| 1. |
- Bremmer, Magnus, 1983-
(författare)
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Konsten att tämja en bild : Fotografiet och läsarens uppmärksamhet i 1800-talets Sverige
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present study inquires into the problematization of attention in the reception and distribution of photography in 19th-century Sweden. It investigates how photography’s alleged abundance of detail and indiscriminate reproduction became a problem in the reception of the medium. The problem became urgent when photographs were put to use by established discourses; specifically, when used in printed publications meant for a public. The thesis therefore argues that the problem of attention had a profound influence on how printed photographic or photographically illustrated editions (photo-texts) were modelled and arranged. For this purpose, the study affirms a particular focus on attention practices: the various ways in which the printed editions aim to regulate the reader’s attention before the supposedly distractive image. Specifically, the thesis focuses on how texts in these printed editions are arranged or juxtaposed in relation to the image, how they speak of and to the images, what values they reflect, and what effects they could be said to produce.Consequently, the present study is more than an investigation of a problem; it is also an inquiry into the various attempts to overcome this problem. The problem and its responsive practices will have different characteristics in the various contexts of individual discourses. Therefore, the study situates the problem of attention in four prominent genres of 19th-century photography: the topographical albums of photographic views, art books with photographic reproductions, the scientific atlas, and the photographically illustrated travelogue. These genres and forms of publication, as well as the discourses of attention relating to them, are discussed in separate chapters. Every chapter departs from a specific Swedish photographic edition from the nineteenth-century.In sum, the thesis aims – with its focus on the problematization of attention – at giving a new historical perspective on the emergent relation between photography and the printed word.
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| 2. |
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| 3. |
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Digitala modeller : teknikhistoria och digitaliseringens specificitet
- 2019
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Modeller är vanliga både på museer och inom universitet. På ett museum är en modell ofta en förminskad version av ett objekt, och inom vetenskapen representerar en modell en uppsättning entiteter med vissa egenskaper. Modeller skapar översikt; de balanserar mellan enkelhet och komplexitet där avvägningar mellan förklarande och förutsägande modeller är av vikt. I den här boken används modellbegreppet i flera betydelser: som fram- ställningssätt, som avbildning, som förenkling och som vetenskaplig metod. Boken utgår från ett forskningsprojekt som på olika sätt digitaliserat tre teknikhistoriska samlingar på Tekniska museet i syfte att undersöka digitaliseringens möjligheter och effekter. Carl Sahlins bergshistoriska samling är museets största enskilda arkiv, årsboken Daedalus var under många år museets främsta publicistiska organ, och Polhems trämodeller i det mekaniska alfabetet är ett av museets äldsta och mest omhuldade objekt. Boken visar att digitalisering av kulturarv inte är någon entydig verksamhet. Genom traditionell digitalisering (Sahlin), massdigitalisering (Daedalus), och 3D-digitalisering (Polhem) kan den digitala teknikens möjligheter användas för att generera ny kunskap om teknik- och industrihistoria.
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| 4. |
- Diurlin, Lars
(författare)
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"Filmreformens förste avantgardist" : Experimentfilmaren Peter Kylberg
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation is about the Swedish filmmaker, painter and composer Peter Kylberg (1938–). The study examines how Swedish film-cultural and film-political actors interacted with Kylberg in his ambition to create a particular type of expression in the film medium. Thus, not only Kylberg stands in focus, but also the surrounding film-cultural and film-political climate that Kylberg related to. Kylberg’s nine productions produced between the years 1959 and 1996 serves as a historical delimitation. The approach of the dissertation is essentially chronological, as it enables a presentation of Kylberg’s artistry as an emerging development process. The bulk of the source material which constitutes the basis of the study comprises unprocessed primary sources from public and private archives as well as articles and reviews from the daily press and trade press.A purpose of the study, with Kylberg as a point of departure, is to critically review the existing historical writing surrounding Swedish film culture and film politics, during the years Kylberg was active. The dissertation is also a study of the type of expression that Kylberg tried to convey, as well as a discussion of what can be said to construe Kylberg’s concept of art. The study revolves around two problem areas which can be summarized in the words position and expression. These areas deal with Kylberg’s prerequisites as an artist and his aesthetics respectively. Kylberg’s experimental films were generally state funded and produced by major film companies for commercial exhibition. They were thus included into a film culture which essentially encompassed narrative films in feature-length format. An argument that carries through the study is that positioning Kylberg as a filmmaker is problematic. A classic romanticized definition of the avant-gardist experimental filmmaker, arguing for a clear polarization between autonomous avant-garde film and commercial industry, does not fit Kylberg. In the study, he is therefore categorized as a within-industry experimental filmmaker sandwiched between the two seemingly separated spheres “minor” and “major cinemas” – a conceptual apparatus mainly developed by film scholar David E. James.Kylberg was seen by several contemporary critics as a “traditional” modernist. The dissertation fixes on this track and argues for a reading of Kylberg as a belated modernist. Kylberg’s artistic activity is discussed as an extension – or reflection – of various modernistic approaches and perspectives, which linked several of the experimental films and synthesized art’s pioneers in the 1910s and 1920s. Furthermore, Kylberg’s films have striking similarities to a number of the trends, genres and approaches that several experimental film researchers have identified as characteristic of experimental films, mainly European and American, in the 1900s – such as city symphonies, trance films, exile films, diary films, structural films and expanded cinema. The comparison between Kylberg’s work and expressions in earlier and contemporary experimental films make it possible to see his artistry in the light of an international experimental film context.Furthermore, the study wishes to demonstrate that the basic conditions for Kylberg’s position, can be derived from a number of cultural-political reforms which took shape during the beginning of the 1960s. Emphasized in the dissertation is the dependency relationship between Kylberg and a number of cultural-political actors, which were crucial in allowing Kylberg to place minority expressions within the framework of such a resource-dependent art form as the studio-produced nationally and internationally, marketed and theatrically screened film. The dissertation studies the film artist’s role in the Swedish welfare state and problematizes the avant-garde concept in this specific context. The study argues that Kylberg’s production conditions were directly related to a Social Democratic overall culture policy goal to promote the production of what the representatives of the implemented policy called “cultural benefits”. In 1966 a film critic identified Kylberg as “The first avant-gardist of the film reform” – a categorization that tells us something decisive about Kylberg’s social role as a film artist. If he were an avant-gardist he was neither his own, nor his artistic medium’s avant-gardist, but the cultural policy reform’s. Throughout the study, Kylberg functions as an indicator of which of the institutions of the Swedish welfare state were at the time able to finance, or not finance, the kind of experimental expression he wished to create. It can be said that the acceptance of these institutions gave Kylberg an artistically legitimate, as well as economically possible, front-runner position as one of the welfare state’s sanctioned avant-gardists.
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| 5. |
- Edoff, Erik, 1987-
(författare)
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Storstadens dagbok : Boulevardpressen och mediesystemet i det sena 1800-talets Stockholm
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis explores the late 19th century boulevard press in Stockholm. The study is based on four weekly boulevard newspapers during the period: Figaro, Vikingen [The Viking], Budkaflen [The Fiery Cross] and Hvad Nytt [What’s New]. The main focus of the boulevard press was high-society people and the theatres and restaurants these visited. The aim of the dissertation is to investigate this journalistic genre, with specific regard to its place and role in the contemporary media system and to its construction of Stockholm as a metropolis. The analytical perspective is inspired by scholarship on the cultural history of the media, from which the concept of a media system is derived. Besides a broad media concept, the core approach is that all media are in various ways related to many other phenomena in society, including other media forms. The boulevard press was linked to other newspapers, restaurants, cafés, wax museums, reprints, guide literature, theatres and variety shows. These were also the boulevard papers’ main advertisers, thus showing the important interconnectedness between different parts on the sheets of the papers. Advertising meant positive publicity, also in the reporting. The thesis identifies two main perspectives of the boulevard-paper journalists. The reporter guided his readers in the tram around the city and on walkabouts among shops, thus stressing his mobility. The other perspective concerns the overview of the columnist. His elevated perspective was an important attribute when the newspapers summarised and presented the big city as a whole. The journalists acted as witness-ambassadors (Géraldine Muhlmann) and through this legitimacy they constructed a mediated centre (Nick Couldry), stressing what was inside and what was not. One important result is that the boulevard papers were media of self-promotion. The boulevard press was, hereby, an important actor in processes of professionalization and defining the role of the press.
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| 6. |
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Efterkrigstidens samhällskontakter
- 2019
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Propaganda, upplysning, pr och information. Detta är några exempel på efterkrigstidens mångfacetterade kommunikationsbegrepp. Under perioden från andra världskrigets slut till 1980-talet var Sverige en framväxande välfärdsstat, och mediernas möjligheter att fostra, påverka och utbilda diskuterades regelbundet. Men i vilka sammanhang användes dessa begrepp och hur omsattes de i praktiken? I Efterkrigstidens samhällkontakter presenteras tio mediehistoriska texter om olika aktörer i efterkrigstidens Sverige – myndigheter, företag, föreningar – och hur dessa kämpade för att torgföra sina visioner, tankar och idéer. De olika kapitlen visar att metoderna för att föra ut budskapen till allmänheten var sofistikerade och att en uppsjö olika medier togs i bruk – från tändsticksplån till debattpocketböcker. I denna bok framträder den svenska kommunikationsapparaten som präglad av både decentraliserade och kommersiella drag. Efterkrigstidens samhällskontakter formades på så sätt genom en sammanflätning av privata och offentliga sfärer – vem som var mottagare och vem som var avsändare var ibland långt ifrån självklart.
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| 7. |
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| 8. |
- Jarlbrink, Johan, 1978-, et al.
(författare)
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Mediernas historia : Från big bang till big data
- 2019
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Idag upplever många att medier genomsyrar allt fler delar av vardag och samhälle. Men vår samtid delar denna erfarenhet med människor som levt under tidigare perioder. För att hitta en tid då medier inte satte sin prägel på liv och samhälle måste vi gå mycket långt tillbaka i historien. Mediehistoriska perspektiv kan anläggas på de flesta historiska fenomen.Det förflutna är nämligen endast tillgängligt i medierad form – om det så gäller antikt klotter, runstenar, dammiga arkivdokument, sönderfallande tidningslägg, muntliga berättelser eller förra årets Youtubeklipp.I den här boken skildras en mycket lång mediehistoria. Att mäta medievanor genom big data är idag vanligt –men även urknallen big bang är ett medialt fenomen vars kosmiska bakgrundsstrålning inte kan studeras utan att först registreras. Med en disposition i 44 avsnitt betonar Mediernas historia olika mediekulturers särprägel, samtidigt som den lyfter fram hur ett myller av medier har interagerat – från beständiga lertavlor över predikstolar och tidigmodern visuell kommunikation till strömmande medier. Istället för att framhäva mediehistoriska brott och revolutioner synliggör boken kontinuiteter ifråga om hur medier har etablerats, använts och förändrats fram till vår egen tid. Relationen mellan vår samtids sociala medier och traditionella massmedier utgör här endast ett exempel på den komplexa väv av sinsemellan hopflätade kommunikationsformer som historien består av.
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| 9. |
- Järpvall, Charlie
(författare)
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Pappersarbete : Formandet av och föreställningar om kontorspapper som medium
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis explores office paper as a medium between 1920 and 1960 in Sweden. During this period, paper was muchdebated due to the number of standards that were implemented. These standardstransformed paper, making it a modern medium in many different ways. The aim ofthe present thesis is to analyze how office paper was reshaped to solveproblems regarding production, reproduction, circulation and use ofinformation. This reshaping, through a series of standards, addressed issuessuch as order, speed, quantity and control of information in the officematerial information system, and was also seen as a way of altering officepractices. The study draws on a wide range of source materials concerning the standardizationof paper: reports, articles from newspapers and journals, standard documents,ads, manuals and handbooks. Theoretically, the thesis applies a materialperspective on communication and mediation, meaning that focus is on howinformation is processed, rather than on the content being circulated.Following this perspective the office is understood as an information system,and paper as an information technology. A crucial methodological claim is thatthe ideas and notions of paper, and paperwork, that various actors expressedwhile discussing standards, materialized in changed paper sizes andstandardized forms. The analysis shows how the paperformat created from the proportion of the page as 1:√2 was associated to aspecific idea of scientific rationality. This rationality was imagined to betransmitted to the information system through adjusting office machines andfurniture, and other paper technologies, to the width and breadth of theA4-format. Another consequence of this process was that paper based informationbecame a quantifiable entity. Following the fixation of paper sizes was theredesigning the graphic interfaces of forms, which resulted in the “the modernform”. The 1940s also saw the emergence of a new occupation, the “form man”; ascience of forms; and the idea of the system of forms, to rationalize paperbased communication.
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| 10. |
- Kihlberg, Jakob, 1976-
(författare)
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Gränslösa anspråk : Offentliga möten och skapandet av det internationella, 1840–1860
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The first congresses that claimed to be “international” without involving state representatives took place in the middle of the nineteenth century. In this dissertation these public meetings, with participants from many countries in Europe and America, are described as mediated events related to a specific imaginary of the public sphere. Three cases are studied in detail: two antislavery conventions that were held in London in the 1840s, a series of peace congresses that took place in Brussels, Paris, Frankfurt and London between 1848 and 1851, and four international philanthropic congresses organised in the same cities during the second half of the 1850s and in the first years of the 1860s.The aim of the dissertation is to show that these meetings were arranged as a new form of international actors, and how different media were used to accomplish this. These early international meetings were part of a dynamic culture of public speaking in Europe in the nineteenth century, but they were also closely connected to the development of new forms of printed media. In the dissertation the meetings are analysed as multimedia events, as constellations of speech, image and text. The focus is not primarily on how the meetings transmitted information, but rather on the means by which they created legitimacy, participation and identification.I demonstrate that the logic of the meetings was closely tied to what can be called the mobilisation of reform elites, in the sense that the organisers both presented support from such collectives, and at the same time tried to activate audiences and get them to identify as belonging to these groups. In this respect the investigation relies on a discussion of mediated publics and political representation, notably the theory of representative claims developed by the political theorist Michael Saward. As a general conclusion, I argue that this way of mobilising reform elites was central to the new type of internationality created through these meetings.
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