I have always worked these two in tandem, submitting them throughout by alternating them. By Research 3 (March 2020) it was becoming clear that Research itself was creating art objects and works (the padlets and the glossary first) and that thus the BoW was in objecthood disarticulating from the research enquiry. Significant was the moment when I discovered I was going to do an actual research project, first considered as auto-ethnography, the writing auto or theory fiction, at the point of eventual conclusion the research shifted towards a creative arts practice-as-research, PaR, the writing an exegesis with elements of creative writing but likely fairly consistent with a PaR-based complementary writing (Robin Nelson) approach: it enabled me to integrate my former academic research self more fully within an artistic context, making the researcher part of the artist and part of my artistic voice. Understanding the significance of PaR as creative practice was important here also to realise what kind of art I am interested in making (and also what less so), that my art was process-based, yet finding material objects (in analogue or digital) as resolution was something I did know before embarking on Level 3, the extent to which an active enquiry was part of the process was something I honed and refined. The status of art works was somewhat fleeting, abundant, slight at the point Lockdown 1 happened in the UK and I lost the institutional staircase site as research and installation venue just before I felt the research cycle was concluded. I had devised a series of interventions into that site (albeit I submitted these for Research 3 and not BoW4) which were however never realised. The next step was to fold these into a mobile walking loop outside to take account of contact restrictions and to develop the fictional elements of drawing/contact, near-space and moving-with further in summer 2020. These were abandoned when I moved to German due to my father’s stroke and then staying due to his poor health and looming travel restrictions from September 2020 onwards.The work I made during those months was first and foremost practical: to occupy myself and find ways of processing that was happening. I quickly realised how the methodology of making (cyanotype contacts prints outside of moving and slight leaves and other plant matter) was fully situated and articulated within the drawing/contact framework: I had in fact had the chemistry I had bought in early summer sent over to use here and not there. The work became extensive, vast, a new site emerged, a transformer station to enquiry into and perform-with. At this point the research methodology was fairly well-articulated and as it was holding along the main parameters of drawing/contact and its questions (body as drawing tool, relational contact, materialisations of these), I decided to keep this methodological focus of the research and to keep what was the original work as case studies, to develop them as research objects, and to more fully articulate the findings, insights and conceptual relevance of these for the dissertation, while making a rather analogue and material BoW alongside.In the BoW 4 tutorial (February 2021), Stromverteilen as site (the transformer station) turned entire work rather than case study and I developed a portfolio where Stromverteilen would house and contain the earlier processes and sites. The extent to which this was straightforward and helped refine further the key processes of drawing/contact and its enquiries (many of these articulated through the Herz/Stein process) but also helped develop a site that was fictitious yet physical, that was accessible and offered routes towards other sites, to dreams from earlier was fascinating. It helped then decide on the autumn works to become four covers to become For Cover as BoW submission, sited and linked in an environmental context and translated also into a digital portfolio that uses audio narration to allow for access, intimacy and some immersion. At the point of module conclusion (at the time limit of 24 months + 6 months extension), there exists a whole series of live drawing processes which I initially had intended to turn towards a final ‘drawing’ for BoW, to encompass the entire site, but which I then realised where actual research processes, the BoW complete with For Covers. I have the sense I needed to test and move further with these drawings to come to the realisation of how Im Walde, Walnut tree and Trafodecken constitute the work and how they can be sited to activate each other, the site and make the objects also accessible for viewers (and perhaps participants).