This study aims at exploring the rhetorical processes underpinning condolences, as expressed by Saudi Arabian governmental authorities on social media, with a focus on Twitter. Taking its starting point in January of 2015, when the Charlie Hebdo shooting took place in Paris, this study looks comparatively at several acts of terror in order to answer whether these different attacks elicited different responses, and if so, what knowledge can be drawn from this conclusion. Furthermore, this study examines the role of social media in public diplomacy, and in the production and distribution of political discourse, especially as it relates to statements of condolences and expressions of solidarity mediated through twitter. In order to explore this, rhetorical criticism (Mral 2008; Foss 2004; Peirce 2003) is combined with pentadic criticism (Burke 1945) and performativity theory (Rosenberg 2018; Zivi 2016; Gregson and Rose 2014) to form the methodology. A key theoretical concept in this study is “grievability,” which aims at understanding why some deaths are grieved and others are not (Butler 2009; Butler 2004; Butler 2003). As this study shows, mourning itself can be understood as rhetoric, serving political and diplomatic functions rather than being an expression of actual, sincere solidarity or grief. This study also shows that tweets from official government sources can be seen as a performance of public diplomacy, and as performative of the official’s own position. Lastly, it is argued that offering condolences are a way to purchase “humanitarian capital,” which is becoming increasingly important in global politics.

This doctoral thesis investigates popular romance, a mass-cultural genre with a large female audience. Popular romance is often considered ”lowbrow” and is referred to by terms such as ”porn” and ”garbage”. The female reader of this so called “sentimental trash” is often portrayed as naïve and unworldly. The thesis makes this derogatory view of the genre its point of departure, to investigate what cultural understandings of gender and sexuality the critique against popular romance entails. The thesis further investigates how these conceptions of gender and sexuality deviate from and challenge a culturally promoted and normative sexuality.

The thesis consists of six chapters. The first chapter describes the selection of the empirical material and the theoretical and methodological framework. The empirical material consists of the three novels in the popular series Fifty Shades of Grey and the four novels and five films in the popular series Twilight. The thesis places itself within the field of feminist cultural studies and queer theory. It makes use of the concept of masturbation (both literal and figurative) as an analytical entry point and as a method focusing on the “here and now” of romance reading.

The second chapter contextualizes the study by defining the term “popular romance” and by providing a brief historical overview of the genre. Previous research on popular romance is presented and discussed in relation to the derogatory view of the genre.

The third chapter studies the Swedish media commentaries on Fifty Shades of Grey and Twilight to define how the rejected romance reader is conceptualized, and how this romance reader is presumed to be reading. This “romance reader” is thereafter discussed in relation to the Western historical discourse on masturbation, “female illness” and (women’s) private reading. The chapter closes with a discussion on the form of reading that the romance reader is associated with. This self-immersed, excessive and over-invested reading form is defined as “masturbatory”.

The fourth chapter explores the act of romance reading when defined as a sexual activity. The romance community is compared to the “second wave” feminism of the 1970s in order to demonstrate how the genre establishes a separatist female community where relations, positions, and identifications are in motion, revealing both homoerotic and autoerotic elements to this homosocial context.

In the fifth chapter, a close reading of the material is performed with a focus on the “here and now” of the reading situation. The dichotomy of desiring subject and desired object is problematized in relation to looks and gaze. The thesis argues that the romance text uses detailed and intimate descriptions to instill a sexual charge and to freeze the flow of the storyline in order to make room for constant erotic contemplation. These “frozen moments” and the repetitiveness of the genre are discussed in relation to theories of queer temporality. The romance text constructs a room “outside of time” that privileges the overwhelming pleasures of the “here and now”. This liminal room is not only available for the heroine and hero of the story, but for the romance reader as well.

The sixth and final chapter ties together the main arguments of the thesis in an overarching discussion on how conceiving romance reading as a form of masturbation challenges previous research on popular romance and the gendering of and contempt for mass culture.

We explore the impact of age on cultural change through simulations of cultural evolution. Our simulations show that common observations about the relationship between old and young naturally emerge from repeated cultural learning. In particular, young individuals are more open to learn than older individuals, they are less effective as cultural models, and they possess less cultural traits. We also show that, being more open to learning, young individuals are an important source of cultural change. Cultural change, however, is faster in populations with both young and old. A relatively large share of older individuals, in fact, allows a population to retain more culture, and a large culture can change in more directions than a small culture. For the same reason, considering age-biased cultural transmission in an overlapping generations model, cultural evolution is slower when individuals interact preferentially with models of similar age than when they mainly interact with older models.

We use the term regulatory traits to indicate traits that both regulate cultural transmission (e.g., from whom to learn) and are themselves culturally transmitted. In the first part of this contribution we study the dynamics of some of these traits through simple mathematical models. In particular, we consider the cultural evolution of traits that determine the propensity to copy others, the ability to influence others, the number of individuals from whom one may copy, and the number of individuals one tries to influence. We then show how to extend these simple models to address more complex human cultural phenomena, such as ingroup biases, the emergence of open or conservative societies, and of cyclical, fashion-like, increases and decreases of popularity of cultural traits. We finally discuss how the ubiquity of regulatory traits in cultural evolution impacts on the analogy between genetic and cultural evolution and therefore on the possibility of using models inspired by evolutionary biology to study human cultural dynamics.

We call "regulatory traits" those cultural traits that are transmitted through cultural interactions and, at the same time, change individual behaviors directly influencing the outcome of future cultural interactions. The cultural dynamics of some of those traits are studied through simple simulations. In particular, we consider the cultural evolution of traits determining the propensity to copy, the number of potential demonstrators from whom one individual may copy, and conformist versus anti conformist attitudes. Our results show that regulatory traits generate peculiar dynamics that may explain complex human cultural phenomena. We discuss how the existence and importance of regulatory traits in cultural evolution impact on the analogy between genetic and cultural evolution and therefore on the possibility of using evolutionary biology inspired models to study human cultural dynamics.

Behavioral “traditions”, i.e. behavioral patterns that are acquired with the aid of social learning and that are relativelystable in a group, have been observed in several species. Recently, however, it has been questioned whether non-human sociallearning is faithful enough to stabilize those patterns. The observed stability could be interpreted as a result of various constraintsthat limit the number of possible alternative behaviors, rather than of the fidelity of transmission mechanisms. Those constraints canbe roughly described as “internal”, such as mechanical (bodily) properties or cognitive limitations and predispositions, and “external”, such as ecological availability or pressures. Here we present an evolutionary individual-based model that explores the relationships between the evolution of faithful social learning and behavioral constraints, represented both by the size of the behavioral repertoire and by the “shape” of the search space of a given task. We show that the evolution of high-fidelity transmission mechanisms, when associated with costs (e.g. cognitive, biomechanical, energetic, etc.), is only likely if the potential behavioral repertoire of a species is large and if the search space does not provide information that can be exploited by individual learning. Moreover we show how stable behavioral patterns (“traditions”) can be achieved at the population level as an outcome of both high-fidelity and low-fidelity transmission mechanisms, given that the latter are coupled with a small behavioral repertoire or with a search space that provide substantial feedback. Finally, by introducing the possibility of environmental change, we show that intermediaterates of change favor the evolution of faithful social learning.

I år har den femte upplagan av Örebros konstbiennal OpenART gått av stapeln. Den är sedan 2013 den största konstbiennalen i Skandinavien och brukar visa verk av ett sjuttiotal konstnärer från olika delar av världen i stadsrummet och på museer. I år bidrog inte mindre än 13 kinesiska konstnärer och var därmed efter Sverige den mest representerade nationen. De två kinesiska utställningarna "Möten" och "Utan hämningar" fanns att beskåda 14juni–6 september och visade konstverk av Ai Weiwei, Chen Zhiguang, Cheng Dapeng, Chi Peng, Fu Zhongwang, Hu Weiyi, Li Binyuan, Liao Yijun, Song Dong, Wang Rui, Xu Bing, Yang Mushi och Yin Xiuzhen. Svensk-kinesiska föreningen var på plats och höll en visning i början av augusti. Här recenseras OpenARTs stora satsning på kinesisk samtidskonst.

During the confinement due to COVID-19, our research group (MIRCo) gathered together to share our views on the pandemic. Like Klemperer (2001), we developed a 'quarantine diary' of the 'keywords' (Williams, 2015) and expressions circulating in Spain and abroad during the lockdown. In this article, we reflect on how events are (re)constructed in discourse and how different understandings emerge and turn into social practices with transforming potential (Foucault, 2002; Martin Rojo, 2001). Our analysis of these keywords reveals two tendencies, associated with neoliberal governmentality that reinforce the disciplinary component of security: (i) the reinforcement of social discipline, which in the Spanish case was call upon individual responsibility and, for the most part, was efficiently self-imposed by citizens; (ii) the multiplication of devices and nodes of social surveillance, which took place with the engagement of the population in controlling others, and the proliferation of cyber surveillance. The struggles over the signification (Laclau & Mouffe, 1985) of various keywords, such as solidarity or freedom, reveal several social tensions at different moments and places that are addressed in the article. In this article, we also turn to discourses that reflect the care practices initiated by neighbourhood and activist groups in order to address the particular ways in which the pandemic has affected their communities. Exemplified by the repopularized slogan: 'solo el pueblo salva al pueblo' ('only the people can save the people'), here we explore how networks of mutual aid and care at the local level challenge assumptions of the State as the primary actor for finding a way out of the crisis. Our discussion questions how 'commoning' (Bollier, 2014) practices for resistance and survival might transcend the pandemic and provide keys to unlocking solutions to new (and old) social struggles.

With a focus on the shifting use of the concept of the barbarian, Anna Albrektson positions the figure of Medea within the context of colonial expansion. Euripides labels Medea a barbarian, but this identity is pinned on Jason in several versions from the 1770s and 1780s, when a concomitant sentimental strategy enhances Medea’s position as woman and victim of male cruelty. The idea of the ‘ethical barbarian’ becomes a cultural commonplace within eighteenth-century literature. By the 1790s, however, Medea is translated once more into an ethnic barbarian in versions that abandon the Enlightenment idea of human universality. The interplay between Enlightenment discourses, colonial experiences, and aesthetic experimentations form the context for these often divergent representations of Medea from several European nations.

By shedding light on accounts from unaccompanied Afghan asylum-seeking minors in Sweden who were child soldiers in Syria, this thesis explores and examines their narratives and their involvement in the civil war in Syria. The research aims to create a deeper understanding of how these children themselves made sense of their participation in the war by answering the following questions: How were the children approached by the recruiters?

What kind of reasons for joining the war are put forward by the recruiters and what strategies do the children encounter: a) economic; b) identity formation; c) social deprivation; d) feeling of vulnerability; e) militarization; f) mental development; g) ideology/ religious-sectarian; or all together?

How do the children perceive these encounters and make sense of their recruitment to the Shiite Fatemiyoun Brigade? To which extent has the ideology of Shi’ism played an important role for them in joining the Syrian War? This is a qualitative study based on in-depth interviews which combines procedures from two approaches and techniques: an ethnographic approach and a narrative approach that explores the interviewees’ experiences in a period of time and also generates detailed insights.

Despite the fact that none of the respondents testified for being recruited at gunpoint or having been ill-treated, the respondents emphasized that they were forced to join due to the bad circumstances they were living in. In addition, many similarities with other cases regarding child soldiering in several countries have been explored in this thesis, for instance factors related to the socio- economic context and the experiences that are related to the children’s development processes.

Differences can be located in various details regarding ideologies and indoctrination since the respondents did not share the politico-religious purposes of the recruiters. 

Varios investigadores del campo de las ciencias sociales han señalado que la frontera de Rio Grande do Sul funciona como frente de expansión de las religiones afrobrasileñas para Uruguay y Argentina. Pi Hugarte, autor de una serie de publicaciones sobre las mencionadas religiones en el Uruguay, afirma que “la umbanda del Uruguay ya es un fenómeno cultural propio” (Pi Hugarte, 1992: 45). Eso coincide con la postura de Porzecanski (2008) que se refiere al “ritual afro-uruguayo de la Umbanda”, lo que se puede interpretar como la designación de una modalidad regional de esa religión. Según trabajos anteriores, en los rituales de dicha modalidad regional se emplea el portugués, pero no encontramos investigaciones de carácter lingüístico sobre la difusión de esa lengua como consecuencia de la expansión religiosa o sobre el uso del portugués brasileño y la convivencia de esa variedad con el español regional en el ámbito afroumbandista. Fue así que surgió la idea de realizar un trabajo de campo para observar la comunicación ritual y juntar datos lingüísticos en una comunidad montevideana que se dedica a las prácticas religiosas denominadas Batuque Quimbanda y Umbanda. Aportamos datos empíricos de un estudio de caso para describir el uso del portugués en contextos religiosos entre hablantes nativos de español. Completamos los datos recogidos consultando estudios anteriores para poder ampliar el universo observado y presentar ejemplos de comunidades que no tuvimos la oportunidad de visitar. Las preguntas discutidas son: ¿En qué situaciones comunicativas y por qué razones se utiliza el portugués en contextos religiosos y rituales en el Uruguay? ¿Cuáles son los componentes lingüísticos que se destacan y cuál es su relación con las variedades de español regional y con el lenguaje que se utiliza en comunidades de religión afro en el Brasil?

Artificial intelligence (AI) has over the past years become a hot topic for discussion in Sweden, as the technology presents exciting unique possibilities and challenges for the country and its citizens. Coverage of AI in Swedish news media presents imagined scenarios with both current and future AI that contribute to myths about how the technology is able to radically transform life, that spring out of a central digital sublime. Through a mixed-method study of 55 newspaper items about AI from Svenska Dagbladet from 2017 to 2018, the thesis studies what evident AI myths occur in coverage and how such discourses spring out digital sublime regarding AI. A total of four AI myths are found in news media coverage that revolve around existing and future intelligent computers, robots, machines and perceptions with them. Myths and hopes and concerns with them point to digital sublime regarding AI as a force of intelligent digitization that promises to empower a sublime citizen, economy, and welfare state. Emotional values with sublime AI are understood to reflect a general Swedish techno-optimism as digital artefacts have allowed Sweden to become prosperous.   

Uppsatsen undersöker hur coronapandemin påverkat museers digitalisering, och ser främst på det digitala utbudet: programverksamhet och utställningar. Ur ett teoretiskt ramverk som innefattar ett kritiskt kulturarvsperspektiv samt deltagande och mediekonvergens genom kritisk diskursanalys och semistrukturerade intervjuer besvarar uppsatsen frågeställningar om hur digitaliseringsprocesser såg ut vid tiden före coronapandemin, hur processen beskrivits i media och av museianställda, samt vad en digitaliseringsprocess kan innebära för konsumtionen av kulturarv. Undersökningen inleds med en redogörelse för museidefinitioner och bakomliggande politiska direktiv och strategier för digitaliseringen, för att sedan granska tre museers digitaliseringsplaner från år 2016. Vidare undersöks hur pandemin och digitalisering lyfts i media. Slutligen presenteras intervjuer med tre museianställda som delar sin upplevelse av att ha arbetat med av digitaliseringsprocesser under 2020-2021. Undersökningen påvisar att det finns en politisk diskurs som skapar de förutsättningar inom vilka svenska museer kan digitalisera sina verksamheter. Vidare har coronapademin generellt påskyndat diigitaliseringsprocesser och skapat tillfälle att utforska digitaliseringens möjligheter samtidigt som det lyfter en diskussion om materialitetens roll i det digitala formatet. Därtill visar uppsatsen att en ökad digitalisering kan skapa sektorspecifika kompetenshierarkier samt att det finns dominerande röster inom fältet som talar för digitalisering i stort, snarare än mot.

Jag har i denna uppsats utfört en kvalitativ analys på några av artisten Lana Del Reys musikvideos utifrån ett teoretiskt ramverk grundat i sexualitet och kritiska femininitetsstudier. Vid utförandet av analysen utformade jag två nya troper då jag inte fann några som inkluderade allt det jag tyckte mig kunna tolka mig till under analysen. De två troperna är “Det vackra lidandet” som främst utgår från kvinnligt lidande och destruktiv heterosexualitet, samt “Femmisk frigörelse” som främst utgår ifrån en queer frigörelse där gemenskap mellan kvinnor sätts framför manlig åtrå.

Syftet med uppsatsen är att införa användandet av troperna och argumentera för varför de är användbara. Materialet jag använder är Lana Del Reys musikvideos och de analyseras genom kvalitativa tillvägagångssätt som närläsningar, queera läsningar och semiotisk analys. Troperna användes vid analysen av alla videorna: antingen separata eller överlappande och kunde även förekomma som alternativa versioner av sig själva. Genom användandet av troperna vill jag visa på hur femininitet och sexualitet ter sig och hur flytande de strömningarna är med ett material som sen tidigare är omdiskuterat att följa endast en utstakad väg, nämligen då den heterosexuella. I min analys fann jag inte bara patriarkal femininitet och heterosexualitet, utan det förekom även femininitet rotad i den lesbiska femmen och queer sexualitet. Del Rey visar upp en flytande relation mellan dem och kunde skifta mellan dem under loppet av en och samma video.

Svensk kulturarvspolitik arbetar utifrån visionen för kulturmiljöarbetet 2030 att ”alla, oavsett bakgrund, ska kunna göra anspråk på vårt gemensamma kulturarv”. Vad har föranlett till den här visionen och hur har det sett ut innan? Den här studien syftar till att undersöka hur och om retoriken i det talade språket och den skrivna texten uttrycker en exkluderande eller inkluderande syn på nationellt kulturarv kopplat till identitet.  Hur har synen på nationellt kulturarv sett ut och finns det en ”vi” och ”den Andre”– struktur i diskursen?

Källmaterialet består av tre olika kultur- och kulturarvspropositioner under åren 1996, 2009 och 2016. Det kompletteras med utvalda intervjuer och offentliga tal från tre olika kulturministrar under samma år: Marita Ulvskog, Lena Adelsohn Liljeroth och Alice Bah Kuhnke. Metoden för studien har varit kritisk diskursanalys hämtad från Norman Fairclough. Resultatet av undersökningen diskuteras med begrepp hämtade från postkolonial teori, främst Edward Said och Homi K. Bhabha.

Sökord: kulturarv, ”den Andre”, kulturarvspolitik, identitet, postkolonial, kritisk diskursanalys, kulturminister, nationalism

This study examines the genre of YouTube reaction videos as a distinct form of cultural production and social influence in online communication. Despite its prevalence and popularity, the genre has received limited scholarly attention, particularly with regard to reactions to ideological activism. This paper aims to fill this gap by conducting a social semiotic discourse analysis of videos reviewing the activism of transgender community on TikTok. The analysis demonstrates how intersecting non-verbal and technologically enabled modes, such as gaze, gestures, facial expressions, and various audio-visual effects, contribute to the expression of impoliteness arising from a sense of superiority over the target, shared with non-targeted viewers. Overall, the paper provides insights into the dynamics of online culture wars and the multimodal manifestations of impoliteness in contemporary social media discourse.

Is she looking as royal as can be? Dressing the part of a princess? Popular media texts, such as magazines completely devoted to celebrity matters, dealing with reports on who is wearing what at which occasion, provide the empirical outset for this textual study on the representations of the Scandinavian princesses of today: Mary (Denmark), Mette-Marit (Norway), Victoria (Sweden) and Madeleine (Sweden). In this article the princesses are, on a theoretical level, considered stars with their own images, images constructed in a similar way as film stars, with fashion and appearance as the focal point. In popular media texts, such as the Swedish woman’s magazine Svensk Damtidning, the styles of the princesses are scrutinised, compared and evaluated. These mappings are in this way further examined, and the topics surrounding the representations are surveyed. The themes selected for supplementary examination are personal style and Cinderella narrative, as they emerge as intimately interrelated with fashion. The epithet princess, in the sense ‘‘what a princess ought to look like’’, is given in terms of aestheticised appearance: body, fashion and personal style, is thus discussed and theorised throughout the article. Hence, the purpose of this article is to examine the roll of dress and the matter of appearance concerning the representations of the Scandinavian princesses, relating to the themes of style and consumption, as well as the transformation narratives. How are these royal styles constructed, on a designer level as well on a thematic level?

Although webtoons have become one of the largest consumed media in South Korea, and many webtoons have been adapted to both film and television, there has been a lack of research on webtoon to television adaptations. This thesis will investigate the specific characteristics of the webtoon that make it suitable for television adaptation using the webtoon I Sneak A Look At His Room Everyday by Yu Hyŏn Suk and the television series Flower Boy Next Door directed by Chŏng Chŏng Hwa.By using narrative structure and character analysis the two works will be compared and contrasted to discover the similarities and differences that enable a smooth media conversion.The second part of the thesis looks into what a webtoon is and how it has evolved during the years. To explore the characteristics for media conversion the webtoon and the television series were analysed both separately and compared to find the commonalities and the differences.The results indicate that using similar storytelling methods such as story-arcs play a large role in the success of webtoon to television adaptation. Both media needs to keep their viewers on their toes to make them want to read/watch further.

This paper argues that the Queering the Science Museum tour series (2018) provides an example of a conceptual pathway for translating queer tour guiding approaches found in socio-historical and arts museums into STEMM spaces. I use participatory methods and qualitative and quantitative participant data to reflect on my work on the tours in the context of wider practices of tour-guided interventions. I highlight how the Queering the Science Museum tours, at the Science Museum, London, moved beyond existing models of queer engagement in socio-historic and arts museums by introducing an explicitly critically queer approach to science and technology, which has the potential to expand the possibility of queer interventions in museums generally. I close by examining the limitations of tour-as-intervention for change within the museum, while exposing the tensions around how resolving such issues would challenge queer theory’s call for rejecting the making of queer ‘normal’ within displays.

Antologin bygger på föreläsningar, presentationer och samtal under Centrum för barnkulturforsknings barnkultursymposium våren 2023. 

This article examines the amateur photographer as a common figure in contemporary news photographs, focusing on how the amateur’s gestures signify in journalism’s coverage of media events. Drawing on theories of photography as performance and ritual, I argue that the presence of the non-professional in the news photograph destabilizes journalistic discourse by challenging the role of the professional photographer and by redefining the event and its meanings. This is especially critical in coverage of catastrophic events, when the amateur’s gestures become a form of witnessing from a participant’s perspective, carrying both private and collective meanings for how the event will be understood in the future, and undermining the authority of journalism.

This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these ‘traditional’ photographic objects with ‘new’ digital forms of video animation on screen and in public space that characterize Performing Pictures' work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall.  At the intersection between the material aspects of a ‘traditional’ vernacular art form and ‘new’ media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas.

While research on retrocomputing has stressed the cultural importance of learning from practices such as retrogaming and preservation, this article emphasizes the material practices developed within retrocomputing communities, namely the electronic engineering of various hardware, which seeks to make older technologies operative in a present media ecology. Focusing on hardware designs for the Commodore 64, this articles analyzes their (joint and emergent) media specificities, raising the issue of what is, in fact, being "re-presenced." Wolfgang Ernst's diagrammatic media archaeography serves as a guiding method to produce materially grounded insights into the temporal transformation of digital culture and how chronologically disconnected functionalities tied to specific machinery can, when systematically joined, bridge, erase, or transform the relation between new and old media. 

Genom denna uppsats har jag undersökt hur rummen på tre verksamheter på Kulturhuset Stadsteatern kan förmedla möjligheter till barns subjektskapande. Syftet med min undersökning var att ta reda på hur dessa verksamheters rum är utformade och vad de erbjuder i sin verksamhet som kan bidra till att ett barns subjektskapande påverkas. Verksamheterna är Rum för barn, Tiotretton och Lava och de riktar sig till olika ålderskategorier. Jag ville även se hur rummen förändras om man förflyttar sig mellan dessa verksamheter och hur den transitionen förändrar förmedlandet av barns subjektskapande. För att få djupare förståelse för verksamheternas arbete intervjuades tre informanter som alla arbetar där.

Det jag kom fram till i mitt resultat är att dessa tre verksamheter har flera aspekter gemensamt, men ännu mer som skiljer dem åt. På grund av detta kan barns subjektskapande påverkas på olika vis. Rummens utformning förändras beroende på verksamheten och det gör att andra typer av material, möbler och aktiviteter kommer i fokus. Informanternas reflektioner bidrog även till en djupare förståelse för hur de arbetar, hur platserna har tillkommit och hur de arbetar för att förbättra upplevelserna för barnen.