Contact: Cecilia Parsberg, Doctor of Philosophy in Fine Arts in Visual Arts, Lund Univeristy.
Supported by www.kulturbryggan.se
Birgit and Gad Rausings Stiftelse för Humanistisk Forskning
 www.ceciliaparsberg.se. In 2015 I wrote the last chapter – Chapter 9: A place in Europe – in my doctoral thesis in Fine Arts digitally published on www.beggingandgiving.se. In the spring 2015 I applied for support to start up an art project based on this research.
 ask for separate CV
 A new biomass power plant is being built. Fortum is investing five billion Swedish Kronor, which is the largest industrial investment in Sweden, it will be fueled using byproducts from the logging industry.
“Tillsammans skapar vi en grönare stad”. www.fortum.com/countries/se/kampanjer/biobransle-vartan/pages/default.aspx. Accessed July 26, 2016.
 Kulturbryggan startstöd omgång 11, SS11 – 5601, nov 2015. Kulturbyggan is administrated by Swedish Arts Grants Committee to support innovative art and development of methodology in Fine Arts.
 Which in part is what concerns Cecilia Parsberg’s doctoral thesis: www.beggingandgiving.se.
 A full length version can be read and viewed in Chapter 9 of www.beggingandgiving.se. Direct link http://beggingandgiving.se/kapitel-9/#chap9-1
 One of them is Thomas from Ghana, he is a former soldier, who moved to Italy and got work and a residency permit — but when the situation became too difficult he came to Sweden where he now has a residency permit. He’s been living outside, under the loading dock behind the House for two and a half years. Thomas distributes advertising between two a.m. and nine a.m. then goes to Convictus, eats, takes a shower, sometimes he does laundry there. He is one of those who wants to tell his story for the camera and comes up to us when he’s seen that we’ve been back every week or so for the past three months, to film the area and try to talk to people.
 “Convictus Bryggan Hjorthagen”. Accessed July 26, 2016, www.convictus.org/hemloshet/bryggan_ostermalm.html.
 I don’t think it’s okay to photograph other people’s bedrooms without their permission, but in this situation my assessment is that it’s more important to show how people live here. The photograph is an example of one of the ethics-aesthetics negotiations that constantly arise – decisions that must be made quickly and on site. When I include this photo with my shadow I also want to show a transgression of a limit in which I am putting the viewer’s trust in my images at risk. At times I misjudge, I encourage reflection on the part of the reader and viewer. The discussion about the ethical must be kept open.
 “But in every judicial order there is an exception from order that in a kind of paradox regulates what applies when no order applies, in the state of exception. There the sovereign becomes precisely a sovereign again – and accordingly the citizen is reduced to a bare life. Agamben’s thesis is that this is ‘ultimate foundation of political power’ and thus the political essence that precedes every social contract.” writes Ola Sigurdson, professor of religious studies and systemic theology at the University of Gothenburg, in an article about philosopher Giorgio Agamben’s book Homo Sacer.
Ola Sigurdson, “Agamben visar hur kulturen inkräktar på livet”, Svenska Dagbladet, August 23, 2010. Accessed July 26, 2016, http://www.svd.se/agamben-visar-hur-politiken-inkraktar-pa-livet/om/kultur:under-strecket.
 Art critic Fredrik Svensk expresses the importance of constantly trying to understand in the face of what images art is made and can be made: “Because aren’t mechanisms of exclusion and inclusion that take place mainly on a sensual basis far more important to understand today than those that happen through a conventional politics of selection and representation?” A review of the Nordic pavilion in Venice 2015.
Frederik Svensk, “Paviljongen som exklusiv symfoniorkester”, Kunstkritikk, May 14, 2015. Accessed July 26, 2016, www.kunstkritikk.se/kritikk/paviljongen-som-exklusiv-symfoniorkester/?d=se.
 “Thus while performance can be understood as a deliberate ‘act’ such as in theatre production, performance art or painting by a subject or subjects, performativity must be understood as the iterative and citational practice that brings into being that what it names.” writes Barbara Bolt, on page 134, referring to Judith Butler. “Butler is very clear that performativity involves repetition rather than singularity. Performativity is ‘not a singular act for it is always a reiteration of a norm or set of norm, and to the extent that it acquires an act-like status in the present, it conceals or dissimulates the conventions of which it is a repetition.’” Barbara Bolt, “Artistic Research: A performative paradigm?” PARSE, No. 3 (2016). Accessed August 6, 2016, http://www.parsejournal.com/article/artistic-research-a-performative-paradigm/.
 Phelan, Peggy, Unmarked: the politics of performance, New York: Routledge, 1993, 148.
 Michael Richardson writes, in his interpretation of philosopher George Bataille:
“If we stick to facts capitalism doesn’t escape the dialectical logic of Bataille: It consumes, and consumes just as meaninglessly, just as wastefully as any other society. What capitalism is lacking isn’t the consumption but every kind of lusty transgression. When we waste we do it grudgingly, all the time and with an ulterior motive of ultimately accumulating.” Michael Richardson, Georges Bataille. (New York: Routledge, 2005), 79.
 “Individual genius is not the origin of culture, as the tenacious myth of the originator without communities would have it. These communities too need to happen, especially in the gray areas, like rehearsal spaces. According to a liberal view on culture, ‘culture’ is something free floating – culture doesn’t need to happen and it doesn’t need community.” Samira Ariadad and Rasmus Fleischer, “Att göra gemensamma rum”, Brand, No. 1 (2010), 44–6. Accessed July 7, 2016, www.samhallsentreprenor.glokala.se/wp-content/uploads/Att_gora_gemensamma_rum.pdf.
 Ibid., 59.
 Marc Augé, Non-Places: An Introduction to Anthropology of Supermodernity, (New York: Verso, 1995), 101. Accessed July 26, 2016, www.acsu.buffalo.edu/~jread2/Auge%20Non%20places.pdf.
 Ignasi de Solà-Morales, Catalan architect, historian and philosopher, coined the term terrain vague, applied to abandoned, obsolete and unproductive areas, with no clear definitions and limits. See: “Ignasi de Solà-Morales”, Wikipedia. Accessed July 26, 2016, https://en.wikipedia.org/wiki/Ignasi_de_Solà-Morales. Accessed November 6, 2016.
“With the coining of the term Terrain Vague, Ignasi de Solà-Morales is interested in the form of absence in the contemporary metropolis. This interest focuses on abandoned areas, on obsolete and unproductive spaces and buildings, often undefined and without specific limits, places to which he applies the French term terrain vague. Regarding the generalized tendency to ‘reincorporate’ these places to the productive logic of the city by transforming them into reconstructed spaces, Solà-Morales insists on the value of their state of ruin and lack of productivity. Only in this way can these strange urban spaces manifest themselves as spaces of freedom that are an alternative to the lucrative reality prevailing in the late capitalist city. They represent an anonymous reality.”
“Terrain Vague”, Atributos Urbanos. Accessed July 26, 2016, http://atributosurbanos.es/en/terms/terrain-vague. Accessed November 6, 2016.
 “A gradual advance beyond usual or acceptable limits: urban encroachment of habitat.” “Encroachment”, Oxford Dictionaries. Accessed July 26, 2016, www.oxforddictionaries.com/definition/english/encroachment. Accessed November 6, 2016.
 Hannah Arendt, “Thinking and Moral Considerations: A Lecture”, Social Research, Vol. 38, No. 3, (Autumn 1971), 430–1. Accessed July 29, 2016, http://www.jstor.org/stable/40970929
 The sentence continues “In medieval philosophy this kind of thinking was called meditation, and the word should be heard as different from, even opposed to, contemplation.” Ibid, 431.
 Every year the Stockholm region grows by 35,000 inhabitants. The number comes from information about Värta and Hjorthagen where this place-non-place is located. “Vi bygger om Värtahamnen”. Accessed July 26, 2016, www.stockholmshamnar.se/stockholm/vi-bygger-om-vartahamnen.
 Finances yet to be covered. To be part of financing this project, please contact: firstname.lastname@example.org
 The essay is engaged from, and a continuation of, Cecilia Parsbergs’s last chapter – Chapter 9. A Place in Europe – in her doctoral thesis www.beggingandgiving.se.