Data visualisation

Power, Representation and Exclusion: a Collaborative Art-Science Installation at the University of Porto

On 24 and 25 March 2025, during the
5th General Assembly of the SINCRONY project, held at the Faculty of Psychology and Education Sciences of the University of Porto,
a collaborative art-science installation (CASI) was deployed to explore how participation, representation and power distribution are experienced within the university context.

The installation, titled

“Power, Representation and Exclusion”,
was developed by a team of researchers, artists and science communicators in the context of the SINCRONY project | interSectIonal iNClusion in delibeRation and participatiON with Youth (SINCRONY) Consortium, funded by the European Union (Gran Agreement No. 101132459). It consisted of a sequence of prompts addressing participation, representation, power and exclusion within university life.

This installation was produced by WeDo | Project intelligence made easy, S.L. (WeDo) and developed within the EU-funded project SINCRONY
Conceptualised by Paola Buedo (Technical University of Munich) and Mario Magaña (WeDo), Contributions and collaboration: Ángel Honrado, Mireia Manent, María Pia Aristimuño, Jorge Gutiérrez, Carlos Oliva (WeDo), Sofia Marques da Silva, Filipe Piedade (University of Porto), and Gundula Ludwig (University of Innsbruck)

How the installation worked
Participants selected a coloured wool thread representing their role at the university — such as university student, PhD student, researcher, professor or university staff — and used it to indicate their answers across the installation.
As each person contributed, the threads crossed, overlapped and accumulated, gradually transforming the space into a collective visual map of university experiences, perceptions and recommendations.
The questions addressed different dimensions of university life, including being heard in participatory spaces, feeling represented in decision-making processes, language, economic conditions, citizenship and migration status, gender identity, sexual orientation, accessibility, age, mental health, lived experience and overall perceptions of the university as an institution.

Participants were also invited to leave recommendations or reflections using coloured post-its. This allowed the installation not only to collect responses, but also to open a space for imagining how the university could become more inclusive, participatory and responsive to the needs of its community.

What the installation made visible
The installation transformed individual answers into a collective visual map of how different members of the university community experience participation, recognition and exclusion.
It also created a space for recommendations, inviting participants to imagine how university life could become more inclusive, participatory and responsive.university as an institution.
Students from Dr. Joaquim Gomes Ferreira Alves School participating in the Porto pilot

Do you know how participation, representation
and power distribution work at your university?
Do you have an idea on how they should work?

You have just navigated the Circle of Power. The threads you placed form a collective map of participation: a visual trace of how people feel heard, represented, or excluded within the institution. Lived experience becomes opinion, and opinion becomes data.

If you ended up closer to power or nearer the margins, this is not a judgement of who you are. It is a snapshot of how power currently works in the university. The aim is to reflect on your position and role: sometimes you are holding the door for others, sometimes you are trying to get in. And sometimes, without noticing, you help keep the door where it is.

This co-created installation draws on research from the SINCRONY project, which explores how intersectional conditions shape participation in democratic and deliberative spaces. One key insight is simple but uncomfortable: many participatory settings are built around an “ideal participant”, and those outside the norm must adapt, compensate, or step back.

As you leave, carry these questions into future participation, in the university or elsewhere: Who is at the centre? Whose knowledge counts? Who is missing, and why? What can I do, from where I stand, to shift the circle?

“Não se trata de fazer arte; trata-se de estar naquele estado maravilhoso que torna a arte inevitável.”

Robert Henri

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