29. Research on Arts Education
Paper
Student Gender Matterings in Secondary School: Diffractive Encounters with Student Video Dartaphacts through Transmaterial Walking
Prue Adams
Western Sydney University, Australia
Presenting Author: Adams, Prue
Gender remains a key determinant of experience in schools and wider society (United Nations, 2022), however while many young people are redefining genders and sexualities in more fluid ways, secondary schools continue to be prime sites for the regulation of gendered and sexual identities, gendered harassment and sexual violence. The critical lack of inclusive GSD curricula and policies, coupled with cultures of silence in schools, means that underlying structural issues of inequity continue (Ullman & Ferfolja, 2020). In this context, research that investigates and mobilises how young people experience and understand gender in secondary education has never been more pressing. Inspired by innovative arts-based gender and identity research with young people (Renold, 2019; Hickey-Moody, 2019), this research asks how what I’m calling affective filmmaking can be utilised as an emergent arts-based method with young people to explore everyday understandings and experiences of gender in secondary school? Further, it considers how the process of affective filmmaking might offer unique understandings of gender beyond binaries to prompt a re-think of existing narratives and potential futures.
Art making as research method is an affectively and materially engaged process that ‘can support the articulation of difficult experience’ (Renold, Edwards & Huuki, 2020, p. 446). Filmmaking as a participatory arts-based method commonly foregrounds narrative storytelling, even when conceived within a feminist posthuman theoretical framing (Rice & Mündel, 2018). This research proposes affective filmmaking as a process for making-thinking (Manning & Massumi, 2014) with and from sensation and materiality (Hickey-Moody, 2013). Affective filmmaking brings the sensory qualities of cinema (Kennedy, 2002) into relation with felt experience through a process of playful experimentation. Thinking with Barad (2021, p. 133), I suggest that affective filmmaking is a ‘specific material practice[ ] of intra-acting with and as part of [school] world[s]’. This paper performs a diffractive analysis (Barad, 2007) of student created video ‘dartaphacts’ (Renold, 2018) through ‘transmaterial walking’ (Springgay & Truman, 2017). Transmaterial walking with student video dartaphacts pays attention to gendered materialities of school structures, spaces and their affects in everyday lived experience.
This doctoral research is part of the larger Australian Research Council funded study “Gender Matters: Changing Gender Equity Policies and Practices in Australian Secondary Schooling” led by Prof. Susanne Gannon and Prof. Kerry H. Robinson.
Methodology, Methods, Research Instruments or Sources UsedAffective filmmaking workshops were designed to support senior secondary students, as non-filmmaker participants, to explore experiences and understandings of gender secondary school through an emergent feeling-making-thinking process. To create conditions for emergence, I developed ‘enabling constraints’ (Manning, 2013, p. 347) as propositions for ‘structured improvisations’ that could ‘focus multiplicity into emergence’ . First, the students tuned in to their affective (or felt in the body) responses to a series of short film clips and identified the cinematic techniques the filmmakers use to achieve these. Students experimented with these techniques in their own making with/from experiences of gender that they chose to explore. iPads in stabiliser grips for filming and editing became extensions of student bodies, allowing them to move freely as they tried stuff out in relation with the materiality of school spaces. The students filmed, edited, reviewed-felt what their work produced and allowed their responses to guide the next iteration, and the next… The student created darta became video dartaphacts with the potential to relay ‘affects and feelings of crafted experience, [to] communicat[e] ‘what matters’ into new places and spaces’ (Renold et al, 2020, p. 446)
Diffractive encounters as a method of analysis (Barad, 2014) recognise material objects as phenomena in which meaning is dynamic and relational; what is made possible and what is excluded shifting with each encounter. In this analysis of student video dartaphacts, transmaterial walking operates as a diffraction grating that attends to relational forces of matter and intensity produced in the movement through school spaces with/in the student video dartaphacts. Transmaterial walking shifts our attention away from human embodiment of experience towards relational forces of matter, affect and intensity with trans theories that ‘rupture heteronormative teleological understandings of movement and reproduction (…) to emphasize viral, tentacular, and transversal conceptualizations of difference’ (Springgay & Truman, 2018 #202, p. 6).
Conclusions, Expected Outcomes or FindingsInitial analysis of the student created video dartaphacts suggest that affective filmmaking supported students to explore and relay unique felt experience and becomings of gender through their video making and sharing with peers and teachers at the end of the workshop. The workshop process itself generated further conversation about gendered experience and sparked ideas between students that became entangled with their own making and thinking. Diffractive encounters with student video dartaphacts unsettle and rupture normative hierarchies and binaries embedded in school structures (and policies) that welcome some bodies as they destabilise and erase others. Insights into specific sites and experiences resonate beyond in their entanglement with forces of power, policy, and practice.
ReferencesBarad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University Press.
Barad, K. (2014). Diffracting diffraction: cutting together-apart. Parallax, 20(3), 168-187. https://doi.org/10.1080/13534645.2014.927623
Barad, K., Juelskjær, M., Plauborg, H., & Stine, A. W. (2021). Dialogue with Karen Barad. In M. Juelskjær, H. Plauborg, & A. W. Stine (Eds.), Dialogues on agential realism: engaging in worldings through research practice (pp. 118-141). Routledge. https://doi.org/10.4324/9780429056338
Hickey-Moody, A. (2013). Affect as method: affective pedagogy In R. Coleman & J. Ringrose (Eds.), Deleuze and research methodologies (pp. 79-95). Edinburgh University Press.
Hickey-Moody, A. (2019). Entanglements of difference as community togetherness: faith, art and feminism. The Social Sciences, 8(9), 264. http://dx.doi.org/10.3390/socsci8090264
Kennedy, B. M. (2002). Deleuze and cinema: the aesthetics of sensation. Edinburgh University Press.
Manning, E. (2013). The Dance of Attention. Inflexions, 6 “Arakawa and Gins” 337-364. www.inflexions.org
Manning, E., & Massumi, B. (2014). Thought in the act: passages in the ecology of experience. University of Minnesota Press. https://doi.org/10.5749/minnesota/9780816679669.001.0001
Renold, E. (2018). ‘Feel what I feel’: making da(r)ta with teen girls for creative activisms on how sexual violence matters. Journal of Gender Studies, 27(1), 37-55. https://doi.org/10.1080/09589236.2017.1296352
Renold, E. (2019). Ruler-skirt risings: being crafty with how gender and sexuality education research-activisms can come to matter. In T. Jones, L. Coll, L. van Leent, & Y. Taylor (Eds.), Uplifting gender and sexuality education research. Palgrave Macmillan. https://doi.org/10.1007/978-3-030-24205-3
Renold, E., & Ringrose, J. (2019). JARing: making phematerialist research practices matter. MAI: Feminism & Visual Culture(4). Retrieved 15/7/2019, from https://maifeminism.com/introducing-phematerialism-feminist-posthuman-and-new-materialist-research-methodologies-in-education/
Renold, E., Edwards, V., & Huuki, T. (2020). Becoming eventful: making the ‘more-than’of a youth activist conference matter. Research in Drama Education: The Journal of Applied Theatre and Performance, 25(3), 441-464. https://doi.org/10.1080/13569783.2020.1767562
Rice, C., & Mündel, I. (2018). Story-Making as Methodology: Disrupting Dominant Stories through Multimedia Storytelling. Canadian Review of Sociology/Revue canadienne de sociologie, 55(2), 211-231. https://doi.org/10.1111/cars.12190
Springgay, S., & Truman, S. E. (2017). A transmaterial approach to walking methodologies: Embodiment, affect, and a sonic art performance. Body & society, 23(4), 27-58. https://doi.org/10.1177/1357034X17732626
Ullman, J., & Ferfolja, T. (2020). Gender and sexuality diversity in a culture of limitation: student and teacher experiences in schools. Taylor and Francis. https://doi.org/10.4324/9781315161686
United Nations. (2022). The Sustainable Development Goals Report 2022.
29. Research on Arts Education
Paper
Enfleshments Through Aesthetic Life-art-writing: Onto-epistemological Encounters and Vital Matter in the Academy
Jennifer Charteris1, Daisy Pillay2
1University of New England, Australia; 2University of Kwazulu- Natal
Presenting Author: Charteris, Jennifer
Arts-based research and life writing are underrepresented, misinterpreted, under-nuanced, in the broader conversations about educational issues. In this paper we use arts based research as a democratic means for engaging different voices and multiple perspectives for thinking and expressing ideas in the academy. Arts based research enables an understanding and exploration of the relationship between lived experiences, art, and educational practice as a creative caring space for imaginatively practicing democracy in the contemporary world. This paper offers an excavatory account of women academic’s embodied experiences using artful interventions for enlivening body-mind interrelations and diverse perspectives. Through centring corporeal data as a means of life-art-writing (a synthesis of arts-based research and memory work), we engage care-fully to amplify the place of the body in the doing of scholarly thinking as socially just ethical scholarship. Specifically, this research highlights the role of the arts in fostering democratic participation and practice in the academy.
In academic work, a productivity-driven narrative is unfruitful and lacks an ethic of relational em-bodied-ness. Considering the notion of collaborative care in the broad sense, we use life-art-writing to consider an alternative approach to seek out em-body-ied care and mind and body wellbeing. We are three feminist researchers from Australia and South Africa, and we engage in ‘musing as theory’, which involves “meditative contemplation; thoughtful abstraction; critique as intellectual food; gustatory thinking” (Taylor, 2016, p. 204).
Our objective is to mediate and disrupt the individualistic and competitive discourses in the academy, where academic subjects self-metricise in order to freely practice ethical care for multiple voices and plurality of perspectives . This scholarly work amplifies ways to question the singular stories of the academies we navigate and reframe disembodying contradictions and productivity-driven narratives. From a theory of ethics perspective, care of the self is a relational process which understands ‘self’ – ‘care’ not as two separate entities but “thought together” (Smith, 2015, p.137) as a site for transforming ways “to achieve new kinds of existence” (Allan, 2013, p.27).
Arts-based educational research, as a containing space, opens up ways for dialogue and collective reflexivity to imagine new and different possibilities. We address the question: How can body-mind connections be creatively enfleshed as scholarly spaces to rethink conceptions and practices of democracy in the academy? Bodies inscribed in the ethics of materiality offer opportunities for re-imagining spaces in academia- what they are and how we use them. Finding joyful ways for collective, embodied, ethical care through scholarship can offer solace to women academics in the commodified competitive spaces of the academy.
Our theoretical framework is used to recalibrate the productivity narrative that drives academic work and often lacks the ethic of relational em-bodied-ness. We plug into theories of vital matter (Bennett, 2010), technologies of self (Foucault, 1988), and affective assemblages (Mulcahy, 2012). Neoliberal portrayals of academic lives, as singular formulaic posturings in university settings, are disembodying, dangerous, and unproductive. In academic work, a productivity-driven narrative is unfruitful and lacks an ethic of relational em-bodied-ness. This paper studies women’s academic lives as an ethically relational experience that calls for enlivening body-mind interrelations. The artmaking offers a way to voice and “show oneself, make oneself seen, make one’s face [and body] appear before the other” (Foucault, 1997, p.243).
Methodology, Methods, Research Instruments or Sources UsedUndertaking assemblage work with written text – prose, poetic and visual art, we explore what was produced in an artful(l) moment. In this meditative remembering of our life-art-writing experiment, we explore the academy as an assemblage- through awakening voices, making connections, and discovering joyful ways of fostering collaborative care in academia.
We commenced a memory work collaboration in March 2020 during the pandemic and after the lockdown. Meetings were convened to undertake memory work which provided an opportunity for diffractive musing. This is slow theory focused on deceleration and wellbeing rather than slowness (Taylor, 2016). This entanglement of our work in higher education is ethico-onto-epistemological mattering.
Ethico-onto-epistemological mattering is an embodying approach to scholarship that recognises and works through the interrelatedness of “ethics, knowing, and being” (Barad, 2007, p. 185). The notion of embodiment that informs our work is a lived experience related to power, location, and materiality, which manifests in bodily sensations, emotions, and entanglements of identity. The combination of embodied practice and diffraction provides a means to depart from the conventional taken-for-granted approaches to scholarly work. Thinking diffractively through embodiment, we work through bodily sensations, emotions, and entanglements to provide an account of life-art-writing, synthesising from arts-based research and memory work.
Sharing stories in fortnightly Zoom meetings, we explored experiences of power, location, and materiality in the academy. These experiments involved collective reflexivity and examination of wellbeing in the spaces in our higher education contexts. We examined the machinations of neoliberalism, the experience of returning to campus after lockdowns, fears associated with returning to work during the pandemic, and the pressures we faced as women academics interested in career progression. We created poems and produced embodied diffractive artwork using Zoom transcripts from our discussions. The acts of painting and collaging were a means to recreate stories of our academic selves.
While diffraction involved “break[ing] apart in different directions” (Barad, 2014, p. 168), the Zoom meetings created waves of practice for us to meander off and engage in new readings and further thinking. The Zoom sessions created an interference pattern in the routine of our week and brought about change in thinking and action. We played with paint, paper, fabric and foliage. The production of selves, as artworks in progress, was a way to seek out values in the pursuit of truth. We read our musings aloud, listened and collectively analysed the art produced.
Conclusions, Expected Outcomes or FindingsAs a contribution, this paper conceptualises life-art-writing as vital mattering that encompasses art making. Life-art-writing offers us materially situated ways to draw together the threads of memory, as a story of becoming, affirmation, ethical scholarship, and democratic voice. It weaves the vitality of bodies, memories, voices, and matter. Life writing with and through arts-based research enables engagement with the corporeality of the work-place/home-place assemblage. Bringing art and writing together makes our scholarly thinking richer than either form would be on their own. From a material lens, remaking our academic selves as/through life-art-writing create enfleshments that become a space to learn the art of living (Allan, 2013, p. 28).
Against and within university contexts and singular narratives that drive what it means to be in the academy, our lives as women are inevitably imbricated in broader social engineering and dominant individualistic neoliberal discourses. We explored truths in our academic lives and what it means to reframe disembodying contradictions as enlivening mind-body shifts for a truthful, relational, co-creative, caring scholarship. As women academics connected transglobal via online home-work spaces, life writing takes on a momentary creative practice-based experimentation in which the individual and the personal entangle in a collective assemblage.
Life-art-writing as lived, told, and experienced, became a questioning, meditative process to reimagine our academic lives as women scholars. In her book, And Wrote My Story Anyway: Black South African Women’s Novels as Feminism, Barbara Boswell (2019) argued that writing is a form of activism. In this genre, we “show our agency by creating and claiming a transgressive ‘discursive space’” (Pillay & Govinden, in process). Aesthetic life-art-writing, as a form of meditation for the pursuit of truth in academia and a collective reimagining for women academics, is crucial to the higher education imagination. Life-art-writing provides space to question and critique.
ReferencesAllan, J. (2013). Foucault and his acolytes: Discourse, power and ethics. In M. Murphy (Ed.), Social theory and education research: Understanding Foucault, Habermas, Bourdieu and Derrida (pp. 21–34). Routledge
Barad, K. (2007). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Duke University Press.
Barad, K. (2014). Diffracting diffraction: Cutting together-apart. Parallax, 20(3), 168–187. doi:10.1080/13534645.2014.927623
Bennett, J. (2010). Vibrant matter: A political ecology of things. Durham, NC: Duke University Press.
Boswell, B.(2019). Wrote My Story Anyway: Black South African Women’s Novels as Feminism. Cape Town. Wits University Press
Foucault, M. (1988a). Technologies of the self. In L. Martin, H. Gutman, & P. Hutton (Eds.), Technologies of the self: A seminar with Michel Foucault. (pp. 16-49). Amherst: University of Massachusetts Press.
Mulcahy, D. (2012). Affective Assemblages: Body Matters in the Pedagogic Practices of Contemporary School Classrooms. Pedagogy, Culture & Society, 20(1), 9-27.
Pillay, D., & Govinden, D,. (in press) Learning the art of living through our racialized lives: Life writing with objects to assert and reclaim care of the self. In L. E. Bailey & KaaVonia Hinton(Eds), Racial Dimensions of Life Writing in Education , (pp.21–43) IAP publishing
Smith, D. (2015). Foucault on ethics and subjectivity: ‘Care of the self’ and ‘aesthetics of existence’. Foucault Studies, 135-150
Taylor, C. A. (2016). Close encounters of a critical kind: A diffractive musing in/between new material feminism and object-oriented ontology. Cultural Studies? Critical Methodologies, 16(2), 201-212. https://doi.org/10.1177/1532708616636145
29. Research on Arts Education
Ignite Talk (20 slides in 5 minutes)
The Choreographic Dimension in Young Boy´s War Play
Ebba Theorell
University of stockholm, Sweden
Presenting Author: Theorell, Ebba
Young children´s, mostly boys, war play is an ongoing dilemma for teachers and parents around the world. Should war play be allowed or forbidden?
In my short presentation I will enhance what young children explore and invent in their physical war play. Above all, a choreographic dimension that is explored and created with an intense passion. In the discussion that follows I would like us to discuss different aspects and similarities concerning war play and how we approach them in similar or different ways in different countries. In our educational effort to upbring peaceful, empathetic citizens – what are we missing and how can we help each other to be more careful and sensitive in our approach to children? This presentation and discussion has its point of departure in the thesis : "Force, form, transformations - on khinesthetic musicality and bodyworldning in young boys war play" (Theorell, 2021) . The session will have a special focus on aesthetic dimensions, but the discussion is interesting for many fields such as sociology, psychology and gender studies for example, since war play is a very complex phenomena.
Methodology, Methods, Research Instruments or Sources UsedFilm and photo
ReferencesErin Manning
Giles Deleuze
Susanne Ravn
Ellen Dissanayake
William Corsaro
29. Research on Arts Education
Paper
The Exploring of Arts Education and the transdisciplinary area of Sexuality Education
Elisabeth Lisa Öhman
Stockholms university, Sweden
Presenting Author: Öhman, Elisabeth Lisa
This presentation comprises research issues related to the school subject arts education, sexuality education, facts and fundamental values. A content that forms the very core of creating oneself as a young person in society, through body, materiality and emotions. The presentation is based on the experiences from an ongoing four-year (2020-2023) practice-based Swedish study. The research project explores how sexuality education is taught and can be taught in different school subjects from a subject didactic perspective. It is a research projects in which transdisciplinary fosters an ontological and methodological turn in educational and artistic practices. The purpose of the presentation is to analyze how concepts such as identity, norms and sexuality are formed in an arts education context. Sexuality education is an integral part of Swedish schools and referred to as a special knowledge content by the National Board of Education. In the school context, arts can play an important role, not only as offering participatory strategies for the students in more inclusive forms of work, but also as ways to engage in collective processes (Ceder, et.al. 2021). These aspects include both informal contexts such as visual culture, digital media and formal contexts such as education.
The Swedish curriculum for arts education highlights the importance of critically examining content as norms, sexuality and identity. A number of researchers use democracy and participation in the argument that arts education should be strengthened through critical examination of visual culture (Atkinson, 2017, Lind & Hellman, 2020). Through freedom of expression, making images is linked both to the school's mission of both facts and of fundamental values (Lind, 2010). Other studies show that students can express opinions in images that they cannot express verbally; for example, they could visually depict race, but at the same time it was taboo to talk about it in the classroom (Eriksson 2019). Both Lind's and Eriksson's studies point to the fact that images provide other opportunities for expressions than spoken or written text. In a study of the construction of fundamental values in arts education, it is possible to see how the teaching is characterized by a modernist tradition where the practice of imaging is in focus and critical examination is seen as "theory" and thus de-prioritized (Ahrenby,2020).
In the present presentation, teaching is explored as a socio-material and performative practice (Mol, 2010, Fenwick & Edwards, 2013). This approach is useful to investigate the complex and entangled aspects of materiality, norms and relationality (Allen, 2018). Through the theoretical starting point, it become possible to examine the subject didactics as an ongoing process of intra-relationships, a series of material and relational entanglements through teachers, visual materials, governing documents and the transformation of knowledge. Barad's concept of intra-action is implemented as a concept for the practice that is explored (Barad, 2007). Barad uses the concept of intra-action to emphasize that in a research process, the producer of knowledge is always a part of the production of knowledge. To understand matter as mutually constitutive of sexuality, with practices, tensions etc, a conceptualization of what can becomes agentic is used based on Bennett's concept of "vibrant matter" for how things are important actors in the world and its ability to act, create effects and transform under different circumstances (Bennett, 2010).
Methodology, Methods, Research Instruments or Sources UsedThe empirical material in the presentation is part of a larger practice-based research project on sexuality education in Sweden. Five researchers and former teachers with different subject background have collaborated with teachers in diverse subjects at four primary schools. We have conducted research circles with teachers at the schools, participated in teaching planning and observed implementations. We have also done interviews with both teachers and students at the various schools. At each school, 5–12 teachers in different school subjects were involved in the research circles, which included between 5–8 meetings, together for approximately 15–20 hours. The choice to work with research circles is motivated by its possibility to make subject didactic processes visible and function as a meeting place between researchers and teachers. The collaboration is part of working at the interface between research and teaching in an experimental togetherness.
Although the research group was responsible for planning, the themes of the meetings were co-constructed through collaborations with the teachers. Here the research process becomes performative; it is part of intervening and co-creating the practice being studied (Fenwick & Edwards 2013). The material that is analyzed in the present presentation is based on the collaboration with me as a former art teacher and researcher and two art teachers at two different primary schools. The analyzed material includes transcribed audio data from three work meetings between me and the visual art teachers. The analysis also includes the student's images from the assignment as well as field notes from the classroom teaching. In the reading of the empirical material, it is the student images that become as a vibrant matter engaging in difficult questions and topics.
Conclusions, Expected Outcomes or FindingsThis presentation explores various entanglements between arts education and the transdisciplinary knowledge area of sexuality education. This is done by examining how the concepts of norms, identity and sexuality are co-created in two different contexts of arts education. By trying to think beyond dominant ideas about subject didactics that are illustrated by clear ontological differences between learning, materiality, teachers and knowledge (Atkinson, 2017). Instead of considering pedagogical work as an ongoing process of intra-relation, a series of material entanglements arise through which teacher and student work in the specifically described tasks of identities, norms and sexuality. In the use of photos, contemporary art, mobile phones and the spaces, work of closeness and relationality is co-constructed. This can give students the opportunity to think and reflect for themselves. Working with visual materials is also a way to explore, try and playfully develop norms and identities
Despite a pre-determined art practice, such as portraits of "identities", the students' work develops into a process of intra-action through experimentation. It is through the students' world and the vibrant matter of the images that engaging questions and topics such as gender identity and stereotypical representations are examined and explored. It is the materiality, the vibrant matter that create a transformation between the questions of fundamental values and the facts and knowledge goal in classroom practice. The analysis will show the agency of materiality and the role it plays in the enactment of sexuality education. Materiality is central to understanding the students’ embodied learning. The presentation and the research study demonstrate the need for more empirically based classroom studies of art education and also the educational opportunities to challenge reproductions of identity and sexuality norms.
ReferencesAhrenby, H. (2020). Värdegrundsarbete i bildundervisning: en studie om iscensättning av policy i grundskolans senare år. Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen. Umeå universitet.
Allen, L. (2018). Sexuality education and new materialism: Queer things. Palgrave Macmillan.
Atkinson, D. (2017). Without Criteria: Art and Learning and the Adventure of Pedagogy. The International journal of Art & Design Education. 36 (2): 141-152.
Barad, K. (2007). Meeting the universe halfway: quantum physics and the entanglement of matter and meaning. Duke University Press.
Bennett, J. (2010). Vibrant matter. A Political Ecology of Things. Duke University Press.
Ceder, S., Gunnarsson, K., Planting-Bergloo, S., Öhman, L. & Arvola Orlander, A. (2021). Sexualitet och relationer: att möta ett engagerande och föränderligt kunskapsområde i skolan. Studentlitteratur.
Eriksson, M. (2019). Flickblickar Visuella berättelser om, av och genom gymnasieelevers kroppar. Flickblickar Visuella berättelser om, av och genom gymnasieelevers kroppar. Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik. Stockholms universitet.
Fenwick, T., and R. Edwards. 2013. “Performative Ontologies: Sociomaterial Approaches to Researching Adult Education and Lifelong Learning.” European Journal for Research on the Education and Learning of Adults 4 (1): 49–63.
Lind, U., & Hellman, A. (2020). Gendered Interventions: Changes in Visual Art Education in Sweden: Discourses, Practices and Materiality. In; Synnyt/Origins. Finnish Studies in Art. (2):257-277.
Lind, U. (2010). Blickens ordning: Bildspråk och estetiska lärprocesser som kulturform och kunskapsform. Institutionen för didaktik och pedagogiskt arbete. Stockholms Universitet.
Mol, A-M. (2010) Actor-network theory: sensitive terms and enduring tensions. Kölner Zeitschrift für Soziologie und Sozialpsychologie, 5(1), 253-269.
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