Focusing on the memories of Estonian refugees moving to Sweden in the wake of World War II, I analyze the concepts of “memory space” and history within the framework of the Escape as a master narrative. Following the research participants to the sites of their memories in Estonia and Sweden today, raised the questions what constitutes a lived memory space, and how is history defined within it?

Through a combination of a phenomenological analysis of memory’s lived ex­perience, using Walter Benjamin’s concept of montage as radical remembering and its dialectical relation to history, I show how embodied memories shape their own space, a space not always framed by historical master narratives and identity posi­tions, but rather a searching space that is always changing. Dealing with the politics of place and representations, these memories are constantly loaded and unloaded with meaning. Yet the space of lived memory is not always a creation of meaning. Walking around, searching for traces, a memory space confronts the place and maps its own geography. It turns to a spatial and temporal flow, which intertwines place and experience, and erases the past and future as homogeneous categories. It is a living space of memory, rather than a memorial space of representations.

The analysis focuses further on the tensions between remembering as a dialogue with history and memory’s ongoing acts of embodied experience. The position of in-betweenness appears in these stories of escape, not as a state of in-between home and away, past and present, but rather as an ongoing space-making process be­tween different modes and layers of memory. This is a process aware of the constant changes in the understandings of both history and personal experiences, intertwin­ing these new interpretations with embodied memory and thereby constantly add­ing new layers of experience to it. Memory’s tracing illuminates a memory poetics of the meanwhile and the in-between, which refuses historical closure.

The cultural sector has become an important part of the ‘new economy’ and has affected artistic practices as well as the road to becoming an artist. By discussing two female students’ paths to aesthetic education, the article sheds light on some of the sociopolitical and economic conditions that students in transition between elementary and upper secondary school in Sweden encounter when entering aesthetic education with musical aspirations. The results give insight into the ways in which young people reason when entering a precarious sector that demands a high amount of personal investment and planning. It also shows the ways in which social class still plays a pivotal role in the choice of and reflection on educational goals. Further, the article discusses how creative desires can transcend the economic instrumental expectations that surround the world in which the students live. Thus, it provides a contemporary understanding of how young people navigate a world of profitability.

A case study of growers conception of irrigation strategies indicates thatpot plant growers in Scandinavia base their management approaches on experientially based art. The study also indicates that there is a gap between experientially based art and available greenhouse technology. In order to standardize production and produce quality, both the grower’s experience and available technology should be taken into account. In order to achieve this, the present study proposes to arrange reflection on reflection in action with a group of growers by means of the dialogue seminar method. The concept of reflection on reflection in action is novel to horticultural practice. Therefore, we suggest future inter- and multidisciplinary research within this domain.

With this study, we intend to seek knowledge about how educators perceive and relate to norm conflicts in preschool. The aim of the study is to focus on what educators say about norm conflicts based on their work and how they believe that they can create relationships between children and their parents and colleagues among themselves. In this study, we have chosen to start from the following questions: How do educators perceive norm conflicts, what are they about and how can they arise? How do norm conflicts affect the work of educators in preschool activities? What do educators think is needed to deal with norm conflicts?

We have chosen to do a qualitative study based on qualitative interviews with eight educatorsin preschools located in different geographical areas in Stockholm - Sweden. By educators we mean four preschool teachers and four educator workers. The result of our study is based on analyses from the social constructivist theory and perpectives on interculturality. Social constructivist theory is a social science perspective that has its basis on people reproducing new perceptions of reality and self-understanding in interaction with each other and with the environment around them. Interculturality can be explained by Pirjo Lahdenperä as a social interaction, a process, or an overstep, since "inter" means interpersonal interaction and"culture" means meaning systems of meaning, which gives meaning and a special focus in aperson's life.

The result of the study shows that all informants, regardless of position, are aware of the meaning of norms and values and agree that everyone should start from everyone's equalvalue. The social consensus theory that has helped us to understand the informants' different perceptions of norm conflicts that were highlighted as social phenomena, from the linguistic interaction to understand why individuals clash with norm conflicts due to language difficulties and misconceptions in communication in collegiate work. 

This study analyses how Kim Kardashian West’s and Fredrik Eklund’s depiction of family and career and the relationship there between are constructed as successful in their Reality TV shows Keeping Up With the Kardashians (2007-) and Million Dollar Listing New York (2011-). It is examined in a postfeminist media climate with the theoretical frameworks of Chrononormativity (Freeman 2010) and Queer Kinship Theory (Butler 2002), considering the intersections of gender, sexuality and class, via a critical discourse analysis. The study shows a chrononormative ideal where a successful career and big biological family, through free choices, are vital to become respectable adults. Their careers are built upon their private lives and their heteronormative families. Childcaring is constructed as feminine and can for masculine subjects be outsourced to servants. It is constructed as relatively unproblematic to outsource childbearing to a surrogate mother.

In this essay I will argue that as peer-to-peer (p2p)-based file-sharing increasingly becomes the norm for media acquisition among the general Internet public, entities such as The Pirate Bay and associated quasi-institutional entities such as Piratbyrån, Zeropaid, TorrentFreak, etc. have begun to appear less as a reactive force (i.e. ‘breaking the rules’) and more as a proactive one (‘setting the rules’). In providing platforms for sharing and for voicing dissent towards the established entertainment industry, the increasing autonomy gained by these piratical actors becomes more akin to the concept of ‘positive liberty’ than to a purely ‘negative,’ reactive one.1 Rather than complain about the conservatism of established forms of distribution they simply create new, alternative ones. Entities such as The Pirate Bay can thus be said to have effectively had the ‘upper hand’ in the conflict over the future of copyright and digital distribution. They increasingly set the terms with regard to establishing not only technical protocols for distribution but also codes of behaviour and discursive norms. The entertainment industry is then forced to react to these terms. In this sense, the likes of The Pirate Bay become – in the language of French philosopher Michel de Certeau (1984) – strategic rather than tactical. With this, however, comes the added problem of becoming exposed by their opponents as visible perpetrators of particular acts. The strategic sovereignty of sites such as The Pirate Bay makes them appear to be the reason for the wider change in media distribution, not just an incidental side-effect of it.

Purpose – The purpose of this paper is to better understand the world-view of cultural consumers who download and share copyrighted content for free.

Design/methodology/approach – By utilizing a critical discourse analysis of the arguments given by file-sharers in online forums and in interviews, focusing on the arguments which arise for justifying certain everyday uses, and contrasting these with their material and structural conditions, a critical approach is sought, inquiring on the validity of certain tropes. Particularity was achieved by making a geographically delimited case study.

Findings – The case study helps to conceptualize online sociality, with wider application than this geographical setting only. As BitTorrent technology makes every downloader share his/her files while downloading, file-sharing is found to accommodate individual opportunism, and a world-view that puts the consumer at the centre of agency, in turn reinforcing the civic idea of cultural access and diversity as a human right.

Research limitations/implications – Previous findings have correlated heavy file-sharing with heavy consumption of culture. However, given the greater ability of previewing material and of acquiring more obscure content, how have the habits and consumption patterns changed among media consumers who routinely file-share? More detailed studies are needed, on how individual users come to question their own role, and the impact of their own actions – and what the level of awareness actually is (in different geographical/demographic settings) of the conditions for cultural production, distribution and consumption. A range of potential new research areas and scenarios is listed.

Practical implications – Given the common constituents seen in the world-views of file-sharers, this civic approach to intellectual property could prompt professional producers, distributors, rights holders and regulators to consider the actual visibility of potential impacts of file-sharing. The civic approach suggests that file-sharers can reconcile with individual authors or artists, as long as these are found to have precarious economic conditions, and not be affiliated with an industrial mode of reasoning. Cultural producers that are seen to adhere to a civic (amateur- or fan-like) mode of reasoning – rather than an industrial (professional) one – are met with more sympathy among consumers.

Originality/value – The paper is of interest for media sociology, cultural studies, and policymaking within the cultural industries.

If it is possible to speak of a coherent file-­sharing movement in Sweden, what are the principal societal factors shaping it? This paper contextualises the recent history of Swedish peer­-to-­peer­-based file­sharing as forming part of a wider shift in politics towards a late-modern collective ethic. Everyday file-­sharers operate as ‘occasional activists’, as pirate institutions not only speak for, but also run and build the networks. Such institutions ­ The Pirate Bay, Piratbyrån, and The Pirate Party ­ cannot be explained by invoking market logics, online communitarianism, or political motivation alone. The cyberliberties activism animating these hubs is connected to the larger framework of balancing utilitarianism, nationalism, individual autonomy and collectivism in Sweden. Further, the emergent Swedish file­-sharing justificatory regime hinges on a general view of what the internet is, what it is good for, and how it should look in the future, as the file-­sharer argumentation rests on the inevitability of unrestricted file exchange on the internet, while the industrialist concerns of the cultural industries emphasize instead how exchange should be regulated and sanctioned by accountable providers.

This article conceptually outlines P2P-based file-sharing as a totality, a mass utility, and a backdrop to everyday cultural life. It elaborates on a recent study of Swedish file-sharers to sketch some important constituents of what would constitute a "piracy culture." It shows that the actual file-sharer argumentation is not fully synonymous with established notions of "piracy" but rather reveals the complexity of the phenomenon and how the discourse invoking it relies on modes of justification that are not entirely commensurable. Moreover, the file-sharer rhetoric is contingent on a range of entities and infrastructures that condition actual usage. Noting the institutionalized, semi-anonymous, and depersonalized elements to file-sharing, I propose a different interpretation than regarding it as a "gift economy" like the tight-knit communities Mauss described in 1923. Instead, I propose a metaphor borrowed from Titmuss' example of blood donors that acknowledges the perceived "need" for culture and the associated "right" to access content that file-sharers are exercising.

En bok om fildelningens teknik, politik, juridik och moral. Hur ska vi förhålla oss till vår nya digitala verklighet?

Förstår vi kraften i Internet bäst genom en uppsättning av illasinnade repressiva förkortningar (Ipred, FRA, Acta) eller genom en förutsättningslös politisk diskussion kring vilket slags lagstiftning som ska gälla för den digitala domänen? De svenska riksdagspartiernas växlande syn på fildelning och upphovsrätt har under de senaste åren flankerats av nya, och mer radikala sätt att betrakta frågan.

Boken för ett resonemang om vår nya digitala verklighet. Ett antal skribenter nalkas ämnet från olika utgångspunkter och ger en bred bild av vad som är annorlunda i vår tid; efter Pirate Bay. Redaktörer är Jonas Andersson och Pelle Snickars.

The goal of this essay is to analyse how women belonging to a right wing political discourse talk about feminism and equality. This analysis will be used to determine if right wing feminism exists. The analysis is based on Laclau and Mouffe´s  discourse theory as the primary base. The focus is articulation, antagonism and hegmony; the central terms of Laclau and Moffe´s theroy. The material consists of five interviews with representatives of women wings of liberal political in Sweaden; Liberala kvinnor, Centerkvinnor and Moderatkvinnor.

The study shows that there are different opinions regarding feminism in the liberal political discouse, and that those opinions have an antagonistic relationship. This has resulted in a re-articulation of feminism and feministic issues.

The purpose of this chapter is to make some general conclusions from recently conducted fieldwork on one of the world’s most comprehen- sive, but also selective, communities for film swapping; I have chosen to omit the name of this community out of concern for its members. Specialist torrent sites like these are unregulated in that they are not sanctioned by the copyright industry – yet, internally, they remain highly regulated. The chapter provides an overview and a discussion of these sites, and the way these are integrated in a wider economy of film circulation, user agency, knowledge and affects. In theorizing my findings, I mainly draw on theories of culture and sociality outlined by Pierre Bourdieu. 

This book summarizes the role that The Pirate Bay has played during the last decade, but also connects the history of this infamous site with the emergence of legal services such as Spotify. The book also serves as an up-to-date summary of various strands of research on file sharing—particularly, user motivation and justification.

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It is apparent that file sharing on the Internet has become an emerging norm of media consumption—especially among young people. This book provides a critical perspective on this phenomenon, exploring issues related to file sharing, downloading, peer-to-peer networks, "piracy," and (not least) policy issues regarding these practices. Andersson Schwartz critically engages with the justificatory discourses of the actual file-sharers, taking Sweden as a geographic focus. By focusing on the example of Sweden—home to both The Pirate Bay and Spotify—he provides a unique insight into a mentality that drives both innovation and deviance and accommodates sharing in both its unadulterated and its compliant, business-friendly forms.

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Online file sharing does not only entail music files but movies, software, and e-books alike. The phenomenon has been an integral part of online life for more than a decade. From my own and other researchers' findings it is apparent that unregulated file sharing is an emergent norm—if not even a new condition to media consumption—especially among young people. In countries like the US, the UK, Sweden, and South Korea, access to high-speed broadband is commonplace; both file sharers who I have interviewed and those who speak out in online forums hold that file sharing is as natural an element online as trees would be in the forest. This original and thought-provoking book critically summarizes debates on this topic, on a level which is approachable to undergraduates, yet useful for postgraduates and senior scholars as well. The book is based on a novel approach that fuses close-range, micro observations of user behavior and reasoning with macro perspectives of political economy and infrastructural features of digitization. Through exploring the reflexive management of the self, found among media audiences, insights into more innovative modes of management in the media industries are elicited. Through merging an ontological inquiry (popularized by theorists such as Bruno Latour) with an economics of complexity and networks (popularized by theorists like Manuel Castells) new insights into both online sociality, media anthropology, and modes of accumulation can be sought. The continuity between Spotify and illegal file sharing is explored through a critical account that examines the discourses of both file sharers and industry stalwarts. Tendencies towards "information idealism" and "networked accumulation" are scrutinized; they are found to be endemic among actors striving to extract value from online, granular dissemination. In the first place, the book would suit undergraduates on courses in media and communications—especially undergrad courses in new media, and the sociology of the Internet. The book can be seen as a critical introduction, a historical overview, as well as a case study of file-sharing—explaining the infrastructures, the particular modes of media use involved; ultimately, sketching out a political economy of unregulated file-sharing, based on the current historical record, listing some observed economic repercussions, alongside potential future ones. A major secondary market would be postgraduate students, Ph.D. students, researchers, and lecturers. The great appeal with this book is that it would be of interest to several groups within academia. It would appeal both to scholars of my own subject, media and communications (especially, the history and sociology of new, digital media)—but it would appeal also to scholars of science and technology studies (STS), since the topic raises numerous interesting questions about the nature of technology, the complexity of agency and morality, while simultaneously offering a "case study," and thus some specificity in an otherwise broad, slippery subject.

This roundtable discussion draws together researchers with an interest of overcoming purely juridical treatment of piracy in their work. Christopher Kelty and Gabriella Coleman consider the aspects of cyberculture, which conflictually engage with intellectual property rights, through various communities of technology practice, including hackers. Patricia Aufderheide and Peter Jaszi’s work on fair use addresses the growing opportunities for creators in the United States to utilize the tradition in their creative fields. Jonas Andersson Schwarz and Patrick Burkart, co-editors of this special issue, have researched user motivations and political activism around copyright and software patent reforms, partially explaining the emergence of dozens of European Pirate Parties, beginning with the Swedish Pirates in 2006.

By employing a mix between qualitative and quantitative methods, we explored the ways in which file sharers themselves conceive of the future of “piracy.” A content analysis of a selection of open answers from the Research Bay study (a global file sharing survey conducted in collaboration with file-sharing site The Pirate Bay in April, 2011, with more than 75,000 respondents) revealed significant differences between active uploaders and the much larger group of respondents who regularly download files but never upload. Tropes of “community” were not particularly abundant in this corpus. The biggest singular tropes were those of unstoppability/technical resilience (“File-sharing won’t be stopped”); convenience/availability/supply; skepticism/hostility towards governmental intrusion; and—surprisingly—the trope that file sharing will eventually be integrated with the market. This latter trope was particularly common among the non-uploaders (representing the majority of Pirate Bay users) compared to the dedicated uploaders. The non-uploaders also appeared to be more disposed towards a generic belief in the progress, evolution, and a potential convergence/assimilation of technology.

Taking Sweden as a case study, the role of public service broadcasting (PSB) is explored, with a focus on issues of data retention and innovation that accompany web distribution. The issue of predicting audience preferences by means of data retention is investigated, and the related problem of organizational autonomy when interacting with commercial actors in the digital sphere. We hypothesize that previous tendencies towards paternalism might be equally supplemented by tendencies towards so-called “panspectric” surveillance and tracking, given a technological environment where such practices are increasingly common. We argue that the absence of advertising partially helps keep these broadcasters from panspectric temptation. Still, practices such as Facebook integration entail a panspectric element. We ask whether the potential increase in the efficacy of targeting audiences promised by panspectric practices might be offset by its negative impact on civic accountability. Is there a possibility for a “benign,” democratically accountable panspectrocism?

The purpose of this thesis is to examine the socio-cultural impacts that tourists and locals in Mallorca are experiencing. We want to study the locals’ and tourists' perceptions and impact they have on each other. Qualitative interviews have been conducted for this thesis, in which two different interview forms were used. One interview form was used to interview locals and another for tourists, and a total of 11 people were interviewed. The study is based on theories that includes socio-cultural impacts, cultural shock, Doxey's irridex model and codes of conduct.

The result of this study is that both locals and tourists had in general positive perceptions of the socio-cultural effects. The positive effects they experienced was cultural- and knowledge exchange, create networks with tourists from around the world and to have multicultural meetings. It was only locals who felt the negative socio-cultural effects of tourism, and these effects were that tourists litter the streets, drinks a lot of alcohol, creates high noise levels and that tourism affects the traditions and local language.