| 1. |
- Skågeby, Jörgen, 1972-, et al.
(författare)
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What is Feminist Media Archaeology?
- 2018
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Ingår i: Communication +1. - Amherst, MA, United States : University of Massachusetts Amherst. - 2380-6109. ; 7:1
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Tidskriftsartikel (refereegranskat)abstract
- In a fairly recent blog post, Jussi Parikka discusses how media archaeology can be criticized for being a “boy’s club”. In the introduction of this text, he writes: One of the set critiques of media archaeology is that it is a boys' club. That is a correct evaluation in so many ways when one has a look at the topics as well as authors of the circle of writers broadly understood part of 'media archaeology'. I make the same argument for instance in What is Media Archaeology?, but there is also something else that we need to attend to.
There is however a danger that the critique also neglects the multiplicity inherent in the approach. For sure, there are critical points to be made in so many aspects of Kittler's and others' theoretical work, but at the same time it feels unfair to neglect the various female authors and artists at the core of the field. In other words, the critique often turns a blind eye to the women who are actively involved in media archaeology. Let's not write them out too easily. Parikka then goes on to briefly introduce several female researchers and artists who are active in the media archaeological field. These are women who are, in different ways, doing media archaeology. This is of course an important issue – skewed representations or lopsided citation practices are never good – and the contributions of these researchers are significant and important. However, we could also argue that there is an important difference between the body of work being done by women and, what we may call, feminist media archaeology. There can, of course, be overlaps between these two ways of representing feminist interests in media archaeology, but for feminist theorizing and practising to truly have an impact, we have to ask ourselves what is feminist media archaeology? By looking for empirical gaps and putting questions of, for example, design, power, infrastructure and benefit, to the fore we can shine a different light on the material-discursive genealogy of digital culture, still very much in the vein of media archaeological endeavors. What we suggest is quite simple – a transdisciplinary approach which emphasizes “the unity of intellectual frameworks beyond the disciplinary perspectives [which] points toward our potential to think in terms of frameworks, concepts, techniques, and vocabulary that we have not yet imagined”. As such, we want to take an exploratory tactic to the question posed in the title of this paper. We do not intend to provide a single nor definite answer – rather we want to think with media archaeology and feminism together, seeking to raise other questions in order to find dynamic parallels and crosscurrents.
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| 2. |
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Media Backends : Digital Infrastructures and Sociotechnical Relations
- 2023
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Media backends--the electronics, labor, and operations behind our screens--significantly influence our understanding of the sociotechnical relations, economies, and operations of media. Lisa Parks, Julia Velkova, and Sander De Ridder assemble essays that delve into the evolving politics of the media infrastructural landscape. Throughout, the contributors draw on feminist, queer, and intersectional criticisms to engage with infrastructural and industrial issues. This focus reflects a concern about the systemic inequalities that emerge when tech companies and designers fail to address workplace discrimination and algorithmic violence and exclusions. Moving from smart phones to smart dust, the essayists examine topics like artificial intelligence, human-machine communication, and links between digital infrastructures and public service media alongside investigations into the algorithmic backends at Netflix and Spotify, Google’s hyperscale data centers, and video-on-demand services in India. A fascinating foray into an expanding landscape of media studies, Media Backends illuminates the behind-the-screen processes influencing our digital lives. Contributors: Mark Andrejevic, Philippe Bouquillion, Jonathan Cohn, Faithe J. Day, Sander De Ridder, Fatima Gaw, Christine Ithurbide, Anne Kaun, Amanda Lagerkvist, Alexis Logsdon, Stine Lomborg, Tim Markham, Vicki Mayer, Rahul Mukherjee, Kaarina Nikunen, Lisa Parks, Vibodh Parthasarathi, Philipp Seuferling, Ranjit Singh, Jacek Smolicki, Fredrik Stiernstedt, Matilda Tudor, Julia Velkova, and Zala Volcic
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| 3. |
- Economou, Konstantin, 1962-, et al.
(författare)
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Childhood re-edits : challenging norms and forming lay professional competence on YouTube
- 2015
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Ingår i: Journal of Aesthetics & Culture. - Järfälla, Sweden : Informa UK Limited. - 2000-4214. ; 7:1
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Tidskriftsartikel (refereegranskat)abstract
- This article presents the initial findings of research into how YouTube culture can become an arena for young YouTube videographers to remodel mainstream, sub-cultural, and media content (YouTube clips, music, film content, and viral memes). We juxtapose analyses from both media and child studies to look at the ways in which preferred images and notions of the “good” and idyllic childhood are re-edited into a possible critique of the prescribed Swedish childhood. Also, we look at ways in which these media-literate actors use YouTube to display their skills in both media editing and social media “savvy.” We discuss how “lay” professional competence in digital culture can be inherent in a friction between popular (children's) culture and social media production, where simultaneous prowess in both is important for how a mediatised social and cultural critique can emerge.
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| 4. |
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| 5. |
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Mediehistoriska vändningar
- 2014
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Sedan sekelskiftet 2000 har det talats om en medial vändning inom framför allt humanvetenskaperna. För till exempel litteraturvetenskapens del har det handlat om en fokusförflyttning från estetiken till historiska medieanalyser av sådant som läs- och skrivpraktiker, och motsvarande intresseförskjutningar kan avläsas inom andra discipliner. I en svensk kontext har det rentav hävdats att medie- och kommunikationsvetenskapen håller på att förgås i en ”revirstrid som är så brutal att den knappt märks”. För inom vilka discipliner sysslar man numera inte med mediefrågor? Och vilket är då medievetenskapens specifika bidrag? Å andra sidan kanske medie- och kommunikationsvetenskapen själv genomgår ett slags medial vändning och rör sig bort från vad som dominerat ämnet: innehållsanalyser av journalistik utifrån ett ganska snävt demokrati- och politikperspektiv, vilka egentligen inte varit särskilt upptagna med specifika medieringsfrågor. En sådan rörelse, även internationellt, kan möjligen skönjas i de senaste årens diskussioner kring begreppet medialisering.Den kulturhistoriska medieforskningen har under de två senaste decennierna vuxit fram i kölvattnet av den kulturella vändningen inom de historiska vetenskaperna. Fältet kännetecknas av en nyorientering såväl empiriskt som teoretiskt, så till exempel utgångspunkten i ett bredare mediebegrepp och en fokus på mediernas inbördes relationer och på materiellt handfast mediering (snarare än friare svävande representationer). Mediehistoria kan inte längre vara en samling monomediala historier som beskriver olika mediers utveckling på ett linjärt sätt, utan ett fält som i hög grad betonar inter- och multimedialitet. Relationen mellan gamla och nya medier behöver problematiseras och vår egen tids digitaliseringsprocess historiseras.
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| 6. |
- Skågeby, Jörgen, 1972-, et al.
(författare)
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Positive resistance and the queering of digital media theory : on course dis/contents and classroom spaces
- 2013
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Ingår i: Media Fields Journal - Critical Explorations in Media and Space. - Santa Barbara : University of California. - 2159-7553. ; :7, s. 1-13
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Tidskriftsartikel (refereegranskat)abstract
- This essay considers the entangled nature of classroom spaces and mediated course content. The authors rework an example course on digital media theory by applying three queer tactics in order to make room for diversity. These tactics are disidentification, crisis and failure. Their application provided the original course content with a number of resonating queer themes, including temporality, virality, anarchives, glitch, heterodoxy, and agency for change. The final theme (agency for change) is expanded upon by resignifying resistance as something positive to be developed in the classroom space. Positive resistance includes an acknowledgement of oppression in both theory and practice as well as an appeal to values such as fairness, social justice and ethical accountability in critical analyses of media. The essay also introduces some unconventional genres of writing that can support the queering of digital media theory, namely: anti-thesis; media-archaeology; interaction criticism; media failure; and manifesto.
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| 7. |
- Smolicki, Jacek, 1982-
(författare)
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Minuting. Rethinking the Ordinary Through the Ritual of Transversal Listening
- 2021
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Ingår i: VIS. - : Society for Artistic Research. - 2003-024X. ; :5
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Tidskriftsartikel (refereegranskat)abstract
- This exploratory essay introduces selected sound recordings along with notes and observations from Minuting – a practice of sonic journaling I have performed daily since July 2010 in numerous locations and settings. I weave these observations together in a way that resonates closely with the idea of repetition, in multiple forms: protest, automation, cycle, and ritual, as well as the repetition inherent to my acts of recording. While introducing sounds from the archive of Minuting, I reflect on how this constrained and systematically enacted form of listening, recording, and re-listening leads to a transversal type of sonic reflexivity. It is a form of alertness to sound that stretches beyond the immediate resonance of the 'now' – towards spatially and temporarily distant, yet to some extent intertwined, objects, subjects, events, and environments. The text evolves across three interrelated layers: annotated recordings from the project's archive, a set of thoughts and associations triggered by re-listening to the material, and a discursive analysis that opens up the project to a dialogue with other thematically resonant debates and practices. Drawing on perspectives from media studies, the philosophy of technology, sound studies and durational art, I discuss Minuting as an art work, a creative constraint and a transversal listening practice. Lastly, I propose it as an existential media technique for composing critical and reflective positions towards one's surrounding space, experience of time, and use of sound technologies.
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| 8. |
- Snodgrass, Eric
(författare)
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Executions : Power and Expression in Networked and Computational Media
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This research looks at questions of power and expression as they are composed in various ways within networked and computationally-informed situations of the present. Drawing from the term as it is originally invoked in practices of computing, the research puts forward execution as a central conceptual framework for its investigations. In a computer program, a program becomes executable when it is able to execute a set of procedures within a designated set of relations and affordances. Similarly, the concept of execution developed here looks at the ongoing negotiations of various formative relations and affordances (technical, cultural, material, political) in practices of execution, describing certain notable techniques applied towards the task of making things executable.The examples looked at include several dominant media and technology practices of the present, as well as several alternative practices that point to other possible modes of execution. In doing so, the research highlights certain politically-orientated issues involved in questions of execution, working to further develop specific approaches aimed at describing, questioning and intervening into practices of execution as they occur in the world.
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| 9. |
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Återkopplingar
- 2014
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Det bedrivs alltför lite mediehistorisk forskning i Sverige. Mediehistoria kan – och bör – skrivas på många olika sätt. En ambition inom den kulturhistoriska medieforskning som presenteras i den kommande boken, Återkopplingar, är att genom ett breddat mediebegrepp och historisk sensibilitet uppdatera mediestudiet. Förnyelsen sker inte sällan i skärningspunkten mellan den ofta teknikdeterministiska mediearkeologin och den historiskt lika anspråksfulla som problematiska medialiseringsteorin.I denna bok presenteras 19 mediehistoriska texter som behandlar medieformer som skrivbord, papper, affischer, kassetter, fisheye linser, radio, telegraf, film, smarta telefoner, litografier, dagstidningar, mikrofilm, begagna de mp3-filer, krigsbyten, biblioteksbyggnader och ölkrus. I boken presenteras en rad samtida perspektiv på förflutna medier – allt i form av en icke-linjär växelverkan mellan nu och då – därav titeln: Återkopplingar.
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| 10. |
- Avdan, Nazli
(författare)
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‘Collaborative Competition’ : Stance-taking and Positioning in the European Parliament
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The European Parliament (EP) is the scene where certain issues concerning over 500 million ‘Europeans’ are publicly debated and where politically relevant groupings are discursively coconstructed. While the Members of the Parliament (MEPs) pursue their political agendas, intergroup boundaries are drawn, reinforced, and/or transgressed. Speakers constantly take stances on behalf of groupings in relation to some presupposed other groupings and argue what differentiates ‘Self’ from ‘Others’. This study examines patterns of language use by the MEPs as they engage in the contextually and historically situated dialogical processes of intergroup positioning and stance-taking. It further focuses on the strategic and competitive activities of grouping, grounding, and alignment in order to reveal the dynamic construction of intergroup boundaries.The study is based on a collection of Blue-card question-answer sequences from the plenary debates held at the EP in 2011, when the Sovereign Debt Crisis had been stabilized to some degree but still evoked plenty of controversy.Theoretically the study builds on Stance Theory (Du Bois, 2007), Positioning Theory (Davies & Harré, 1990), and several broadly social constructivist approaches to discourse analysis (Fairclough, 1995).The analysis shows that intergroup positioning in the EP emerges as what I call a ‘collaborative competition’ between contradictory ideologies and political agendas. The MEPs strategically manipulate their opponents' prior or projected utterances in order to set up positions for self, a grouping he or she stands for, and thereby its adversaries. All participants engage in the maintenance and negotiation of intergroup boundaries, even though the boundaries hardly ever coincide between the different speakers. They discursively fence off some imaginary territories, leaving their adversaries with vague positions.When asking Blue-card questions, the MEPs use a particular turn organization, which involves routine forms of interactional units, namely addressing, question framing and question forms, each of which is shown to contribute to stance-taking. A dynamic model of stance-taking is suggested, allowing for a fluid transformation of the stance object as well as the discursively constructed stance-takers.While Blue-card questions are meant to serve as a structured procedure for eliciting information from a speaker, the analysis demonstrates that the MEPs accomplish various divergent actions that serve intergroup positioning. The dissertation thus contributes to the understanding of the discursive games played in the EP as the MEPs strive to construct social realities that fit their political ends.
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