Browsing Doctoral Theses /KS K3 by Issue Date

Rum för handling: Kollaborativt berättande i digitala medier
Gislén, Ylva : Blekinge Institute of Technology Blekinge Institute of Technology Dissertation Series;4 (2003)	DOCTORAL THESIS

Swedish abstract:

Avhandlingen fokuserar på kollaborativt berättande i digitala medier, och tar avstamp i relativt detaljerade beskrivningar av de designprojekt som utgör avhandlingsarbetets ryggrad. Kännetecknande för dessa designprojekt är att de kombinerar fysiska och virtuella rum och/eller flera medieplattformar. Utifrån kritiska läsningar av designval och bruk av de koncept och prototyper som designprojekten utmynnat i presenteras argument för föreslagna "sätt att se" på design av berättande i digitala medier och centrala kvaliteter i miljöer för kollaborativt berättande. Grundläggande är att se berättande som en överenskommelse, som måste springa ur den berättarsituation, den fysiska och sociala verklighet, som utgör en oavvislig del av allt berättande. Denna överenskommelse upprättar ett "rum" för att undersöka och värdera möjlig mänsklig handling, ett rum vars estetiska egenskaper inte kan skiljas från de etiska och politiska frågeställningar som sätts i rörelse av allt berättande. Utifrån detta grundläggande synsätt diskuteras frågan om utformandet av handlingsutrymme i relation till interaktivitet i digitala medier, begrepp som roll, karaktär, samarbete och konflikt samt rytm, poesi och mångtydighet. Argumenten och resonemangen grundas, utöver i den kritiska läsningen av designprojekten, också i en bredare översikt av narrativitetsbegreppets utveckling inom human- och samhällsvetenskaperna de senaste två decennierna samt i en diskussion av teorier, synsätt och vanliga grundantaganden kring berättande i digitala media. Utrymme i avhandlingen ges också åt en kunskapsteoretisk diskussion kring frågan om design som forskning, främst ur ett perspektiv grundat i STS-fältet men också i relation till förda resonemang ifråga om praxisbaserad forskning i allmänhet och designforskning och designteori i synnerhet.

rum_for_handling.pdf (2.119Mb)

Ready-made-media-actions : lokal produktion och användning av audiovi...
Hillgren, Per-Anders : Blekinge Institute of Technology Blekinge Institute of Technology doctoral dissertation series;7 (2006)	DOCTORAL THESIS

Swedish abstract:

Ett växande globalt perspektiv och nya tekniska strukturer (exempelvis internet) inger förhoppningar om att kunskap och erfarenheter ska kunna medieras mellan skilda kontexter spridda över världen. Med detta följer ett ökat intresse för att standardisera, paketera och återanvända kunskap i en generell kontextoberoende form. Denna avhandling fokuserar på, och argumenterar för, en kunskapsmediering av helt motsatt karaktär, där kontexten, det specifika, personliga och lokala står i förgrunden och där ny teknik används för att mediera erfarenheter i en mindre skala, inom och i relation till ett specifikt sammanhang. Det är en mediering som får sina kvalitéer från en närhet mellan ’avsändare’ och ’mottagare’ och som utgår från ett sociokulturellt perspektiv på lärande där kunskap, kontext, teknik och mediering är djupt sammanflätade. Argumenten bygger på två praktikbaserade forskningsprojekt där interaktionsdesigners i nära samarbete med personal på en intensivvårdsenhet och en handkirurgisk klinik utformat ett sätt att producera och använda audiovisuella medier för att stödja och utveckla respektive verksamhet. Tillvägagångssättet skiljer sig från traditionell filmproduktion, det utgår inte från skrivna manus eller avancerad planering, det saknar också den neutrala ’objektiva’ ton som är vanlig i instruktionsfilm. Medierna (främst digital video) används snarare för att ’fånga’ en situerad och ständigt föränderlig praxis, där personalen blir filmad i sin vardagspraktik och drar nytta av en lokal kontext och en specifik situation för att muntligt berätta om, artikulera och synliggöra sina handlingar. Innehållet i filmerna kan röra sig om ‘hur en medicinsk maskin monteras ihop’, ’hur ett sår läggs om’ eller belysa ’en patients situation och rehabilitering.’ Medierna kan sägas fånga en praktik som ’redan finns’ och vardagliga handlingar ’som redan sker’. Det inspelade materialet har en informell karaktär, personlig ton och fungerar vid behov senare som stöd för personal eller patienter med en nära relation till kontexten. Den lokala medieproduktionen gör att innehållet kan anpassas efter hur omständigheter och lokala behov förändras. Men det möjliggör även att den som agerat i det kan spegla sig själv och att kollegor kan få insyn i varandras sätt att hantera problem. Något som ger bra förutsättningar för personalen att reflektera över och utveckla sin egen praxis. Utöver att reflektera över de specifika kvalitéerna i den lokala medieproduktionen diskuteras även designprocess och samarbetsformer i avhandlingen. Nära samarbeten med brukare kritiseras ofta för att leda till kompromisser och designlösningar som bara utgår från hur praktiken fungerar idag. I avhandlingen argumenteras det för att ett nära samarbete snarare kan baseras på att designern utmanar brukarna och skapar fruktbara ’kollisioner’ med dem och deras miljö, en ansats där olika värderingar och perspektiv konfronteras, men också där ideér får ’kollidera’ med en verklig praxis. Något som kan ske genom att man gör experiment där de möter så stort motstånd som möjligt dvs. mitt i den vardagliga verksamheten, med alla dess olika personer, föremål och motstridiga ideér.

Ready_made_media_actions.pdf (2.870Mb)

Virtual worlds and social interaction design
Jakobsson, Mikael : Umeå University Research reports, Department of informatics, Umeå University;2 (2006)	DOCTORAL THESIS

English abstract:

This dissertation is a study of social interaction in virtual worlds and virtual world design. A virtual world is a synchronous, multi-user system that offers a persistent spatial environment for iconically represented participants. Together, these form an example of social interaction design. I have applied an arena perspective on my object of study, meaning that I focus on these socio-technical systems as places. I have investigated the persistent qualities of social interaction in virtual worlds. What I have found is that virtual worlds are as real as the physical world. They are filled with real people interacting with each other evoking real emotions and leading to real consequences. There are no fixed boundaries between the virtual and physical arenas that make up a participant’s lifeworld. I have found that participants in virtual worlds are not anonymous and bodiless actors on a level playing field. Participants construct everything needed to create social structures such as identities and status symbols. The qualities of social interaction in virtual worlds cannot be measured against physical interaction. Doing so conceals the qualities of virtual interaction. Through the concepts of levity and proximity, I offer an alternative measure that better captures the unique properties of the medium. Levity is related to the use of avatars and the displacement into a virtual context and manifests itself as a kind of lightness in the way participants approach the interaction. Proximity is my term for the transformation of social distances that takes place in virtual worlds. While participants perceive that they are in the same place despite being physically separated, the technology can also create barriers separating participants from their physical surroundings. The gap between the participant and her avatar is also of social significance. As a theoretical foundation for design, I have used Michael Heim’s writings and practices as a base for a phenomenologically grounded approach, which provides an alternative to the dominating perspectives of architecture and engineering. Based on an explorative design project and the earlier mentioned findings regarding social interaction, I have formulated a model for virtual world design called interacture. This model takes the interaction between participants as the fundamental building material and the starting point of the design process. From there, layers of function and structure are added, all the time balancing the design between fantasy and realism. I have explored the possibilities of using ethnographic studies as the foundation for a participant centered design approach. I have aimed for an inside view of my object of study both as an ethnographer and as a designer. One outcome of this approach is that I have come to understand virtual worlds not just as places but also as processes where the experience of participating can change drastically over time as the participant reaches new stages in the process. In conclusion, the method of integrating ethnography with design and the understanding of social interaction as the fundamental building material is woven into a general approach to the study and design of socio-technical systems called social interaction design.

Metamorphing : the transformative power of digital media and tangible...
Linde, Per : Department of Interaction and System Design, Blekinge Institute of Technology School of Arts and Communication, Malmö University Blekinge Institute of Technology doctoral dissertation series;12 (2007)	DOCTORAL THESIS

English abstract:

The thesis explores how interactive technologies and digital media can be used as transformative mediators and tools. They have the potential to strengthen and enrich the experience of different transformations that are discussed as being important for practices of creativity and learning, where the engagement and relationship to processes of change is fundamental. The flexibility of digital media and forms for tangible interaction constitutes major elements in the design experiments described in the thesis. Material artefacts and physical space play a central role in how people make sense of the world. Looking closely at practices where creativity, learning and communication are important for collaborative work it becomes clear that this insight implies that the concepts of objects and space carry quite a portion of multiplicity. They are used differently and with different intentions, they are understood differently from different perspectives and the look and feel of them appears differently even if they can be described as “one” thing or “one” space. Dealing with these heterogeneities challenges the way we use objects and spaces. It becomes a matter of connecting the multiplicities and how we configure them in relation each other. The research discusses how the discipline of interaction design can support dealing with multiplicity, configuring and mixing of objects and spaces. They are not only used or inhabited; they are performed and enacted. In exploring these issues the thesis discusses the development and experiments with a couple of design prototypes that rests upon basically the same technology, which is a combination of technologies for tracking and/or tagging. Studies and experiments have been performed in three different domains; design work, patient learning while undergoing lengthy rehabilitation and artistic work and performances. The diversity of studied domains provides a way of talking about design that focus on use and users’ appropriation of technology rather than reflecting the technology itself. From a methodological perspective issues of participatory design have been foundational to the research. Some design consequences refers to how we can not only regard interactive artefacts as bundles of functionality. We must also look into issues of giving form to them as material things and the thesis especially reflect how we can override a distinction of things being either material or virtual. Another consequence is how digital technologies often does not replace “analogue” media and material things, but instead are used in parallel and must find a place in an already existing ecology of artefacts, devices and services. In the thesis there is a strong focus on how human action is co-shaped together with artefacts and technology as we perform specific tasks or simply go on about our living and making sense of the world.

Linde_diss.pdf (25.47Mb)

Socio-material mediations : learning, knowing and self-produced media...
Björgvinsson, Erling Blekinge Institute of Technology doctoral dissertation series;3 (2007)	DOCTORAL THESIS

English abstract:

The thesis discusses lessons learned and issued raised when exploring how self-produced rich media can facilitate sharing of meaning between healthcare professionals at an intensive care unit and between healthcare professionals and patients within a hand surgery clinic. Design experiments conducted at the intensive care unit focused on how healthcare professionals could collaboratively produce ‘best practice’ videos displayed on handheld devices and accessed through barcodes placed out in the unit. The making of the videos it is argued can be seen as a temporary convergence of different views when reifying ‘best practice.’ Design experiments conducted at the hand surgery clinic focused on how healthcare professional and patients collaboratively could produce, during consultations, rich media documents that are tailored to the patients’ specific needs. The rich media documents made can be seen as a temporary convergence of two distinct practices; namely that of hand surgery treatment and the practice of everyday life. Making of rich media documents in both projects resulted in developing relational spaces of informal learning, which engendered the making of rich reifications that function well in close relation to participation. To engender the making of the rich media documents demanded the establishment and hardening of a socio-technical infrastructure which can be seen as a temporary convergence between tools and practices where both the tools and practices are changed. In both cases using these videos in turn demanded that the videos, a form of local collaborative hardenings, needed to be translated anew and so to speak “defrosted.” The design consequences are that designers need to acknowledge materiality as an ongoing process which is given meaning through participation over time within and across communities of practice. Materiality and human agency in this instance are not seen as discrete elements, but rather highly intertwined. The second design consequence is that we need to acknowledge the complexity, partiality, and multiplicity of such relational spaces. Methodologically, the consequences are that it is important to consider where the designers position themselves and the artifacts in the network of relations, since different positioning will have different implications for the subsequent spaces of action.

Erling Bjorgvin ... al mediations_diss_bth.pdf (8.786Mb)

Gendered journalism cultures : strategies and tactics in the fields o...
Melin, Margareta : JMG, University of Göteborg Göteborgska studier i journalistik och masskommunikation;51 (2008)	DOCTORAL THESIS

English abstract:	The aim of the dissertation is to explore the way journalism works in two social fields of journalism, those of Britain and Sweden, from 1989 to 2002. The focus of the study is on creation and re-creation of value systems, power-struggles, and on their gendered nature. The dissertation is placed in the theoretical crossroads of sociology of journalism, feminism and cultural studies and this theoretical abduction process is summarised in the concept journalism culture. The tools used to analyse the fields were appropriated from the theoretical worlds of Pierre Bourdieu and Michel de Certeau. Three studies have been done: one large questionnaire to 1500 Swedish journalists in 1989, and two thematic interview studies of 33 British journalists between 1992 and 2002. In addition, secondary research material of both quantitative and qualitative nature has been used. The conclusion of the book is that similarities outweigh the differences between the two journalism cultures of Britain and Sweden. And both cultures are similarly permeated by the gendered logic of journalism. The author argues that continuous battles on the fields were going on over doxa (a belief-system of what journalism “is”, and how to do it). And she shows that the doxas, through these battles, show both stability and change. She argues that the powerful elite was under attack by new groups of journalists, and that the elite use various strategies to ward off the new groups, who in turn use tactics to gain access to the fields and to positions of power, and to cope in their everyday work. Four tactics were identified. Issues of feminisation and gentrification of journalism are also discussed.
Swedish abstract:	Avhandlingens syfte är att förstå journalistik genom att undersöka brittiska och svenska journalistikkulturer mellan 1989 och 2002. Fokus är lagt på om/skapandet av värdesystem och på maktkampers könade karaktär. Tre studier ligger till grund för avhandlingen: en enkätstudie till 1500 svenska journalister 1989, samt två intervjustudier av 33 brittiska journalister mellan 1992 och 2002. Dessutom har sekundärt forskningsmaterial om båda ländernas journalistik använts. Avhandlingens teoretiska grund är placerad i korsningen mellan journalistikforskning, feminism och kulturstudier, med begreppet journalistikkultur som sammanfattande huvudfokus. Användbara begrepp approprierades från Pierre Bourdieus och Michel de Certeaus teoretiska världar. Den huvudsakliga slutsatsen är att de två undersökta journalistikkulturerna har mer gemensamt än vad de har som skiljer dem åt. Främst visar det sig genom den genomgående könade logiken, som genomsyrar kulturerna. Författaren visar att de oavbrutna maktkamperna på de två journalistiska fälten rörde sig om en kamp om doxa (verklighetsuppfattning om vad journalistik ”är” och vad som görs inom yrket). Till följd av dessa maktkamper har doxa både förändrats och förblivit stabila. Eftersom den journalistiska eliten ständigt är under attack av nya grupper av journalister, använde sig den av olika strategier för att försvara doxa. Avhandlingen har främst fokuserat på kvinnliga journalisters kamp att ta sig in på journalistikens fält, nå maktposition, samt att klara av den journalistiska vardagen. För att klara detta använder de olika taktiker. Fyra sådana taktiker hittades. Slutligen diskuteras journalistikens feminisering och gentrifiering, samt konsekvenserna av detta.

Inlaga final (2.129Mb)

Omslag final (1.059Mb)

Complicated Shadows: The Aesthetic Significance of Simulated Illumina...
Niedenthal, Simon : Blekinge Technical University Blekinge Institute of Technology doctoral dissertation series;10 (2008)	DOCTORAL THESIS

English abstract:

A common feature of many digital games is that they are played in a simulated 3D environment, a game world. Simulated illumination is the lighting designed into a game world. This thesis explores the influence of simulated illumination in digital games upon the emotion and behavior of the player. It does so within the context of game aesthetics, building upon an understanding of games as having the potential to evoke an aesthetic experience that is deeply absorbing, is experienced as whole and coherent, evokes intense feelings or emotions, and engages a sense of “make believe.” A full account of how simulated illumination affects people is gained by tracing the contributions from media practice and real-space lighting, as well as taking into account the unique possibilities of interactive media. Based upon the rich set of lighting references and possibilities that are present in digital games, this thesis offers a taxonomy of influence of simulated illumination, which is organized such that it moves from progressively simple patterns and mechanisms that work without much player awareness, towards progressively greater complexity and consciousness of light qualities. The study of simulated illumination is complex, and best conducted within a transdisciplinary framework that includes three perspectives: empirical emotion research, investigation of the lighting attitudes of creative practitioners, and formal analysis of games with the aim of articulating their use qualities related to simulated illumination. The way in which a “triangulation” study could be structured is presented through the results of the two-year Shadowplay project, with specific reference to the effects of warm (reddish) and cool (bluish) simulated illumination upon the experience of gameplay. We learned that exposure to warm light in a game prototype created more positive affect and led to better performance, and uncovered an interesting correspondence in the lighting attitudes of creative practitioners, regarding the relatively attractive versus repulsive qualities of warm and cool illumination in game environments. The (sometimes inconsistent) results of the Shadowplay project are discussed with reference to the conception of “pleasure” as it is developed within phenomenological philosophy and hedonic psychology. Considered this way, simulated illumination can create “eliciting conditions” for more complex sequences of emotions that constitute game pleasures. Within a game, we respond emotionally to exposure to qualities of simulated illumination, based upon what we bring with us into the game (whether based upon tastes, attitudes related to genre, memories or more “hard-wired” responses to light). At the same time, we implicitly learn the significance of the illumination that we encounter through our activity in the game. This means that there is no simple mapping of illumination quality to emotional outcome. Rather, designers need to learn to manipulate the unique potentials of simulated illumination in relation to the other elements of the gameplay experience.

complicated shadows_final.pdf (5.502Mb)

Pretend that it is Real! Convergence Culture in Practice
Denward, Marie : Faculty of Culture and Society, Malmö University Dissertation series in New Media, Public Spheres, and Forms of Expression, Faculty of Culture and Society, Malmö University;1 (2011)	DOCTORAL THESIS

English abstract:	Media convergence has mainly been defined and explained as a technological and industrial phenomenon; as the process where new technologies are accommodated by existing media and communication industries and their cultures of production. One consequence of convergence in today’s hybrid media landscape is that the previously distinct borders between production and consumption have become blurred. This means that convergence also takes place as a bottom-up social process initiated by media users that move almost anywhere and everywhere in search of entertainment experiences of their liking. This thesis sheds light on the different types of media convergence that took place in the process of making the transmedia storytelling production Sanningen om Marika. The Swedish public service provider, SVT, and the pervasive games upstart company, The company P, combined their expertise in broadcasting and games development to craft this ‘participation drama’. During five months in 2007, the production offered Swedes nationwide rich possibilities to interact and participate, or just to watch or lurk on the production’s various platforms. Using an ethnographic approach, field studies were conducted throughout the design, implementation and production phases. The analysis shows that even if instances of convergence could be identified, the collaboration did not proceed smoothly. The companies’ different media logics with their differing cultures of production created tensions and frictions. The different logics of television, internet and games - different in quality demands and with different audience participation models - made it difficult to create a hybrid production. Television genres blurred fiction and facts, and the ordinary was blurred with activities of games and play in the production, making the audience reception and interpretations differ extensively. Lastly, the designed audience participation did not remove the asymmetrical relationship between producers and users in media, but instead highlighted issues of hierarchies, lack of participant empowerment and inequality between participants.
Swedish abstract:	Mediekonvergens definieras och förklaras oftast som en teknisk och industriell företeelse, som den process där ny teknik anpassas till den befintliga medieindustrin och dess produktionskulturer. I dagens hybrida medielandskap kan mediekonvergens också beskrivas som den sociala process och de aktiviteter som medieanvändare deltar i när de rör sig mellan olika medier i jakt på underhållning och erfarenheter. Mediekonvergens kan alltså bättre förklaras som en dubbelriktad process där de tidigare tydliga gränserna mellan produktion och konsumtion suddas ut. Avhandlingen behandlar den transmediala berättarproduktionen Sanningen om Marika och belyser flera av de olika typer av mediekonvergens som ägde rum i produktionen. I skapandet av detta s.k. deltagardrama kombinerade Sveriges Television, och det nystartade spelutvecklarföretaget The company P, sin expertis i teve- och spelproduktion. Under fem månader 2007 erbjöds Den svenska publiken kunde under 2007 delta i produktionens varierande aktiviteter, från tevetittande, webbaktiviteter i chattar och forum till deltagande i gatuspelsaktiviteter. Studien genomfördes med etnografiska fältstudier under produktionens design-, produktions- och implementationsfas. Analysen visar att, trots att företagens samarbete resulterade i olika former av konvergens, problem uppstod. Företagens olika medielogiker och dess skilda produktionskulturer skapade spänningar och friktion. De olika logiker och de kvalitetskrav som TV, internet och spel har försvårade skapandet av den hybrida produktionen, bl.a. användes olika metoder för publikens deltagande. Dessutom suddade de olika TV-genrerna som användes ut gränsen mellan fiktion och fakta. Spelaktiviteterna designades för att överbrygga skillnaden mellan fakta och dikt, bl.a. för att förstärka deltagarnas upplevelser. Analysen av deltagarnas upplevelser visar att deras uppfattningar och tolkningar skilde sig mycket åt. Vissa förstod att produktionen var fiktion, andra trodde att de deltog i ett verkligt sökande efter en försvunnen person. Slutligen konstateras att producenternas målsättning för deltagande och initiativtagande inte helt lyckades. Den asymmetriska relationen mellan medieproducenter och medieanvändare som alltid finns, underströk frågor om hierarkier, brist på deltagarens egenmakt och ojämlikhet mellan aktörerna.

Denward muep.pdf (6.614Mb)

Material matters in co-designing : formatting & staging with particip...

Eriksen, Mette Agger : Faculty of Culture and Society, Malmö University
Dissertation series in New Media, Public Spheres, and Forms of Expression;3 (2012)
The following institutions have co-financed and co-hosted the PhD studies: Danish Centre for Design Research (DCDR) / The Danish Design School, Denmark. Computer Science Department (DAIMI), Aarhus University, Denmark. Blekinge Institute of Technology, Sweden. The Swedish Faculty for Design Research and Research Education, Sweden.Within Malmö University the PhD studies have been located at: Arts and Communication / K3. Ph.D. subject: Interaction design

DOCTORAL
THESIS

Transversal media practices : media archaeology, art and technologica...
Gansing, Kristoffer : Malmö University, Faculty of Culture and Society New Media, Public Spheres and Forms of Expression;4 (2013)	DOCTORAL THESIS

English abstract:

Transversal Media Practices work across specific situations of technological development, critically examining and redefining the terms of production in different media by bringing heterogeneous histories, institutions, actors and materialities into play with one another. This dissertation is all about trying out and refining the methodologies of such transversal media practices, in the end outlining a conceptual set of tools for further development. Following the technological hype of the “digital revolution” of the mid-1990s, the field of new media studies gained popularity over a ten year period. This dissertation takes its cue from a historical turn in new media theory, and argues that it is time leave behind strict polarisations between old and new as well as analogue and digital. The study unfolds through two case-studies. The first, “The World’s Last Television Studio”, looks at tv-tv, an art and media-activist project that negotiates the socio¬cultural and material changes of the “old” and institutionalised mass medium of television. In the second case study, “The Art of the Overhead”, another old medium is engaged: the overhead projector – a quintessen¬tial 20th century institutional medium here presented as a device for rethinking the new through the old. The problematic of technological development, i.e. dealing with questions of how (media) technologies develop over time, forms the background to these two case studies. A key issue being how cultural and artistic practices dealing with the interaction of old and new media invite us to conceptualise technological development in new ways. The emerging field of media archaeology is employed as a methodology in media studies and cultural production, comprising a theoretical and applied analysis of media history, materiality and practice. This transversal approach allows media archaeologists to deal with the relation between the old and the new in a non-linear way as well as to pay attention to the technical materiality of media. It is argued that the transversality of the media-archaeological approach should be seen in contrast to other conceptions of media history and technological development, such as progressivist, mono-medial and evolutionary ones. In this study, the author tries out the potential of media archaeology to reform our conception of media technologies, and eventually formulates a set of concepts for thinking and doing media archaeology as a transversal media practice. These tools are about the imaginary, residual and renewable dimensions of media technologies and are meant to assist in the opening up and intervening into processes of standardised media development. On a general level the resulting set of tools for transversal media practices builds a bridge between theory and practice: they can be used for further research and cultural analysis where objects of study speak back to analytical concepts. At the same time these are tools for transversality that expand this form of cultural analysis in that the travelling between disciplines here also means a travelling between theory and practice. On a specific level, the tools enable this travel between theory and practice in media- and communication studies, and as such they contribute to the development of new practice-based methodologies in media research.

Gansing KS muep_ny.pdf (5.521Mb)

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Steal this place : the aesthetics of tactical formlessness and "The F...
Hellström, Maria : Dept. of Landscape Planning, Swedish University of Agricultural Sciences Acta Universitatis agriculturae Sueciae;27 (2006)	DOCTORAL THESIS

English abstract:	The study addresses processes of urban formation and aestheticization with the point of departure in the self-organizing activist community in Copenhagen, "The Free Town of Christiania". The working hypothesis of the study is that an actualization of urban activist practices of representation will lead to a different conception of spatial development than the one presently dominating the field of urban planning.
Swedish abstract:	Studien avhandlar urbana förändrings- och estetiseringsprocesser med utgångspunkt i den själv-organiserande Fristaden Christiania i Köpenhamn. Arbetshypotesen är den att ett uppmärksammande av expressiva, aktivistiska urbana representationsformer kan leda till en annan förståelse av rumslig gestaltning än den som nu dominerar planeringsfältet.

Hemmet och världen: rumsliga perspektiv på medieanvändning
Andersson, Magnus : Göteborgs universitet Göteborgsstudier i journalistik och masskommunikation;42 (2006)	DOCTORAL THESIS