Six perspectives: Analysing the same video through different lenses

The video analysed by all the networks depicts an interactive play situation between Olle, who has congenital deafblindness and CHARGE syndrome, and his communication partner, someone he knows well.

In the video, we see an example of how variations in play can be adapted to the tactile modality and how this helps sustain the interaction. We observe Olle and his partner touching each other’s noses, taking turns and using variations in pressure, tempo, and movement. This adds interest and helps maintain the interaction.

The analysis' goal was to share each network’s perspective on a specific case. The networks' contributions highlighted their diversity and unique characteristics. By sharing insights, other networks benefited from the results, helping them develop and refine their own toolkits for video analysis.

The networks were allowed to analyse and present the video analysis using models, theoretical approaches, evidence-based methods, and experience-based knowledge from professionals and individuals with deafblindness. Each network presented its analysis, and the main findings and perspectives from each analysis are summarised in this chapter of the report.

The video (2.2 d Variation i samspelet) can be found on page 13 in the publication Lärande och umgänge genom känseln by Nationellt kunskapscenter för dövblindfrågor (NKCDB) in Sweden.

The Communicative Relations network emphasised communication’s dialogical nature, viewing it as a partnership rather than a one-way process. Concepts like the Cue Model and Diamond Model demonstrate how interaction fosters communication and meaning. These frameworks underscore the collaborative essence of dialogue in creating shared understanding.

During the video analysis, the Network on Communicative Relations noted that the video was unusually long—over one minute—since the network mostly analyses videos that are only a few seconds long. The network members also stated the importance of staying strictly analytical and not getting emotionally engaged with the subject in the video.

– Communicative relations consist of many different theories and models. However, what is distinctive about these different theories is that development is seen as a result of the relation a person is engaged in over time, says network member Johanna Hägglund.

The video analysis of the Network on Communicative Relations was based on three models from the book Communicative Relations (see chapter 2.1): the Life-Space model, the Diamond Model and the Cue Model.

The Life-Space model shows how the child's life space is established as a dynamic relation and illustrates how the life space gradually expands as they experience an increasing ability to maintain a feeling of security and emotional proximity to their caregiver over greater physical distances.

The Diamond Model identifies four fundamental ways humans relate to the world: social interactive play/action, proximity/attachment, exploration/categorisation, and conversations.

The Cue Model shows the critical areas of development by accentuating the four environmental relations in the Diamond model.

– This model gives us observational cues that indicate the contribution from the individual with deafblindness, Johanna Hägglund says.

For the video analysis, the Network on Communicative Relations hypothesised that the subject in the video, Olle, was interested in being in a speaking and listening position with his partner. The network highlighted some cues in a part of the video that supported this hypothesis.

– Olle has his left hand under the partner's right hand and also puts his right hand on the partner's hand. The emotional expressions are smiles, and Olle and his partner pay joint attention to each other.

Johanna Hägglund explained that the network found elements described in the theoretical models throughout the video of Olle. The network listed a number of hypotheses which they found in the clip: agency, trust, tactile contact, emotional elements, rhythm, following and responding to the other’s expressions, attention to each other, exploration and categorisation, and attention over time.

Using the Diamond model, the network started at the bottom of the diamond, where the importance of trust and agency are described.

– We see that Olle is a strong initiator in the interaction, and it is an interaction with increasing complexity. Olle shows a strong will. His contributions to the interaction are perceived and answered, which we can assume strengthens his agency. Regarding trust, Olle is sitting physically close to his partner, which can be seen as a sign that he dares to trust his partner. The partner is socially available in the play, which perhaps creates security and gives Olle a feeling of being seen by the other, Johanna Hägglund says.

The network also noted that Olle and his partner make tactile contact throughout the whole film clip.

– We see emotional elements. Olle is laughing, biting his thumb, and clapping as an emotional expression, combined with facial expressions. There is rhythm and a shift in tempo during the interaction, initiated both by Olle and his partner, and the clapping games start with patting the nose, and then the game develops further.

The network also saw the clapping game as a dynamic interaction where both Olle and his partner follow each other's initiatives, which shows that they follow and respond to each other's expressions. The network also noted joint attention between Olle and his partner, directed to each other, that is maintained throughout the clip.

Exploration and categorisation are seen in the video by Olle realising that both he and his partner have noses that can be patted on. Regarding attention over time, the network noted that the complexity increased during the clip.

– Olle takes on the role of someone who initiates new aspects of interaction. This possibly means that the activity remains interesting over time, Johanna Hägglund says.

The network also noted turn-taking within the video, where Olle is shifting from being in the listening position to the speaking position using his hands. At one stage, Olle reaches out towards his partner with an open palm as an initiative for conversation.

– They are both actively using speaking and listening hands, and the partner is scaffolding the interaction by mirroring Olle in his authentic conversation, adding the use of tactile signs. We are now reaching high up in the Diamond model for proto-conversations, and we’re getting closer to what an actual conversation is.

In the analysis, the network initially focused on the deafblind person, but after reviewing the video more, they also noted some of the strategies employed by the partner.

– We saw that we could also use the models when discussing partner strategies, says network member Ingrid Axelhed.

Since Communicative Relations is a tool for video analysis and support in working with communicative interventions, the models can also assist the communication partner in planning an intervention that supports the communicative development of the deafblind person.

The partner strategies identified by the network in the video analysis included trust, tactile contact, emotional elements, rhythm, following and responding to the other’s expressions, joint attention on each other, exploration and categorisation, sustained attention over time, positioning of hands, scaffolding, and conversations based on conventional or negotiated signs or words.

The Nordic Network on Communicative Relations also presented some suggestions for interventions to provide further support. One such suggestion focused on how to help Olle internalise an awareness of turn-taking more effectively.

– We observed that he reacted to the different shifts in tempo. We discussed whether he understood when the partner communicated "slowly." While we could see that his reaction was to slow down the tempo of the play, we cannot confirm if he actually understood the tactile sign for "slowly." This could be a suggestion for future work, Ingrid Axelhed says.

The Tactile Language network illuminated the evolution of tactile communication from rudimentary gestures to sophisticated signs. This progression bolstered confidence in its status as a genuine language, prompting contemplation of the typical genesis and maturation of novel linguistic systems.

The Tactile Language Network based its analysis on the Circle Model for Tactile Language (see Chapter 2.2). The Circle Model is a dynamic tool used to understand the various elements of tactile language. The model acts as a scaffold that supports analysis by providing cues for understanding tactile dialogue to prepare activities and conversations or to formulate development goals. If you can see it, you can support it | NVC

– The Circle Model helps to support the analysis, providing cues on what to observe in the present dialogue with the aim of formulating development goals, activities, or conversations. The model is designed as a dynamic tool that can be expanded to incorporate new elements as our knowledge evolves or new perspectives emerge, network member Jessica Jägryd says.

In their video analysis, the network identified elements from all the categories of the Circle except two: multi-party conversations and haptic signals, commenting and describing.

The first thing the network noticed was the clapping game, and they observed that similar games are often seen in comparable contexts. The network had encountered such games many times during visits to schools and preschools for deafblind children. However, upon closer examination and with the Circle Model in mind, the network uncovered much beneath the surface of this seemingly simple game.

– There is a lot happening in this clip. Every second brings a new utterance and plenty of tactile language. The play begins on Olle's face; Olle makes a hand gesture next to his face and touches his partner's face. Then, some form of negotiation occurs, and the tempo shifts. Midway through the clip, the partner interjects and disrupts the flow slightly, but not the relationship, Jessica Jägryd explains.

The network specifically noted a hand gesture that Olle makes nine seconds into the video. Olle holds his thumb and index finger towards his own face while his partner turns his other hand towards her face. The network members identified a potential tactile categorisation aimed at creating an understanding of a mental image.

– We wondered whether he might be attempting to categorise something. We thought he could be measuring her face compared to his own, network member Theresa Vede says.

The network also observed how the partner tapped Olle's hand to signal that she wanted to say something and then pulled his hands apart. Olle also taps the hands, signalling, "I want to say something, too."

The partner then uses conventional tactile signs, saying "fast" three times, followed by "slowly." The changes in tempo correspond to the rhythm of the tapping on the nose. Olle then raises his hand, signalling that he understands the partner is referring to the tempo, even though he does not have the conventional signs to explain it.

– It seems as though Olle has categorised what they are discussing or what she is trying to teach him. However, we also noticed that it was Olle who initiated the game with the concept of tempo—the "fast" and "slow" originated from him. The partner simply added the conventional signs to it, Theresa Vede says.

In the analysis, the network also focused on the numerous utterances from Olle, where they noticed that he also shows agency with his voice. From a tactile language perspective, the network observed that Olle introduced new initiatives with elements of variation, altering hand shapes, positions, movements, pressure, tempo, and direction.

– In the clip, there is a lot going on with the hands. At one particularly interesting moment, Olle twists his hand to meet his partner's hand. We think this demonstrates Olle's potential for developing tactile language in a bodily tactile modality, network member Linda Henriksen says.

The network summarised their analysis as tactile exploration and categorisation of the concept of "tempo" in a clapping activity. Tempo is understood here as the speed and rhythm of movement: fast versus slow. In addition to "tempo," Olle also explores characteristic differences in various clapping styles.

– It is not only the speed of the tempo but also the different types of clapping, Linda Henriksen explains.

For further analysis and understanding, the network suggests exploring how hand movements influence the form and function of the clapping. They also recommend categorising and comparing differences and similarities between variations within the same category, such as listening, speaking, or thinking positions. They also made some recommendations to support Olle's further development.

– We thought that perhaps the partner could be more involved by providing additional confirmation or engaging in more imitation. Additionally, it might be helpful to recognise Olle's utterances as a form of linguistic competence. The partner could also allow Olle to guide the use of conventional signs by shaping them from his body with his hands. The partner could also work more on the "you and I" perspective.

Linda Henriksen says the network further talked about extending the fast and slow concept to contexts other than the clapping game. Suggestions would be to add another concept, for example, walk or eat.

– Introduce the concept that other actions can also have a tempo, such as "walk fast" or "eat slowly." By adding this additional element, it would be possible to expand and build more language.

For their video analysis, the Nordic Network on CHARGE Syndrome chose to focus on four key areas: partner competence and strategies used by the partner, sensory integration, balancing and managing emotions and suggestions for interventions for further support.

The analysis is founded upon the network members’ experience from daily work, as well as theoretical knowledge. The network mentions two publications in particular: You Taught Me… by Andera Wanka and Self Regulation for Individuals with CHARGE Syndrome by Timothy S. Hartshorne and Jude T. Nicholas.

The network began the analysis by focusing on the partner. Since Olle has CHARGE syndrome, the network assumed that the partner is familiar with the role of a communication partner in interactions with individuals with CHARGE.

– It appears that the partner is well known to Olle and understands how to support him in communication. The partner ensures that Olle is properly physically supported, placing her arm around his entire body. In CHARGE syndrome, stability system challenges are common, and this physical support helps Olle maintain awareness of his own body as well as his partner’s body. This support also aids his executive functions, as the stability allows him to concentrate fully on the play, network member Hege Krog explains.

As individuals with CHARGE often struggle with balance issues and dizziness, their development of self-regulation is at a disadvantage.

– One way to help them develop self-regulation is through the so-called sensory diet, which involves a list of different activities. In the video, we see hand clapping, pressure applied to the joints, and laying down with support, network member Susanne Jensen explains.

The network also noted that the partner has chosen face-to-face positioning, which fosters a sense of closer, more intimate communication than the more commonly used side-by-side position.

– We also assume that the partner is familiar with Olle's interests and knows what he enjoys talking about. She follows his lead to initiate the conversation and provides scaffolding, creating a sense of safety to help prevent him from feeling anxious, Hege Krog says.

By employing her strategies, the network notes that the partner creates a supportive environment that allows her to gently challenge Olle, encouraging him to engage with her suggestions while feeling secure enough to go along with them. Regarding balancing and managing emotions, play is a safe way to explore what emotions mean.

– We see a lot of emotion in the video. At certain points, Olle appears relaxed and happy, while at other moments, he seems thoughtful or perhaps annoyed. We also observe and hear how he responds to his feelings. The partner mirrors and acknowledges his emotions, providing confirmation and support, network coordinator Frida Racksäter Nerback says.

The network notes that mirroring and confirming emotions is important to building a relationship. When learning to communicate emotions—through words, signs, or movements—the people around an individual with CHARGE can better interpret their needs.

– A safe way to practice this is through play. We see a lot of role-playing in the clip. They take turns deciding who has the initiative. They also give each other space, provide confirmation, and sometimes take the space when needed.

The network also notes a narrative in the tempo shifting and pressure. The Nordic Network on CHARGE Syndrome thinks the partner uses this as a tactile modality in changing pressure.

– When Olle becomes more thoughtful and slows down, she applies more pressure, creating a slightly tighter framework for the game. Olle notices this, then relaxes and re-engages with the game, Frida Racksäter Nerback says.

The network also noted that this tactile modality is a good way to help Olle self-regulate his behaviour, allowing him to learn how to make a small protest appropriately and be heard and acknowledged.

The Nordic Network on CHARGE Syndrome also noted the same hand gesture Olle made, which was commented on by the Nordic Network on Tactile Language in their analysis of the video (see Chapter 4.2). The Tactile Language Network interpreted the hand gesture Olle makes nine seconds into the video as a form of categorisation, possibly measuring his face against his partner’s.

– We also discussed this in our analysis. We interpreted it as Olle recognising that she is doing something and signalling, "Wait a minute, I need to process this. I need time to think about it." This is something we often observe in CHARGE. It doesn’t mean this is always the case, but it offers an alternative interpretation to the one proposed by the Tactile Language Network, Hege Krog says.

The Nordic Network on CHARGE Syndrome also provided some suggestions for future support for Olle. Since the partner uses tactile sign language in their communication, one suggestion for further development, the network proposes, would be to introduce signs for Olle's feelings.

– Time is essential. People with CHARGE often require more time to integrate information from different senses. Another intervention is to repeat information in the same order each time, helping to compensate for difficulties with working memory, network member Gry Helen Thomsen says.

The Nordic Network on Self-Regulation based its analysis on a model found in the publication Self Regulation for Individuals with CHARGE Syndrome by Timothy S. Hartshorne and Jude T. Nicholas, also mentioned by the Nordic Network on CHARGE syndrome (see chapter 4.3).

The four-dimensional model of self-regulation illustrates the complexity of self-regulation as a concept. Self-regulation is not simply a matter of controlling one's thoughts or actions. Rather, it is a multifaceted process that involves the coordination of multiple systems. The four dimensions are cognition, behaviour, emotion, and physiology, as network member Lone Rømer Jensen explains.

– Cognitive regulation focuses on managing thoughts and mental processes, such as being motivated and focusing on a task or planning. Behaviour regulation is about the ability to use self-control to behave appropriately and adjust to a situation. Emotional regulation is about identifying and adjusting emotions within ourselves. Physiological regulation is about the inner state, for instance, regarding arousal and identifying warning signs.

These dimensions are influenced by underlying mechanisms such as genetic predisposition, biology, neurobiology, and experience.

Regarding physiological regulation, the network noted Olle's change in arousal when the clapping game in the video changed tempo. The partner was regulating Olle by increasing and slowing the speed and also disrupting him by stopping the game at one point. The network's hypothesis is that the partner knows Olle very well and she knows when to stop him to prevent excessive arousal.

Olle also self-regulates by biting his finger at one point. The network hypothesises that this indicates that he needs stronger stimulation at that moment to regulate himself.

Regarding emotional regulation, the network noted that Olle shifts from a positive expression to a more negative one when the partner changes the game, but he still tolerates the disruption. The partner responds to Olle's sounds and bodily movements in a process of co-regulation.

– She influences him with her calmness and physical closeness. We hypothesise that when Olle's emotions are positive and intensifying, he begins biting his fingers, Lone Rømer Jensen says.

Regarding cognitive regulation, the network aimed to answer whether Olle has the cognitive ability to set goals, which provides insight into his cognitive ability and flexibility. The question is whether he has a plan for what he wants to do with his partner.

– Our hypothesis is that he understands the concepts of fast and slow, which also demonstrates his cognitive potential. He comprehends her communicative contributions, and our interpretation is that he listens intently. At an appropriate level of arousal, he is prepared to engage with her communication and contributions. He transitions from a sensory focus to a more cognitive focus.

Regarding behavioural regulation, the network asked whether Olle has the opportunity to follow a goal and demonstrate behavioural flexibility. The network believes that he is flexible and able to shift focus.

They also questioned how much he controls his movements and how much he follows his partner's movements. The network observed that Olle initiates a new movement at one point in the video and changes it at two other points, which, according to them, demonstrates significant behavioural regulation.

The Nordic Network on Self-Regulation also focused on the partner's regulating strategies in its video analysis. As a form of co-regulation, the partner uses pressure, maintains close contact, and effectively adjusts the pace and intensity of interactions, incorporating appropriate disturbances.

The network also posed some questions on Olle's potential from a number of perspectives.

– The question is whether Olle can later use some of the movements from the activity to self-regulate. For instance, would he be able to use tapping on his nose to increase his arousal? At one point in the clip, his muscles appear tense – could this indicate heightened arousal, and what strategies could he use to calm down again? Additionally, is there potential for co-regulation? How can the partner support him in regulating himself?

Lone Rømer Jensen states that the network noted the importance of availability for interaction as a key factor to consider. This state is achieved through a combination of self-regulation and co-regulation to reach an optimal state of arousal.

– A balanced level of arousal is crucial for being prepared for communication and engaging with others. The ability to self-regulate is essential for effective interaction. This applies not only to arousal levels but also to emotional and cognitive states.

The Network on Cognition in Relation to Congenital Deafblindness based its video analysis on the book Revealing Hidden Potentials: Assessing Cognition in Individuals with Congenital Deafblindness (2020), which the network produced (see Chapter 2.5). The network decided to analyse the video using perspectives from two specific chapters of the book: Chapter 2 on Humour and Chapter 8 on the Tactile Working Memory Scale.

The network adopted a strengths-based perspective, emphasising individuals’ keen interpersonal awareness, robust working memory, and capacity for temporal referencing.

Humour provides a very naturalistic observation approach, whereas the Tactile Working Memory Scale (TWMS) is, in contrast, a highly structured approach. From both perspectives, the network asked the same three questions during the analysis: What do we see? What could this mean? What could we do?

The focus was further narrowed to social cognition, as cognition is an extensive and broad field. Social cognition refers to understanding others' emotions, intentions, and actions and interacting with them in social settings.

Humour as a subject was chosen because humour often reveals complex levels of cognitive processing. Humour, through the lens of social cognition, involves understanding the playful frame and others' intentions, engaging in clowning, teasing, and elaboration to foster connection and interaction. The "playful frame" is an intersubjective and imaginative space where individuals observe and adapt to one another, engaging in improvisation, emotional expression, and sensory exploration, fostering creativity and connection.

– There was an instance when Olle was biting his thumb. This could have been a reaction to something else, but it could also have been him teasing, doing something he knows he shouldn’t do. We thought this was the case because of a reaction from the partner, says network member Joe Gibson.

The network was particularly looking for teasing and clowning behaviour from the humour perspective. Clowning involves repeating actions to evoke laughter while teasing provokes reactions by playfully disrupting shared understandings or ongoing activities.

– Another example we observed was Olle initiating fast nose tapping. We wondered whether this could be teasing or clowning, him doing something he knew was wrong in the situation.

The network noted that Olle also changed the game at one point from nose tapping to hand clapping, which might have been him teasing as well.

– He certainly seems to understand the partner's intentions. For that to be funny, he has to understand that his partner had a plan, and he also has to understand that it would be amusing to deviate from that plan to get a reaction, says Joe Gibson.

Following a moment of tension, Olle's joke appears to be an attempt to reset the interaction, demonstrating bravery, self-confidence, and contextual awareness. The network concluded that he displays complex social cognition.

To support Olle, the network suggests that the partner could develop tactile ways to acknowledge his jokes, such as ensuring he can feel her laughter.

– If we see him as someone who makes jokes and acknowledge him as a funny person, adding that to his list of character traits, we can start to look for more instances where he might be trying to be funny or making a joke. This expands our understanding of him and his potential repertoire. We could then respond in a bodily tactile way to reaffirm the joke.

The second part of the video analysis by the Nordic Network on Cognition in Relation to Congenital Deafblindness focused on the Tactile Working Memory Scale (TWMS), a behavioural observation tool for identifying bodily-tactile working memory in everyday situations and social interactions.

The scale consists of twenty items that can be identified as present, emerging, or absent in the situation being analysed. Four of these items focus on social relationships, three of which the network found to be present in the clip, with one emerging.

Item 8: Uses active touch and motion to intentionally explore and interact with the interaction partner during close bodily contact.

Item 10: Uses active touch and motion to explore an object together with the interaction partner while displaying behaviours of social attention.

Item 11: Uses active touch and motion in a purposeful manner to recognise (the intentions of) the partner during the interaction.

The emerging item was Item 9: Uses active touch and motion to capture the emotionally triggered bodily signals or reactions of the partner.

– We marked this as emerging since we weren't sure if he was reading her emotions, even though there was a lot of emotion generally present in the clip, Joe Gibson says.

The network concluded that, from a tactile memory perspective, Olle has effectively developed his tactile working memory in relation to social cognition. He engages well during close bodily contact, maintaining focus for extended periods and drawing attention to his actions. He demonstrates the ability to use past information, such as routines, and has built a strong foundation for utilising touch and motion.

– Additionally, we concluded that he was able to give emotional expressions, but we weren't absolutely sure if he was able to respond to emotional expressions as well, Joe Gibson says.

To further support Olle, the network recommends encouraging his awareness of emotions and feelings by helping him identify and recognise facial and bodily cues in himself and his interaction partner, possibly incorporating humour.

The network also noted that Olle seems to enjoy the interaction, so one further intervention could be to provide lots of opportunities for close bodily contact through routines and structured activities that align with his interests and are playful or humorous.

– By using two distinct approaches—one highly qualitative and the other more structured—we arrived at remarkably similar results. Emotion emerged as a key overlapping theme and a central focus for intervention, Joe Gibson concludes.

The Nordic Network on Usher Syndrome initially found the video analysis challenging. The subject of the video, Olle, has CHARGE syndrome and congenital deafblindness. His situation is, therefore, very different from Usher syndrome, which may result in acquired deafblindness.

The network decided to take a holistic perspective and focus on deafblindness in general in their video analysis, basing it on the main implications in the Nordic definition of deafblindness: “To varying degrees, deafblindness limits activities and restricts full participation in society. It affects social life, communication, access to information, orientation, and the ability to move around freely and safely.”

The network based their analysis questions on the definition, asking how Olle can be active and participate in his daily life in a way that allows him to have agency based on his prerequisites. What can be enhanced? What are the barriers and facilitators for Olle? How can his needs be mapped?

The International Classification of Functioning, Disability and Health (ICF) is a framework created by the World Health Organisation for describing and organising information on functioning and disability. It provides a standard language and conceptual basis for defining and measuring health and disability. The model consists of nine life domains, of which the network decided to look at three: Learning and applying knowledge, communication and Interpersonal relations.

The network found two instances in the video where they interpreted learning and applying knowledge taking place. One of them is the gesture that Olle makes with his hand to his forehead.

– It might be that Olle wants to make himself more sensorily prepared to learn by making the gesture. It might be something he is doing to address to himself that he is prepared, network member Rasmus Hougaard Pedersen says.

The other sequence where learning and applying knowledge might take place is where the partner is giving the tactile sign for “slow”.

– We see in the interplay after that there are some changes in the pace. We take it as a sign that Olle is learning and applying what he has just learned: Learning how to understand a new sign and knowing how he can use it.

The network agreed with the other networks' analysis regarding communication, as all had addressed it. The Usher Network added some additional comments, specifically considering the ICF Model.

– There is a lot of complex communication going on, with lots of tactile language terms. We noted gestures, sounds, smiling, and, of course, clapping. In every second of the video, there is complex communication going on, network coordinator Bettina Kastrup Pedersen says.

Regarding the barriers and facilitators in this communication situation, the network noted that the facilitators are both Olle and the partner, as they assist each other with the communication. The barrier might be that Olle's communication is not seen or felt. The positioning is what makes this possible.

– If they were not positioned like this—for instance, if they were sitting or standing next to each other—they might not have the same opportunities, Bettina Kastrup Pedersen adds.

Regarding the third part of the analysis, interpersonal relations and relationships, the network notes that Olle seems to have a good relationship with his communication partner. They are playing, and he is laughing. Possible barriers from this perspective might be that other people in his life lack the appropriate communication competence. The network proposes a goal to ensure that Olle has the same opportunities to communicate with others he encounters in his life, such as family members, friends, and even strangers.

In summary, the network suggests that all nine life domains in the ICF Model should be mapped from the perspective of Olle's life situation on a regular basis.

– This means finding out what the current situation is, what the facilitators and barriers are, what goals need to be set so we know what kind of support to provide, and what interventions need to be made to help Olle become an actively participating individual in his own life in a way that aligns with his wishes, agency, and prerequisites, network member Moa Wahlqvist explains.