| 1. |
- Albury, Kath, et al.
(författare)
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Queer and feminist reflections on sextech
- 2023
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Ingår i: Sexual and reproductive health matters. - : Taylor & Francis. - 2641-0397. ; 31:4
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Tidskriftsartikel (refereegranskat)
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| 2. |
- Bergsmark, Ester Martin, 1982-
(författare)
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voice under
- 2023
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- If voice over is the superior voice that dictates truth, I examine voice under, the other truths that take place simultaneously. In my doctoral thesis voice under, I explore all the parallel voices beyond the dominating all-knowing voice over. The intention of the project and concept voice under is to open up a wider sensory register in both the creation and the experience of film. By looking closely at, challenging, and playing with different cinematic conventions, I explore how we can recreate seemingly dominant expressions and find spaces for resistance, although temporary. This document outlines the different modes of publication of the doctoral thesis voice under. voice under consists of two branches: film and text.The Documented Artistic Research Project (Doctoral Thesis) voice under will be made public and archived on September 1, 2023, through the following three materials:1. Welcome to voice under folder2. Performative contemplative film screening3. The book voice under, consisting of a collection of texts
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| 3. |
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| 4. |
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Codex and Code : Aestethcis, Language and Politics in an Age of Digital Media, NORLIT 2009, Stockholm, August 6-9, 2009
- 2010
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The conference Codex and Code: Aesthetics, Language and Politics in an Age of Digital Media (NorLit 2009)was held at the Royal Institute of Technology (KTH) in Stockholm, August 6–9, 2009. The conference was organized by the Nordic Association for Comparative Literature (NorLit); the Department of Culture and Communication, Linköping University; the School of Computer Science and Communication, Royal Institute of Technology (KTH); the Department of Comparative Literature, Stockholm University; the Department of Culture and Communication, Södertörn University College; and the Department of Comparative Literature, Uppsala University. The aim of the conference was to develop the study of Comparative Literature through Nordic collaboration both in its own discipline and in Modern Language and Cultural studies. As the title for the conference suggests, the principal question for the conference was the challenge that the study of literature encounters in an age of digitalization and globalization. It was our aim to encourage discussion of how literary studies respond to the ongoing changes in media and technology, politics and economy. Many have argued that the Humanities currently are in a state of crisis. We believe that the discipline seldom has found itself in such an interesting and fruitful historical moment. Several of these questions have surfaced during earlier media system changes, in particular during Romanticism and Modernism, which provided the conference with an historical frame. The conference Codex and Code also addressed questions of authenticity and originality, identity and gender, literary genres and reading practices, media and materiality, culture and popular culture, language and history, world literature, work aesthetics, translations, and canon formation. The conference Codex and Code wanted to stimulate interdisciplinary scholarly research of the literary in a broad sense. The conference was open to scholars in Comparative Literature and in Classical and Modern Languages, Aesthetics, Media and Communication studies, Film and Theatre studies, Philosophy and adjacent disciplines. The conference was organized around a number of thematic sessions in which researchers and scholars presented and discussed papers. The conference has received generous financial support from the Bank of Sweden Tercentenary Foundation, Magnus Bergwall foundation, Granholms foundation, Linköping University, School of Computer Science and Communication, Royal Institute of Technology, Svenska litteratursällskapet; the Swedish Academy, Swedish Science Council, and Vitterhetsakademien.
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| 5. |
-
Codex and Code: Aestethcis, Language and Politics in an Age of Digital Media : NORLIT 2009, Stockholm, August 6-9, 2009
- 2010
-
Proceedings (redaktörskap) (refereegranskat)abstract
- The aim of the conference was to develop the study of Comparative Literature through Nordic collaboration both in its own discipline and in Modern Language and Cultural studies. As the title for the conference suggests, the principal question for the conference was the challenge that the study of literature encounters in an age of digitalization and globalization. It was our aim to encourage discussion of how literary studies respond to the ongoing changes in media and technology, politics and economy. Many have argued that the Humanities currently are in a state of crisis. We believe that the discipline seldom has found itself in such an interesting and fruitful historical moment. Several of these questions have surfaced duringearlier media system changes, in particular during Romanticism and Modernism, which provided the conference with an historical frame. The conference Codex and Code also addressed questions of authenticity and originality, identity and gender, literary genres and reading practices, media and materiality, culture and popular culture, language and history, world literature, work aesthetics, translations, and canon formation.
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| 6. |
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| 7. |
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| 8. |
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| 9. |
- Dahl, Ulrika, 1970-, et al.
(författare)
-
Femininity revisited : A roundtable
- 2018
-
Ingår i: The European Journal of Women's Studies. - : SAGE Publications. - 1350-5068 .- 1461-7420. ; 25:3, s. 384-393
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 10. |
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| 11. |
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| 12. |
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| 13. |
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| 14. |
- Fornäs, Johan, 1952-, et al.
(författare)
-
Digital Borderlands : Cultural Studies of Identity and Interactivity on the Internet
- 2002
-
Bok (övrigt vetenskapligt/konstnärligt)abstract
- The Internet crosses established boundaries of previously separate fields of communication and research. In its wake, new borderlands are opened up - characterized by mixes of private and public, production and consumption, and play and politics. This book explores those borderlands and overviews key issues in the study of Internet culture. Digital Borderlands investigates four ways in which identities are shaped through interactive uses of the Internet - love relations, gendered bodies, girl webzines, and cosmopolitan sites all exemplify how new media transforms older forms of popular entertainment and political culture.
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| 15. |
- Fornäs, Johan, 1952-, et al.
(författare)
-
Into digital borderlands
- 2002
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Ingår i: Digital Borderlands. - New York : Peter Lang. - 082045740X ; , s. 1-47
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 16. |
- Grönberg Hernandez, Jenny, et al.
(författare)
-
Genetic control of the variable innate immune response to asymptomatic bacteriuria.
- 2011
-
Ingår i: PLoS ONE. - : Public Library of Science (PLoS). - 1932-6203. ; 6:11
-
Tidskriftsartikel (refereegranskat)abstract
- The severity of urinary tract infection (UTI) reflects the quality and magnitude of the host response. While strong local and systemic innate immune activation occurs in patients with acute pyelonephritis, the response to asymptomatic bacteriuria (ABU) is low. The immune response repertoire in ABU has not been characterized, due to the inherent problem to distinguish bacterial differences from host-determined variation. In this study, we investigated the host response to ABU and genetic variants affecting innate immune signaling and UTI susceptibility. Patients were subjected to therapeutic urinary tract inoculation with E. coli 83972 to ensure that they were exposed to the same E. coli strain. The innate immune response repertoire was characterized in urine samples, collected from each patient before and after inoculation with bacteria or PBS, if during the placebo arm of the study. Long-term E. coli 83972 ABU was established in 23 participants, who were followed for up to twelve months and the innate immune response was quantified in 233 urine samples. Neutrophil numbers increased in all but two patients and in an extended urine cytokine/chemokine analysis (31 proteins), the chemoattractants IL-8 and GRO-α, RANTES, Eotaxin-1 and MCP-1, the T cell chemoattractant and antibacterial peptide IP-10, inflammatory regulators IL-1-α and sIL-1RA and the T lymphocyte/dendritic cell product sIL-2Rα were detected and variably increased, compared to sterile samples. IL-6, which is associated with symptomatic UTI, remained low and numerous specific immune mediators were not detected. The patients were also genotyped for UTI-associated IRF3 and TLR4 promoter polymorphisms. Patients with ABU associated TLR4 polymorphisms had low neutrophil numbers, IL-6, IP-10, MCP-1 and sIL-2Rα concentrations. Patients with the ABU-associated IRF3 genotype had lower neutrophils, IL-6 and MCP-1 responses than the remaining group. The results suggest that the host-specific, low immune response to ABU mainly includes innate immune mediators and that host genetics directly influence the magnitude of this response.
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| 17. |
- Gunnarsson, Andreas, 1978-
(författare)
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Genetik i fiktion
- 2006
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This licentiate’s thesis is concerned with how genetics is depicted and used in fictional stories. From a perspective that combines science and technology studies with cultural studies, it analyses narratives that deal with, or contain images of, genetics and gene technology. The empirical material consists of four narratives, two movies and two novels: Andrew Niccol’s film Gattaca (1997), Ang Lee’s film Hulk (2003), Margaret Atwood’s novel Oryx and Crake (2003), and P.C. Jersild’s Swedish novel Geniernas återkomst ("Return of the Geniuses", 1987). The thesis has two main parts, where the first part introduces theories and perspectives on biology and narrative, whereas the second part presents the four analyses of fictional narratives. The first part is divided into two sections. Section one is concerned with biology (primarily molecular biology), ideals of objectivity, and the relation¬ship between science and technology. I argue for a perspective where science and technology are intimately interwoven, especially in the case of the “new biology”. This section defines the concepts of genetics and gene technology, a definition that relies more on how the concept of gene is used in the analysed narratives than the scientific discipline of genetics. Then follows in the second section a discussion of narration and fiction, two cen¬tral concepts in this thesis. With the aid of structuralist literary studies, the process of narrative production and meaning making is described, and an argument is made for viewing fiction as a quality of narratives rather than a genre of its own. Part two is also made up of two main sections. In the first of these, the four narratives are analysed separately. The narratives are viewed as examples of different perspectives on fictitious genetics: Gattaca is analysed as an exam¬ple of a genetically governed society, Hulk as a genetically manipulated individual, Oryx and Crake exemplifies the genetic apocalypse, and Genier¬nas återkomst depicts a future society where genetics has been out¬dated, banned and expelled. The second part analyses genetics and gene technology as narrative devices. Here, the four narratives are no longer separated. In¬stead, they are compared and used to exemplify a number of sometimes contradictory narrative uses of genetics and gene technology. The narratives make use of both public understandings of science and technology and the complexity of modern biology and biotechnology to balance credibility and the fantastic. Six main functions of genetics are identified in the narratives, some of wich are functions of negotiation – like the negotiations between the credible and the incredible, between threat and opportunity, between control and the loss of control, between micro and macro, and between nature and technology. Other functions are based upon genetics and gene technology being described – and understood – as both new and having potentially pro¬found consequences for society and human¬kind. In the end, genetics in fic¬tion turns out to have very little to do with genetics and gene technology as scientific discourses. Instead these sciences seem to be used because of their complexity and aura of both “cutting-edge” sciences and “code of life”, in order to negotiate a number of narrative problems and oppositions.
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| 18. |
- Lönn, Maria
(författare)
-
Bruten vithet : om den ryska femininitetens sinnliga och temporala villkor
- 2018
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Visual signs like skin color are just one of many factors in how white femininity is being articulated and interpreted. Other important components are the concept of a Eurocentric and linear temporality and the importance of being situated as modern. This thesis explores how certain forms of white femininity, depending on their locus, are privileged while others are seen as broken according to a hierarchy of white femininityKey to the dissertation are fashion-oriented white Russian women living in Stockholm, St. Petersburg and Moscow who are trying to embody ideas of modernities and normative temporality through the body and the senses. One way of doing so is by controlling their sensory expressions and thus that which white subjectivity has a long history of trying to transcend: the body. An example of this is the attempt to control smell, which works as a reminder of the primitive, animal, and outdated parts of the human being.Instead of investigating the making of the modern body-controlled white femininity through discourses, representations or articulated thoughts, the thesis focuses on how white femininity is inscribed in racialized perceptions through the level of bodily habits – or more specifically bodily habituations of norms and body schedules. This is done through a multisensory method that centers the ways smell, the visual, the haptic and the tactile are used as a way to experience and express modernities. Another important factor is how white femininity never articulates itself alone, but is instead always-already intimately connected to other bodies and objects. Thus, white femininity must always be seen as an intercorporal exchange.
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| 19. |
-
NORLIT 2009, Codex and Code: Aestethcis, Language and Politics in an Age of Digital Media : Stockholm, August 6-9, 2009
- 2010
-
Proceedings (redaktörskap) (refereegranskat)abstract
- The aim of the conference was to develop the study of Comparative Literature through Nordic collaboration both in its own discipline and in Modern Language and Cultural studies. As the title for the conference suggests, the principal question for the conference was the challenge that the study of literature encounters in an age of digitalization and globalization. It was our aim to encourage discussion of how literary studies respond to the ongoing changes in media and technology, politics and economy. Many have argued that the Humanities currently are in a state of crisis. We believe that the discipline seldom has found itself in such an interesting and fruitful historical moment. Several of these questions have surfaced duringearlier media system changes, in particular during Romanticism and Modernism, which provided the conference with an historical frame. The conference Codex and Code also addressed questions of authenticity and originality, identity and gender, literary genres and reading practices, media and materiality, culture and popular culture, language and history, world literature, work aesthetics, translations, and canon formation.
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| 20. |
- Paasonen, Susanna, et al.
(författare)
-
About Sex, Open-Mindedness, and Cinnamon Buns : Exploring Sexual Social Media
- 2023
-
Ingår i: Social Media + Society. - : Sage Publications. - 2056-3051. ; 9:1
-
Tidskriftsartikel (refereegranskat)abstract
- General purpose social media platforms—often incited by American legislation—increasingly exclude sex from acceptable forms of sociality in the abstract name of user safety. This article analyzes interview data (four developer interviews and 56 user interviews) from three North European sexual platforms (Darkside, Alastonsuomi, and Libertine.Center) to explore what follows from including sexual sites in definitions and analyses of social media and, by extension, in including sex in definitions of “the social” itself. We found that instead of context collapse, the users and developers of the studied sites operate with what we call context promiscuity, blending boundaries, but maintaining their structural integrity. This allows for a particular silosociality to emerge based on experiences of safety, risk, and consent. Building on this, we propose thinking of sexual expression as something not contained by, but put in motion across platforms, user cultures, content policies, and sexual norms. Rather than framing sexual social media exchanges in terms of their perceived risks and harms, we would do well to also inquire after the risks and harms involved in ousting sex from networked forms of sociality. Deplatforming of sex truncates our ways of understanding what interests, forces, and attachments drive our sociality. Yet, when analyzing social media as if the socio-sexual matters, platforms designed to support sexual displays and connections become vital nodal points in social media ecologies.
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| 21. |
- Paasonen, Susanna, et al.
(författare)
-
Shameless dicks : On male privilege, dick pic scandals, and public exposure
- 2021
-
Ingår i: First Monday. - : University of Illinois Libraries. - 1396-0466. ; 6:4-5
-
Tidskriftsartikel (refereegranskat)abstract
- Academic debates on shame and the involuntary networked circulation of naked pictures have largely focused on instances of hacked accounts of female celebrities, on revenge porn, and interconnected forms of slut-shaming. Meanwhile, dick pics have been predominantly examined as vehicles of sexual harassment within heterosexual contexts. Taking a somewhat different approach, this article examines leaked or otherwise involuntarily exposed dick pics of men of notable social privilege, asking what kinds of media events such leaked data assemble, how penises become sites of public interest and attention, and how these bodies may be able to escape circuits of public shaming. By focusing on high-profile incidents on an international scale during the past decade, this article moves from the leaked shots of male politicians as governance through shaming to body-shaming targeted at Harvey Weinstein, to Jeff Bezos’s refusal to be shamed through his hacked dick pic, and to an accidentally self-published shaft shot of Lars Ohly, a Swedish politician, we examine the agency afforded by social privilege to slide through shame rather than be stuck in it. By building on feminist media studies and affect inquiry, we attend to the specificities of these attempts to shame, their connections to and disconnections from slut-shaming, and the possibilities and spaces offered for laughter within this all.
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| 22. |
- Sadowski, Helga, 1982-
(författare)
-
Digital Intimacies : Doing Digital Media Differently
- 2016
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Digital media have become an integral part of many people’s everyday lives and constitute an intimate presence therein. Utilizing the concept of digital intimacy to focus on these recent developments, this doctoral dissertation takes the perspectives of feminist cultural studies and affect theory to analyze how digital media are becoming more intimate and how in turn intimacy is remediated within digital cultures.This research brings together three different strategic examples of digital intimacy. The first is chosen from the context of online hate and harassment, and works to counteract digital forms of intimidation. The second is from the world of software development training initiatives tailored for women and designed to make them digitally intimate. The third investigates the digital subculture around ASMR (‘autonomous sensory meridian response’), which is an intimate multi-sensory stimulation induced by such things as online video clips.It is argued that these three initiatives are good illustrations of contemporary gender relations in digital cultures, and also do digital media differently. This means that they develop and apply sometimes straightforward, sometimes rather playful strategies to counteract gender-based inimicalities (such as forms of discrimination or exclusion, or objectification) within digital cultures. The thesis argues that such digitally intimate strategies can be utilized analytically in order to contribute to contemporary feminist internet politics.
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| 23. |
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| 24. |
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| 25. |
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| 26. |
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| 27. |
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| 28. |
- Sundén, Jenny
(författare)
-
Clockwork Corsets : Pressed Against the Past
- 2015
-
Ingår i: International journal of cultural studies. - : Sage Publications. - 1367-8779 .- 1460-356X. ; 18:3, s. 379-383
-
Tidskriftsartikel (refereegranskat)abstract
- For a feminist scholar of technology, contemporary steampunk cultures incorporate several interesting elements. They embrace playful ways of relating to technology. They contain thrifty Do-It-Yourself strategies and ethics of recycling, linking the crafting of sexually specific bodies to imaginative time-play. They involve an intermingling of technological extensions with modes of embodiment and costuming. The corset is an emblematic Victorian, industrial technology in steampunk costuming, altering bodies and affects as well as aesthetics and politics. But how far can white, Victorian, middle-class, imperialist, corseted femininity be ‘punked’, twisted, modified, or transformed? And how much do these transpositions in and through time get caught up in a machinery of repetition rather than revision? Or are there ways of thinking the old and the new differently altogether?
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| 29. |
- Sundén, Jenny
(författare)
-
Corporeal Anachronisms : Notes on Affect, Relationality, and Power in Steampunk
- 2013
-
Ingår i: Somatechnics. - : Edinburgh University Press. - 2044-0138 .- 2044-0146. ; 3:2, s. 369-386
-
Tidskriftsartikel (refereegranskat)abstract
- Steampunk is an aesthetic technological movement incorporating science fiction, art, engineering, and a vibrant 21st century Do-It-Yourself counterculture. This article explores the feminist potentials of ‘thinking with’ steampunk as a playful, affective and decidedly political response to the present technological condition. It starts out by navigating the field of affect theory with a Deleuzian reading of Baruch Spinoza on affect, to then engage in the affective renderings of the relations, rhythms, and power of a soma-technology central to steampunks as well as their Victorian predecessors: the corset. The purpose of the article is (at least) threefold: first, it sets out to complicate the notion of the corset as either oppressive or liberating by a move from signification to affect. Secondly, it aims to put a feminist spin on Spinoza, by offering what Moira Gatens (2000) calls a micropolitical feminism of the in-betweens of subjects (or bodies). The argument, thus, takes seriously the seeming lack of distinction in Spinoza between nature and artifice, which opens up possibilities of exploring the affective relations and the in-betweens of human and nonhuman bodies. Finally, and as a result of this interest in the affective relationality of human and nonhuman bodies, the article contributes to the discussion of ‘somatechnics’ (Sullivan and Murray 2009) by proposing an intimate relationship between somatechnics and affect.
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| 30. |
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| 31. |
- Sundén, Jenny, et al.
(författare)
-
Cyberfeminism in Northern lights. Introduction.
- 2007
-
Ingår i: Sveningsson Elm, Malin & Sundén, Jenny (red.). Cyberfeminism in Northern lights. Gender and digital media in a Nordic context.. - Cambridge : Cambridge Scholars Publishing. ; , s. 1-29
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 32. |
- Sundén, Jenny
(författare)
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Desires at Play : On Closeness and Epistemological Uncertainty
- 2012
-
Ingår i: Games and Culture. - : Sage Publications. - 1555-4120 .- 1555-4139. ; 7:2, s. 164-184
-
Tidskriftsartikel (refereegranskat)abstract
- This article discusses knowledge production in game studies by exploring notions of emotion, closeness and (queer) desire in new media ethnography. It uses field notes and experiences from an ethnographic study of the online game World of Warcraft. As opposed to the kind of fieldwork where being, living, and staying in the field is the only option, new media ethnography brings with it the possibility of moving through different locations and bodies to the point where the borders between them may start to blur. The text positions itself within this very uncertainty to investigate its consequences for ways of knowing online game cultures.Drawing on the body of ethnographic work interrogating erotic subjectivity and desire in the field, the discussion makes use of personal experiences – in particular an in-game as well as out-of-the game love affair - as potentially important sources of knowledge. Was it her, regardless of the game? Was it her through the game? Or was it the game ‘‘itself ’’? The article provides the story of a particular way of being introduced to and of falling for a game, a woman, and the ways in which these two were intensely connected. Set against the backdrop of ‘‘the affective turn’’ in cultural and feminist theory, and in making visible how desire may circulate through game spaces, the article argues for an articulation of desire as intimately related to technology; of desiring technology and of technological, or perhaps technologized desires.
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| 33. |
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| 34. |
- Sundén, Jenny, Professor, 1973-
(författare)
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Digital kink obscurity : A sexual politics beyond visibility and comprehension
- 2023
-
Ingår i: Sexualities. - : Sage Publications. - 1363-4607 .- 1461-7382.
-
Tidskriftsartikel (refereegranskat)abstract
- Based on an interview-driven ethnographic study of the Swedish digital BDSM, fetish and kink platform Darkside, this article explores digital kink expressions at a moment when kink communities are both marginalized and seemingly mainstream, navigating a tricky balance between visibility and invisibility, intelligibility and unintelligibility. Across queer, postcolonial, and digital media theorizing, "opacity" provides a way of rethinking these tensions, challenging the idea of public visibility and identification as that which legitimizes sexual otherness. Building on this work, I suggest the term "kink obscurity" as a way of conceptualizing a set of tactics for sexually marginalized groups to exist, resist, and transgress without becoming fully visible or graspable. To these ends, I foreground a "closet positive" analysis of Darkside, not primarily of shame, secrecy, and isolation, but of shared spaces of vulnerability and intensity, a temporary safe house which partly protects against normative regulation. Although the platform activist ethos speaks to the value of openness and outness for the sake of sexual justice, the users are quite invested in anonymous and pseudonymous online presence and sexual expression. Opacity implies a lack of clarity; something opaque may be both difficult to see clearly as well as to understand. Drawing on edouard Glissant's idea of opacity as a form resistance to surveillance and imperial domination, a digital sexual politics of obscurity could help provide recognition without a demand to fully understand sexual otherness, opening up for new modes of obscure and pleasurable sexual expressions and transgressions.
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| 35. |
- Sundén, Jenny, Professor, 1973-, et al.
(författare)
-
Dis/connections : Toward an Ontology of Broken Relationality
- 2019
-
Ingår i: Configurations (Baltimore, Md.). - : Johns Hopkins University Press. - 1063-1801 .- 1080-6520. ; 27:1, s. 37-57
-
Tidskriftsartikel (refereegranskat)abstract
- Ideas of relationality have come to influence a wide range of theoretical fields. In this article, we develop an understanding of relationality as not necessarily something continuous and uninterrupted (as is often the case), but rather as something fundamentally shaped through breaks and interruptions. We work through notions of relational brokenness by "thinking with" the telephone as an intriguing relational technology, a material metaphor, and a discursive device. The argument moves between Derrida's telephone fascination; the metaphorical black telephone in Sylvia Plath's poem "Daddy"; Proust's narrator waiting for a call from his grandmother in "The Guermantes Way"; and the communication breakdown in Lady Gaga's "Telephone." What the telephone allows for in this discussion is a way of thinking of not only technology as inherently fractured, but also our very ways of relating, connecting, and being in the world.
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| 36. |
- Sundén, Jenny
(författare)
-
Double Life on the Screen
- 2008
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Ingår i: Internet inquiry. - Los Angeles : Sage. - 9781412910019 ; , s. 119-123
-
Bokkapitel (populärvet., debatt m.m.)
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| 37. |
- Sundén, Jenny
(författare)
-
En förlossningsmaskin utan slut : simulering, realism och postmänsklig feminism
- 2009
-
Ingår i: Tidskrift för Genusvetenskap. - : Föreningen Tidskrift för genusvetenskap. - 1654-5443 .- 2001-1377. ; :2-3, s. 5-25
-
Tidskriftsartikel (refereegranskat)abstract
- Departing from a posthuman feminist understanding of the body (as something always already technological), this article critically explores the design of birth simulators and how simulator design relates to cultural understandings of intimate couplings between female bodies and technologies. The focus is on the construction of simulators, their possibilities, limitations and meanings – and not on actual use in clinical settings. Then again, thinking about design for medical practices is thinking about use in the sense that design processes and practices always inscribe and anticipate use and users in certain ways (and not others). In particular, the article investigates the status of the “real” as well as of “realism” in the simulation world. How are these concepts used within medical simulation? Which are the consequences of this conceptualization for understandings of bodies and technologies? Would a posthuman feminist framework offer other, alternative ways of thinking techno-bodies? The article draws on a range of sources, notably technical manuals, instruction videos, as well as an interview with the simulator’s “founding father”, but it also take into account historical parallels and predecessors, as well as ways of imagining simulator bodies in popular science contexts.
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| 38. |
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| 39. |
- Sundén, Jenny, 1973-, et al.
(författare)
-
Gender and Sexuality in Online Game Cultures : Passionate Play
- 2012. - 1
-
Bok (refereegranskat)abstract
- How do gender and sexuality come to matter in online game cultures? Why is it important to explore "straight" versus "queer" contexts of play? And what does it mean to play together with others over time, as co-players and researchers?Gender and Sexuality in Online Game Cultures is a book about female players and their passionate encounters with the online game World of Warcraft and its player cultures. It takes seriously women’s passions in games, and as such draws attention to questions of pleasure in and desire for technology.The authors use a unique approach of what they term a "twin ethnography" that develops two parallel stories. Sveningsson studies "straight" game culture, and makes explicit that which is of the norm by exploring the experiences of female gamers in a male-dominated gaming context. Sundén investigates "queer" game culture through the queer potentials of mainstream World of Warcraft culture, as well as through the case of a guild explicitly defined as LGBT.Academic research on game culture is flourishing, yet feminist accounts of gender and sexuality in games are still in the making. Drawing on feminist notions of performance, performativity and positionality, as well as the recent turn to affect and phenomenology within cultural theory, the authors develop queer, feminist studies of online player cultures in ways that are situated and embodied.
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| 40. |
- Sundén, Jenny
(författare)
-
Glitch, genus, tillfälligt avbrott : Femininitet som trasighetens teknologi
- 2016
-
Ingår i: Lambda Nordica. - 1100-2573 .- 2001-7286. ; :1-2, s. 23-45
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Tidskriftsartikel (refereegranskat)abstract
- Technologies always implicate their own failures, breakdowns, and glitches. The purpose of this article is to develop an understanding of gender in general – and femininity in particular – as something fundamentally technological, and, as such, broken. Drawing on the technological undercurrent in current posthumanist feminist theory, arguing for a re-introduction of technologies in the midst of feminist posthumanist critique, the author puts into play a vocabulary of malfunctioning, broken, vulnerable technologies of gender. In particular, the term “glitch” is put to use to account for machinic failures in gender within the digital domain. By using glitch as a way of theorizing gender, the article is a dual contribution to digital media studies and feminist theory in a technological vein. Glitch is the spinning wheel on the computer screen, the delay between a command given and its execution. Etymologically, glitch (possibly) derives from the Yiddish word glitsh, meaning a “slippery place” or “a slip.” Glitch signals the slipperiness of something or someone off balance and a loss of control. It usually refers to a sudden unexpected event, a surge of current or an illegitimate signal that breaks the flow of energy, information, and affect. Glitch is, fundamentally, a struggle with binary code. Gender is a similar struggle to cope with binaries, with a loss of binaries, and about what happens when the vulnerability of the system is revealed. On this side of glitch, the tendency is toward hesitation and anticipation, irritation and annoyance, as well as pain and anxiety in the face of technologies and bodies that skip, crash, or get stuck. The default mode of gender is technological failure, and cis-gender normativity – what the author calls gender “high fidelity” – an unobtainable ideal of impossible perfection. If to glitch is to slip, to stutter, to stumble, gender high fidelity is to slip by unnoticed. In contrast to the notion of cis-gender normativity as a desire to cover or remove “noise,” to clear the channel, glitch is that which infiltrate, make dirty, and ultimately put pressure on the norms and ideals that structure gender as pure, clear, cold, binary code. In this sense, glitch is also about a perceived beauty in crashing and skipping, holding an intriguing critical, aesthetic, activist potential. In the hands of glitch artists, circuit breakers, and gamers, but also queers, and trans-performers, glitch becomes a celebration of the beauty of malfunction and gender-technological fragility.
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| 41. |
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| 42. |
- Sundén, Jenny, Professor, 1973-, et al.
(författare)
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Inappropriate Laughter : Affective Homophily and the Unlikely Comedy of #MeToo
- 2019
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Ingår i: Social Media + Society. - : Sage Publications. - 2056-3051. ; 5:4
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Tidskriftsartikel (refereegranskat)abstract
- This article investigates the affective and ambiguous dynamics of feminist humor as an unexpected strategy of resistance in connection with #MeToo, asking what laughter may do to the sharpness of negative affect of shame and anger driving the movement. Our inquiry comes in three vignettes. First, we deploy Nanette—Hannah Gadsby’s 2018 Netflix success heralded as the comedy of the #MeToo era—arguing that the uniform viral warmth surrounding the show drives the emergence of networked feminisms through “affective homophily,” or a love of feeling the same. With Nanette, the contagious qualities of laughter are tamed by a networked logic of homophily, allowing for intensity while resisting dissent. Our second vignette zooms in on a less known feminist comedian, Lauren Maul, and her online #MeToo musical comedy riffing off on apologies made by male celebrities accused of sexual harassment, rendering the apologies and the men performing them objects of ridicule. Our third example opens up the door to the ambivalence of irony. In considering the unexpected pockets of humor within the #MeToo scandal that ripped apart the prestigious institution of the Swedish Academy, we explore the emergence of carnivalesque comedy and feminist uses of irony in the appropriation of the pussy-bow blouse as an ambiguous feminist symbol. Our examples allow us to argue for the political importance of affective ambiguity, difference, and dissent in contemporary social media feminisms, and to highlight the risk when a movement like #MeToo closes ranks around homogeneous feelings of not only shame and rage, but also love. © The Author(s) 2019.
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| 43. |
- Sundén, Jenny
(författare)
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Inte en babe : affekt, känsla och sexualitet i World of Warcraft
- 2010
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Ingår i: Tidskrift för Genusvetenskap. - : Föreningen Tidskrift för genusvetenskap. - 1654-5443 .- 2001-1377. ; :4, s. 23-43
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Tidskriftsartikel (refereegranskat)abstract
- Feminist game studies scholars are still few and far between, and little has been done in the intersection of queer theory and games. Informed by feminist discussions of affect, and of emotion, this article uses an ethnographic study of queer potentials in the MMOG (Massively Multiplayer Online Game) World of Warcraft as its core example. The article develops an understanding of online gaming by investigating embodied experiences, affective investments and circulations within game spaces. Ultimately, it asks what an online game like World of Warcraft puts in motion, and what consequences such stirring may have for ways of thinking – and feeling – games, critically, yet sensitively. How do emotions circulate in and through games? How do corporeal desires and belongings map onto games? Could certain game spaces or moments of play be termed ‘queer’?
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| 44. |
- Sundén, Jenny, et al.
(författare)
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Introduction : Nature Seconded
- 2011
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Ingår i: Second Nature. - Stockholm : AxlBooks. - 9789197859882 ; , s. 1-28
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 45. |
- Sundén, Jenny, et al.
(författare)
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Introduction : Cyberfeminism in Northern Lights
- 2007
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Ingår i: Cyberfeminism in Northern Lights. - Newcastle-upon-Tyne : Cambridge Scholars. - 1847180892 ; , s. 1-27
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 46. |
- Sundén, Jenny, Professor, 1973-, et al.
(författare)
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Isso é um absurdo! : Sobre o humor feminista nas redes sociais
- 2021
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Ingår i: Fronteiras – estudos midiáticos. - Unisinos, Brazil : Universidade do Vale do Rio dos Sinos. - 1984-8226. ; 23:1, s. 2-10
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Tidskriftsartikel (refereegranskat)abstract
- Nas redes sociais, o humor feminista geralmente chama a atenção pela dinâmica com que aborda o gênero binário, do qual zomba, subverte e comenta. Com foco no Tumblr “Congrats, you have an all male panel”, no perfil “Man Who Has It All” no Twitter e do Facebook e no perfil do Twitter “Men Write Women”, este artigo observa como esses projetos reexecutam o poder assimétrico de gênero binário por meio da repetição e subversão, extraindo seu apelo da própria lógica que eles mesmos criticam para ter um efeito disruptivo. Além disso, o texto questiona como as diferentes dinâmicas de plataforma de mídias sociais ajudam a agrupar certa sociabilidade e como a crítica do riso em rede aborda a importância da diversidade afetiva ao fazer piada de coisas absurdas. Nosso argumento é de que, ao recusar e evitar a lógica que a maioria oferece, e ao focar em situações absurdas, ridículas e inadequadas, este tipo de humor gera zonas produtivas de ambiguidade e risos incontroláveis onde tensões e diferenças se recusam a ser resolvidas.
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| 47. |
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| 48. |
- Sundén, Jenny, Professor, 1973-, et al.
(författare)
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Locating sex : regional geographies of sexual social media
- 2024
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Ingår i: Gender, Place and Culture. - : Routledge. - 0966-369X .- 1360-0524. ; 31:4, s. 424-440
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Tidskriftsartikel (refereegranskat)abstract
- Contributing to the field of the geographies of digital sexualities, this article explores the geosocial dimensions of digital sexual cultures by analyzing three regionally operating, linguistically specific social media platforms devoted to sexual expression. Drawing on case studies of an Estonian platform used primarily for group sex, a Swedish platform for kink and BDSM, and a Finnish platform for nude self-expression, we ask how these contribute to and shape sexual geographies in digital and physical registers. First, we focus on the platforms as tools for digital wayfinding and hooking up. Second, we consider how the platforms help to reimagine and sexualize physical locations as ones of play, and how this transforms the ways of inhabiting such spaces. Third, we analyze how the platforms operate as sexual places in their own right, designed to accommodate certain forms of display, relating, and belonging. We argue, in particular, that these platforms shape how users imagine and engage with location by negotiating notions of proximity and distance, risk and safety, making space for sexual sociability. We approach geographies of sexuality both through the regional and linguistic boundaries within which these platforms operate, as well as through our participants' sense of comfort and investment in local spaces of sexual play. As sexual content is increasingly pushed out of large, U.S.-owned social media platforms, we argue that locally operating platforms provide a critical counterpoint, allowing for a vital re-platforming of sex on a regional level.
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| 49. |
- Sunden, Jenny, 1973-
(författare)
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Material virtualities : Approaching online textual embodiment
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- While the Internet is often presented as a disembodied medium, various forms of bodily presence are continually introduced when people meet online. This study explores notions of embodiment in a particular text-based virtual world (here called WaterMOO) by investigating how bodies- always sexually specific- are created and rendered meaningful in online textual practices. What does it mean to be embodied online? What are the conditions of cyber-subjectivity? The argument is situated in thegrowing field of online ethnography, taking as a point of departure two years of online 'fieldwork'. Letting field sessions along with contemporary feminist and queer theory serve as a backdrop, online embodiment turns out to be located in a borderland between typists and textual machine bodies, speaking and writing, physicality and imagination.In contrast to the myth of cyberspace as a disengaged, free universe for transgender performances, textual bodies in WaterMOO are not only unmistakably human, but unmistakably human-gendered. A MOO provides its inhabitants with a fictive world open to play and imagination, but one that is also a networked social space quite different from imaginary worlds of fiction. On the other hand, these social encounters are always textual mediations, clearly drawing on literary conventions andnarrative structures that render them open to comparisons with other literary phenomenon.If initially, online textuality was seen as the ultimate realization of postmodern literary theory, this study incorporates an awareness of how acts of writing and reading are always confronted with the techno-cultural restrictions of the medium. Physical bodies do not only exist as textual figurations in online narratives, but 'the body typing' is itself indispensable to the creation of virtual bodies. The WaterMOO studyshows the need to shift the emphasis in poststructuralist literary theory - away from its engagement with textual 'surfaces' toward a theory of textuality as always materially and sexually engraved. The discussion arrives at an alternative cyberfeminist subject in terms of a she-cyborg. The she-cyborg is a figure of thought, but also a lived reality in various online spaces. She shows how (female) typists and their virtual body doubles are never full separated from each other, but rather infused with feminist politics embedded in collectivities of difference.
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