Culture Unbound最新文献

{"title":"Transforming Personal Death into Public Martyrdom","authors":"Daniel Enstedt, Giulia Giubergia","doi":"10.3384/cu.4105","DOIUrl":"https://doi.org/10.3384/cu.4105","url":null,"abstract":"Abstract \u0000This article examines ways to analyze and understand the social and cultural transformation that occurred after the 2011 uprising in downtown Cairo. We argue for a cultural sociological perspective using a renewed version of the concept “the sacred” for analysis. Visual material – graffiti and murals on the walls of Cairo – is discussed in relation to the process of transforming the death of an individual into collective martyrdom. The role of social media, public rituals, and celebrations in the events in Tahrir Square is also discussed. This article shows how the process of sacralization follows a recurring pattern in which individual deaths transmigrate into new collective, ritualized memories through the use of aesthetics in social media and on murals. Using different types of field-based and online material, this article argues for a cultural sociological perspective whereby individual death also can be understood on a more general level as a constituent part of the existing and contested societal order. The emphasis on a processual view of social and cultural transformation is equally important. This view includes a dialectical perspective, which together with an awareness of spatiality, materiality, new media, and embodiment, is essential for an understanding of what happened in downtown Cairo after the uprising in 2011.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80629639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Live-action role-playing and the affordances of social media","authors":"Sara Bjärstorp, Petra Ragnerstam","doi":"10.3384/cu.4184","DOIUrl":"https://doi.org/10.3384/cu.4184","url":null,"abstract":"Live-action role-playing (larp) is characterized by participants’ physical and mental immersion in a storyworld, played out in a specific location during a fixed period of time. Most of the immersion is realized during the live event itself, where a collective story is acted out in physical space in real time. However, contemporary larping also usually entails significant interaction and communication between players, and between players and organisers, before and after the event itself, through digital media. In this article, we explore the social media afterlife of one of the most significant Nordic larp events in recent years, Fortune and Felicity (2017). Using an affordance framework, we discuss what happens to the “liveness” of the larp when it is extended into social media. Through the affordances of persistence, visibility, editability and associability, we analyse material from the Facebook group connected to Fortune and Felicity, used by players and organisers to prepare for the larp and, afterwards, to continue the gameplay and to de-brief. In social media, the continuum of time and space, which is characteristic of the larp event itself, is changed into asynchronous and physically separate player action. Thus, the affordances of social media, we argue, enable player interaction and collaborative storytelling in ways that change the narrative, interactive and immersive dynamics of the larp.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87011381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Child Studies Multiple","authors":"Anna Sparrman, Yelyzaveta Hrechaniuk, Olga Anatoli Smith, Klara Andersson, Deniz Arzuk, Johanna Annerbäck, Linnea Bodén, M. Blaise, C. Castañeda, Rebecca Coleman, Florian Eßer, Matt Finn, Daniel Gustafsson, Peter Holmqvist, Jonathan Josefsson, Peter Kraftl, N. Lee, Karín Lesnik-Oberstein, Sarah Mitchell, K. Murris, Alex Orrmalm, D. Oswell, A. Prout, R. Rosen, K. Runswick-Cole, Johanna Sjöberg, Karen Smith, Spyros Spyrou, Kathryn Bond Stockton, Affrica Taylor, Ohad Zehavi, Emilia Zotevska, S. Arndt, David Cardell","doi":"10.3384/cu.3529","DOIUrl":"https://doi.org/10.3384/cu.3529","url":null,"abstract":"This text is an exploration of collaborative thinking and writing through theories, methods, and experiences on the topic of the child, children, and childhood. It is a collaborative written text (with 32 authors) that sprang out of the experimental workshop Child Studies Multiple. The workshop and this text are about daring to stay with mess, “un-closure” , and uncertainty in order to investigate the (e)motions and complexities of being either a child or a researcher. The theoretical and methodological processes presented here offer an opportunity to shake the ground on which individual researchers stand by raising questions about scientific inspiration, theoretical and methodological productivity, and thinking through focusing on process, play, and collaboration. The effect of this is a questioning of the singular academic ‘I’ by exploring and showing what a plural ‘I’ can look like. It is about what the multiplicity of voice can offer research in a highly individualistic time. The article allows the reader to follow and watch the unconventional trial-and-error path of the ongoing-ness of exploring theories and methods together as a research community via methods of drama, palimpsest, and fictionary.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89272258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘The patriarchy can’t dance with us’","authors":"Johanna Lauri, Ida Linander","doi":"10.3384/cu.4146","DOIUrl":"https://doi.org/10.3384/cu.4146","url":null,"abstract":"The music festival Statement was initiated as a response to sexual violence towards women at other festivals, and during the work of creating a safe festival, separatism became the feminist strategy. In this paper we analyse media reporting from Statement, with a focus on the desire for safety. Using psychoanalytical discourse theory, we analyse different media materials, focusing on emotive language and fantasmatic narratives. We argue that in the media representations, a desire for safety is linked to enjoyment, opportunities to be oneself, predictability and lack of conflict. Safety is also strongly represented as linked to a focus on security and the absent man is continuously present in the media articulations. While the media representations tend to reconstruct a heterosexual Woman with a universal experience, the focus on the patriarchy, a common ‘we’ and the emotive language might nevertheless spur political mobilisation.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77707804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“What is the Real Sweden?”","authors":"Karen Ann Blom","doi":"10.3384/cu.4113","DOIUrl":"https://doi.org/10.3384/cu.4113","url":null,"abstract":"While the interest and search for identity through genealogy or family history is not new, the increased mediatization, access, and range of vehicles through which one can engage and learn are. What are the effects of this mediatization of identity and genealogy? How do individuals understand and interact with these mediatized representations? Since the expanded availability and marketing of genetic/DNA testing in the 1990s, and media programmes that trace the “roots” of famous people such as “Who do you think you are?” interest in genealogy has exponentially grown. In relation, ancestry tourism has grown in popularity before the Covid-19 pandemic and is projected by many researchers, culture, and government organisations post-pandemic to be instrumental in rebuilding tourism for many affected places and countries. The Swedish reality television programme, “Allt för Sverige” acts as a bridge between the mediatization of genealogy and this ancestry tourism interest. American contestants are introduced to a frame of Swedish identity as produced through the institutional structures of a television show, reflecting larger historical and socio-cultural assumptions, ideologies, and knowledge. This identity encoded by the programme of “Allt för Sverige” is engaged with/decoded and reacted to by the contestant. Utilising the concept of frame and framing, from Goffman and media studies, the presentation of Swedish Identity in “Allt för Sverige’s” is explored in the narratives from semi-structured interviews with 16 previous contestants. This data is analysed through Hall’s theoretical encoding/decoding model. This study contributes with new knowledge to the ongoing research examining the interest and mediatization of genealogy by focusing on the effect on participants in front of the camera instead of the targeted audience. ","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72967781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hesitation before the impact","authors":"Geir Grothen","doi":"10.3384/cu.3223","DOIUrl":"https://doi.org/10.3384/cu.3223","url":null,"abstract":"This study has had a twofold ambition; to probe into the life in the museums, and to try out some concepts in a cultural policy research setting. The article does this by analysing encounters between art and visiting audiences with the use of “acontextual” analytic concepts; event instead of experience, affect rather than emotion and a broad understanding of the concept atmosphere. Furthermore, the empirical material for the analysis consists primarily of parts and elements that often are discarded or excluded in examinations. The preliminary conclusions invite to further probing into the interface between visitors and art, between the imagined world of culture and actual concrete events in spaces and settings we tend think of as cultural.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84985889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Does Spotify Create Attachment?","authors":"Adrian Leisewitz, G. Musgrave","doi":"10.3384/cu.3384","DOIUrl":"https://doi.org/10.3384/cu.3384","url":null,"abstract":"This paper seeks to measure the extent to which algorithmically generated playlists, conceptualised herein as cultural intermediaries (Bourdieu 1984), create ‘attachment’ between consumers of music and producers of music. This was undertaken following debates in the professional music press problematising the ability of streaming platforms to create relationships between artists and listeners and, in a wider discussion, to generate sustainable income for musicians (Chartmetric 2018, Mulligan 2019 in Griffiths 2019, Music Ally 2019). We develop the idea from cultural and economic scholars that intermediation results in ‘attachment’ on behalf of consumers (Callon et.al 2002, Smith Maguire & Matthews 2012) by formulating a definition of the term informed by insights from consumer psychology and applying this framework to a 115-question survey completed by listeners to Spotify’s ‘Discover Weekly’ Playlist for a one-week period. The findings suggest that the playlist was able to generate close to no attachment for those considered poorly-involved new music consumers, and only minor to mid-levels of attachment for those participants considered heavily-involved new music consumers. We therefore propose that algorithmically curated playlists can influence low-cost audience attachment behaviours while their overall impact on the economic success of artists may be limited. This paper contributes towards academic debates concerning the role and impact of cultural intermediaries and lends early empirical support to discussions within the professional music industries and wider public policy (GOV 2020) concerning the uncertain ability of playlists to influence the artist-fan relationship. In addition, by developing a methodologically precise definition of ‘attachment’, it is hoped that the framework provided by this modest study can act as a guide for other researchers to explore the concept of intermediation and attachment with larger sample sizes on alternative playlist types and on other digital platforms. ","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"47 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84745619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between Words and Silence","authors":"Monika Golonka-Czajkowska, Stanisława Trebunia-Staszel","doi":"10.3384/cu.4067","DOIUrl":"https://doi.org/10.3384/cu.4067","url":null,"abstract":"This article tackles the risks of digitization of sensitive collections and the ethical limits of open access. Research into experience of conflicts and violence requires the submerging into a world of local taboos and practices that usually remain within the sphere of cultural intimacy. Similarly, the digitization of sensitive collections can grant an un-curated uncontrolled access to realms which should be handled with ethical awareness and sensitivity. We focus on two case-studies referring to the Podhale, a region in the Tatra Mountains inhabited by local people called Górale. The first one is the archive of Nazi anthropological photography and documentation recently rediscovered at the Smithsonian Institution Archives (SIA). Its digitization in 2007 marked the start of a research project on WWII anthropology in Podhale, evoking at the same time an ardent and emotional debate among both scholars and the Górale community. The most serious issues referred to the impact of the digitized photographs on the present-day collective memory of the Górale. In fact, till the archive’s discovery and digitization, the episode of Nazi racial research was literally cast out from local history and memory. In this article we will ask how to deal with such materials and conduct research among people, for whom such documentation invokes unwanted and traumatic experiences. The second case-study focuses on contemporary memory conflicts related to the anti-communist guerrilla group “B?yskawica” (Lightning) operating in the aftermath of WWII on the Polish-Slovak border in the Tatra Mountains region. Accused by communist authorities of war-crimes, these partisans were officially rehabilitated only in the aftermath of the Polish Revolution of 1989. Memories about “B?yskawica” are still very vivid in this region evoking conflicting feelings from undisputed glorification to total condemnation. This article will inquire into the ambiguous digital discourses in the social media around such conflicting memories build on digitized resources from the archives of the former secret police (now deposited at the Institute of National Remembrance; INR - Institut Pami?ci Narodowej, IPN ). Both case-studies deal with a similar period, region, type of sources (archives produced in the past by the regime’s institutions of power). Both refer to the memory of experiences of violence, difficult choices, local conflicts, oppressive regimes and practices. We argue that the transition of such sensitive data into the digital realm raises the danger of manipulation by various interest groups, arbitrary defragmentation and reconfiguration. It can enliven and even reinforce old conflicts, generate new ones and even undermine the fragile social and cultural balance within a community.\u0000 \u0000 \u0000 ","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83406902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Challenge of the Heritage of Protest Movements","authors":"E. Manikowska","doi":"10.3384/cu.3982","DOIUrl":"https://doi.org/10.3384/cu.3982","url":null,"abstract":"This article analyses the challenge of collecting the heritage of present-day global protest movements, which are shaped and influenced by digital practices. In focus of the analysis are the mass-street demonstrations which took place in cities all over Poland in 2020 and 2021 to denounce the ruling of the Constitutional Tribunal imposing a near-total ban on abortion (the “women’s rebellion”). Considered as the largest social protests since the fall of communism in 1989, they have engendered several spontaneous documenting and collecting initiatives. The aims and outcomes of such projects, launched by Polish museums, NGOs, artistic collectives, etc. will be juxtaposed in this article with similar ventures aimed at collecting and archiving the global social movements of the twenty first century and examined as the first Polish examples of Rapid Response Collecting (RRC). This article, by analysing the recent RRC projects of the 2020/21 protests against the abortion ban in Poland, aims to inscribe them in the current discussions on the preservation of digital heritage. While pointing out definitional issues with digital heritage, my analysis also demonstrates the need to integrate and interrelate digital heritage within the wider framework of cultural heritage, its preservation and institutionalisation.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80875248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A sanctuary built on conflict","authors":"R. Ekelund","doi":"10.3384/cu.3946","DOIUrl":"https://doi.org/10.3384/cu.3946","url":null,"abstract":"This article investigates conflicts in retrospective Facebook groups, i.e., groups created with a particular interest and focus on the past, to analyse how members of these groups understand the past and how they negotiate, resist and challenge each other’s notions of the past. The data comes from a netnographic fieldwork within six such retrospective groups. Theoretical inspiration is drawn from Actor-Network-Theory (Harrison 2013, Latour 2005). The analysis thusly focuses on human (the members of the groups) as well as non-human actors (the operative logic of Facebook) and study how these produce associations between the past and the present. An overall result of the study is that the retrospective Facebook groups are not characterised by conflict. Instead, they are produced as places of sanctuary, where associations with the past becomes a basis for a nostalgic feel-good culture. However, the analysis also shows that the sanctuaries build on the production of a discontinuity and a conflict between the past and the present. Using Boym’s concept of ruinophilia, as well as Bauman’s concept of retrotopia, the article discusses how the conflicted discontinuity between the past and the present produces an us-and-them relationship where group members can come together in a nostalgic as well as a critical care for the world as it (in their perspectives) was supposed to be. The analysis also illustrates how members’ use of sources and references becomes a mere stylistic performance of authority, as the operative logic of Facebook not only enables but also constrains group interactions, reducing the members’ possibilities of having profound interactions and negotiations based on their memories and notions of the past. The article hereby contributes to the emerging research on digital memories in general, and memory work on Facebook in particular.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87338060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}