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Sensorium Journal
Number of Followers: 1

This is an Open Access Journal

Open Access journal
ISSN (Online) 2002-3030
Published by Linköping University

[8 journals]

Editorial
- Authors: Jakob Lien, Solveig Daugaard, Ragnild Lome
  Pages: 5 - 7
  Abstract: ”Since Sputnik, the planet has become a global theatre under the proscenium arch of man-made satellites. Our psyches acquire thereby a totally new rim-spin.” (Marshall McLuhan, Culture is our business, 1970) With these words by Marshall McLuhan, you are hereby welcomed to the second issue of Sensorium Journal. This issue includes papers from the Geomedia conference in Karlstad 2017, about skywriting, singing birds, satellites and airplanes. In a media archeological vein, works on (artifical) flatness are featured, the sympoiesis of comic books is discussed and a section is reserveed for reviews of challenging new theoretical titles by Tung-Hui Hu, Anna Tsing and Mark Seltzer. The essay “Notational Iconicity” by professor of language and media philosophy at Freie Universität, Sybille Krämer, is translated into Danish by our editor Solveig Daugaard. Krämer, who is an honorary doctor at Linköping University, visited Östergötland in 2017 to discuss a series of texts related to her concept of “artifical flatness”, one of which we are proud to present in this issue. Krämer’s strikingly cogent take on some of the foundational questions of media philosophy regarding the intricate relations between thinking, speech and systems of written notation provide an interesting antipole to the somewhat wordier approach of many leading media theorists today. As an artistic spin to the theoretical ideas of Krämer, we confront it with an excerpt from the 1884-novel Flatland by British author and theologian Edwin A. Abbott, originally published under the witty alias “A Square” along with the visual reinterpretation of the novel by Canadian poet Derek Beaulieu from 2007, introduced by Jakob Lien. The featured image in this editorial (above) is from Beaulieus book. One of the theoretical interests of the editors of this journal is media archaeology. We therefore approached a number of scholars in Scandinavia for this issue, who have worked with the concept, and asked them three questions we ourselves have struggled with. What is media archaeology in their view' How, more concretely have they used the media archaeological framework in their research' And how do they understand the relation between artefact and structure within media archaeology' In addition, we also asked our colleagues in the network to contribute and openly reflect on the same questions. The resultant survey gives the impression of a theoretical framework that – at least in the past decade – has played an intriguing role for media oriented aesthetic thinking in Scandinavia, and still has wide potential for exploration and further development for research in the field. * Since the last issue, Sensorium Network has organized two workshops. One on non-human languages in Umeå in 2016, and one on autopoiesis in Linköping in 2017. In addition, preparations have started, for transforming part of Sensorium Journal into a peer reviewed publication in 2018. The journal will still be a place for collective writing and artistic contributions but will in addition feature a section of articles that have gone through a double blind referee process. Make no mistake! The idea behind the journal is still the same; the mixture of peer reviewed articles and the more open main section of the journal is meant to mirror the collaborative idea behind Sensorium. The change in the structure of the journal also bear with it some very intriguing news: From the next issue on, Sensorium Journal will be equipped with a scientific board, whose members will be announced later this fall, as well as three new editors: Jenny Jarlsdotter Wikström is a doctoral student in comparative literature and gender studies at Umeå University, Johan Fredrikzon is a doctoral student in history of ideas at Stockholm University, and Per Isreaelson recently defended his thesis on the media ecologies of fantastic in literary history. We expect lots of fun, sharp and lively discussion as well as new initiatives to spring from their involvement as editors of the journal. Enjoy Sensorium Journal 2!
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.5-7
  Issue No: Vol. 2 (2019)
Vad är mediearkeologi'
- Authors: Sensorium Editors
  Pages: 9 - 34
  Abstract: 1. Vad är ”mediearkeologi” enligt din åsikt' Är det en teori, en metod eller något tredje' (Hur förhåller sig begreppet till exempel till närliggande termer som mediehistoria, medieestetik, medieekologi och det post-digitala') 2. Hur, mer konkret, är begreppet användbart i din egen forskning' 3. Mediearkeologin är intresserad av såväl de konkreta, historiska, teknologiska föremålen (artefakt), som de förändringar teknologierna medför i diskurser, praktiker, biopolitik, etc. (struktur). Hur förhandlar begreppet enligt din förståelse mellan artefakt och struktur' Respondenter: THOMAS GÖTSELIUS, JOHN BRUMO, SOLVEIG DAUGAARD, JAKOB LIEN, JOHAN FREDRIKZON, SØREN POLD, RAGNILD LOME, JESPER OLSSON, KNUT OVE ELIASSEN, PELLE SNICKARS, JACEK SMOLICKI
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.9-34
  Issue No: Vol. 2 (2019)
The Sympoiesis of Superheroes
- Authors: Per Israelson
  Pages: 35 - 54
  Abstract: Through the neocybernetic concept sympoiesis, the comic book Black Orchid can be understood as a media ecology, where the feedback between the reader and the material environment of the comic book emerges as a distributed cognition. I will argue that the reader of the comic book participates in the production of aesthetic experience, and, more importantly, that this participation is not only a question of joining in on the hermeneutic circle, where the reader interprets the comic book and creates a storyworld. From a media-ecological perspective, aesthetic participation is also material and embodied; it is a question of participating in the emergence of an environment. In such a reading, Black Orchid tangibly stages an act of becoming, an event of ontogenesis.
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.35-54
  Issue No: Vol. 2 (2019)
Hvorfor notationel ikonicitet er en form for operationel ikonicitet
- Authors: Sibylle Krämer, Solveig Daugaard
  Pages: 55 - 79
  Abstract: 1. Det fonografiske dogme Hvad betyder ‘inskription’' Få spørgsmål forekommer lettere at besvare: en inskription er sprog, som er blevet nedskrevet. Den holder det talte ords flygtighed på afstand og befrier kommunikation fra talens ansigt-til-ansigt-forankring. Det skrevne ord overfører den akustiske sekvens til en visuel konfiguration; det udvider kommunikationen over afstande i tid og rum. At forvandle det talte til det skrevne muliggør ligeledes kontrol, rettelser og kritik, ligesom det åbner for spredning og arkivering af det der kommunikeres som tekst. Det var nøjagtig debatten omkring ‘mundtlighed og skriftlighed’ (Goody 1968, 1986; Havelock 1976, 1986; Ong 1982)[1] i den sidste tredjedel af det forgangne århundrede, som afdækkede skriftens kreativitet og hævede det skrevne ord til det samme niveau som det talte. Siden da er det talte og det skrevne ord blevet betragtet som to forskellige former for sprog, hver med sin egen ‘performance profil’ i relation til deres mediale, sproglige, og kulturelantropologiske karakter (Echlich 1994; Koch/Oesterreicher 1985, 1994; Olson 1991; Parry 1971; Raible 1991, 1993; Zumthor 1984). På trods af denne genopdagelse af skriftlighed, er en traditionel antagelse – nærmest en vedtaget sandhed i debatten om skriftlighed – forblevet uudfordret: Troen på skriftens sproglignende karakter. I forbindelse med den almindelige tvedeling mellem sprog og billede, placeres skriften udelukkende inden for sprogets felt. Skrift fortolkes som en form for sprog og ikke som en form for billede. Den i mellemtiden klassiske håndbog Schrift und Schriftlichkeit. Writing and its use (Günther/Ludwig (red.) 1994), opsummerer udfaldet af skriftlighedsdebatten og definerer skrift som “den mængde af skriftlige tegn gennem hvilken et talt sprog optegnes” (Günther/Ludwig (red.) 1994: VIII.; Koch 2009: 58). Vi vil kalde det synspunkt at skrift først og fremmest er en fikseret version af et talt sprog for det fonografiske dogme (Krämer 2003b: 520).
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.55-79
  Issue No: Vol. 2 (2019)
Om Flatland (1884) och Flatland (2007)
- Authors: Jakob Lien
  Pages: 81 - 84
  Abstract: År 1884 kunde man i de engelska bokhandlarna finna en tunn liten bok med titeln Flatland: A Romance of Many Dimensions publicerad under pseudonymen ”A. Square”. Boken som till en början inte rönte ett särskilt stort intresse visade sig snart vara skriven av den vid tiden välkände brittiske humanisten, samhällsdebattören och teologen Edwin A. Abbott och när upplagan sköt i höjden började snart författarens verkliga namn att dyka upp inom parentes på omslaget.
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.81-84
  Issue No: Vol. 2 (2019)
Excerpt from Flatland: A romance of many dimensions (1884)
- Authors: Edwin A. Abbott
  Pages: 85 - 108
  Abstract: To The Inhabitants of SPACE IN GENERAL and H. C. IN PARTICULAR. This Work is Dedicated By a Humble Native of Flatland
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.85-108
  Issue No: Vol. 2 (2019)
Flatland
- Authors: Derek Beaulieu
  Pages: 109 - 113
  Abstract: Excerpt from Derek Beaulieus Flatland
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.109-113
  Issue No: Vol. 2 (2019)
Skywriting, Signals, and Poetry Systems
- Authors: Jesper Olsson
  Pages: 115 - 123
  Abstract: The changing of the spaces for reading and listening in the 1960s.
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.115-123
  Issue No: Vol. 2 (2019)
The End of Progress on Earth
- Authors: Solveig Daugaard
  Pages: 125 - 134
  Abstract: How cars and airplanes shaped the writing of Gertrude Stein.
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.125-134
  Issue No: Vol. 2 (2019)
Singing Satellites and Sounding Birds
- Authors: Jakob Lien
  Pages: 135 - 142
  Abstract: History changed on October 4th 1957 when the Soviet Union successfully launched Sputnik 1, the world’s first artificial satellite, and sent the first man-made object in orbit around Earth. Only one month later the Russians launched a second satellite, this time with a living passenger onboard – the famous space dog Laika. When the satellite reentered into earth’s atmosphere 162 days later, Laika had already been dead for a long time. The following year, the Russian cosmonaut Yuri Gagarin, became the first human to journey into outer space and NASA was founded. The accelerating space race between the Soviet Union and the US was a fact and became a crucial component of the cold war era.
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.135-142
  Issue No: Vol. 2 (2019)
Det perikapitalistiska landskapet
- Authors: Jenny Jarlsdotter Wikström
  Pages: 143 - 148
  Abstract: The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins
  Anna Lowenhaupt Tsing
  Princeton University Press, 2015
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.143-148
  Issue No: Vol. 2 (2019)
Molnet på jorden
- Authors: Johan Fredrikzon
  Pages: 149 - 156
  Abstract: Tung-Hui Hu
  A Prehistory of the Cloud
  MIT Press, 2015
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.149-156
  Issue No: Vol. 2 (2019)
Gyroskopiske konsekvenser
- Authors: Ragnild Lome
  Pages: 157 - 162
  Abstract: Mark Seltzer
  The Official World
  Duke University Press, 2016
  PubDate: 2019-09-25
  DOI: 10.3384/sens.2002-3030.2017.2.157-162
  Issue No: Vol. 2 (2019)