<p>This essay is an analysis of a three-day participant observation with sensitive people in a house with <em>entity continuity</em>. The purpose was to investigate the possible experiences participants had during their stay. The method used was modified based theory with Jungian application. The investigation showed that the core category was a peculiar atmosphere which the participants related to a different world than the physical. The place’ atmosphere influenced the participants and led to transcendent experiences related to a spirit realm. The core category led to sub-categories, which consisted of participants’ experiences and the events surrounding them. A Jungian psychology test revealed that introverts have more and stronger sensations; and extraverted individuals were the only ones that had objective experiences and only few and weak subjective experiences.</p>

This essay is an analysis of a three-day participant observation with sensitive people in a house with entity continuity. The purpose was to investigate the possible experiences participants had during their stay. The method used was modified based theory with Jungian application. The investigation showed that the core category was a peculiar atmosphere which the participants related to a different world than the physical. The place’ atmosphere influenced the participants and led to transcendent experiences related to a spirit realm. The core category led to sub-categories, which consisted of participants’ experiences and the events surrounding them. A Jungian psychology test revealed that introverts have more and stronger sensations; and extraverted individuals were the only ones that had objective experiences and only few and weak subjective experiences.

Captured atmospheres - Rooms and interiors that tell a story in the absence of people är en undersökning av min konstnärliga praktik, återkommande teman, idéer och intressen samt bestående influenser. Genom en längre process där jag gick igenom många års samlande av texter, citat, bilder och idéer som har inspirerat och influerat mitt arbete, försökte jag skapa mig en överblick eller förståelse av denna samling och hur den reflekterar min konstnärliga praktik. I denna process valde jag ut de texter, citat och bilder som jag känner står mig närmast de ideér och verk som jag arbetat med under de senaste åren. Den utvalda samlingen kom att handla om atmosfär, stämningar, rumslighet, psykiska upplevelser, frånvaro och existens. Arbetet består av en Artist book-del där jag jobbat med att i en Artist book-format uttrycka de stämningar, atmosfärer och rumsupplevelser - som inspirerar mig och driver min konstnärliga praktik - med bilder, citat och texter från min samling. Den andra delen av arbetet består av en text där jag försöker uttrycka samma idéer och intressen i essäformat. / [I examensarbetet ingår utställningen "We have a visitor":] The exhibition - We have a visitor - is an installation based on the story of a murder case that was solved by PSI phenomena. A woman was murdered and the police had nothing to go on until another woman reported that she had been possessed by the murdered woman and gave details of the murder and the murderer that led to the case being solved. The installation shows two empty rooms; one through a large flat screen TV dropped on the floor displaying still images from a peculiar angle of a room environment, as if the camera (or somebody) is laying on the floor. A voice speaks to us, through the subtitles in the video, describing her own murder. The TV screen is placed on a piece of carpet cut in a shape emphasising the strange angle of the filmed room and points to a screen print on the wall displaying another angle of the same room. The viewer is standing in the portrayed room. The second room, projected onto a large temporary freestanding wall, display shots from a filmed bedroom, focusing on the top of the bed as if someone is laying there. Then, the camera pans to a window, as if expecting someone's arrival. Suddenly, the view drifts upwards, above the bed towards the ceiling. Next, a yellow entity takes over the image and the view descends back to the bed. The entity holds the space for a moment before vanishing as unexpectedly as it arrived. The installation deals with questions surroundng spatial atmospheres and if rooms and interiors somehow could hold or capture atmospheres or feelings after its subjects have left. Material/Teknik/Mått: Videoverk på monitor på specialskuren filtmatta, screentryck, videoprojection på fristående vägg och digitalt tryck. I anslutning till installationen visade jag ckså en Artist book med samma titel som installationen. Verk i utställningen: 1. They found my body (video installation 2013) 2. The room responded with a resounding silence (screentryck, 2013). 3. Room study (Possession) (Video projection, 2013). 4. Could not possibly be explained by normal means (digitalt tryck, 2013) / <p>Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. Tryckta publikationer finns tillgängliga på Kungl Konsthögskolans bibliotek. </p>

Den här uppsatsen handlar om utveckling och utvecklingsarbete på förskolan. Utveckling är ett välanvänt begrepp på förskolor runt om i Sverige. Det är begrepp  som ofta används utan större eftertanke. Vad innebär egentligen utveckling och hur utvecklas något eller någon?  I min uppsats undersöker jag faktorer som upplevs påverka utvecklingsarbetet i förskolans utbildning. Syftet med uppsatsen är att upptäcka små och stora aspekter som gör skillnad, för individen och för helheten i förskolans utvecklingsarbete. Mina forskningsfrågor är följande: – Vad innebär fenomenet utvecklingsarbete i förskolans utbildning?  – Vilka möjligheter/svårigheter ser erfarna förskollärare i ett utvecklingsarbete? – Vilka faktorer påverkar utvecklingsprocessen? – Vilka former av praktisk och teoretisk kunskap krävs för att ett utvecklingsarbete ska ske? Empirin består av berättelser från min egen vardag, om upplevelser och tankar som genom åren kommit och gått. För att få perspektiv på det jag tror mig veta möter jag erfarna förskollärare, jag sitter med i olika samtalsforum samt träffar en fokusgrupp. Genom mina samtal och genom läsning av vetenskapliga och litterära texter uppmärksammar jag olika aspekter på utveckling och utvecklingsarbete i förskolan.  Min undersökning visar att utvecklingsarbete är ett komplext fenomen. Små faktorer kan påverka om utveckling sker eller inte. Det finns faktorer som kan hjälpa till i ett utvecklingsarbete, men även faktorer som kan stjälpa ett utvecklingsarbete. Det finns ingen snabb lösning för att utveckling ska ske, det är en lång process som kräver ett engagemang från alla. Genom att uppmärksamma dessa aspekter kan vi förändra och utveckla vår förskolas utbildning mycket lättare. Att arbeta tillsammans kan vara en utmaning, men är även förskolans styrka. Vi behöver ta hjälp av varandra och arbeta tillsammans för att utveckling ska ske. Utveckling sker till stor del i vårt handlande, men det är inte vårt handlande som vi uppmärksammar och fokuserar på. Uppsatsen är indelad i fyra kapitel som visar på utvecklingsarbetets komplexitet: kultur, administrationsarbete, tillit och praktisk kunskap. / This essay is about development and developmental work within preschools. Development is a well-acclaimed term within preschools in Sweden. A term usually used without much thought. What does development really mean and how does something or someone develop? In this essay I will investigate factors which are considered to have an influence on developmental work within the preschool’s educational system. The purpose of this essay is to discover small and large aspects that makes a difference for, both the individual and for the preschools, education in a developmental work. My research questions are as follows: -          What does the phenomenon of development work mean for the preschool’s education? -          What opportunities/difficulties does experienced preschool teachers see within a developmental work? -          What factors influences the development process?  -          Which forms of practical and theoretical knowledge is demanded for a development work to proceed?  This empiricism consists of stories from my own daily life, about experiences and thoughts that through the years have come and gone. To gain a perspective on my experiences, I  participate in a couple of different discussion forums and I also see a focus group. Throughout my conversations and through reading scientific and literary texts, I draw attention to various aspects on development and development work within preschools. My research shows that development work is a complex phenomenon. Small factors can affect whether development takes place or not. There are factors that can help in a development work, but also factors that can overturn it. There is no quick fix for development to take place, it is a long process that requires commitment from everyone. By paying attention to these aspects, we can change and develop our preschool education much more easily. Working together can be a challenge, but it is also the strength of preschools. We need to support each other and work together for development to take place. Development takes place largely in our present actions rather than in the administrative work. The essay is divided into four chapters that show the complexity of the development work: culture, administration work, trust and practical knowledge.

This thesis project aims to discuss the conditions and importance of water as a dynamic body in our environment, as water is affecting life on Earth on all levels. By focusing on the Baltic Sea, a sensitive body of water, I am exploring the acoustic characters of the sea dynamics through sound recordings at three bays in the Stockholm Archipelago. How can an acoustic exploration of the Baltic Sea dynamics mediate a sensitive relationship to our marine environments? Sound defines environments and gives indications of their current state. In this project, I intertwine an artistic approach involving our senses with scientific research of measuring to further an understanding of the relationship between humans and nature. The project explores water and sound in two parts, first as a method for listening to the sea, second as a spatial composition created for a sensory experience of the sea’s endless motion. It is my hope that my installation can stir emotions and create an understanding for the environmental challenges facing the Baltic Sea and inspire action towards prosperous natural environments where we live with and not apart from nature.

”Ambient Music”, established and described by its ”creator” Brian Eno, has become a term with a wide range of uses - as generative music, in sound- and audiovisual art installation, a mediated ”sound” of a genre through albums and artists to plug in to during your daily walk - as well as any imaginable association with the term connected to public, spatial or virtual ambience. Through the liner notes of the genres original albums (Ambient 1: Music For Airports of 1978, and to some extent Discreet Music of 1975) it is clear though that the original idea is more related to listening to your own spatial awareness as a form of music rather than a following of certain sounds and conventions that the term has been associated with. At the time as a sonic alternative to conventional background music of public spaces. The author suggests that these ideas never would have surfaced if it wasn’t for the earlier ideas of Erik Satie and John Cage, whose sonic frameworks and instructions beyond the traditional music sheet were vital for Eno to create generative canvases of sounding art for the spaces. The paper then focuses on consolidating the term ”Ambient Music” with its frameworks in art and function by deconstructing it between spatial, architectonic usage and as a mediated genre of a ”sound”, via virtual generative music - and back again, via its original description of enhancing environments ”acoustic and atmospheric idiosyncracies”. With Eno’s original thesis in mind the paper continues to explore where ”Ambient Music” (through arguably its sub-genre, ”Spatial Music”) is today, as well as looking at the potential futures for the genres’ artistic functions as an established and accepted sonic element of physical architecture and public spaces. This exemplified by building a bridge between ”Ambient Music” and the modern ”non-ambient” sonic scenographer, ”Spatial Music”-artist Mareike Dobewall, for further discussions on sound art as sounding architecture - a potential future for the Ambient label.

“Entity continuity” refers to recurrent transcendent experiences related to certain places (“hauntings”). The experiences are often interpreted to be due to discarnate spirits or folklore entities. Although the entity continuity experience can be regarded as religious experience, they have yet to be fully explored in science of religion. The purpose of this paper was to describe entity continuity experiences and map out the scientific discussion in order to provide a psychology of religion that provides an understanding of the phenomena. For this purpose a literature study of theories of jungian psychology, parapsychology, and described experiences was undertaken. The material was thereafter analyzed comparatively. The results show that entity continuity experiences can be understood as a form of animism and that the experiences are colored by culture, context, and visual impression. The material also shows that experiences at locations that have played host to entity continuity and poltergeist experiences are equivalent. An altered state of consciousness, a special type of personality, and distinctive environmental stimuli, the atmosphere or “feeling”, is necessary for the occurrence of these experiences. The “percipients” and/or “agents” psychic material is reflected in the atmosphere and becomes expressed as psychic manifestations in the form of entity experiences.