Gazelle Kianoush's the Master essay "Jag ska skapa en människa!" concists of a voice and sound recording. A recorded reading of the text is mixed with sounds and gives emphasise to vocal and acoustic rather than textual and grammatical qualities. Attention is redirected from reading to listening, and thus a greater intimacy between "writing" and "reading" is sought for. The latter is also further accentuated by the low sound of the recording which demans complete concentration of the listener. The recording begins with quoting a prophecy present in the Quran, the Torah as well in the Bible before the voice immediately turns to observing that all societies are ruled by political agendas and that anyone who wants to put them into play and at stake will be punished. This observation is connected to the remark that art seems to have lost its power to cause political change, i.e change that transcends the art world and manage merge life with art.

Kianoush wants to challenge and revolt against this inertia and lost faith and instead see art as a utopian project where the impossible can become possible. At heart of such attempt and project is the appreciation of the sensorial, affective body. The body is as clever and rational as consciousness, and in order to create "new worlds" and encountering the world through art in positive ways, dualist thinking has to be abandoned in favour of thinking and doing that takes bodily experience as starting point: "The greater possibilities he have to be affected, the more clear-sighted". Bodily experience is thus highlighted, and so is the fact that we at first sight always approach other beings as bodily entities through our senses. How we perceive the other as well as the impact perception has on identity construction is brought up. Gender and ethnicity are also pointed out as crucial for the way we understand and interact with other people and orientate ourselves in the world.

Emancipatory politics and egalitarian claims regarding gender, ethnicity and cultural background form the recurrent theme of the essay, emphasised by quotes from among others Antonio Gramsci and activist Stokely Carmichael and expressed as everyone's right to write and perform his or her own history. For this, art can be an efficient form; but only if it is "more than a thing" and affirm its ageless appeal which is conclued by Kianoush in that "art belongs to the streets":

At the end of the essay the shared origin of culture that was hinted in the opening qoute is further emphasised by a short outline of the great historical impact the so called "Orient" has had on the history of Western culture.

[I examensarbetet ingår utställningen "Där vi bor!":]

Jag tänker, alltså är jag! Om man tänker så finns man...men är det verkligen så? För mig har tänkandet inte något högre ontologiskt värde än kroppen. Sinnesförnimmelser och kroppsliga erfarenheter är lika intellektuella som tänkandet själv. Ju större affektionsmöjligheter vi har desto skarpsyntare är vi. Tankeverksamheten kan ses som den mentala spegelbilden av den kroppsliga erfarenheten.

Jag bjöd in tre konstnärer i ett samarbete kring varandet! Kroppen och maktförhållandet mellan tankevärlden och det kroppsliga var utgångspunkten. Vi använda lera, rösten och avidentifierandet av personligheten för att undersöka ämnet. Fyra kvinnor gör en kropp inom loppet av en 5 dagars performance.

Teknik: Performance i fyra delar.