| 1. |
- Nothhaft, Howard, et al.
(författare)
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Editors’ Introduction
- 2018
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Ingår i: International Journal of Strategic Communication. - Heidelberg : International Association for Energy Economics. - 1553-118X. ; 39:1, s. 257-, s. 7-16, s. 1-6
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Tidskriftsartikel (refereegranskat)
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| 2. |
- Elenius, Lars
(författare)
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Stiftsledningen och minoritetspolitiken
- 2016
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Ingår i: De historiska relationerna mellan Svenska kyrkan och samerna. - Skellefteå : Artos & Norma bokförlag. - 9789175807959 ; , s. 469-518
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Bokkapitel (refereegranskat)
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| 3. |
- Hagström, Arne, 1958-
(författare)
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Per Ödberg Kvartett på Ebeneser Jazzklubb Luleå
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Jazzkonsert på Ebeneser Jazzklubb i Luleå den 26 mars 2016. Arne Hagströms roll var arrangering/spelning/ledning av konserten. Det kom 53 personer för att lyssna på spelningen. Medverkande:Arne Hagström - basPer Ödberg - gitarrFilip Olofsson - trummorRepertoar:ad lib blues Bbi cant get started Con the sunny side of the street Bbindiana, Abalmost like beeing in love, Bba foggy day in london town, Fpolka dots and moon beams, Fthere´ll never be another you ebswedish pastry BbDolphin dane (eb)lester leaps in, Bbthese foolish things just you just meI found a new babyFrippes calypsoKlubben är ansluten till Svensk Jazzriksförbund.
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| 4. |
- Hagström, Arne, 1958-
(författare)
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Spelning Per Ödberg Kvintett
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Konsert med Per Ödberg Kvintett den 5 november 2016 på Ebeneser Jazzklubb Luleå. Arne Hagström medverkade som musiker och genom att arrangera låtar och att delvis leda konserten. Medverkande:Per Ödberg - gitarrChrister Ödberg - trumpetArne Hagström - bas Johan Kalla - trummorRepertoar: Street lightIndiana/donna leeIt could happen to youThere´s No Greater Love(Pennies from Heaven)SugarCome SundayBody and SoulTravels (not skickad)The ThemeCute Watermelon ManEbeneser Jazzklubb är ansluten till Sveriges Jazzriksförbund.
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| 5. |
- Jonvallen, Petra
(författare)
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Emotion work, abjection and electronic foetal monitoring
- 2010. - 1
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Ingår i: Technology and Medical Practice: Blood, Guts and Machines. - : Taylor and Francis. - 9780754678366 - 9781315611983 ; , s. 145-159
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 6. |
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| 7. |
- Leijonhufvud, Susanna, 1972-
(författare)
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Liquid streaming : an actor-network analysis of streamed music with the case of Spotify
- 2017
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Konferensbidrag (refereegranskat)abstract
- Currently music streaming services are starting to dominate the music industry. Streaming out rule physical records as well as digital download, and by doing so music streaming has contributed to shift ownership of artefacts with access to ditto. This presentation aims to describe the affordances and surplus values that are connected to such an access service taking the Swedish founded company of Spotify as a case example. By employing Zygmunt Bauman’s concept of Liquid Modernity as a way to comprehend contemporary society in an encounter with Bruno Latour’s Actor-Network Theory (ANT) I will show how and in what ways accessed music streaming indeed are an networked actor of a liquid nature. The presentation will focus one main part of my forthcoming thesis Liquid Music Streaming, namely the actor – the Spotify streaming service. According to the ANT analysis, the feature of music streaming needs a number of networked actors in order to act as a music-streaming actor. Foremost music streaming needs an actor e.g. a company that can create a practice of musicking. The analysis of the Spotify Company and its service shows in summary how the company management structure is agile with autonomous working squads that constantly update the service based on user-generated data. Hence the Spotify music streaming are a runaway object, to use Yrjö Engeström’s terminology, a result of subject’s activity and impossible to master or overview from any single point of lookout. Secondly, music streaming needs the actor of distribution channels to reach its primary final cause – the end-user. Distribution of musical goods, e.g. musical files, are networked by Internet Service Providers (ISP) as well as providers of digital devices, the right holders of music and political jurisdictions. Besides these major actors the service is associated to yet other services and products, developers and public institutions, not to forget the end-user. These entities are not solid and static but constantly changing and reshaping. The conclusion will present the Spotify streaming service as an liquid actor that are inescapably intertwined and dependent on several other liquid actors in order to preform its liquid service of streaming.
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| 8. |
- Manderstedt, Lena, et al.
(författare)
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Expressing the Self in selfies
- 2015
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Konferensbidrag (refereegranskat)abstract
- This paper presents part of a project exploring how young people understand and make use of online locations. Virtual spaces are used to negotiate norms (Palo & Manderstedt, 2011), provide learning opportunities, interactivity and an understanding of spatiality, but entail risks. In Swedish curricula for compulsory and secondary school, L1 teaching includes multimodal texts (Skolverket, 2011a, 2011b). Teachers are to include text types like web texts or self-writing, the latter connected with the selfie phenomenon. We analyse teenagers’ selfies and captions from Facebook as partly fiction; the person “writes” the self through the images and captions, contributing to a text archive (cf. Derecho, 2006). Media ecology encompassing technology, communication, culture and education is a point of departure (McLuhan, 1967; McLuhan and Fiore, 1967; Ong, 2005; Bruner, 2002; Postman, 1970; Strate, 2006). The prosumer perspective is central, i.e. a consumer also producing media (Jenkins, 2006; Olin-Scheller & Wikström, 2010). Intersectional and semiotic perspectives have been adopted (De los Reyes & Mulinari, 2014; Butler, 2006 [1999]; Kress, 2010; Kress & Selander, 2012; Van Leeuwen & Jewitt, 2001). Gee (2005) provides a theoretical approach to Facebook as a semiotic domain. The preliminary results show four main categories in the material: “to girl oneself” (cf. Nilsson, 2013), “to boy oneself”, “to muscle oneself” and “to perform a life style”. Our study highlights the selfies and comments as fiction, as stories of the selves, construed and constructed, like traditional autobiographies.
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