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The exposition connects in an appropriate manner to the theme of change, addressing the topics of changing roles and their dynamics in a participatory online art project.
The most interesting sections of the exposition are case study passages where the author describes the ”frictions” and ”ruptures” that occurred in the process. These sections touch and highlight some of the essential questions and concerns in collaborative and participatory art making.
The role of the artworks in the research project is clearly articulated, as is the chosen
methodological approach. The later case studies could become more substantiated through a deeper reflexion and analysis on the chosen method and the different role functions described in it.
Collaborative art making, with the ethical, practical and political repercussions it causes, is extremely topical. Being in the position of artist/curator/community member, the author has a fascinating firsthand point of view to the events she is describing. The way she positions herself in the different roles of the brought self, situational self and research-based self, makes sense and offers and interesting point of departure.
Nevertheless, it would have been interesting to read about the centrally described case studies in more elaborated, deeper dialogue with theory. This way answers to the research question would also have become more substantiated.
In the core section of the exposition the author brings up the 1) aesthetic frictions between the author and the community member (mentioned in 3.1.1) and 2) major conflicts within the artistic group (described in 3.2), which both offer themselves as the main findings of the research. The reflection of these accounts, which in itself makes great and fascinating reading, largely stays on a reflexive level of depicting events. How do these accounts reinforce existing theory, and/or how do the findings contradict or question existing theory? How are they forming new theory?
For example, it would have been interesting to read a summarizing analysis on how the frictions and conflicts observed relate to the concept of ”multiplier” (in 3.3.), not only in the case of community members who changed their status, but also in relation to the artists who felt unease and discomfort when they felt unable to be as participatory as the artwork would have demanded (3.2.) - why was the role function of ”multiplier” a threat to them?
In addition, some of the exposition comes across like it is in the form of process writing, as notes of things to remember. This results in a feeling that the text is too long and lacking structural coherence.
The theme is very topical and the case studies are interesting and strong personal accounts and that offer valuable insight into the process.
The exposition appears to call for an ”umbrella layer” of analysis that brings all the accounts, case studies and personal, reflexive accounts together. It appears as if the chosen theoretical references are referred to as a means to justify the artwork and choices made in it, rather than as tools for dialogue, where the observations made would be juxtaposed with the theory to formulate new theory that resonates with the findings, making results grow out of analytically orchestrated conflicts.