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- Andersson, Linus, 1979-
(författare)
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Alternativ television : former av kritik i konstnärlig TV-produktion
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation analyses social critique, communication critique and aestheticalcritique in television produced by artists. Theoretically it draws on researchon alternative media, TV studies, especially genre analysis and narratology,and media aesthetics. It conducts a text-production study of three examplesof alternative television from the period 2004-2008: ContemporaryArt Center TV (CAC TV): A show produced by the CAC in Vilnius, Lithuaniaand aired on a commercial TV-channel; Good TV who aired video art ona local public access channel in Stockholm, Sweden; and Candyland TV, apirate transmission from an art gallery in central Stockholm.Empirically it builds on TV-texts, web sites and documents, as well asinterviews with participants. Through a study of form and stylistics, relationto conventional genres and modes of narration, it engages in a discussionabout the features of a critical, alternative media text.The study shows how these televisions work in a tradition of alternativetelevision and connects them to tactics and aesthetical forms as found inhistorical examples, but also how this type of formalist media critiquemight inform an understanding of alternative media. From the analysis ofrelations between social and formalist aspects of alternative television, adistinction between alternative as ”alternative worldview” and as ”alternativeexpressions” is suggested, a distinction that contributes to the developmentof theory in the study of alternative media.
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- Jakobsson, Peter, 1977-
(författare)
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Öppenhetsindustrin
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Over recent decades several competing descriptions of the media and cultural industries have been put forward. The media and cultural industries have been described as creative industries, copyright industries, and as constitutive of an experience economy. One key element in these descriptions has been the importance of copyright law in a postindustrial economy.The present study is an analysis of an emerging idea of an industry that functions, in part, outside of the market created by copyright law, and by exploiting, or by building markets on top of, digital, cultural and informational commons. The study is about how this idea is expressed in various forms by business organisations, companies, consultants and policymakers. I have invented the concept of the openness industry to denote the businesses that these organisations and policy makers claim are forerunners and promoters of the idea of ‘openness’ as a business model for the media industry. The purpose of the thesis is to analyse the governmentality and ideology of the openness industry.A key element in the idea of the openness industry is that internet users can be persuaded to produce symbolic products for it by other means than the economic incentives provided by copyright. Another key element is the high value placed on single individuals in the creation of economic value; but in contrast to how the copyright industries are thought to be dependent on ‘authors’, the openness industry relies on the ‘entrepreneur’. Previous notions of the media and cultural industries have given publishers and producers of film, music and games a central role.The companies that are seminal to the idea of the openness industry are internet and technology companies.
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- Lundgren, Lars, 1973-
(författare)
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Culture and Transmission : The Technological and Cultural Reach of International Syndicated Radio
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this dissertation is to study the technological and cultural reach of internationally syndicated radio from the vantage point of the radio programme Solid Steel between 2000 and 2006. Solid Steel is a weekly two-hour music show originally produced and aired in London but today also broadcast by a large number of stations around the world, as well as via the Internet. The theoretical interest of the study lies in the tension and separation between communication as transmission and communication as ritual, as distribution in space and maintenance in time. This separation produces a number of subsequent conceptual pairs; technology and culture, material and symbolic, space and time, etc. Based upon these pairs the study explores the spatial and temporal organization of Solid Steel.As a first step in the analysis the original context of production in London is studied, noticing a shift from being a local production to an international syndication, as well as from a live studio production to a pre-produced show. The stations syndicating Solid Steel are then mapped according to their geographical location as well as their organizational form. Next, the themes and values enunciated in relation to the programme are examined, both as expressed by the producers in interviews and by texts published on the programme’s website. The programme is then analysed with these values in mind, with particular focus on the temporal organization of the music played, employing the concepts of flow and changing same. This part of the analysis is carried out on two levels, first the programme structure and then the actual sequences of sounds and songs making up the music mix. The final chapter returns to the opening concerns over culture and transmission, suggesting that new forms of radio, here exemplified by Solid Steel, may help us further our understanding of time and space in relation to international media productions.
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