An overarching goal of my dissertation is to delineate social systemic processes as first and foremost embodied, experiential processes. I argue that such processes manifest through and depend upon the organism’s affective integration with her environment. Whereby, I delineate concepts like alienation and agency as manifesting through an affective intelligibility. Symbolic alienation, then, represents a circumstance in which institutional narratives purport moral or aesthetic truths that denigrate and deny the organism’s affective understanding of a circumstance. Agentic growth refers to the organism’s affective adaptation to an environment. Such growth follows from the process of working through experiential discordance (i.e., the disturbance of experiential flow or continuity) and manifests as a new-found sense of trust and understanding. Experiential discordance is an unavoidable occurrence because the organism-environment relationship is a dynamic one. If the organism is unable to mitigate and repair such discordance, she will face the threat of traumatization. Furthermore, those who disrupt the conventional-institutional organization or channeling of experience take on the character of dirt and thereby represent a dirty Other. If institutions react to the troubling, dirty Other by means of systemic repression, rather than genuine communication and reintegration, then said dirty Other takes on the character of shit. In such a circumstance, the presence of the dirty Other likely reveals deep, social systemic inadequacies and thereby ruptures the collective’s existential confidence and praxeological competence.

Master essäen publicerades som bok och var tillgänglig på utställningen 'Beyond Zero'. Performancet 'Spending time to draw Time utfördesvarje gång någon ville ha en kopia. I performancet ritar jag en punkt efter \"Frozen time=\" och en linje efter \"Time\" på sidorna 20-21. Jag änvänder min egen tid för att rita \'tid\'. Varje exemplar är unik och numrerad, eftersom ingen linje eller punkt någonsin är identisk. / [I examensarbetet ingår utställningen "Beyond Zero":] Jag ser historien som en oändlig upprepelse av konstruktion och destruktion. Nästan alla städer med sina byggnader, torn och fabriker som byggs upp, rivs förr eller senare ner. Det kan bero på naturkatastrofer, krig, förödelse eller att något inte längre behövs därför att ideer och concept i ett samhälle förändras. Vad som blir kvar är skal och ruiner eller frusna/icke genomförda byggnadsprojekt och monument. M.a.o. döda objekt/verktyg som tillhör en annan tid. Historien handlar också om vad vi väljer att synliggöra och osynliggöra. Många ställen där dramatiska grejer har hänt, har helt byggts om så att alla spår av en tragedi eller hemsk historia raderas bort. Varför väljer vi att ta bort vissa grejer och att förstärka synligheten av andra? Detta synliggörandet och osynliggörandet av historien är ett tema som jag har jobbat med i min slututställning genom performance, ljudverk och skulpturer. Till exempel genom att undersöka dom negativa och positiva fälten i ett objekt. Eller genom att något fragilt och lätt transformeras till något tungt och kompakt och vice versa. Vad man ser och inte ser. I mina verk vill jag undersöka och utveckla motsättningar och sätt att läsa historien. Arbeta med tid, ett nu som innefattar det förflutna och förhåller sig till framtiden.______________ List of works:\r\n\r\n-3 -2 -1 0 1 2 3\r\nSteel, iron, plywood, glass, plastic, nylon\r\n2015\r\n\r\nLightning\r\nConcrete, styrofoam, forklift\r\n2015\r\n\r\nDiamond-Heart\r\nIron, bronze\r\n2015\r\n\r\nWhere the Battle took place I\r\nIron spike &amp; bronze death mask of the artist, shot at with a shotgun\r\n2015\r\n\r\nWhere the Battle took place II\r\nIron spike &amp; bronze death mask of the artist, shot at with a rifle\r\n2015\r\n\r\nWhat does Finnegan see when he wakes up?\r\nSound piece\r\n2015\r\nThe loudspeaker was located very high near the ceiling and looked like a black eye supervising the installation and it\'s space. Since there are intervals of silence the sound is suddenly part of the space. In order to turn the sound on and off, I had to climb a ladder.\r\nThe piece consists of two parts, alternating with breaks of 2 to 4 minutes.\r\n1. My voice reading parts of Finnegans Wake by James Joyce, as if it\'s Flemish. \r\n2. My voice giving the listener/viewer the clue with which the codes in my master essay can be deciphered.\r\n\r\nSpending Time to draw Time\r\nBooklet-Performance\r\n2015\r\nMy master essay was available as a leaflet at the exhibition. \r\nEvery time someone wanted to buy a copy, I did a performance. The performance consisted of personally drawing a dot after \'Frozen time=\' and a line after \'Time=\' on pages 20-21. I thus used my own time to draw time. Each copy is unique and numbered, because no line or dot can ever be identical. Material: Betong, frigolit, järn, nylon, brons, ljud, plywood, plast, glas Teknik: Skulptur, ljud, 3d fräsning / <p>DVD med dokumentation av performance och installation finns tillgänglig på Kungl Konsthögskolans bibliotek.</p>

A fundamental understanding of the kinetics and mechanisms of the catalytic reaction steps involved in the process of converting a fuel into hydrogen rich stream suitable for a fuel cell, as well as the electro-catalytic reactions within a fuel cell, is not only conceptually appealing, but could provide a sound basis for the design and development of efficient fuel processor/fuel cell systems. With the quantum chemical calculations on kinetics of elementary catalytic reaction steps becoming rather commonplace, and with increasing information now available in terms of electronic structures, vibration spectra, and kinetic data (activation energy and pre-exponential factors), the stage is set for development of a comprehensive approach. Toward this end, we have developed a framework that can utilize this basic information to develop a comprehensive understanding of catalytic and electrocatalytic reaction networks. The approach is based on the development of Reaction Route (RR) Graphs, which not only represent the reaction pathways pictorially, but are quantitative networks consistent with the Kirchhoff's laws of flow networks, allowing a detailed quantitative analysis by exploiting the analogy with electrical circuits. The result is an unambiguous portrayal of the reaction scheme that lays bare the dominant pathways. Further, the rate-limiting steps are identified rationally with ease, based on comparison of step resistances, as are the dominant pathways via flux analysis. In fact, explicit steady-state overall reaction (OR) rate expression can also be derived in an Ohm's law form, i.e. OR rate = OR motive force/OR resistance of an equivalent electric circuit, which derives directly from the RR graph of its mechanism. This approach is utilized for a detailed analysis of the catalytic and electro-catalytic reaction systems involved in reformer/fuel cell systems. The catalytic reaction systems considered include methanol decomposition, water gas shift, ammonia decomposition, and methane steam reforming, which have been studied mechanistically and kinetically. A detailed analysis of the electro-catalytic reactions in connection to the anode and cathode of fuel cells, i.e. hydrogen electrode reaction and the oxygen reduction reaction, has also been accomplished. These reaction systems have not so far been investigated at this level of detail. The basic underlying principles of the RR graphs and the topological analysis for these reaction systems are discussed.

As a consequence of a process of semiotic totalization of public life in totalitarian societies, a system of social, esthetic, ethic and language norms becomes radically altered. This system is partially described in Totalitarian kitsch section, in chapters called Totality, Kitsch, Art, Language, Esthetics and Myth. In a passage called Underground, totalitarian realism and Egon Bondy's and Ivan Vodseďálek's gauche poetry is interpreted as a model reply on totalitarian society conditions. A concept of total poetry is introduced. We ask a question: what actually total poetry is, if not an art? Eleven answers are being sequentially found: 1. it is a complex of apocryphal texts of socialistic realism, 2. it is a game about art, 3. it is culture at the phase of being born, 4. a method of phenomenological reduction, 5. a language game, 6. de-construction of myth, 7. occupation of game position within totalitarian society, 8. a myth, 9. a semiotic clearance process carried out through semiotic rage, 10. symbolization of reality and realization of symbol, 11. call for a game. In the end, we try to define total poetry in relationship to avant-garde, modern art and postmodernism. Three points have been discussed in a chapter called Kitsch and underground: 1. recapitulation of acceptation of Egon Bondy's and...