The purpose of this thesis is to investigate from a constructivist perspective, what protective measures managers take against violence and threats for social workers. The focus will be on two occupations: Social Services and Health and Care services. Also, to compare their protective measures and investigate if there are other protective measures to improve the safety of social workers. The method that has been used is the qualitative method, because the constructivist theory is best achieved by a method that goes in-depth and searches for context. Semi-structured interviews were conducted by using a strategic selection. The selection was homogenous, consisting of three managers from each occupation. The results show a constructed image made by the managers of a low rate of threats on the two occupations. The results also show similar constructed protective measures. For instance, a social worker can speak with the manager, have a personal alarm at home, or speak with a safety coordinator. Other common measures include contacting the occupational health service and handing over the matter to another employee. There is the possibility of bodyguard protection and taking a taxi from and to work in times of discomfort. Some differences are found as well, such as there are always two social workers for home visits in social services while there are only two social workers for first-time visits in Health and Care services. In conclusion, there are differences and similarities regarding the constructed protective measures employed in both occupations. Another conclusion is to develop and introduce new protective measures. There is a lack of research on how social workers experience the protective measures against violence and threats in the working places. Therefore, more research must be done on their experiences.

This article explores the views on medical knowledge and its circulation from the perspective of a privileged group – the scientists themselves who are the main actors in producing medical knowledge. The concept of sharing knowledge helps to highlight how knowledge circulation is affected by digitalisation, which changes scientific working conditions and sometimes makes sharing problematic. It reveals the underlying idea of knowledge as an exclusive property and the frictions that occur when this idea is challenged.

This thesis explores in which ways the EUs border management agency Frontex was represented as a ‘humanitarian’ actor in the Swedish news media during Operation Triton 2014-2017 in the Central Mediterranean. It conducts a critical discourse analysis of Sweden’s largest newspaper Aftonbladet, using traditional and contemporary understandings of humanitarianism paired with saviour, villain, and victim narratives as a theoretical framework. The thesis concludes that such narratives were reproduced in the Swedish news media’s representation of the agency and when combined with the notion of ‘Swedish exceptionalism’, Frontex was especially portrayed as a humanitarian actor. Furthermore, the thesis argues that Frontex was considered a ‘discourse technologist’ within certain areas of the EUs border regime, and that Sweden’s humanitarian position in the EU was compromised during the 2015 refugee ‘crisis’. The research contributes to the field by concentrating explicitly on Frontex in the Swedish news media, which existing research is lacking. 

This chapter explores different relations of truthfulness and discusses the truth claims of the different qualified media types. Truthfulness is a transmedial notion and when we speak of truth in different contexts, we refer to different kinds of knowledge. Truth, facts and authenticity are often used in everyday discourse as part of apparently clear-cut binaries like truth–lie, authentic–fake, fact–fiction. The truth claims of media can be employed in communication to produce a perception of truthfulness. As media products can be truthful both in relation to external perception or inner experience, another way to look at truth claims is to divide them into objective and subjective truth claims. The chapter discusses how different forms of disinformation draw on the truth claims of news media and construct a perception of truthfulness that is based more on internal coherence than on events that actually have taken place.

The present report is an attempt to provide an overview over intersecting beginnings,

emergencies, and prolongations that reinforces a theoretical reflection on contemporary

cultural debate and its repercussions on societal development. With the current research

overview, we want to draw attention to assumptions about culture(s), as they are played out in

the intersection of migration and sustainable urban development. Multi-layered and doubleedged,

‘culture’ often comes with territorial postulates and implicit ideas about belongings and

borders, movements and rights of priority. The report approaches these entangled issues from

several angles. With the point of departure in current environmental policy, the first section of

the report, therefore, approaches ideas of “sustainability” via the notions of “culture” and

“locality”. A second section briefly discusses the methodological challenges of researching

emergent cultural phenomena across both geographical and disciplinary borders. In a third

section, we turn to three research reports, a sampling of the report literature, but representative

of how global, regional and local perspectives on culture today are ‘scaffolded’ in relation to

mobility and migration. A fourth section introduces emergent transversal, i.e. non-categorical,

approaches to cultural research, primarily focusing on how notions such as transnationalism

and translocality may inform new modes of research and urban development. A fifth section

finally, articulates some recommendations about how to relate to translocal space and

translocal subjectivities in practice and how to craft research approaches that not only involve

interlocutors but also answers to and actively engage in current spatial and cultural changes.

Undersökningens ämnesområde är motivation och vald ur ett perspektiv som är relevant för studie- och yrkesvägledare. Syftet är att synliggöra betydelsefulla förutsättningar för att arbeta med motivation. Studien har genomförts med kvalitativ metod utifrån frågeställningen: Vilka förutsättningar uppfattar studie- och yrkesvägledare på SiS krävs för att arbeta med motivation? Vi anser att ämnet är centralt för vägledarens förmåga att stötta elever mot önskade mål. Tidigare forskning har visat att motivation är avgörande för att elever ska klara sin skolgång. Det finns forskning kring motivation men färre som specifikt riktar sig mot frihetsberövade ungdomar. Vi har valt att intervjua studie- och yrkesvägledare vid Statens institutionsstyrelse (SiS). Dessa vägledare är av intresse då de vägleder elever som har ett begränsat självbestämmande. Då självbestämmande är en grund för motivation, antas det att elever inom SiS skolverksamhet kan vara utmanande att vägleda. Studien bygger på teorierna om Självbestämmande och Motiverande samtal. Undersökningen förväntas bidra med kunskap som ger ökade möjligheter till att vägleda motivationshöjande. Huvudresultatet av undersökningen visar tydligt att frihetsberövade är utmanande att vägleda; förutsättningarna som krävs för att arbeta med motivation kan kopplas till: relation, bemötande, tid, samverkan och flexibilitet. MI-metoden används genomgående i hela verksamheten och kan även den ses som en förutsättning.

Bildschirmspezifische Komposition im Comic: Erzählen in sequentiellen Bildern in Bildschirm-Medien

Die Darstellung eines Comic-Bildes unterscheidet sich von Bildschirm zu Bildschirm, in der Praxis besonders deutlich zwischen Mobiltelefon- und Computerbildschirm. Dass technische Faktoren - Bildauflösung und Bildschirmgröße, die Größe des Browserfensters usw. -  deutliche Konsequenzen für die Darstellungsqualität haben ist bekannt. Dass diese technischen Einstellungen aber Konsequenzen für die Komposition des Bildinhalts digitaler Comics haben sollte, soll in diesem Beitrag dargestellt und diskutuiert werden. 

Ein Comic besteht immer aus einer Bildfolge. Jedes Bild eines Comics trägt dabei potentiell zur Entwicklung der Geschichte, zur Exposition, zum Stimmungsaufbau usw. bei. Die unterschiedlichen Comic-Genres folgen dabei in der Regel leicht unterschiedlichen Konventionen. Aber unabhängig von diesen Erzählkonventionen sollen die Bilder und jede Seite eines Comics den Leser ansprechen und das Lesen des Comics nicht erschweren - unabhängig ob in digitaler oder analoger Form. Die Komposition jedes Bildes, also die Platzierung aller Bildelemente im Verhältnis zueinander ist wesentlicher Teil des Erzählstils im Comic, am Bildschirm werden Bilder aber zT automatisch beschnitten. Entsprechend planen Comicschaffende diese Faktoren zunehmend bei der Gestaltung ihrer Comics ein und produzieren digitale Inhalte so, dass technische Einflüsse auf erzählerische Inhalte so gut wie möglich kontrolliert werden können. 

An ausgewählten Beispielen werden die speziellen Möglichkeiten und Bedingungen für gelungene Bildkomposition derselben Comic-Geschichten für unterschiedliche Gruppen von Bildschirmmedien aufgezeigt. Während manche Comics komplett starr gestaltet sind, können technische Möglichkeiten genutzt werden, um die Bildkomposition des fertigen Comics jeweils an den genutzten Bildschirm / Browser anzupassen. Dabei ist die Beweglichkeit der einzelnen elementspezifischen Ebenen im Bezug aufeinander wesentlich. Unterschiede zwischen Produktionen für spezifische Bildschirmgrößen (z.B. "Handy-Comics") und Comics, die plattformübergreifend adaptiv funktionieren sollen, sind hierbei Ausgangspunkt, um über die Qualität visueller Gestaltung in diesem speziellen Anwendungbereich nachzudenken. 

In this article, the authors examine the aesthetics of immersion in two emerging media forms: 360° video and 3D VR. Their goal is to move beyond addressing technical affordances, to consider the techniques and choices that producers of 360° video and 3D VR are making to exploit these affordances, and what resulting effects those viewing experiences have. They discuss the tension between transparency and reflectivity in two contrasting examples, in particular: the Danish company Makropol’s Anthropia (2017) and Arora and Unseld’s The Day the World Changed (2018). The authors argue that technical affordances are part of a complex process of mediation that includes both experimentation with the technology at hand and a reliance on earlier media forms. It is critical, they argue, to understand the creative tension between established forms and new ones that underscore new aesthetic and narrative experiences in VR and 360° formats.

This volume offers a critical overview of digital reading practices and scholarly efforts to analyze and understand reading in the mediatized landscape. Building on research about digital reading, born-digital literature, and digital audiobooks, The Digital Reading Condition explores reading as part of a broader cultural shift encompassing many forms of media and genres.

Bringing together research from media and literary studies, digital humanities, scholarship on reading and learning, as well as sensory studies and research on multimodal and multisensory media reception, the authors address and challenge print-biased conceptions of reading that are still prevalent in research, whether the reading medium is print or digital. They argue that the act of reading itself is changing, and rather than rejecting digital media as unsuitable for sustained or focused reading practices, they argue that the complex media landscape challenges us to rethink how to define reading as a mediated practice.

Presenting a truly interdisciplinary perspective on digital reading practices, this volume will appeal to scholars and graduate students in communication, media studies, new media and technology, literature, digital humanities, literacy studies, composition, and rhetoric.

Digital media conditions shape new forms of reading. We read on a daily basis on various digital platforms: we read books, we search for information while reading on screens, we use apps on our smartphones, and we read audiobooks. A number of these practices challenge the former print-biased definitions of reading to which we are accustomed, and foreground intermedial practices of aesthetic works. They also challenge how we understand the sensory input that is activated while we read such works and in what contexts such reading takes place. The aim of this paper is to present our analysis of  these extended practises of reading in a digital landscape by proposing reading as a travelling concept (Bal 2002) that moves across different media contexts and moves inbetween disciplinary concerns. Central to our analysis is the material and intermedial interplay between medium and material affordances which in turn shapes the reading experience (Hayles 2005). 

By bringing selected research fields and contributions regarding reading into dialogue with each other, we will exemplify what we see are common scholarly issues when analyzing digital reading today, specifically the multisensory address inherent in many digital texts: we are invited to touch, listen, watch, possibly take part in movement and interaction, look at images and text, listen to the timbre of voices of an audiobook reading and so forth. These elements must, we argue, play a larger role when analyzing these distinctly digital reading conditions (reimagining Jerome McGann’s 1991 analyses of the textual condition). In this paper, through analyses of digital reading situations in Tender Claws Pry (2014) and Sally Rooney’s Beautiful World, Where Are You (2021) read by Aoife MaMahon that challenge the print bias that is still the foundation of the reading concept, we explore the assumptions and value judgments that imbue the concept of reading. 

This chapter draws on experiences and lessons learned from a process of hands-on, reflective game co-designing. The case is from the Urban Transition Öresund project (2013-14) which involved co-design and urban researchers, professional game designers, and civil servants working with complex, cross-sector sustainable urban planning in threemunicipalities in Scandinavia. The process included framing, co-designing, testing and playing what came to be called the “Urban Transition” game – explored in various real-world urban planning processes. By dissecting four co-design and play testing situations of this serious, dialogue game, the chapter aims to elucidate the inherent abilities of games as formats for collaboration, negotiation and mutual learning. The main claim is that games are practically “political” – in the sense that they can re-open taken-for-granted urban planning themes by emphasizing details and holistic views; can reveal assumptions about others by actualizing conflicts and can challenge current and possible future municipal, situated socio-material collaborative practices. Therefore, in urban planning processes[F1]  aimed at sustainable development, games and game co-designing should not be seen as de-politicized quick fixes but rather as highly “political” platforms for negotiation.

In October 2019, a wave of massive demonstrations took place in Santiago de Chile and this movement was stamped in several newspaper covers worldwide. People shouting against the Chilean neoliberal system, holding posters with anti-imperialist sayings, and organizing artistic interventions on the streets went viral in social media. The message was clear – for several consecutive months, people in Chile were actively questioning the political, economic, and societal systems as well as the power struggles faced in the country. Relying on the 2019-2020 Chilean Uprising as a case study, this research investigates the consistency of the Santiago de Chile demonstrations by connecting its social claims to the field of urban studies for the understanding of social and spatial constructions. The thesis relies on postcolonial, decolonial, and critical urban theories, a critical perspective of the neoliberal system, the Lefebvrian Right to the City concept, and Manuel Castells' grassroots movements definition, as well as semi structured interviews and newspapers articles as empirical data for the enhancement of the debate.

This thesis takes the initial steps to find what it calls a ‘posture of peace’, a counterpart to what Hobbes refers to as a posture of war (Hobbes 1651/2004: 79)1. A posture of war representsdefensive initiatives that can be interpreted by others as a certain preparation for conflict, and its base definition is used as a template to formulate an initial version of a posture of peace2.While keeping this concept as an overarching theme throughout the thesis explores the concepts of nuclear posture and a credible minimum deterrence (CMD) through the examples of India and Pakistan. While the thesis discusses four different nuclear postures, there really are only two categories, namely the pro-nuclear and anti-nuclear posture. The main examples of pronuclear posture used here is the case of India and Pakistan, two geographical neighbouring Nuclear Weapon States (NWS) who have been experiencing ongoing frictions and conflicts since (and prior to) becoming nuclear powers. On the other side Kazakhstan serves as an example of an anti-nuclear posture and in regards to the nuclear debate a possible empirical example of a posture of peace. In addition to these postures there is also the concept of NonOffensive Defence (NOD), which is more exemplified in the Kazakhstan’s approach to their nuclear situation as well as their more contemporary initiative in collaboration with several other neighbouring states to form the Central Asia Nuclear Weapons Free Zone (CANWFZ). The thesis concludes that while NOD finds little support in pro-nuclear posturing, there is ample space for it over on the ani-nuclear posture side of the spectrum which in addition aligns more with the present interpretation of a posture of peace. Moreover, the CANWFZ initiative appears to be as close a perfect example of a NOD in the present case and as close as this stage of the research will come to observing a posture of peace.

I texten diskuterar jag inmarschlåtars konstnärliga och estetiska värden. Med utgångspunkt från filosofen Nicholas Wolterstorffs teori om "konst som sociala praktiker" argumenterar jag för att inmarschlåtar har, eller kan, ha konstnärliga värden värda att ta på allvar, men att det samtidigt finns relevanta skillnader mellan olika (typer av) inmarschlåtar i det avseendet. Somliga låtar äger estetisk och konstnärlig verkshöjd (t ex IFK Göteborgs, AIK:s, Hammarbys, Östersunds och IFK Norrköpings låtar) medan andra mest är att likna vid pekoral (t ex Malmö FF:s låt). 

I denna essä behandlar jag det svenska bordtennisundret genom tiderna. Bland annat diskuterar jag den sociokulturella och estetiska betydelse bordtennis fått i Sverige, och som med jämna mellanrum tar plats i det offentliga rummet. 

Audiovisual communication (AVC) is a beautiful and exciting part of communication!

This study examines AVC as a powerful motor of developing people’s minds. The study views an organisation as a complex social system, while those who form the organisation search for work-life balance and people skills development. Virtually supplements face-to-face communication in the event where such is not possible due to various reasons. In the digital world, often the way of communicating. Audiences who use their senses to engage in an interactive form of AVC remember those events for a more extended period. A glimpse at AVC from the perspective of the verbal and visual forms that we, who form the organisation, encounter daily as part of our jobs. There is no doubt that through AVC, one can convey just about any message, as it is one of the complete areas of communication. 

Communication enables a form of dialogue and can increase awareness of significant problems and social issues, such as change, human rights, environmental degradation, structure, hierarchy, perception, acceptance, to name a few. 

A massive number of the world’s population uses AVC. The study’s frame shows the current state of audiovisual communication and its efficient models through qualitative, hermeneutics, and grounded methodology. We are social animals, digital social animals, that is.  

The fight for attention through communication is rapidly growing, and AVC serves as a secret weapon for that fight. 

The literature on Töpffer and his work is extensive. What strikes the informed reader, however, is the lack of a clear description of autography, his "technical 'secret' " as Kunzle puts it (2007) when describing the technique he used to produce his littérature en estampes. So, what then is autography? A closer look reveals that the technique that allowed Töpffer to both draw and write without having to reverse image and text, is nothing else than transfer-lithography – already described by the inventor of lithography, Alois Senefelder (1818). In “notice sur Essais d’autographie” (1842) Töpffer mentions drawing with ink and a steel-nib pen as part of the method. This is especially notable since this method still is considered industry standard (McCloud 2006). But what kind of tools did Töpffer use? And did he, as Kunzle suggests, trace his own drawings? (Kunzle 2009). What did his artwork look like and how does autography relate to contemporary methods. By experimenting with autographic print on stone – as I understand Töpffer’s method – I have discovered both similarities and noticeable differences with today’s praxis of drawing comics. In this paper, I will present both the process of autographic print as well as my reflections of the result.

 References:

Kunzle, David. (2007). Father of the Comic Strip [electronic resource] : Rodolphe Töpffer

Kunzle, David (2009). “The Gourary Topffer Manuscript of MonsieurJabot: A Question of

Authenticity. With the Dating and Distribution of Rodolphe Topffer's First Published Picture Story, and the World's First Modern Comic Strip”. European Comic Art, vol. 2. Issue 2.

McCloud, Scott (2006). Making comics: storytelling secrets of comics, manga and graphic novels. 1st ed. New York: Harper

Senefelder, Alois (1818). Vollständiges Lehrbuch der Steindruckerey enthaltend eine richtige und deutliche Anweisung zu den verschiedenen Manipulations-Arten derselben in allen ihren Zweigen und Manieren, belegt mit den nöthigen Musterblättern, nebst einer vorangehenden ausführlichen Geschichte dieser Kunst .... München:

Töpffer, Rodolphe: Notice sur les Essais d’autographie (1842). Courriere de Genève 1842-07-02, in Töpffer, Rodolphe, 1799-1846. - L' invention de la bande dessinée / Töpffer ; textes réunis et présentés par Thierry Groensteen et Benoît Peeters. - 1994.

Comics as an artform – Öyvind Fahlströms contribution to comics theory in the mid 1950s. Even though scholarly interest in comics seems to have erupted after McCloud, there are previous examples attempting to include comics into academia (Duncan & Smith 2019), beginning with Töpffer’s Essai de physiognomonie (1845). In 1947 Coulton Waugh presented his historical overview; The Comics (1947) and in the early 1960s Gombrich reflected on them, as did academics in Italy, France and Spain. The recent discovery of a text by artist Öyvind Fahlström from 1954, declaring comics to be an artform on its own expands this narrative in time. Fahlström’s legacy within contemporary art is widely known. As his involvement with concrete poetry, l’Art informel, and affiliation with the Situationists and pop-art. But Fahlström always had one foot within popular culture and published essays discussing comics. His “Serierna som konstart” [“Comics as an artform”] published in Expressen (1954-08-27) is nothing else than an analysis of comics that precedes theories established decades later.

Literature:

Gombrich, E. H. (1960). Art and illusion: a study in the psychology of pictorial representation. New York: Pantheon Books.

Groensteen, Thierry (2007). The system of comics. 1. ed. Jackson: University Press of Mississippi.

Schultz Lundestam, Barbro (2021). Party for Öyvind: group exhibition catalogue, Öyvind Fahlström & his artist friends, São Paulo, Rome, Stockholm, Germans, Paris, New York. Stockholm: Schultz förlag.

Töpffer, Rodolphe (1845) Essai de physiognomonie [elektronisk] https://www.gutenberg. ca/ebooks/toeppferr-phys

This thesis explores the perception and trustworthiness of the users towards artificial intelligence (AI) -generated content on social media platforms. The study employs the Technology Acceptance Model (TAM) and Framing Theory as theoretical frameworks to understand the factors influencing user attitudes and behaviours towards AI-generated content. The research explores three main areas: user trust in AI-generated content, the ability to differentiate between AI-generated and human-generated content and the ethical implications of AI-generated content use.

The research employed an online survey with 100 participants to collect quantitative data on their experiences and perceptions of AI-generated content. The findings indicate a range of trust levels in AI-generated content, with a general trend towards cautious acceptance. The results also reveal a gap between the participants' perceived and actual abilities to distinguish between AI-generated content, underlining the need for improved media literacy and awareness initiatives. The thematic analysis of the respondent's opinions on the ethical implications of AI-generated content underscored concerns about misinformation, bias, and a perceived lack of human essence. The study connects these findings with the TAM and Framing Theory, suggesting that perceived usefulness and the framing of AI-generated content significantly impact user trust and acceptance.

This research contributes to the ongoing discourse on AI in media and communications, underlining the need for a more nuanced understanding and responsible AI ecosystem development. It highlights the crucial role of public perception, awareness, and ethical considerations in shaping the future of AI-generated content on social media platforms

AI is not only a technology but also a powerful story about the latent future present. This narrative assemblage is visible across domains of industry, policy, academia, and debate. Characteristically, it bifurcates into binaries of possibility versus risk, augmentation versus replacement, and so on. This calls for a renewed critique. In this chapter, we argue for the importance of bothering these binaries by re-thinking AI as anticipatory existential media that allows for the unexpected, the impredicative, and the uncanny. Three voices from the continental tradition of philosophy offer possibilities for pluralizing the AI imaginary. Jaspers’ existentiality brings the reality of the vulnerabilities of the present digital limit situation to the fore, requiring response; Derrida’s hauntings allow the past to return as friendly and wise ghosts; and Bloch’s hopefulness challenges the inevitability of the processes at hand. Together, they allow us to reimagine more unruly AI futures in fruitful and urgent ways.

The article aims to enhance the understanding of audience engagement and ways of its shaping in relation to permanent expositions by using the example of Tartu University Natural History Museum. We focus on the role of exhibition curators as content creators in the shaping of audience engagement. The study is informed by constructivist grounded theory and draws upon eleven semi-structured interviews with the curators of the new permanent exhibition of Tartu University Natural History Museum. In order to understand better the curators’ perspectives our analysis relies on the concept of imagined audiences and seeks to answer questions about what kind of engagement modes can be identified from the curators’ comments and what processes the latter were influenced by. The theme of museum audiences and engagement modes should already be familiar to the reader from previous Yearbooks of the Estonian National Museum (Runnel ja Pruulmann-Vengerfeldt 2012; Runnel, Lepik, Pruulmann-Vengerfeldt 2014; Lotina 2014; Rattus 2016). Earlier discussions, however, placed more emphasis to the existence of audiences and engagement modes, and were less concerned with how curatorial considerations can impact the formation of audience engagement and how this formative process may be directed. Furthermore, the earlier in-depth identification of engagement modes and examination of the interrelationships between their various aspects was underpinned by a holistic view on museum activities (Lotina 2016), while the present treatment focuses on the specific context of museum expositions. The concept of imagined audiences (Litt 2012) draws on the study of social media, but for this article we have applied its principles to a museum exposition, which is a far more static communicative environment. 40 The study answered the questions about the kind of audiences the curators who put together the permanent exhibition of Tartu University Museum of Natural History were envisioning and what factors influenced the construction of audiences as well as what engagement modes were designed for the exposition. Individuals and institutions were distinguished among the audiences, both of which were in turn comprised of more detailed groups. Building on Gidden’s theory of structuration (1984) and Litt’s notion of an imagined audience (Litt 2012) the factors influencing the curators were grouped as either structural or agential. The following modes of engagement with the permanent display emerged: teaching, attracting interest, co-operation and provisions for stakeholders. Teaching was closely interlinked with the main objective of renewing the permanent display: the intent is to create a learning environment for non-formal environmental education, and in this respect it resembled the informing mode of audience engagement identified by Lotina (2016). Attracting interest was a mode of engagement which bore similarities to the marketing engagement mode previously described by Lotina (2016). Co-operation where visitors contribute towards the fulfillment of the museum’s objectives offered limited possibilities within the context of the permanent exhibition, but it holds considerable potential in the planning of future developments of the exposition. Providing for stakeholders was reflected in the museum’s consideration of the stakeholders’ needs, and it allows the museum to develop various services. All in all, both museums and their permanent displays offer valuable material for analysing the way in which audiences and their engagement modes are shaped. A better understanding of these processes will help us expand the possibilities of engaging actual audiences. Identifying messages, audiences and activities is a natural part of the planning of any permanent exhibition; however, the content creators’ visions of the upcoming exhibition also merit a detailed examination, and thereby particular factors that favour or constrain curatorial creativity will become clearer.

The socially constructed phenomenon of whiteness: how it was created, how it changes, and how it protects and privileges people who are perceived as white.

This volume in the MIT Press Essential Knowledge series examines the socially constructed phenomenon of whiteness, tracing its creation, its changing formation, and its power to privilege and protect people who are perceived as white. Whiteness, author Martin Lund explains, is not one single idea but a shifting, overarching category, a flexible cluster of historically, culturally, and geographically contingent ideals and standards that enable systems of hierarchical classification. Lund discusses words used to talk about whiteness, from white privilege to white fragility; the intersections of whiteness with race, class, and gender; whiteness in popular culture; and such ideas as “colorblindness” and “reverse racism,” which, he argues, actually uphold whiteness.

Lund shows why it is important to keep talking and thinking about whiteness. The word “whiteness,” he writes, doesn't describe; it conjures something into being. Drawing on decades of critical whiteness studies and citing a range of examples (primarily from the United States and Sweden), Lund argues that whiteness is continually manufactured and sustained through language, laws, policies, science, and representations in media and popular culture. It is often positioned as normative, even universal. And despite its innocuous-seeming manifestations in sitcoms and superheroes, whiteness is always in the service of racial domination.

This thesis explores the portrayal of Guantánamo Bay by The New York Times in 2023, focusing on its implications for human rights discourse. Utilizing Norman Fairclough’s Critical Discourse Analysis (CDA) framework, the study examines how language and textual elements in the newspaper’s articles construct the narrative around the detention center. The analysis reveals that The New York Times emphasizes human rights abuses and legal failures at Guantánamo Bay, contrasting previous research that often framed these issues within the context of national security. The findings suggest that the newspaper's liberal stance influences its critical perspective, highlighting ethical and legal concerns over detainee treatment. The study concludes that while The New York Times' critical stance reflects its ideological leanings, it significantly contributes to shaping public discourse on human rights. Limitations include the exclusive focus on one media outlet and a single dimension of Fairclough’s framework, suggesting areas for future research.

nterest in school-age educare has been growing internationally. School-age educare in Sweden emphasises learning and participation in aesthetic and creative learning activities. This study aims to critically examine how dance as a learning activity is constructed by educators in Swedish school-age educare. Discourse analysis is used to shed light on discursive constructions made by school-age educators when they reason about dance and learning in their educational practices. The empirical material consists of six focus-group interviews with 18 school-age educators. Three discourses are identified: (1) dance as a joy-filled activity, (2) digital tools as prerequisites for dancing, and (3) pre-choreographed dances as a preference. The results show that there is a lack of aesthetic and creative aspects in dance in school-age educare. School-age educators include dance because it is fun and is carried out by imitating movements without a focus on learning. The educators who appreciate dance lack the know-how to develop pupils’ dance skills beyond what they already know. There are holistic ambitions in school-age educare to let care, play, and learning intersect, but creative dance still has an untapped potential to engage pupils in cultural activities and to contribute to gender repositioning.

Nordens medieforskarföreningar ska belysas som ett led i Nordicoms arbete att främja nordisk medie- och kommunikationsforskning. Varför skulle denna belysning vara en del av forskarfrämjandet? Göran Bolin (2010) ger ett svar frågan i sin artikel om medieforskningens möjligheter. Nordiska forskare är mycket dåliga på att referera till varandra och, skriver han, och detta måste åtgärdas om svenska och nordiska medieforskare göra anspråk på att vara ett fält i egen. För det krävs kunskap om respektive nationellt fält.

Denna artikel handlar således om det svenska fältet och den svenska medieforskarföreningen. Artikeln är upplagd så att föreningen först kort presenteras, följt av diskussion av den svenska ämnesutvecklingen. Slutligen diskuteras utmaningar och möjligheter för MKV- och Journalistikforskning inför framtiden.

Abstract

This study investigates the legal discourse in case law regarding the violation of freedom of expression for human rights defenders, in order to examine how they are represented by states and within an international legal framework. There are still gaps in research trying to explain how and why HRDs get prosecuted for their work of promoting and continuing the respect for human rights. Through employing a critical discourse analysis on legal cases concerning HRDs, while applying the perspective of international legal documents and of the critical theory on power, the current thesis presents depictions of how HRDs are represented in discourse by States and International bodies. The focus here is to identify guidelines of legal protection and at the same time to observe the ways of governments legitimizing violations of the rights of HRDs.

This Master’s thesis aims to fill the research gaps by providing a study that clearly defines and concretizes the social benefits in river restorations. By further analysing the significance of the social benefits the aim is further to gain a better understanding of the factors that enable people to reap greater social benefits in river restoration.

Given the dearth in research, an exploratory research approach is chosen to guide this thesis, on the premises that it provides and generates greater descriptions and broader understandings of the social benefits in river restorations. In addition, the exploratory approach enables analysis and arguments using both primary and secondary research methods, which are applied through literature reviews, official website analysis and interviews with representatives of the single organizations.

The factors considered to constitute the social benefits in river restoration are well-being, aesthetics, recreation, play and learn, cultural expression, social cohesion and sense of belonging. When analysing the key factors that enable people to benefit from the social benefits of river restoration, the recognition includes relational values, active citizenship, public participation, knowledge sharing and social dynamics. In addition, the data collected from the single organizations indicate different levels of citizens’ activity and participation, i.e., semi-active, participating, active and highly active. Lastly, this thesis’ contribution to the research field is of great value, as the main findings demonstrate a coherence and consistency between the theoretical reasonings and the identifications of the four single organizations.

Through reading Latour’s concept of the Terrestrial and Arendt’s concept of storytelling through one another, this article develops a terrestrial ethics for sustainability. This ethics is furthermore developed through reflecting on the work of The Marine Education Center in Malmö with sustaining Öresund, especially its visions of transforming this strait between Copenhagen and Malmö into a biosphere area. It is argued how the Terrestrial is a new location developed from the Gaia hypothesis. It implies that life on earth is inseparable from all other organisms living in the thin layer of matter on top of the earth. An implication of the Terrestrial is the focus on pre-human Gaian stories through which humans are Grounded in the processes and conditions of life. This radical move implies not only an unconditional focus on the stories of land, water, soil, flora and fauna before we begin to talk about their functional utility. It is also grounded in the belief that we do not and cannot control the processes of life. Being terrestrials can create another ground of humanity in managing. This ground implies tending to Gaia’s multispecies stories in the ways we make our stories. A terrestrial ethics is based on the curiosity, care and compassion for multiple lives that are not understood in terms of how they connect and relate to human stories. Such positioning can serve as a ground for a new humanity in managing.

This paper is a study upon a global vision of a sustainable future, to local implementation of environmentally effective solutions, in contemporary urban planning projects. The purpose was to illuminate a gap between the global rationality of sustainability and local rationality of sustainability and to identify the effect it has on sustainable outcomes. To do so, I did qualitative research on the Lynetteholm development project and analyzed the data using document – and critical discourse analysis. My research was guided by the theory of ecological modernization, their perspectives upon sustainable solutions within the capitalist-liberal democratic society, and urban regime theory, which provided an insight into the concept of scale in environmental politics. Through an in-depth analysis of the presented motivation and prime drivers behind the Lynetteholm project proposal and the impact it has on sustainable outcomes, I have found that the local vision of sustainability is constructed by hegemonic narratives of prosperous urbanity, that is equalized with growth, progress, and profit. I have identified economic growth as the prime driver of developing Lynetteholm and concluded that it has a significant impact on sustainable outcomes, as economic growth is not compatible with sustainable development, without political interference. In addition, the gap between global and local rationality of sustainability in urban planning lies in the process of redelegating the responsibility to implement sustainable practices and secure an environmentally beneficial outcome. The issue is that despite much expertise and knowledge of the field, planners and politicians continue to address socio-ecologic impacts isolated and reject the cumulative effects, which inevitably retains the sustainable transformation from taking place. 

The international response to the war in Ukraine has sparked unprecedented international support. The extend and scale of refugee welcome has not been witnessed ever before, while the levels of funding, live media coverage, military and political assistance have reached record levels. However, the underlying representation of war-affected people in media narratives has not undergone a critical shift when compared to historical conflict coverage, even though a displaced person has transformed from a “distant other” to one’s neighbour, as a refugee lemma has come to denote people coming from a European nation for the first time in decades. I argue that regardless of the geographical positioning and proximity of the Ukraine war, the modes of representation of this armed conflict in traditional media is still rooted in colonial narratives, corresponding to the de-facto fossilized humanitarian response on the ground. Despite a different nature, proximity, and unusual “familiarity” of the Ukraine war, with seemingly much bigger levels of acceptance shown towards the conflict-affected people, the representation of the crisis in the media has not undergone a critical shift, reinforcing dominant narratives historically witnessed in other conflict settings. While the Western media tend to agree that the war in Ukraine is a colonial war, pointing at the role of Russia as the coloniser, this degree projects tackles the expressions of Western neocolonialism in Ukraine’s coverage, striving to identify how the ongoing media narratives mirror the representations of conflict and disaster transplanted from other humanitarian contexts.

For more than two years we were involved in a collaborative process with the aim of finding out how sharing life stories could ensure “the right to the city” in Malmö, Sweden. This process led to the formation of the Gathered Voices of Malmö, an association for social justice oral history that strives to become a community archive. This article is about how sharing authority was interpreted collectively in the collaborative process when it could not be directly translated into Swedish, and how those interpretations reflect back on sharing authority as an intellectual development. Drawing upon documents created during the collaborative process and interviews with our coparticipants, we revisit what we learned, including our rereading of sharing authority’s genealogy through project-based research. As participants in, and then analysts of, that process, we learned that our trouble with translating sharing authority was not only linguistic, but also had to do with how the approach might conceal community-embedded ways of working, instead normalizing participatory practices which center research rather than community as the primary sphere in which important learnings are made. We suggest that a deeper consideration of the differences between “a shared authority” and “sharing authority” could help us avoid making participation the best practice.

The aim of this paper is to explore and develop ways to describe what there is to know, from the perspective of the knower, when knowing how to carry out a complex movement. The paper will challenge the distinction between mental and physical skills, drawing on theories of tacit knowing (Polanyi, 1969), knowing how (Ryle, 1949), and knowing-in-action (Schön, 1991) together with empirical data from the context of elite sport. One assumption is that exploring knowing in moving in this context can contribute to developing students’ movement education in physical education.

  Pole-vaulting provides examples of what there is to know in terms of embodied capabilities possible to explicate and develop as an educational objective in physical education, irrespective of the context of competitive sports. Explicating the knowing (or capabilities) involved in the ‘capability to move’, as exemplified in this study could emphasize an educational aim concerning practical knowledge such as knowing in moving, and not necessarily specific skills related to competitive sport activities.

Introduction

The subject physical education has a tradition of being a ‘practical’ subject. However, practical forms of knowing such as for example bodily awareness and capability to move do not, neither for teachers nor pupils, seem to be a main issue of learning in PE (Tinning, 2010; Redelius et al, 2009,). Rather, physical education in terms of the theme of this presentation, capability to move, is reduced to implicit and taken-for-granted ‘standards of excellence’, only reluctantly discussed by PE teachers (Kirk, 2010, 114). However, the knowing involved in moving is not easily articulated and may, according to Polanyi (1954), “often result in explaining away quite genuine practices or experiences” (p. 385).  Articulating what there is to know when knowing how to move in different ways could provide a base for dealing with capability to move as an educational objective in physical education.

Aim and theoretical framework

The aim of this study is to explore and articulate the meaning of knowing how to move in a specific way exemplified through a movement called ‘house hop’. The study takes as it’s starting point an epistemological perspective on capability to move corresponding with Ryle’s (1949) “knowing how”, not separating mental and physical skills. Accordingly, a phenomenographic analysis of students’ experiencing of the object of learning (‘house hop’) have been used.

Method

In order to explore what it means to know a movement, a Learning Study was conducted. A Learning Study is a kind of design experiment inspired by the Japanese Lesson Study (Marton and Lo, 2007), where the main aim is to explore an object of learning. A group of teachers, in collaboration with a researcher, investigate together the most powerful way to teach a specific object of learning. The purpose of this study was, however, to explore what it means to know the object of learning, not the outcome, or the process, of students´ learning.

This presentation draws mainly on data from video recordings of the pre-test and video recorded lessons from a Learning Study in upper secondary school.

Findings

The findings show the meaning of knowing house hop as different ways of knowing the movement ‘as something’ as well as several aspects to discern and experience in order to know the movement in a powerful way.

Discussion

It will be discussed how students’ experiencing of a movement are expressed in their way of moving. Conceiving the knowing involved in ‘house hopping’ (as well as other ways of moving) from a phenomenographic approach, conceiving different ways of knowing a movement as complementary rather than differentiating abilities,  as well as comprising physical and mental skills as unseparable could also contribute to a discussion concerning teaching and learning capability to move.

The aim of this study is to explore what it means to know a specific movement, a so called ‘househop’, i.e. a rotation initiated on the ground and fulfilled in the air. The knowing of ’househop’ (including the capability to perform a househop) is an example of a subject content in Physical Education. Despite the fact that PE has a tradition of being a ‘practical’ subject, practical forms of knowing such as for example bodily awareness and capability to move (e.g. jumping, running or dancing) does not, neither for teachers nor pupils, seem to be a main issue of learning in PE (Tinning, 2010; Redelius et al, 2009,). In the context of learning motor skills the knowing is often explicated in terms of  measurable outcomes, for example in length, height or time (Renshaw, Davies & Savelsbergh, 2010), not in terms of what there is to know.

A necessary condition for learning is to discern what there is to learn (Marton & Pang, 2006,).  This study gives an example of how to explicate what there is to be known as well as specific ways of knowing (Carlgren, 2007) when developing the capability of performing a ‘househop’. To make it possible for the students to develop the capability to perform a househop the teaching must be designed so that the students can experience and discern so called critical aspects of a househop.

Knowledge concerning the meaning of specific learning objects (something that is expected to be known by the students as well as specific ways of knowing it) is generated in so called Learning Studies ( Marton & Pang, 2006, Marton & Lo, 2011, Carlgren, 2012). The object of learning in a Learning Study can be described as a triadic phenomenon. There is something to be known, a specific kind of knowing to be developed and someone who knows, a knower (Carlgren, 2011). There is nothing known if there is no knower knowing it. This triadic phenomenon is transactional (Dewey & Bentley, 1949).  

Rather than seeing capability to move as a practical form of knowledge it can be conceptualized as intelligent actions not necessarily entailing the double operation of considering and executing (Ryle, 1949,2009). The knowing is not restricted to cognitive understanding and knowing how to perform a movement is not restricted to physical processes. It includes skills as well as what is often referred to as ‘tacit knowing’ (Polanyi, 1969; Johannessen,1988).

Methods/methodology

This study is carried out in the form of a Learning Study. The Learning Study is a collaborative (teachers and researcher work together) research approach that focus on the learning of specific objects. So called critical aspects of these objects are discerned through a systematic and iterative process (Marton & Ling, 2007). The study was conducted in collaboration with three PE - teachers in upper secondary school.

The results that will be presented in this paper are based on an analysis of the video recorded pre-test used in the Learning Study as well as analysis of two video recorded research lessons. The analysis is carried out within the theoretical framework of phenomenography (Marton, 1981) and Variation theory ( Marton & Pang, 2006)

Expected outcomes/results

The results are presented in terms of the features of the learning objects that must be discerned and mastered when performing a ‘househop’.

Through the phenomenographic analysis categories such as “House hop as solitary parts”, “House hop as requiring no speed or power” and “ House hop as concerning only upper body” emerged. These categories laid the foundation for a systematic process of discerning critical aspects such as for example the direction of the rotation, the meaning of the arm movement for creating speed and power and the meaning of one´s legs participation through the movement. Further critical aspects emerged when analyzing the lessons and all together they provided possibilities to explicate the meaning of knowing how to perform a ‘house hop’

Denna studie behandlar fallet Bosnien, specifikt kriget i Bosnien på 90-talet och syftar till att undersöka hur social konstruktion och identitetspolitik påverkade den enskilda individens samt användes som maktmedel i Fausta Marianovics berättelse från kriget. Jag har alltså undersökt Fausta Marianovics självbiografi med Kenneth J. Gergens syn på social konstruktivism och identitetspolitik som huvudsaklig teoretisk utgångspunkt och narrativ analys med hjälp av biografiforskning som metod. I denna studie är det inte möjligt att komma fram till någon definitiv sanning men resultaten visar att den sociala konstruktionen och identitetspolitiken speglas som en stor del i vad som hände i Bosnien utifrån Fausta Marianovics berättelse samt att hennes egen upplevelse också påverkades.

As an academic researcher, I have proposed that the way we celebrate metrification and numbers as measures of our work has implications in the misinformation and fake news. If we think things that have lots of likes or shares are indicators of great engagement - what are we missing out on our understanding of engagement 

The one-page infographic gives a basic visual introduction to the data in cultural and creative industries. The image is available in three languages - English, Italian and Estonian. 

Illustrated guideline #2:Data collection methods for CCIs.  The one-page visual overview will give a basic introduction to cultural and creative industries to the following questions:

1. How to collect data? What are the advantages of the various techniques?

2. Data is everywhere, even where we don’t expect it!

Data-based Cultural and Creative Industry organisation. On the one-page visual guide will find answers to:

1. Why are data-driven decisions important?

2. What is the role of data in the organisational processes?

3. Does data help measure impacts?