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Något har hänt! Mina ettor i år har inga problem att skriva för hand. Ingen protesterar, ingen skriker om anpassningar, inga föräldrar ringer och klagar. Eleverna bara tar upp pennorna och skriver. Och FINT! Liberalernas ”Från skärm till pärm” verkar ha fått genomslag? 🙌✍️📝 #utbildning #skolpolitik #handwriting

Why writing by hand is better for remembering things: “Whenever handwriting movements are included as a learning strategy, more of the brain gets stimulated, resulting in the formation of more complex neural network connectivity.” In other words: Writing by hand, as opposed to https://t.co/DzVkZ0Wtga #Handwriting #Memory #Learning #Nospecificcountriesarementionedinthetweet.

The dream about rebirth, digital painting, 75 x 100 cm. This digital painting unfolds like an archaeological dream, built from fragments of documents, stamps, handwriting, and photographic traces. Layers of torn paper, official seals, and historical markings create a visual palimpsest — an archive that has been broken, reassembled, and reimagined. At the top, a weathered strip of security film introduces the idea of protection, fragility, and time. Beneath it, a partial portrait — lips, chin, the suggestion of a human presence — emerges from cursive handwriting and circular ink marks, as if memory itself were trying to speak through the layers. The lower section is dominated by sepia‑toned bureaucratic documents: Romanian stamps, signatures, legal text, and official seals. These elements anchor the work in a specific cultural history, yet the collage transforms them into something fluid, symbolic, and dreamlike. The marks of institutions become emotional residues; the administrative becomes intimate. The entire composition feels like a rebirth through paper — a reconstruction of identity from fragments, a return of something once lost. The painting suggests that rebirth is not a clean beginning, but a layered process: a negotiation between what remains, what fades, and what insists on returning.