Uppsatsen undersöker huruvida temporär användning av plats kan vara enalternativ metod som ett svar på en del av de utmaningar städer står inför,något som efterfrågas i SOU Ett snabbare bostadsbyggande(Byggrättsutredningen, 2018). En fallstudie av det temporära projektetNobelberget i Sickla, Stockholm, har genomförts. Temporär användning avNobelberget initierades av Atrium Ljungberg, ett privat fastighetsbolag,bostadsexploatering på Nobelberget senarelades till följd av en utdragenplanprocess. Under det temporära projektet som pågick i fyra år, 2015–2019,blev platsen en arena för kultur och evenemang. Genom fallstudien sombaseras främst på intervjuer har vi kunnat studera vilken inverkan dettemporära haft på den privata aktören Atrium Ljungberg, kommunen(offentlig sektor), aktörerna på platsen som främst sysslat med kultur, samthur det temporära påverkat staden och det som idag byggs på Nobelberget.Fallstudien analyseras utifrån det teoretiska ramverket som i uppsatsenframställs, vilket utgår från teorier om temporalitet, plats, strategiskplanering och taktik.Studien påvisar att det temporära projektet medfört att samtliga inblandadeaktörers verksamheter har utvecklats som en konsekvens av det temporäraprojektet. Atrium Ljungberg och kommunen har tvingats utmana sig själva ochgå utanför de ramar de vanligtvis verkar inom för att genomföra projektet.Kulturaktörernas verksamheter har stimulerats av det temporära, ett fokus påskapande och aktion har kunnat ske då tidsbegränsningen som uppstår meddet temporära inte rymmer ältande och utdragna processer. Fallstudiensynliggör dock att det finns en problematik till följd av det temporära,framförallt att kulturaktörer strukturellt förpassas till stadens mindrebeständiga och perifera platser. Därför är en slutsats av denna uppsats att dettemporära nödvändigtvis inte är lösningen på stadens utmaningar, men att detkan ha en katalyserande kraft samt en förmåga att synliggöra styrkor ochbrister i planeringen av det urbana. / This thesis investigates whether temporary use of space can be an alternativemethod in meeting the city's challenges, such as is requested in the governmentinquiry Ett snabbare bostadsbyggande (translated to: A more rapid housingdevelopment) (Byggrättsutredningen, 2018). A case study of the temporaryproject Nobelberget in Sickla, Stockholm, was implemented. Temporary use ofNobelberget was initiated by Atrium Ljungberg, a private real estate company,when their property with planned housing development was delayed as a resultof an extended planning process. During the temporary project that ran forfour years (2015-2019), the site became an arena for cultural activities andevents. Through the case study, which is based primarily on interviews, wehave been able to study the effect the temporary use had on the private actorAtrium Ljungberg, the municipality (public sector), the actors on the site whomainly engaged in culture, and how its temporary use affected the city andwhat is currently being built on Nobelberget. The case study is analyzed basedon the theoretical framework presented in the thesis, which is based ontheories of temporality, place, strategic planning and tactics.The study shows that the temporary project led to development in the internalorganization of involved actors and their activities. To carry out the project,Atrium Ljungberg and the municipality have been forced to challengethemselves and go beyond the framework they usually operate within. Thelimited timeframe, resulting from the temporary use of space, has resulted inan environment which promotes increased creativity and accelerated action.However, the case study also highlights problematic consequences of thetemporary use of space, not least the structural dispatching of cultural actorsto the less permanent and peripheral areas of the city. Therefore, oneconclusion of this thesis is that the temporary use of space is not necessarilythe solution to the city's challenges, but rather a catalyzing power and an abilityto make the strengths and shortcomings of urban city spaces visible.

Using slow camera movement in 20 minutes in five video scenes of completely CGI-rendered environment called Area of Universal Latency, I am mapping space-time of the zone which is located in the north-western Slovakia. Minimalistic narration of the autonomous single-channel video projection is confronting subjectivism with universality of the Anthropocene, vanitas and spirituality with the belief of consumerism in infinite accumulation and simulacra of virtuality with the absolute truth. The story of this video-poem is communicated through virtual environment, composed sounds and natural noises. This thesis is presenting a fragment of my attempt to record the morphology of the specific place through which, as the title of the video states, I am indicating the state of reality and its consequences yet not describing it explicitly.

Ce mémoire a pour objectif d’illustrer l’importance du son dans ma démarche musicale par le biais de l'analyse de trois pièces instrumentales écrites lors de ma maîtrise. L’étude de mon processus de création, depuis les premières idées sonores jusqu’à la réalisation de la partition finale, mettra ainsi en lumière plusieurs éléments constitutifs de cette « écriture du son » au cours de mon travail de composition. Il s'attardera particulièrement sur la recherche de différentes matières sonores, sur l’intégration de sonorités bruités et inharmoniques dans la structure musicale, sur l'utilisation de modes de jeux instrumentaux non conventionnels, ainsi que sur la neutralisation des fonctions harmoniques et mélodiques. Ce mémoire abordera également les conséquences de ces recherches sonores sur la forme, la temporalité et la notation. En examinant diverses applications formelles liées au déploiement temporel du son, de la Momentform jusqu’au continuum, il interrogera notamment le rapport entre la forme et la perception de l’objet sonore. Enfin, il soulèvera les incidences de cette démarche sur l'emploi de nouvelles notations musicales qui synthétisent diverses approches d’écriture, de la notation traditionnelle à la partition graphique. Les trois pièces analysées dans ce mémoire (La peau du dehors, pour grosse caisse amplifiée ; Traverser / Disparaître, pour quatuor à cordes ; Filtres, pour ensemble de 14 instruments) permettront d’observer l’application de cette « écriture du son » au sein de projets aux instrumentations diverses, depuis la pièce soliste jusqu’à la pièce pour ensemble. / This dissertation aims to illustrate the importance of sound in my musical approach through the analysis of three instrumental pieces written during my master's degree. The study of my creative process, from the first sound ideas to the realization of the final score, sheds light on several constituent elements of this "writing of sound" during my composition work. It focuses particularly on the search for different sound materials, on the integration of noise and inharmonic sounds in the musical structure, on the use of unconventional instrumental techniques, as well as on the neutralization of harmonic and melodic functions. This dissertation also addresses the impact of these sound investigations on form, temporality and notation. By examining various formal applications related to the temporal deployment of sound, from the Momentform to the continuum, it investigates the relationship between form and perception of the sound object. Finally, it analyzes the consequences of this method on the use of new musical notations, which synthesize various approaches across traditional notation and graphic score. The three pieces analyzed in this dissertation (La peau du dehors, for amplified bass drum; Traverser / Disparaître, for string quartet; Filtres, for ensemble of 14 instruments) will allow us to observe the application of this "writing of sound" within projects with diverse instrumentations, from the solo piece to the piece for ensemble.

Abstract. In the worldview of a traditionally Eastern cultural context, consciousness and matter are intertwined.  In that context  negative and positive spaces relate to each other. With that in mind, the vessel is an interesting object to work with. In my master work I explore "Thinking- through- making", a process where making and thinking alternate back and forth, in iterations. The making or designing can be taking place intuitively.  Scaling down the vessel, to the point where it has no contemporary practical function,  as a way of talking about the exercise of sensitivity, in a fast, loud and insatiable present. Questioning the prevailing value system. By re:learning to become more sensitive, empathy for different types of existence becomes possible, and togetherness between human beings and their companion species opens up. By making (diminutive) stoneware vessels, I enter a long tradition of the time-consuming, hand-building technique of Yixing clay. And hence, contrasts with the technology and scale of contemporary mass production.  Perhaps my vessels are pots to plant seeds for the hope of a future human existence? Or, maybe they are vessels for tears, over human existence? At least they are parts of bedrock coming back together from dissolution, for union.

The Massacre of Chios (1824) by Eugéne Delacroix illustrates the titular genocide from the Greek War of Independence. This genocide was a veritable razing of the entire island by Ottoman Turks in 1822. Today, a replica of Delacroix's painting resides on the island inside the entrance of the Chios Byzantine Museum, located in a converted mosque built on the ruins of a Christian church. This site is a case for the existence of non-Western temporalities, including liturgical and Aegean temporalities, as they pertain to the commemoration of the massacre through interaction with the replica. These temporalities are not causal or linear as in the West. On Chios, everyday interactions with history happen through the orthodox devotions and concomitant emotions of the present, with temporally transcendent icons, relics, and rituals promoting the imbrication of temporalities. The layout of the mosque, in its simplicity, conforms roughly to the plan of a Greek Orthodox church with the museum space organized to emphasize this, encouraging a liturgical temporality. Given that Chiots remember the massacre victims as tantamount to saints, the saturation of Christian elements in Delacroix's composition communes with the museum space to create an active site of memory, with the replica functioning like the Holy Greek Orthodox icons in the adjacent room, inviting a liturgical temporality. A comparable site, Agio Minas, a major massacre site in Southern Chios, also exhibits genocide victims as saints through eikonic imagery; here, victims' remains are displayed as relics alongside an icon of the Forty Martyrs of Sebaste, setting the stage, so to speak, for the naos where blood still stains the stone floor. In a similar way, the replica located in the "narthex" of the museum mediates a preparatory experience that overlays a narrative of Christian martyrdom onto the museum's "naos," where visitors engage with the icon collection. The proximity of replica and Byzantine collection overlays Chios' destruction with that of Constantinople's, collapsing time and presenting the two as related events. The Chios Byzantine Museum exemplifies what anthropologist Nicolas Argenti has termed "Aegean temporality," where past and present overlap in physical and incorporeal sites of memory. Orthodox icons do just that: transcendent and a-temporal by nature, their efficacy lies in bringing the pictured figure into the present moment and "enfleshing" remembrance as a current reality. The replica Massacre of Chios likewise acts as an active a-temporal object. Because of affordances granted by the narthex space and eikonic associations, it sacralizes the museum space into a living site of memory. With Aegean temporality facilitating a constant re-experiencing of the massacre, the massacre's presence and potency is not something left in the past. The painting's status as a semi-icon supports the immediacy of the massacre, as the viewer spiritually interacts with the image in the present.

Comment caractériser les liens entre les récits mobilisant la figure du patient zéro et la production de cette dite figure? La notion de récit ici abordée, étant particulièrement inspirée de Ricoeur (1983), fait essentiellement du récit une configuration narrative et médiatique cherchant à imiter une temporalité donnée. La notion de figure, quant à elle, dépasse l’opposition classique entre l’abstrait et le concret; la figure est le lieu où se rencontrent représentations concrétisées et entités idéelles afin de se « figurer » mutuellement. Le référent de la figure, n’étant pas une abstraction figée dans le temps, est constamment en proie au réassemblage, à la transformation et à l’effacement des éléments qui la constituent. Je qualifie de figuration ce processus temporellement déployé. Par le biais de ma perspective narrative, ce sont les récits médiatisés, surtout en temps d’épidémies/pandémies, que je tiens pour éléments d’assemblage de la figuration du patient zéro en regard des deux dernières décennies. Ainsi, j’ai pu conclure que la personnification y est certainement son mode d’instanciation le plus récurrent et celle-ci s’exécute habituellement par le biais d’une désignation – de qui s’agit-il? – jumelée à une performance personnificatrice – de quelles actions s’agit-il? De plus, une étude intermédiale du parcours de cette figuration a permis de faire ressortir l’hypermédialité relativement constante de l’écrit en son sein. En dernier lieu, pour synthétiser l’évolution de la figuration du patient zéro au cours du laps de temps concerné, j’ai proposé d’aborder celle-ci via trois processus transformateurs : la dé-personnification, la distanciation et la pluralisation. / How can we characterize the links between the stories mobilizing the figure of patient zero and the production of this so-called figure? The notion of story discussed here, being particularly inspired by Ricoeur (1983), essentially makes the story a narrative and media configuration seeking to imitate a given temporality. The notion of figure, for its part, goes beyond the classical opposition between the abstract and the concrete; the figure is the place where concretized representations and ideal entities meet in order to "figure" each other. The referent of the figure, not being an abstraction frozen in time, is constantly plagued by the reassembly, transformation and erasure of the elements that constitute it. I call this temporally deployed process figuration. Through my narratively informed perspective, it is the mediatized stories, especially during times of epidemic/pandemic, that I hold as elements of assembly of the figuration of patient zero within the scope of the last two decades. Thus, I was able to conclude that personification is certainly its most recurrent mode of instantiation and this is usually carried out through a designation – who is it? – paired with a personifying performance – what actions are those? In addition, an intermedial study of such figuration has above all made it possible to highlight the relatively constant hypermediality of the writing form within it. Finally, to synthesize the evolution of the figuration of patient zero during the time span concerned, I proposed to approach it through three transformative processes: de-personification, distancing and pluralization.

In every society, the reality of collective decision-making falls short of the democratic ideals in several ways. Yet there is a continuous focus on enhancing and adopting democratic practices through a stronger connection between citizens and public officials. One approach, towards improving democratic practises, which have gained a lot of popularity in recent years, is the incorporation of temporary use in the city. This approach to planning is something that this thesis has work towards understanding. As a means of research this phenomenon, this thesis has investigated a new redevelopment tool at Malmö municipality, known as “intermediate use”.  This thesis has investigated and evaluated this approach to planning and have done so by conduction case studies on the only current two project that utilizes this intermediate use as a method in the city. The projects at hand are: Skeppsbrokajen, a redevelopment project in the early stage of developing Malmö’s “new” city district Nyhamnen and is a project which aims to draw attention as well as establish the foundation for a green quay-walking lane that the municipality envisions for the future. The second case is Naturmolnet, a redevelopment projects located at Sofielund, a district that historically have a bad reputation and is undergoing a repurposing/rebranding phase which Naturmolnet is a part of. The case studies of these projects have been complimented by observations, interviews, and document studies, all in order to gain as deep understanding of the cases as possible. As a theoretical background a critical urban theory has been adopted, meaning that both strength and weaknesses of the investigated cases have been brought up as well as the thesis keeping an underlying strive for everyone right to the city. This thesis has utilized a theoretical structure consisting of temporality and its many implications. Accompanying this, an understanding of communication through the concept of citizen participation and the concept of public space and everyone’s right to it has been discussed. These ideas have finally been used in conjunction with each other in order to create a theoretical framework that this thesis have utilized as a tool to evaluate the democratic potential of the investigated cases. The result of the study showed that even though the intentions of these projects are similar, the outcome of what they have achieved during their time are vastly different. Naturmolnet have managed to create a successful democratic urban space that could be likened to a “bottom-up” approach to planning. Skeppsbrokajen on the other hand, have not been as successful in this endeavour, much due to the pandemic, and the planning here is more in line with the more classical “top-down” approach to planning.

Contained herein is a close examination of self-awareness and self-portraiture as it applies to the works of artist Jeffrey Hoffman. Water, frozen into various forms and combined with natural elements of wood, slowly melt over an indeterminable amount of time, each droplet documented as the process transforms the elements. Through this process, we see change. We see time. We see truth. This documentation of change and time through natural elements is where the artwork comes full circle. Working with new media to explore man's interconnectivity to life, energy, and the cosmos, he produces time based installations, photographs, videos, and sculptures that serve as both existential metaphors and Tantric symbols. With the use of digital cameras and video, a record is created by which the disintegration which occurs from the unseen forces of gravity, heat and time upon sculptures made from natural elements and ice is examined. In its sculptural form, his work can be categorized as Installation art and Performance art due to its evolving nature. Each piece is intended to either change over time or to have that change halted by another temporal force like that of flowing electricity. The possibility of allowing varying levels of self-awareness to emerge through self portraiture is also examined. The existential, as well as the metaphysical, can be present in a physical form when the form is imbued with evidence of an evolutionary process. In many ways, the work serves as a self portrait. It is a means for Hoffman to examine his own existentialism as a student of the modern western world and life.

Cette thèse suggère que la figure du vampire est une représentation de la neutralité, et ce, à travers diverses perspectives telles que la neutralité du genre, la neutralité temporelle et la neutralité corporelle. Le vampire a d’abord été considéré comme une créature malsaine avant de devenir plus humanisée au fil du temps. Cependant, je maintiens que le vampire contemporain n’est ni « négatif » ou « positif », mais plutôt neutre, ce que mettent en lumière les concepts de performativité et de corporalité élaborés par Judith Butler. Le vampire, étant à la fois arrêté dans le temps et existant pour toujours, manifeste non seulement la neutralité sexuelle et celle du genre, mais la créature vampirique illustre également l’importance du neutre tant au niveau corporel (tel qu’élaboré par Judith Butler) qu’au niveau temporel (tel que défini par Frank Kermode). Le neutre sera défini à partir des théories de Claude Stéphane Perrin, Maurice Blanchot et Roland Barthes. Étant à la fois présent/absent et à l’intérieur/à l’extérieur de l’expérience humaine, le vampire n’est pas seulement neutre, mais il permet d’étudier les différents aspects inhérents à la neutralité, soient-ils liés à la performativité du genre et de la sexualité, à la corporalité ou à la temporalité. Les aspects théoriques développés dans cette thèse sont analysés à travers les romans vampiriques contemporains suivants : Let the Right One in de John Ajvide Lindqvist (2004), The Vampire Chronicles de Anne Rice, plus précisément The Vampire Lestat (1987) et Queen of the Damned (1989), et The Passage (2010) de Justin Cronin. Le texte de Lindqvist redéfinit, entres autres, la neutralité du phallus à travers la castration, faisant du personnage d’Eli un vampire neutre et genderqueer. De plus, les crocs des vampires permettront une redéfinition neutre du phallus. La prépuberté vampirique dans les romans de Cronin et de Lindqvist sera également pertinente puisqu’un corps arrêté dans le temps et qui demeurera toujours prépubère solidifie le statut neutre du vampire. Les romans de Rice permettront de redéfinir le tabou de l’inceste et, donc, de consolider la neutralité du vampire. Les espaces vampiriques neutres dans les romans de Rice et de Cronin seront également mis de l’avant, et ce, à travers une conceptualisation de la temporalité comme étant neutre. Concrètement, la figure littéraire du vampire tente de déconstruire les normes sociétales du genre, de la sexualité, de la corporalité et de la temporalité en faveur d’une ontologie fluide et libre qui mène au neutre. / The figure of the vampire is a representation of the concept of neutrality, shown through different perspectives ranging from gender neutrality, corporeal neutrality, and temporal neutrality. The vampire has been shown to go from a “negative” representation to a “positive” one over the centuries. My claim is that the contemporary vampire is neither “negative” nor “positive” but neutral. This neutrality will be analyzed through the lens of Judith Butler’s conceptualizations of gender performativity and of corporeality. The vampire, being both time-stopped and existing forever, not only manifests gender and sexual neutrality, but also neutral corporeality (as elaborated by Judith Butler) and neutral temporality (as defined by Frank Kermode). The concept of the neutral will be approached based on the works of Claude Stéphane Perrin, Maurice Blanchot, and Roland Barthes. By being both present/absent and inside/outside the human experience, the vampire manifests different aspects of neutrality, be it performing gender and sexuality, understanding corporeality, or experiencing temporality. The theoretical aspects of this dissertation are analyzed based on the following contemporary vampire-centric narratives: Let the Right One in (2004) by John Ajvide Lindqvist, The Vampire Chronicles by Anne Rice, more specifically The Vampire Lestat (1987) and Queen of the Damned (1989), and The Passage (2010) by Justin Cronin. Lindqvist’s novel redefines, among other things, the neutrality of the phallus through the act of castration, making the character of Eli a neutral and genderqueer vampire. Furthermore, vampire fangs will be of importance as they can be perceived as a manifestation of a neutral phallus. Vampiric prepubescence is also shown to espouse the neutral as it personifies a time-stopped body that will forever exist on the cusp of change. Rice’s novels will allow a resignification of the taboo of incest, further manifesting vampiric neutrality. The concept of vampiric neutral spaces will be tackled in both Rice’s and Cronin’s novels through a neutral conceptualization of temporality. In essence, the figure of the literary vampire attempts to deconstruct societal norms pertaining to gender, sexuality, corporeality, and temporality in favor of a free and fluid ontology which leads to the neutral.

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