Transistor 4 is the fourth month-long performing arts festival in two years. The previous festivals have emphasized the experiment and have often presented works in the midst of the process. This festival presents more finished works. The theme of Transistor 4 is ”Critical Perspective as a Practice”. The festival is focusing on the difference artists' approach at looking and shaping the world in their work. What we are interested to investigate at this festival is to see whose stories are told, why, for who and in what way? The festival may not answer these questions, but may help us to think deeper and longer about art and the world.

The video installation Lågan vs. Nålsögat: A Sequel takes as its point of departure two films: Lågan from 1973 by Sandell Film AB, and Nålsögat from 1975 by Jan Troell. The two films depict everyday life at the ship building company Kockums in Malmö from fundamentally different angels, and can be said to highlight two conflicting perspectives in how to reach social justice and better living conditions for people present in the political debate in Sweden and many other countries during the 20th century: one claiming that social progress has to be pursued within the realm of work, and the other that the realm of production will never make any real progress toward humanitarian emancipation possible.

Halla Steinunn Stefánsdóttir has been the artistic director of Nordic Affect since its inception in 2005. Believing that the exciting things happen "in the connection" Halla Steinunn’s work with the ensemble has been a tour de force when it comes to collaborative relationships with composers, visual artists, and producers. Furthermore she’s brought the spotlight to women’s role in music history, leading to projects such as HÚN/SHE which was broadcast by the European Broadcasting Service in 2015.

With degrees from The Royal Danish Academy of Music and Indiana University School of Music, Halla Steinunn now holds a PhD position in artistic research at Lund University, in a time where the divide between creator and performer is being questioned in theoretical writings and in practice.

The phenomenon of intermedial conceptual loans is central to our understanding of the time-based arts. In my master thesis (published at Malmö Academy of Music in 2010) I investigate how the concept 'musicality' is used as a prestige word in discourse on spoken theatre. It is entitled Att agera musikaliskt: musikalitet som norm och utbildningsmål i västerländsk talteater.