma designegenskaper som kan observeras. Efter detta presenteras argument för varför utvalda egenskaper kan göra pedagogiskt inriktade datorspel mer effektiva i syftet att utbilda kring-eller minska påverkan av mis-/desinformation i det specifika inlärningssammanhanget. Faran med mis-/desinformation i samhället illustreras genom kontexten av arbetet med den utvecklade gestaltningen, som bygger på COVID-19 mis-/desinformation och dess konsekvenser. Resultat uppnås efter analysering av samtliga designexempel har genomförts och data har genererats för att utveckla vår egna gestaltning baserat på denna information. / This case study is based on Research through Design (Frayling, 1993), i.e. the purpose of the study is to generate new knowledge through analysis and design of computer games. To achieve this an annotated portfolio and its underlying principles are used (Gaver, 2012; Bowers, 2012). The annotated portfolio consists of four selected computer games and one designed by the authors. This portfolio is analysed to define what design features are shared or not shared between the games. After this, arguments are presented as to why the specified features can make educational computer games more effective in the purpose of educating about or to reduce susceptibility to mis-/disinformation in the specific learning context. The danger of mis-/disinformation is illustrated through the context of the work with the designed computer game, which is based on COVID-19 mis-/disinformation and its consequences. Results are achieved after analysis of the four selected computer games has been carried out and data has been generated to enable the development of the authors own game.

In the present thesis a landscape of slow technology in the domestic home is explored to contrast the prevailing fast paced constant-on-and-connected devices of today. Through 3 technology probes (provotypes) deployed in 7 different homes, different parts of this landscape has been unfolded showing what slow technology might mean for interaction designers, from the user perspective, and what potentials it might carry. Potentials include delaying the availability of our devices, working with different layers of intrusiveness, looking into the distant future, and the introduction of small rituals, and routines in our everyday life. As a methodological contribution the novel hybrid slow provotype is proposed.