Under våren år 2020 uppmanades gymnasieskolan att ställa om sin verksamhet till att bedriva all undervisning på distans på grund av covid-19, coronapandemin, som ett steg i att minska smittspridningen. Omställningen till mer digital undervisning ledde till att såväl elever som lärare ställdes inför nya utmaningar. Digitaliseringen i skolan är en del av samhällsutvecklingen. Examensarbetet är en del av det praktiknära forskningsprojektet K-ULF och är uppdelat i en undersökningsdel och en utvecklingsdel. Undersökningsdelen belyser hur elever och lärare upplevde att gymnasieelevers matematikstudier påverkades av onlineundervisning samt hur elevernas inställning till matematikämnet påverkades. Kvantitativa och kvalitativa data samlades in genom en elevenkät med 627 svarande och intervjuer med 4 lärare och 5 elever på två gymnasieskolor. Kvantitativa data analyserades en variabel i taget för att visa frekvenser och kvalitativa data analyserades tematiskt. Utvecklingsdelen syftar till att utveckla en prototyp av ett stödmaterial för onlineundervisning i matematik i form av en handbok. Handboken utformades genom att kombinera analysen av insamlade erfarenheter från elever och lärare med didaktisk och matematikdidaktisk forskning.Resultatet visade att eleverna upplevde påverkan på sina studier inom flera områden: arbetsmöjligheter, närvaro och delaktighet, möjlighet att ställa frågor samt förändring av det sociala samspelet. En stor andel av eleverna upplevde att det var svårare att arbeta med matematiken när de hade onlineundervisning och att det var svårare att interagera med andra. Däremot fanns det elever som uppskattade att studera hemifrån och som tyckte om att de fick ta ett större eget ansvar. Studien visade även en förskjutning av elevers inställning till matematikämnet åt det negativa hållet. Förändringen berodde bland annat på: att eleverna haft svårt att fokusera, bristande motivation, minskad delaktighet under lektionstid och att eleverna inte ställde frågor när de behövde hjälp. Vissa elever fick en bättre inställning till matematik på grund av att onlineundervisningen upplevdes vara positiv, exempelvis genom minskad stress. Det var inte möjligt att se någon skillnad i förändring av inställning till matematikämnet för pojkar jämfört med flickor.Vi hoppas att vårt examensarbete ska kunna bidra med insikter om hur närundervisning kan förbättras utifrån erfarenheter av onlineundervisning. Det gäller exempelvis frågor om i vilka sammanhang som digitalisering kan gynna eller hämma lärandet för elever och frågor om hur digitalisering påverkar lärares arbetsbelastning. Vi menar avslutningsvis att erfarenheter från den snabba omställningen av undervisning i gymnasieskolan behöver beforskas ytterligare så att skolan kan möta utmaningar och vara en del av det hållbara samhället. / During the spring of 2020, the Swedish upper secondary schools were requested to readjust their teaching to distance learning and online education, due to the ongoing COVID-19 pandemic, as a step to reduce the spread of infection. The readjustment of teaching to operate fully online led to new challenges for both students and teachers. Digitalization in schools is part of the societal development. This master thesis is divided into two parts, one investigatory and one developmental. It is also a part of the practical research project K-ULF. The investigatory part highlights how students and teachers experienced the change to online teaching and how it affected the students’ studies in mathematics and their attitude towards the subject. Quantitative and qualitative data were gathered by administering a survey to the students. In total 627 students answered and additional interviews with four teachers and five students at two upper secondary schools were conducted. The quantitative data was analyzed one variable at a time to show frequencies whereas the qualitative data was analyzed thematically. The developmental part of this thesis aims to develop a support material for online teaching, in the format of a guidebook. The guidebook was designed by combining the analysis of the gathered experiences from students and teachers with didactics and mathematical didactics research.Results showed that students experienced impact in several areas: work situation, attendance and participation, possibilities to ask questions and changes in social interactions. Many students experienced that it was more difficult to work with mathematics when they had online teaching and that it was more difficult to interact with others. However, there were students that appreciated studying from home and enjoyed taking on more personal responsibilities. This thesis also showed a negative shift in students’ attitude towards mathematics. Contributing factors to the shift were: students found it difficult to focus, lack of motivation, reduced participation during class and that the students did not ask questions when they needed help. Furthermore, some students got a better attitude towards mathematics as they had a positive experience from online teaching, for instance through reduced stress levels. It was not possible to detect any differences in the change of attitude towards mathematics between boys and girls.The aim of this master thesis is to contribute with insights on how traditional teaching in mathematics can be improved based on the experiences from online teaching. Topics that this applies to is for example: questions regarding which contexts digitalization may improve or inhibit learning and what impact it has on teachers' working environment. To conclude, additional experiences from the rapid teaching readjustment in the upper secondary school should be investigated so that the schools can meet these challenges and be a part of a sustainable society.

The Bark Project is a practice-based research venture that uses scientific tools to characterize materials and design methods to explore materials that lead to longer lifecycle applications for tree bark. This project is part of the Matters of Activity excellence cluster research group Adaptive Fibrous Materials, which is aimed at a deeper understanding of biological material, their activity within their environment and adaptation for future scenarios.

[EN] The PhD thesis "INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity" focusses on the influence of the methodology of Historically Informed Performance practice on the creation of a Contemporary Music Theatre performance. The framework and creative basis for their connection is the Divina Commedia of Dante Alighieri (1265-1321). In music theatre it is not only about music as one of the scenic elements; musical thinking structures the entire theatrical process. It is a genre-between-genre, where various art disciplines interact. Historically Informed Performance practice is a characteristic musical approach of the Early Music movement. It includes study of historical documents and objects in order to obtain a more profound understanding of the music and a performance practice which is based upon this comprehension. In our thesis, Historically Informed Performance practice has been connected with Contemporary Music Theatre through a mise-en-scene of Dante's Commedia, principally based upon its sonorous non-musical and musical references. Also references of movement, gesture, colour and light were taken into account for the mise-en-scene, but always in relation to the sonorous references. In this way, the mise-en-scene is a sonorous journey through Dante's Afterworld as he might have imagined it, but also a contemporary visual and dramatical journey. This research has been done through artistic practice: the creation and performance of a contemporary music theatre work called Incipit. It is based upon thorough knowledge of the Commedia and, through its methodology of Historically Informed Performance Practice, it has mostly made used of 14th century musical sources. An audio file was created as a sonorous element for Incipit, based on previously existing sounds and recording of songs and texts.The performance was recorded in video format. The research question was: How do the work methods taken from Historically Informed Performance practice contribute to the creation of a contemporary music theatre performance in a mise-en-scene of the Divina Commedia? For this practice-based research not only historical-musical knowledge was necessary but also literary knowledge of Dante's Commedia and its underlying meanings. Theoretical knowledge thus was an important basis for the practice. However, the practice itself also provided information for the theory. For the composition of three-voice "simple polyphony" according to the rules for polyphonic improvisation around 1300, theoretical knowledge was essential, but their practice led to historical-musical insights of its performance and its rules for intervallic and rhythmic matters. The practice provided a new perspective on Dante's narrative from a sonorous point of view. Finally, the practice combined two disciplines, Early Music and Contemporary Music Theatre, which are not commonly combined, and it provides us new theoretical insights of creative processes and musical-theatrical languages. / [ES] La tesis doctoral "INCIPIT: La búsqueda de un lenguaje multidisciplinario en el punto de encuentro entre la antigüedad y contemporaneidad" trata sobre la influencia de la metodología de la práctica de interpretación históricamente informada en la creación de una puesta en escena de Teatro Musical Contemporáneo. El marco y la base creativa para su combinación es la Divina Comedia de Dante Alighieri (1265 - 1321). El teatro musical no se centra solamente en la música como uno de los elementos escénicos; el pensamiento musical estructura todo el proceso teatral. Es un género-entre-géneros donde interactúan varias disciplinas artísticas. La interpretación históricamente informada es una manera de abordar la música que caracterizan los intérpretes especializados en la Música Antigua. Incluye el estudio de documentos y objetos históricos con el fin de llegar a una comprensión más profunda de la música antigua y una práctica interpretativa que se basa en este entendimiento. En esta tesis, se ha relacionado la interpretación históricamente informada con el teatro musical contemporáneo a través de una puesta en escena de la Comedia de Dante basada principalmente en sus referencias sonoras, tanto musicales como no musicales. Además se tomaron en cuenta las referencias de movimiento, gesto, color y luz para la puesta en escena pero siempre en relación con las referencias sonoras. De esta forma, la puesta en escena se ha convertido en un viaje sonoro a través del Más Allá de Dante como él mismo podría haberlo imaginado, pero también siendo un viaje visualmente y dramáticamente de carácter contemporáneo. Esta investigación se ha realizado a través de la práctica artística: la creación e interpretación de una obra de teatro musical contemporáneo llamada Incipit. Se basa en un conocimiento profundo de la Comedia y, a través de la metodología de la práctica interpretativa históricamente informada, se ha hecho principalmente uso de fuentes musicales del siglo XIV. Un archivo de audio fue creado como elemento sonoro para Incipit, compuesto de sonidos previamente existentes y la grabación de cantos y textos. La actuación fue grabada en formato de vídeo. La pregunta de investigación fue: ¿Cómo contribuyen los métodos de trabajo tomados de la práctica interpretativa históricamente informada a la creación de una actuación de teatro musical contemporáneo en una puesta en escena de la Divina Comedia? Para esta investigación basada en la práctica, no sólo fue necesario el conocimiento histórico-musical, sino también el conocimiento literario de la Comedia de Dante y sus significados subyacentes. Por lo tanto el conocimiento teórico ha constituido una base importante para la práctica. Sin embargo, la práctica en sí también proporciona información para la teoría. En cuanto a la composición de "polifonía sencilla" a tres voces, de acuerdo con las reglas para la improvisación polifónica de principios del siglo XIV, ha sido esencial recurrir a un gran conocimiento teórico, pero su práctica interpretativa dio lugar a ideas histórico-musicales de su interpretación y sus normas acerca de cuestiones de intervalos y ritmos musicales. La práctica proporciona, desde un punto de vista sonoro, una nueva perspectiva de la narrativa de Dante. Por último, la interpretación junta dos disciplinas que no han sido combinadas frecuentemente: la Música Antigua y el Teatro Musical Contemporáneo, proporcionándonos nuevos conocimientos teóricos de los procesos creativos y los lenguajes musical-teatrales. / [CA] La tesi doctoral "INCIPIT: La recerca d'un llenguatge multidisciplinari en el punt de trobada entre l'antiguitat i contemporaneïtat" tracta sobre la influència de la metodologia de la pràctica d'interpretació històricament informada en la creació d'una posada en escena de Teatre Musical Contemporani. El marc i la base creativa per la seua combinació és la Divina Comèdia de Dante Alighieri (1265-1321). El teatre musical no se centra només en la música com un dels elements escènics; el pensament musical estructura tot el procés teatral. És un gènere-entre-gèneres on interactuen diverses disciplines artístiques. La interpretació històricament informada és una manera d'abordar la música que caracteritzen els intèrprets especialitzats en la Música Antiga. Inclou l'estudi de documents i objectes històrics per tal d'arribar a una comprensió més profunda de la música antiga i una pràctica interpretativa que es basa en aquest endement. En aquesta tesi, s'ha relacionat la interpretació històricament informada amb el teatre musical contemporani a través d'una posada en escena de la Comèdia de Dante basada principalment en les seues referències sonores, tant musicals com no musicals. A més es van prendre en compte les referències de moviment, gest, color i llum per a la posada en escena però sempre en relació amb les referències sonores. D'aquesta manera, la posada en escena s'ha convertit en un viatge sonor a través del Més Enllà de Dante com ell mateix podria haver-ho imaginat, però també sent un viatge visualment i dramàticament de caràcter contemporani. Aquesta investigació s'ha realitzat a través de la pràctica artística: la creació i interpretació d'una obra de teatre musical contemporani anomenada Incipit. Es basa en un coneixement profund de la Comèdia i, a través de la metodologia de la pràctica interpretativa històricament informada, s'ha fet principalment ús de fonts musicals del segle XIV. Un arxiu d'àudio va ser creat com a element sonor per a Incipit, compost de sons prèviament existents i de la gravació de cants i textos. L'actuació va ser gravada en format de vídeo. La pregunta d'investigació va ser: Com contribueixen els mètodes de treball presos de la pràctica interpretativa històricament informada a la creació d'una actuació de teatre musical contemporani en una posada en escena de la Divina Comèdia? Per a aquesta investigació basada en la pràctica, no només va ser necessari el coneixement històric-musical, sinó també el coneixement literari de la Comèdia de Dante i els seus significats subjacents. Per tant el coneixement teòric ha constituït una base important per a la pràctica. No obstant això, la pràctica en si també proporciona informació per a la teoria. Pel que fa a la composició de "polifonia senzilla" a tres veus, d'acord amb les regles per a la improvisació polifònica de principis del segle XIV, ha sigut essencial recórrer a un gran coneixement teòric, però la seua pràctica interpretativa va donar lloc a idees historicomusicals de la seua interpretació i les seues normes sobre qüestions d'intervals i ritmes musicals. La pràctica proporciona, des d'un punt de vista sonor, una nova perspectiva de la narrativa de Dante. Finalment, la interpretació junta dues disciplines que no han estat combinades freqüentment: la Música Antiga i el Teatre Musical Contemporani, proporcionant-nos nous coneixements teòrics dels processos creatius i els llenguatges musical-teatrals. / Sprenkeling, L. (2016). INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62682

This thesis is a narrative case study that examined the studio art practice of Lead Pencil Studio, a Seattle-based artist collaborative that explore our spatial relationships with architecture through site-specific installations. The case study specifically focused on the work of Daniel Mihalyo and Annie Han (Lead Pencil Studio) while they were at the Visual Arts Center in The University of Texas at Austin for a spring 2013 artist-in-residence program. The research focused specifically on the artists’ day-to-day process, examining the thoughts and actions that went into creating their work, Diffuse Reflection Lab, a two-story plywood structure that examined reflection’s effect on architecture through various vignettes. Through concentrated observations of the Lead Pencil Studio’s work and three semi-structured interviews, this thesis examined how traditional research practices are integrated into the studio art process. By examining the art/research relationship the author also situates this work in the field of practice-based research. While this work specifically focused on the research conducted by a pair of professional artists, it also extends to a broader argument about the role of research in art lessons. Since this thesis is based in art education, it connects the themes observed in the artists’ studio practice to interdisciplinary learning and arts integration. The author ultimately argues that Lead Pencil Studio’s art/research practice can be used in the classroom as an example of transdisciplinary learning and that it models a rigorous approach to creativity within other disciplines. / text

Daar is baie onbeskryfde ruimtes en identiteite in Suid–Afrika; gemeenskappe waarvan die woordkunspotensiaal van die vertellers en skrywers nie ontgin is nie. Die kompleksiteit van die Suid–Afrikaanse samelewing, veral met betrekking tot taal en die geletterdheidskontinuum, veroorsaak dat gemeenskapseie woordkunsprojekte nie op n eendimensionele vlak beskou kan word nie. In een gemeenskap is daar byvoorbeeld lede wat steeds in die mondelinge tradisie funksioneer, maar ook ander vir wie die skriftelike tradisie toeganklik is. n Nuwe, sogenaamde “sekondêre mondelinge tradisie” speel ook n rol, en daar is komplekse intervlakke tussen hierdie tradisies. In elke gemeenskap deel mense mini–narratiewe met mekaar, maar is daar ook meesternarratiewe waardeur die betrokke gemeenskap, en die samelewing as geheel, beïnvloed word. Die oorkoepelende doel van die studie is om vas te stel watter rol oraliteit en identiteit speel in die bevordering van gemeenskapseie woordkuns in Suid–Afrika. As navorsingsmetode word daar vanuit n heuristiese en interpretatiewe benadering afleidings uit bestaande literatuur en gevallestudies gemaak. Die studie bestaan uit n teoretiese en praktiese deel. Die teoretiese deel behels n metateoretiese raamwerk wat uit die literatuurstudie gevorm word. Dit vorm as't ware die “bril” waardeur die res van die studie beskou word. Drie teoretiese sfere word betrek, naamlik (1) identiteit en ruimte, (2) die woordkuns en (3) gemeenskapsontwikkeling. Tydens die praktiese deel word daar veral van die praktykgebaseerde navorsingsmetode gebruik gemaak, asook op deelnemende waarneming en outo–etnografie gesteun. Insigte word uit twee gevallestudies oor gemeenskapseie woordkunsprojekte en die bespreking van n aantal eenmalige woordkuns–projekte verkry. Uit beide die teoretiese en praktiese dele van die navorsing word sekere merkers afgelei wat vir die skep van n model ter bevordering van die woordkuns in Suid–Afrika gebruik word. Die model is nie algemeen geldend nie; dit bied slegs beginsels wat as riglyne in die bevordering van gemeenskapseie woordkuns kan dien. Na afloop van die navorsing word tot die gevolgtrekking gekom dat beide oraliteit en identiteit n sentrale rol in die woordkuns van gemeenskappe speel. Daar word gevind dat daar verskeie verbande bestaan tussen die identiteit en ruimte van n gemeenskap en die manier waarop hulle hulself in woordkuns uitdruk. Verder word vasgestel dat n deelnemende benadering tot gemeenskapsontwikkeling as n toepaslike filosofiese raamwerk vir gemeenskapseie woordkunsprojekte kan dien. Die benadering word ook (met inagneming van die konsepte ruimte en identiteit) as raamwerk vir die ontwikkeling van die model ter bevordering van gemeenskapseie woordkuns gebruik. / Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

Daar is baie onbeskryfde ruimtes en identiteite in Suid–Afrika; gemeenskappe waarvan die woordkunspotensiaal van die vertellers en skrywers nie ontgin is nie. Die kompleksiteit van die Suid–Afrikaanse samelewing, veral met betrekking tot taal en die geletterdheidskontinuum, veroorsaak dat gemeenskapseie woordkunsprojekte nie op n eendimensionele vlak beskou kan word nie. In een gemeenskap is daar byvoorbeeld lede wat steeds in die mondelinge tradisie funksioneer, maar ook ander vir wie die skriftelike tradisie toeganklik is. n Nuwe, sogenaamde “sekondêre mondelinge tradisie” speel ook n rol, en daar is komplekse intervlakke tussen hierdie tradisies. In elke gemeenskap deel mense mini–narratiewe met mekaar, maar is daar ook meesternarratiewe waardeur die betrokke gemeenskap, en die samelewing as geheel, beïnvloed word. Die oorkoepelende doel van die studie is om vas te stel watter rol oraliteit en identiteit speel in die bevordering van gemeenskapseie woordkuns in Suid–Afrika. As navorsingsmetode word daar vanuit n heuristiese en interpretatiewe benadering afleidings uit bestaande literatuur en gevallestudies gemaak. Die studie bestaan uit n teoretiese en praktiese deel. Die teoretiese deel behels n metateoretiese raamwerk wat uit die literatuurstudie gevorm word. Dit vorm as't ware die “bril” waardeur die res van die studie beskou word. Drie teoretiese sfere word betrek, naamlik (1) identiteit en ruimte, (2) die woordkuns en (3) gemeenskapsontwikkeling. Tydens die praktiese deel word daar veral van die praktykgebaseerde navorsingsmetode gebruik gemaak, asook op deelnemende waarneming en outo–etnografie gesteun. Insigte word uit twee gevallestudies oor gemeenskapseie woordkunsprojekte en die bespreking van n aantal eenmalige woordkuns–projekte verkry. Uit beide die teoretiese en praktiese dele van die navorsing word sekere merkers afgelei wat vir die skep van n model ter bevordering van die woordkuns in Suid–Afrika gebruik word. Die model is nie algemeen geldend nie; dit bied slegs beginsels wat as riglyne in die bevordering van gemeenskapseie woordkuns kan dien. Na afloop van die navorsing word tot die gevolgtrekking gekom dat beide oraliteit en identiteit n sentrale rol in die woordkuns van gemeenskappe speel. Daar word gevind dat daar verskeie verbande bestaan tussen die identiteit en ruimte van n gemeenskap en die manier waarop hulle hulself in woordkuns uitdruk. Verder word vasgestel dat n deelnemende benadering tot gemeenskapsontwikkeling as n toepaslike filosofiese raamwerk vir gemeenskapseie woordkunsprojekte kan dien. Die benadering word ook (met inagneming van die konsepte ruimte en identiteit) as raamwerk vir die ontwikkeling van die model ter bevordering van gemeenskapseie woordkuns gebruik. / Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

No description available.

This thesis is based on my own experiences of dancing Halling, a type of folk dance. Halling is commonly referred to as a male or masculine dance. This has been entangled in the problems I have had with the dance, as I have felt uncomfortable performing all the movements to their full extent. Therefore, I have researched my experiences of this dance through a practical study with a focus on specific movements that I have struggled with. Combining the findings of my practical study with theories about feminism, gender and masculinity has shown me that, while my problem is complex, it is nevertheless possible to structure into two parts of my own understanding. The first part concerns the movement that make up the dance. Through my research I was able to deal with some of the problems that I had with specific movements, and this led me to the conclusion that the movements of Halling in themselves do not have to be problematic in a gendered way. The second part concerns Halling within its context, and the way that its representation and the expectations surrounding it affect me and my dancing. The study has also shown me that being a pedagogical role model is a very complex situation where it is not only important for me to be aware of the choices I make but also the person I am in the teaching situation. / <p>En video presenterades även i samband med examination av arbetet och innehas av författaren.</p>

This research on the forces and forms of urbanization in the Costa Blanca, in the Mediterranean West coast, aims to rethink the collective creation of landscapes by putting side by side top-down landscape planning instruments with everyday activities of things and people that change landscapes in practice. Placed in the hyphen between the disciplines of anthropology and architecture, it is based on fieldwork done by the method of participant observation and, also, participant design. Landscapes transformed by mobile populations are a perfect site to study the difficulties in implementing the democratic approach of the European Landscape Convention. The convention defines landscape as it is perceived by its inhabitants while they constantly take part in its transformation from the inside. Though, the tools available for planners and landscape designers are heirs of a political and aesthetic understanding of landscape that fixes it either as a territory to govern or a view to admire. The research departs from the moment in which these tools are taught to architects in the school. It describes a series of courses about the topic of tourism in which students and teacher made together several experiments with the profession. An experiential methodology that continues along all the chapters wich are all practice based research. After setting the stage of the Costa Blanca in a non-representational way, through an exploration on the potential of narrative to recreate places, it develops a series of variations on the tools of the architect to work with planning. The research does not define a priori what should count as ‘tourism’, ‘spoiled’, ‘valuable’, ‘agricultural’ or ‘natural’ landscapes. Interested in the moments of enjoyment, it does pay special attention to the temporalities of landscape. Fictions, maps, summer houses, events, catalogues and agendas are all in the toolbox of the architect but here they are played in the minor key, to make variations to the major key that has a tendency to prevail. Each chapter pulls a different string from mesh of landscape ecologies of practice, and follows where it leads. The tools are thus presented anew through what was learnt in the fieldwork with lifestyle migrants that seek their place in the sun and local inhabitants that have had an active role in the urban transformations of the area. Building on scholarship in landscape architecture, anthropology, science studies, tourism, planning and speculative philosophy, it follows how actors learn to be affected in the material performance of different relations between people and landscapes. The chapters are built in counterpoint to one another, using narrative and different formatting to stress the accounts of practice and more traditional ethnography. The process of writing and presenting them becomes part of the research. Also, as ways of practice that emerge from landscape transformation related to tourism are described, the question of what making the landscapes of enjoyment does to the political and professional ways of knowing about landscape becomes a central thread of the thesis. In this, it explores how enjoyment cannot be produced, enjoyment can only happen in the collective co-production of landscape, in an undercommons where it becomes 'a task to do' - an agenda for keeping us indebted and thus engaged to each other in a shared landscape.

While the concepts and imagery presented here are not autobiographical, there is no way to fully detach lived experience from the process of making and theorizing this work. And although its impetus is a lifelong journey of healing, the focus here is transforming the inhabitance of trauma into an awareness of embodied presence. From a space of reflexivity, Inhabitance asks you to come back to your body through heart-minded creative action. This practice-based interdisciplinary methodology integrates the emancipatory powers of women and gender studies, consciousness studies and art. Through this hybrid approach, Inhabitance creates space for reconciling an imposed fracture between the sensory and cognitive aspects of our lives to rewrite the restrictive narrative that trauma can hold over both. / Doctor of Philosophy / While the concepts and imagery presented here are not autobiographical, there is no way to fully detach lived experience from the process of making and theorizing this work. And although its impetus is a lifelong journey of healing, the focus here is transforming the inhabitance of trauma into an awareness of embodied presence. From a space of reflexivity, Inhabitance asks you to come back to your body through heart-minded creative action. This practice-based interdisciplinary methodology integrates the emancipatory powers of women and gender studies, consciousness studies and art. Through this hybrid approach, Inhabitance creates space for reconciling an imposed fracture between the sensory and cognitive aspects of our lives to rewrite the restrictive narrative that trauma can hold over both.