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Syftet med denna undersökning är att utforska hur min queera identitet gestaltas i musik när jag skapar musik åt mig själv jämfört med när jag producerar åt andra artister. Jag upplever ibland att man kan höra på musiken att den är skapad av en queer person och vill därför utforska vilka musikaliska parametrar som bidrar till att skapa upplevelsen av en queer identitet i musik. Studien utfördes genom att jag producerade en egenskriven låt och en låt åt min klasskamrat Jakob Jansson som också studerar på Musikproduktionsprogrammet på Musikhögskolan i Örebro. Vi arbetar båda två inom liknande genrer, en slags gitarrbaserad indiepop/indierock. Jag insåg snabbt att jag använder väldigt liknande produktionstekniker i låten jag producerade åt Jakob och i min egen musik – jag bryter mot lyssnarens förväntningar och ”förstör” inspelningar för att skapa nya ljud. Detta kan tolkas som en form av queering av musiken, som bidrar till att gestalta min queera identitet även i Jakobs musik där jag inte kan använda ord och röst för att uttrycka mig. Jag använder mig även av ett ramverk av forskning inom musik och genus som argumenterar för att identiteter är performativa, och inte enbart något medfött. Min upplevelse av att höra en queer identitet i musik kan vara en kombination av att jag tolkar musiken utifrån mina egna upplevelser och att jag identifierar queering-strategier.

At the core of this collaborative ‘independent’ project is a growing and shifting community of practitioners: design students, volunteers, professors, farmers, entrepreneurs, local nonhuman species and the soil; each of us performing our various roles together. By contextualizing this community within the growth economy: industrialization, globalization and capitalism and more specifically: patriarchy, oppression, and alienation, I aim to explore how, through design, we can perform local accountabilities that critically co-respond to the greater anthropocentric narratives of our time. By engaging with autonomous, post-capitalist feminist theories of care, and the queering of normative ways of world-making, I investigate the roles our everyday farm tools play in helping to further explore, ask questions and shape more resilient and convivial practices. Through the collaborative processes of workshopping and prototyping, my collaborators and I challenge the normative narrative of the ‘hero’ tool, looking to our everyday choreographies at the farm for those actions and labours that go unnoticed. Through discussion and material exploration we used the makerly practice of weaving as tool for coming together and helping to create a community of care.

Despite the Obergefell v. Hodges Supreme Court decision to legalize same-sex marriage, none of the seven mainline historically Black denominations have sought to redefine marriage or affirmatively welcome “out” LGBTQIA bodies of color. Notwithstanding the lack of radical hospitality and LGBTQIA affirmation within Black denominations, there are Black churches that unashamedly provide unprejudiced pastoral care, hospitable spiritual formation, and radically affirmative ecclesial settings for LGBTQIA persons of color. To date, no ecclesiological or practical theological research has been conducted on the practices of radical hospitality within these open and affirming Black congregations. Within my dissertation, I examine how three historically Black churches have queered their ecclesial contexts. I research three open and affirming Black congregations in the Boston, Massachusetts Metro Area to answer the following questions: How do these congregations understand what it means to be the church? What are the key defining characteristics of their ecclesiology? How and why have these churches “queered” their Black ecclesial contexts, including both their theology and praxis? The purpose of this investigation is to better understand why some Black congregations practice more radical inclusivity and what that might mean for the future of “Black churches” and Black ecclesiology. I intend to reimagine the nature, mission, and practices of the Christian church itself. While I am sure the findings of this research will contribute to the fields of Black church studies, ecclesiology, and practical theology, my goal is to preserve the history, protect the dignity, address the needs, examine the obstacles, foster understanding, reflect on the experiences, humanize the narratives, and analyze the ecclesiological elements of these particular congregations in order to work towards a Black queer ecclesiology. / 2021-10-28T00:00:00Z

My research explores what laws, such as laws surrounding immigration, child custody, and divorce, negatively affect polyamorous individuals in the U.S. and how people's perceptions of barriers differ along lines of gender-sexual-racial-class identities. My applied research is conducted for my client, a CNM-friendly attorney in D.C. I investigate the experience of polyamorous people that use lawyers they perceive as consensually non-monogamous (CNM)-friendly. I probe what it means to be "CNM-friendly," how one promotes oneself as a CNM-friendly lawyer to potential clients and the world at large, and the relationship between being a CNM-friendly lawyer and activism.

Inqueeries of Space is an artistic research project that explores queering as a practice to create intersectionally inclusive and safer spaces. Queering is both the research object and method. The project examines how spaces can be queered, by means of focusing on public spaces in Kalmar. Experimental practices of queering conducted the research process, like queer city walks, visual alterations of space, or using space in non-normative ways. Queering is investigated as a change agent that dismantles, resists, and disturbs discriminative structures of heteropatriarchy within spaces. Queer aesthetics are being discussed as something non-universal that challenges norms within design, often including transgressiveness and maximalism. The project brings out the need for queer spaces and demonstrates how queering bears the duality of both disturbing norms and celebrating marginalized experiences. The complexity of queerness, inclusion, safety, and visibility is highlighted instead of promoting simplified solutions.

It is well documented that hetero/cisnormativity is prevalent in schools. Queerness predominantly enters schools through anti-Queerphobia work, efforts to protect and include “at risk” gender and sexually creative youth from overt violence and discrimination. ‘Normative’ conceptions about gender and sexuality, however, are not just present in overt gender policing; they lurk in how Queer (LGBTQIA2S+) people are constructed as (in)visible, ‘humourous’, and brave/excessive in and around schools. Hetero/cisnormativty – a hegemonic discourse that interlocks with colonialism, patriarchy, and neoliberalism – is at the heart of why gender and sexually expansive people are not thriving in schools. Mainstream efforts to protect and include Queer people (particularly youth) do not combat hetero/cisnormativity. By focusing solely on the ways that Queer youth are suffering in schools, these strategies absolve schools of looking deeply at how they (re)produce norms and hierarchical, non-reciprocal relationships through space, curriculum, and pedagogy that negatively impact everyone. Through a five-month critical participatory action research (CPAR) project, informed by queer and feminist frameworks, nine activist educators who formed the Queering Schools Collective, explore ways that Queerness/queerness does and can exist in schools beyond protective and assimilationist mainstream efforts. Educators Bridget, Kat, Gabby, Lauren, Max, Gayle, Reagan, Ronnie and Sarah co-researched ways to queer schools through examining the following concepts: inclusion, queerness/queering, and queering schools (space, pedagogy, and curriculum). Analyzing individual interviews, focus group meetings, and select journal entries, this thesis proposes that queering is an orientation towards desire, hope, and thriving; it rejects Queer deficiency narratives and positions queerness as non-dominant ways of being, acting, knowing, and valuing. This thesis likewise conceptualizes queering schools praxis as a flexible, situational process that engages multiple strategies concerned with disruption, reciprocity, and care. Finally, through interpreting collective members’ observations about the process, this thesis positions radical community spaces, where people can dream and strategize, as crucial for enabling queering school praxis. / Graduate

Though largely overlooked in academia, Manhattan public access television became a forum that allowed a variety of behaviors, sexualities, and genders to invade a highly controlled hegemonic apparatus in the 1970s and early 1980s. In this thesis, I argue that Anton Perich’s Anton Perich Presents (1973-c.1978) and Glenn O’Brien’s TV Party (1978-1982) worked to actively queer the form and content of television. Since these shows grew from rather exclusive underground communities, I argue that the broadcasting of these fringe personalities, genders, sexualities, and behaviors to a broader, cable-viewing public formed unique queer counterpublics. I situate Anton Perich Presents and TV Party in relation to the norms of broadcast television in order to establish the limits, norms, and codes of these diverse genres and in order to ascertain viewer’s expectations of them. By positioning Anton Perich Presents and TV Party in conversation with mainstream television shows, I identify a queerness these public access shows lent to television and its viewers through their deliberate manipulations of the medium. / text

The ubiquitous yet opaque logic of machine learning complicates both the design process and end-use. Because of this, much of Interaction Design and HCI now focus on making this logic transparent through human-like explanations and tight control while disregarding other, non-normative human-AI interactions as technical failures. In this thesis I re-frame such interactions as generative for both material exploration and user experience in non-purpose-driven applications. By expanding on the notion of machine learning uncertainty with play, queering, and more-than human design, I try to understand them in a designerly way. This re-framing is followed by a material-centred Research through Design process that concludes with Object Detection Radio: a ludic device that sonifies Tensorflow.js Object Detection API’s prediction probabilities. The design process suggests ways of making machine learning uncertainty explicit in human-AI interaction. In addition, I propose play as an alternative way of relating to and understanding the agency of machine learning technology.

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