| 1. |
- Lilja, Mona, 1971-, et al.
(författare)
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The Performative Force of Cultural Products : Subject Positions and Desires Emerging From Engagement with the Manga Boys’ Love and Yaoi
- 2016
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Ingår i: Culture Unbound. - Linköping, Sweden : Linköping University Electronic Press. - 2000-1525. ; 8:3, s. 284-305
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Tidskriftsartikel (refereegranskat)abstract
- This article deals with questions about the performative power of cultural products that travel the world. The Japanese manga genre Boys' Love and Yaoi has gained a broad readership outside of Japan during recent decades. This has cultivated an image of Japan as sexually radical and 'as more than Japan', something which has produced alternative subject positions and practises regarding gender and sexuality among Swedish Boys' Love/Yaoi followers. With the help of the concept hyperreality and elaborations on materiality within feminist theories, this article discusses: Which images of Japan and Sweden are produced as manga Boys' Love/Yaoi – as cultural products – travel from Japan to Sweden? Which subject positions and forms of desires emerge? In order to understand how cultural products create new subjectivities, images and desires, we also ask: What can a sharper focus on materiality and the agency of matter add to the understanding of the concept of hyperreality and the construction of new realities? We argue that embodied experiences of certain subject positions and desires challenge the idea of the hyperreal as a surface phenomenon. Further, the article shows how the image of "Japan" is often coloured by the desires that West cultivates about the 'other'.
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| 2. |
- Fleischer, Rasmus, 1978-, et al.
(författare)
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Discovering Spotify – A Thematic Introduction
- 2017
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Ingår i: Culture Unbound. - : Linkoping University Electronic Press. - 2000-1525. ; 9:2, s. 130-145
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Tidskriftsartikel (refereegranskat)
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| 3. |
- Fleischer, Rasmus, et al.
(författare)
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The Political Significance of Spotify in Sweden – Analysing the #backaspotify Campaign using Twitter Data
- 2018
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Ingår i: Culture Unbound. Journal of Current Cultural Research. - : Linkoping University Electronic Press. - 2000-1525. ; 10:2, s. 1-21
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses the political significance of the streaming music company Spotify in Sweden, taking as a case a coordinated campaign in late spring 2016, known by the hashtag #backaspotify (translated as “support Spotify!”), which was mainly played out on the social media platform Twitter. The campaign is analysed using a set of data retrieved from Twitter, examining both the content and the interactions in 1,791 messages. Results show that the main political issue concerned the lack of access to rented apartments in central Stockholm, and that the main actors in the campaign were predominantly associated with public affairs consultants and the youth wings of political parties belonging to the centre-right. The campaign, however, was very short-lived and had diminished significantly already after two days. We conclude that Spotify transcends its role as a streaming music company, and additionally can be used as a point of reference in political campaigns to promote issues that are of wider scope than the music industry alone.
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| 4. |
- Fleischer, Rasmus, 1978-, et al.
(författare)
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The Political Significance of Spotify in Sweden – Analysing the #backaspotify Campaign using Twitter Data
- 2018
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Ingår i: Culture Unbound. - : Linkoping University Electronic Press. - 2000-1525. ; 18:2, s. 301-321
-
Tidskriftsartikel (refereegranskat)abstract
- This article discusses the political significance of the streaming music company Spotify in Sweden, taking as a case a coordinated campaign in late spring 2016, known by the hashtag #backaspotify (translated as “support Spotify!”), which was mainly played out on the social media platform Twitter. The campaign is analysed using a set of data retrieved from Twitter, examining both the content and the interactions in 1,791 messages. Results show that the main political issue concerned the lack of access to rented apartments in central Stockholm, and that the main actors in the campaign were predominantly associated with public affairs consultants and the youth wings of political parties belonging to the centre-right. The campaign, however, was very short-lived and had diminished significantly already after two days. We conclude that Spotify transcends its role as a streaming music company, and additionally can be used as a point of reference in political campaigns to promote issues that are of wider scope than the music industry alone.
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| 5. |
- Forsemalm, Joakim, 1973
(författare)
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From Creep to Co-op: Research(er) Paying the Cost of Displacement
- 2013
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Ingår i: Culture Unbound. Journal of Current Cultural Research. - : Linkoping University Electronic Press. - 2000-1525. ; 5, s. 385-397
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Tidskriftsartikel (refereegranskat)abstract
- As discussed by planning researchers Jalakas & Larsson (2008) , in Sweden, soci-etal issues such as social sustainability, urban life and gender fails to travel from comprehensive documents in the urban planning system to the legislative ones (i.e. the “detailed development plans”). This might, as this essay argues, have to do with the absence of “cultural brokers”, i.e a kind of translator of the narratives told in a particular society. Can researchers act as such translators – increasing the precence of cultural and everyday-life experiences in legislative planning docu-ments? This essay discusses problems and possibilities with an ethnograpghy en-gageing with/in society.
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| 6. |
- Pries, Johan, et al.
(författare)
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Remaking the people's park: Heritage renewal troubled by past political struggles?
- 2019
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Ingår i: Culture Unbound. - : Linkoping University Electronic Press. - 2000-1525. ; 11, s. 78-103
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Tidskriftsartikel (refereegranskat)abstract
- This article explores how a series of heritage-driven renewal plans in the Swedish city Malmö dealt with a landscape deeply shaped by radical politics: Malmö People’s Park (Folkets Park). Arguing against notions of heritage where the past is essentially considered a malleable resource for present commercial or political concerns, we scrutinise plans for the People’s Park from the 1980s onward to emphasise how even within renewal attempts built on seemingly uncontroversial nostalgic readings of the park’s past, tensions proved impossible to keep at bay. This had profound effects on the studied development process.Established by the city’s social-democratic labour movement in 1891, the People’s Park is both enmeshed with historical narratives, and full of material artefacts left by a century when the Social Democrats had a decisive presence in the city. As municipal planners and politicians targeted this piece of land, the tensions they had to navigate included not only what present ideas to bring to bear on the making of heritage, but also how to deal with past politics and the park as a material landscape. Our findings point to how the kinds of labour politics that had faded for decades became impossible to dismiss in urban renewal. Both political representations and de-politicising nostalgic representations of Malmö People’s Park’s past provoked (often unexpected) resistance undoing planning visions.
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| 7. |
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| 8. |
- Werner, Ann, 1976-
(författare)
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Moving Forward : A Feminist Analysis of Mobile Music Streaming
- 2015
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Ingår i: Culture Unbound. - Linköping : Linköping University Electronic Press. - 2000-1525. ; 7:2, s. 197-213
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Tidskriftsartikel (refereegranskat)abstract
- The importance of understanding gender, space and mobility as co-constructed in public space has been emphasized by feminist researchers (Massey 2005; Hanson 2010). And within feminist theory materiality, affect and emotions have been de-scribed as central for experienced subjectivity (Ahmed 2012). Music listening while moving through public space has previously been studied as a way of creat-ing a private auditory bubble for the individual (Bull 2000; Cahir & Werner 2013) and in this article feminist theory on emotion (Ahmed 2010) and space (Massey 2005) is employed in order to understand mobile music streaming. More specifi-cally it discusses what can happen when mobile media technology is used to listen to music in public space and it investigates the interconnectedness of bodies, mu-sic, technology and space. The article is based on autoethnographic material of mobile music streaming in public and concludes that a forward movement shaped by happiness is one desired result of mobile music streaming. The positive value of ‘forward’ is critically examined with feminist theory and the failed music lis-tening moments are discussed in terms of emotion and space.
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| 9. |
- Cassegård, Carl, 1971
(författare)
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Lovable Anarchism: Campus Protest in Japan from the 1990s until Today
- 2014
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Ingår i: Culture Unbound. Journal of Current Cultural Research. - : Linkoping University Electronic Press. - 2000-1525. ; 6:-, s. 361-382
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Tidskriftsartikel (refereegranskat)abstract
- This is a paper on the transformation of campus activism in Japan since the 1990’s. Japan’s so-called freeter movements (movements of young men and women lacking regular employment) are often said to have emerged as young people shifted their base of activism from campuses to the “street”. However, campuses have continued to play a role in activism. Although the radical student organisations of the New Left have waned, new movements are forming among students and precarious university employees in response to neoliberalization trends in society and the precarization of their conditions. This transformation has gone hand in hand with a shift of action repertoire towards forms of direct action such as squatting, sit-ins, hunger strikes, and opening “cafés”. In this paper I focus on the development of campus protest in Kyoto from the mid-1990s until today to shed light on the following questions: How have campus-based activists responded to the neoliberalization of Japanese universities? What motivates them to use art or art-like forms of direct action and how are these activities related to space? I investigate the notions of space towards which activists have been oriented since the 1990’s, focusing on three notions: official public space, counter-space and no-man’s-land. These conceptions of space, I argue, are needed to account for the various forms campus protest has taken since the 1990s.
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| 10. |
- Fleischer, Rasmus, 1978-
(författare)
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If the Song has No Price, is it Still a Commodity? : Rethinking the Commodification of Digital Music
- 2017
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Ingår i: Culture Unbound. - : Linkoping University Electronic Press. - 2000-1525. ; 9:2, s. 146-162
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Tidskriftsartikel (refereegranskat)abstract
- In music streaming services like Spotify, discrete pieces of music no longer has a price, as has traditionally been the case in music retailing, both analog and digital. This article discusses the theoretical and practical implications of this shift towards subscriptions, starting from a critical review of recent literature dealing with the commodification of music. The findings have a relevance that is not limited to music or digital media, but also apply more broadly on the study of commodification. At the theoretical level, the article compares two ways of defining the commodity, one structural (Marx), one situational (Appadurai, Kopytoff), arguing for the necessity of a theory that can distinguish commodities from all that which is not (yet) commodified. This is demonstrated by taking Spotify as a case, arguing that it does not sell millions of different commodities to its users, but only one: the subscription itself. This has broad economic and cultural implications, of which four are highlighted:(1) The user of Spotify has no economic incentive to limit music listening, because the price of a subscription is the same regardless of the quantity of music consumed.(2) For the same reason, Spotify as a company cannot raise its revenues by making existing customers consume more of the product, but only by raising the number of subscribers, or by raising the price of a subscription.(3) Within platforms like Spotify, it is not possible to use differential pricing of musical recordings, as has traditionally been the case in music retail. Accordingly, record companies or independent artists hence can no longer compete for listeners by offering their music at a discount.(4) Within the circuit of capital. Spotify may actually be better understood as a commodity producer than as a distributor, implying a less symbiotic relationship to the recorded music industry.
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