To access the thesis on Lund University's website, click here.

HÉR! An Exploration of Artistic Agency – Media Repository

Halla Steinunn Stefánsdóttir



Figure 1: Activating the wire of the railings of the Northern Lights Hall. Photograph by Angela Rawlings.

Chapter 6

Audio example 1: 1st movement of I play Northern Lights – binaural version (Stefánsdóttir, 2017).

Audio example 2: 2nd movement of I play Northern Lights - binaural version (Stefánsdóttir, 2017). 

Link 1: Access the paper  Participation and creation: towards an ecological understanding of artistic practice (Stefánsdóttir & Östersjö, 2019) by clicking here. The paper was published as part of a special issue in La Deleuziana. 

Video example 7: Premiere of strengur (Stefánsdóttir, 2019). Performers are Akio Suzuki, Nguyễn Thanh Thủy, Halla Steinunn Stefánsdóttir, and Stefan Östersjö.  

Figure 11: Cover of the strengur album (2022). Find strengur on Bandcamp

Violin with Þytur (Olofsson & Stefánsdóttir, 2021) can be accessed directly by clicking here



Chapter 10

Figure 2: Cover of the Raindamage album (2017). Find Raindamage on Bandcamp.

Chapter 7

Video example 8: Stefánsdóttir's strengur video (Stefánsdóttir, 2022), released as part of the strengur (2022) album. 



Figure 12: Cover of the Halla Steinunn & Halla Lovísa part of the strengur (2022) album project. Find Halla Steinunn & Halla Lovísa on Bandcamp.

Link 2: Access the audio paper He(a)r: Of an ecological enactive perspective (Stefánsdóttir, 2019) on Seismograf's website. A direct listening link may also be found here: Seismograf's Soundcloud site. The paper was part of Seismograf's special issue 'Sonic Argumentation I'.

Video example 1: VARP trailer (Stefánsdóttir, 2017). 

Figure 3: Cover of the He(a)r (2018) album. Find He(a)r on Bandcamp.

Figure 5: Photograph of a cylinder in a former quarry on Härnäset isthmus. 

Chapter 9

Audio example 3: Activation of a cylinder in a former quarry on Härnäset isthmus. Recorded on June 12, 2018. 


Video example 2: Excerpt from the premiere of An Urban Archive as an English Garden (Franzson, 2019), at the SPOR festival, Aarhus, Denmark, May 11, 2019. Field recording in the work by Stefánsdóttir (2018). 

Figure 7: Photograph of a shell bank on Härnäset isthmus, June 13, 2018. 

Audio example 5: study in sound – the quarry (Stefánsdóttir, 2018). 


Figure 6: Photograph of an activation at a gunpowder storage by Fågelviken bay on Härnäset isthmus, June 13, 2018. 

Chapter 8

Audio example 4: Activation at a gunpowder storage by Fågelviken bay. Recorded on June 13, 2018. 


Figure 4: The cover of Halla Steinunn & Davíð Brynjar, part of the strengur (2022) album release, which includes the recording of violin fragments (Franzson, 2022). Find violin fragments on Bandcamp.

Audio example 6: study in sound –the fossilised ocean (Stefánsdóttir, 2018). 


Link 3: Access the audio paper Fleshy listening and multi-entity performance: of analytical processes within artistic research (Stefánsdóttir, 2021), through Seismograf's website or through Seismograf's Soundcloud site. Part of the special issue 'Sounds of Science'

Video example 3: Excerpt from the documentation of the second performance of An Urban Archive as an English Garden (Franzson, 2019), at the Hljóðön series at Hafnarborg museum, Iceland, September 19, 2020. The footage used was filmed by Þráinn Hjálmarsson. 

Chapter 9 

Figure 8: The Fjärilarna steg upp performance score (Stefánsdóttir, 2020).

Video example 4: Trailer from Fjärilarna steg upp/The butterflies ascended (Stefánsdóttir 2020). 

Figure 10: Memos taken by Halla Steinunn Stefánsdóttir during stimulated recall sessions. The memos are also displayed in video example 6. 

Figure 9: A schematic representation of the stimulated recall scenario with Sofia Härdig, Liv Kaastrup Vesterskov and Felicia Konrad (Stefánsdóttir & Östersjö, 2022).

Link 4: Access the paper Listening and Mediation: of agency and performative responsivity in ecological sound art practices (Stefánsdóttir & Östersjö, 2022) on the website of Phenomenology & Practice. Part of  Vol. 17 No. 1 (2022): Special Issue: Practices of Phenomenological and Artistic Research.



Video example 5: Excerpts from a stimulated recall conducted on April 15-16, 2021. 

Video example 6: Excerpts from a stimulated recall conducted on April 15-16, 2021, part 2. The video provides insight into memo taking and moments of verbal intersubjective engagement between the observer and the performer/observer.