The first time I wrote about Wislawa Szymborska’s poem “Photograph from September 11”(“Fotografia z 11 wresnia”) was in my dissertation, 2014. I chose it because it was so veryintermedial, so to speak. It is an ekphrasis, a poem about a photograph, where the media specificitiesof both the written text and the photograph are highlighted in intricated ways. The more times Iread it, the more fascinated I became by the structure of the poem, and moreover, by how it treatedtemporality and spatiality. I have always felt that I was not yet done with that poem, which is why Inow return to it, once again with an intermedial approach: I will examine how the poem approachesthe spatiotemporal properties of the involved media types and what role they play in its conveyanceof respect, grief, and empathy. Furthermore, I will use Karen Barad’s posthumanist theory on agen-tial realism to discuss the ethical and intermedial implications of entanglement and separatenessbetween observer and observed, as well as between verbal text and photograph. My aim is to showthat Szymborska, by engaging in the media specific affordances of photographs and texts respec-tively, in her poem renegotiates temporality and the relationship between subject and object.

This chapter provides examples of basic analyses of macro and micro levels of intermediality in social media: YouTube entertainment, an example of a multi-layered social media practice, and GIFs, which derive from other media and migrate across different platforms on the internet. Apart from media combination and integration, even the two aspects of media transformation, transmediation and representation, are also persistent intermedial processes in social media practice as content creation. Social media entertainment stages the body, voice and personality, or persona, of a content creator outside the traditional media and acknowledges, or even addresses, the social community directly. In the authenticity discourse of social media entertainment, YouTubers pose themselves as an alternative to traditional media. The chapter looks at the Let’s Play genre and how the YouTuber PewDiePie engages with the social media entertainment dimensions and with his audiences.

This chapter explores transmediation between qualified media types. It discusses the adaptation of a literary canonical work, Joe Wright’s 2005 novel-to-film adaptation of Jane Austen’s novel Pride and Prejudice a novel that repeatedly has been adapted into new contexts and audiences. The qualified medium of opera implies certain conventions but also certain limitations of space, time and voice. The natural venue for experiencing an opera is the stage. An experienced opera or musical librettist will consider where to put such music highlights when writing the text. Both drama text and opera score are a set of directions fixed in a script but resulting in different kinds of performances. It has been our aim to demonstrate in specific analysis the very abstract idea that all media transformation is interplay or a negotiation between transmediality and medium specificity.

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.

This article studies the transmedial process from the painting Nighthawks (1942) by Edward Hopper (the source medium) to the poem "Nighthawks" (2000) by Anne Carson and to two art GIFs created using the painting as a source (the target media). GIF is a file format that allows movement and an art GIF is a GIF which, in different ways, relates to an existing painting. The investigation is focused on repetition, which manifests in all three media products, and its effect on subjective time. Repetition can have different temporal effects in different media and can therefore be affected by transmediation. In literature, for example, repetition is often a way of slowing or stopping the temporal flow whereas, in painting, it can function both as a time stopper and as an index of movement and thereby temporal flow. Repetition in art GIFs is complex. Even though it represents the desire to add movement (and thus temporality) to a static image, it also halts time by not moving beyond the reiterated sequence it represents.

The article discusses transmediation of truth claims and truthfulness in ecopoetry and takes as example the poetry collection Permafrostens avtagande (The Declining of the Permafrost, 2007) by Swedish poet Asa Maria Kraft. The aim of the article is twofold: First, to study how transmediation of scientific source material (which in this context includes all kinds of media that represent a scientific content in a formal matter: newspaper articles, scientific reports, documentaries etc.) affects the perceived and real truthfulness of a poem. Second, to discuss what ecopoetry gains - both aesthetically and in its perceived truthfulness and urgency - by transmediating content and/or form from scientific source media. Truth claims are not identical with truthfulness. Subjective truth claims in literature have to do with conveying a sense of sincerity and authenticity: we believe that the represented thoughts and emotions have actually been experienced. As I have stated elsewhere (Tornborg 2020), I regard objective truth claims in literature as being either something that we "by means of experience and habit" ascribe to the text or "claims made in the text, in various ways, implicit or explicit, of being truthful about external conditions" (9). A media product can transmediate a specific type of scientific jargon without transmediating a scientific content, and thus create what Gunn Enli (2015) calls "authenticity illusions" (1), but not real truthfulness. Thus, a text can fool us, and since no text can guarantee its own truthfulness, I believe that the only way to prove it is to include external references that in turn can be validated. This line of thought should be put in relation to the Heideggerian way of regarding poetic truth: as a kind of secular revelation (Roger Scruton 2015, 149). In this tradition of thinking, poetic truth is something different compared to what we usually mean by the word. Instead it denotes a deeper understanding of the essence of things. Transmediations of representations of scientific knowledge affect poetry both aesthetically and in terms or truthfulness. The article uses intermedial theory to disentangle the media relations in play in Kraft's book, as well as to shed light over the issue of real truthfulness in poetry, with the purpose of better understanding the ecopoetic usage of science.