This thesis is an integrated part of the process-oriented artistic project Upprepa repa upp veckla ut veckla in and involves reflections upon its artistic accretions as well as the process itself. 

The process gravitated around different nodes of attraction such as listening, attention, improvisation, repetition, slowness and language. These nodes were investigated through improvised piano playing (solo and in groups), writing, reading, listening and discussing, and materialized in three work in progress- concerts, one exam concert and a solo cassette. I approached music playing-listening in a relational way, acknowledging bodily sensations and intuition as well as memory and thought; this in dialogue with thinkers and artists such as Pauline Oliveros and Éliane Radigue.  The project also examined how to destabilize the traditional roles between musician and audience, and gave valuable insights in how to create a mutual encounter as well as a collective space of listening, and the political potentials of this.  The results points toward a reformulated performative artistic practice centered around listening and shared spaces, and ways of integrating different artistic expressions such as written language, music and sounds.