#exploration1

Taking the Exhibition down/Flight to Rome 2014-12-19

Things have been quite crazy this final week.

Every minute of every hour busy, every detail of every print under severe revising. I finished putting all this exhibition up just only 24 hours ago, and I'm here taking it down again, remembering the exact position of every single pin.

I've unconsciously built up a Battleship field in my mind where my boat-pins are stuck between words and ideas. 

As I take the pins down and unravel the red thread, the prints stuck up on the ladder, leaving my service map all alone in the centre without connections, reminds of the solving of a police case, when just the suspect's 4x4 polaroid remains in the center of the wall.

Reaching an outcome 2 weeks ago seemed hasty, but I realise now It's been good to rush.

Rushing to the outcome had me polish all the research work instead of piling it up, and focus on the communication also made me feel good all over again, the chance to experiement creativity which I was lacking trhought the project finally showed up.

At the end of the day it's been a good project, which has made me realise my limits and my skills in Human Centred and Service Design.

And my limits with the language, I've in fact been in disadvantage due to my limited Swedish skills: people sometimes feel less comfortable in discussing such topics, or just avoid answering an email that demands an english effort.

Let's send 'em Home - Another documentary on Roma

Exploration 1 Mid-Term Presentation 2014-11-27

Mid-Term gets rescheduled due to Sickness

Research on Drottingholm's Theater

Work began at the end of the seventeenth century under the architect Nicodemus Tessin the Elder and was completed by Nicodemus Tessin the Younger. The interior was decorated between 1665 and 1703, at first in a heavy, sumptuous baroque style, but later increasingly refined to French patterns. During the 18th century, it was used as a stage for French theatre, such as the Du Londel Troupe (1753-1771).

The predecessor to the present theatre was destroyed by a fire in 1762. The present 400-seat opera house was opened in 1766 by Carl Fredrik Adelcrantz for Queen Lovisa Ulrika. Its interior decoration is made from a mixture of stucco, papier-mâché, and painting. The stage machinery, designed by the Italian, Donato Stopani, is still intact and it includes a wave machine, thunder machine, and a flying chair which is often used for deus ex machina effects.

After the assassination of King Gustav III in 1792 (which is the basis of the Giuseppe Verdi opera, Un ballo in maschera), the theatre was forgotten.

In 1920, under the direction of Swedish theatre historian Agne Beijer, it was restored with the addition of electric light, which today is designed to flicker like candles. It re-opened on 19 August 1922 and is today run by a private foundation, the Drottningholm Theatre Museum, and is funded by government and private grants.

Almost all of the equipment is original, and the stage is unusual for having a significantly greater depth than width. The operas are often performed by musicians wearing period costume, and the orchestra performs using period or copies of authentic instruments. Most productions demonstrate some of the possible stage effects using the original equipment.

Interesting Article about banning Begging in Norway 2014-11-10 http://www.aljazeera.com/indepth/features/2014/11/banning-begging-super-wealthy-norway-2014111261115409524.html#.VGWrFfVN7iU.facebook

Most people are convinced the ban targets Norway's Roma population, the politicians say banning begging will put an end to criminal activities. 

Research shows that most migrant beggars support only themselves and their families and are not part of the larger, organised begging rings denounced by politicians. These have rarely been proven to exist, aside from minivans that charge money to take migrants between Romania and Norway.