Mapping images – when words don’t work. My master essay is a walking contradiction. It is an explanation of how a non-wordly thought process emerged – but explained in words. Words have never been my strong suit and in my essay I try to illustrate how I use images instead of words, mapping instead of structure, to escape the dictatorship of the written explanation. Where words have a certain linear structure from A to B my thought process is instead a juxtaposed jumble of heterogeneous elements that together create different associations in a rhizomatic and non-structured way. When I begin a project it is always the images that guide my idea instead of the idea guiding my images. In this way I let myself be seduced by the non-explainable atmosphere of the images. Instead of explanations I collect the images in big maps that have no clear beginning, middle or end. I let the images speak to each other, compliment or contrast one another. For me this is a way of keeping my work open as long as possible. As I work with video and narrative structure in the final product, the juxtaposing of images is a way of postponing and contrasting the more closed process of editing on a linear timeline.  I have a strong belief in the power of images. The old cliché ‘a picture says more than a thousand words’ still works for me, specifically because they don’t have to explain themselves or be ‘literal’ (in the literal sense of the word). They allow me to dwell in atmospheres, non-logic connections and open questions. Together, the mapping of images doesn’t create one clear design for my work, but a heterogeneous multiplicity of potential works to come. Sooner or later I have to take control of the process and be the dictator of the images. But my experience have taught me, that the more I allow the images to speak for themselves in all their ambivalence, the more I can infuse my final work with the same ambivalence and open-endedness. My works are not answers, but questions. And the collection of images that guide my work process let me keep asking the questions that words cannot formulate. The essay grabbles with these themes of words, images and process. As an illustration of my process, the essay is accompanied by a visual map, where I have tried to explain the associations that the images create for the theme of my work. I haven’t escaped the dictatorship of words yet, but maybe given the images their proper place within my work process. / A 4 channel video installation. Size on screens: 136 x 76 cm. Duration on video: 17 min. In a defenceless condition we enter a room. And they in us. All of the rooms. Sure, there are differences. Though it is not important here, not anymore anyway. It is not important, when you will not remember why you walked into the room to begin with. What got you to enter, and why do you stay. Moments that extends infinitely in time, expands and pushes away the oxygen in the room, like the last to experience before death is this strange, anaerobe environment. Two people are sitting in a room that changes looks six times. They are waiting, but no one knows what they are waiting for. While waiting they start to confess to each other, but never directly. In stead they try to explain and apologize their action without ever mentioning what the actions were.

Att beskriva en byggnad som tidlös är bland det finaste en kan säga. Några av världens mest uppskattade byggnader har beskriv- its som just det, tidlösa. Hur kommer det sig att en av den finaste komplimangen och erkännandet en byggnad kan få, egentligen är intetsägande?Tiden går ständigt och det finns ingenting någon kan göra för att ändra det. Människor, djur och även byggnader utvecklas och åldras. I denna uppsats ska jag undersöka hur det kommer sig att arkitekter tenderar att undvika att tiden påverkar arkitektur, både i hur den skapas och i hur den representeras. / One of the greatest compliments a building can receive, is to be described as timeless. Some of the most appreciated buildings in the world has been described just as that, timeless or eternal. How is that, that one of the best compliments and acknowledgementsa building can receive, dosen’t really say anything about the build- ing?Time goes by and there is nothing anyone can do about it. People, animals and even building get old. In this essay, I will ex- amine why architects tends to avoid that time gets to architecture, both by how it is created and in the architectural representations.

Cette thèse a pour objet les images narratives de la Passion du Christ dans les peintures murales tardobyzantines, leur place et leur fonctionnement dans l’espace rituel dont elles constituent le décor. Développé en dessous des images du Dodekaorton, il a une forme et une place très particulières : faisant le tour de la nef et intégrant généralement le sanctuaire dans son parcours, il participe de la construction de l’espace cultuel. Cette approche des images a montré que la forme narrative donnée à ces cycles composant les décors pariétaux, loin d’être fortuite, est porteuse de sens et de discours. Décorant d’abord des fondations byzantines prestigieuses à la fin du XIIIe siècle, le motif ne tarde pas à apparaître dans les églises serbes peintes dans l’entourage du Kralj Milutin, avant de devenir courant dans des monuments plus modestes. Le cycle est envisagé dans sa globalité et non image par image, à l’aide des outils traditionnels de l’iconographie mais aussi de la narratologie, ce qui a permis de mettre en évidence sa structure narrative. Dans une troisième partie, le fonctionnement liturgique du cycle est détaillé, révélant un discours eucharistique et mystagogique qui n’est pas tant superposé au récit en images, qu’il n’est au contraire produit par lui. / This doctoral thesis addresses the narrative images of the Passion of Christ in Late Byzantine mural paintings, their place and their ritual function. This cycle, which takes place under the Dodekaorton, has a clear sequence. Going around the nave and generally passing through the sanctuary space, it participated in the construction of the worship space. A study of the images used shows that such the narrative form given to these cycles, far from being accidental, is a carrier of meaning and discourse. Firstly decorating prestigious Byzantine foundations in the late thirteenth century, this kind cycle soon appeared in Serbian churches painted in the Kralj Milutin’s milieu and then became common in more modest monuments. In this study, the cycle is considered as a whole, using the traditional tools of iconography but also narratology, which helped to highlight its narrative structure. At last, the liturgical function of the cycle is explored, revealing a Eucharistic and mystagogic discours produced by the narrative.

Background: Cigarette smoking is a leading preventable factor associated with complications in pregnancy including preterm birth and low birthweight. Past interventions have raised cessation rates by approximately 6% overall (Lumley et al. 2009). Methods: A three-part literature review, two qualitative studies with a total of 36 participants, and the development of an intervention to promote smoking cessation during pregnancy were completed. Central to the design of the research was the creation of the theoretical basis which was developed in line with recommendations from the MRC Framework for Complex Interventions (Craig et al. 2008, Campbell et al. 2000). For part one of the literature review, 24 qualitative and 44 quantitative studies were re-analysed to complete a mixed-methods secondary analysis of the active ingredients in interventions to promote smoking cessation during pregnancy. Part two consisted of an exploration of psychological models and constructs which are likely to predict or influence smoking behaviour during pregnancy. The final part was a discussion regarding the modes of delivery by which an intervention could feasibly be delivered. Qualitative interviews were carried out with participants from stakeholder groups to fill in gaps in literature and determine the acceptability and feasibility of the proposed intervention. The intervention was created using the theoretical basis developed from the findings. Further qualitative interviews, a focus group, and heuristic evaluation were used to determine the acceptability and usability of the intervention for the target group of pregnant smokers. Results and Conclusions: Findings from this work are potentially relevant for a wide range of behaviours and behavioural interventions. An intervention which has a strong grounding in theory and evidence, and is acceptable and feasible for the target group and in clinical practice was developed using evidence gathered in this thesis.