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Monetära misstänkliggöranden i familjehemsvården
Get PDFFamiljehem rekryteras med vädjan om att de ska öppna sitt hem och hjärta för ett utsatt barn med löften om ovärderliga relationer och utvecklande erfarenheter. Det är ovanligt att familjehemmen lockas med ensidigt ekonomiska argument. Snarare ska socialtjänsten försäkra sig om att ekonomiska motiv för att ta emot ett barn inte ligger i förgrunden, att man inte ”gör det för pengarna”. Men familjers vardagsekonomi är en högst påtaglig och väsentlig fråga. Från 2023 har SKR höjt arvodesrekommendationerna med den uttalade förhoppningen att socialtjänsten ska kunna rekrytera fler lämpliga familjehem och kanske även kunna stå sig bättre i konkurrensen om familjehemmen i förhållande till de privata konsulentföretagen. Samtidigt som merparten av aktörer på familjehemsfältet, såväl professionella som familjehemsföräldrar, betraktar ersättning som en given förutsättning för uppdraget, finns alltså uppfattningen att pengar är ett oanständigt motiv till att vilja ta emot ett barn.
Den ekonomiska sociologen Vivana Zelizer uppmärksammar vårt samhälles utbredda föreställningar om att ekonomiska och intima sfärer är eller bör vara strikt separerade. Det gör familjehemsersättningen särskilt laddad. Mer tillspetsat kan sägas att ”betalt föräldraskap” utgör en moraliskt besvärande kategori som bäddar för en mängd misstänkliggöranden och klander. Familjehemsföräldrarnas motiv kan ifrågasättas av medier, grannar eller professionella: nivån på arvodet och vad det används till (eller inte används till) kan vara föremål för såväl insinuationer som uttryckliga anklagelser.
Denna presentation urskiljer flera typer av monetär misstänksamhet som familjehem möter eller reproducerar, allt från subtilt pedagogiska till explicit skuldbeläggande kommentarer. Med utgångspunkt i Zelizers argument att pengar ofta uppfattas som korrumperande i familje-, släktskaps- och vänskapsrelationer, analyseras hur familjehemsföräldrar lär sig att navigera bland sådana misstankar om stötande ekonomisk vinning genom deras olika möten med webbplatser, socialarbetare och familjehemssammankomster på nätet.
Studien är en del av ett treårigt forskningsprojekt som undersöker hur pengar symboliserar både värdet av god omsorg och en moraliskt laddad aspekt inom familjehemsvården. Materialet består av både dokument (officiella och sociala medier) och intervjuer med familjehemsföräldrar och socionomer
Samhörighet, relationer och bekräftelse när yngre barn visar och gör välbefinnande
Get PDFI denna presentation kommer preliminära analyser delas av en studie om barns görande av välbefinnande. De flesta barn i Sverige växer idag upp med goda förutsättningar för att må bra. Men för vissa barn kan uppväxten innebära stora brister i sina livsvillkor och mindre gott välbefinnande. När det kommer till risker för barns välbefinnande för Crivello, Camfield & Woodhead (2009) fram att barn befinner sig i en särskild utsatt omständighet som innebär en ökad risk för att deras välbefinnande äventyras på grund av beroendeställning och avsaknad av makt. Intresset för barns välbefinnande har under senare år ökat och har kommit att få en central roll i policyformuleringar samt i forskningskontexter. Även om välbefinnande är centralt i flertal diskussioner, har dess mångtydiga innebörd och praktiska implementering lett till kritik (Ridell & Carmichael, 2019; Skolverket, 2019). Med sin mångtydiga innebörd menar Spratt (2016) att välbefinnande är komplext och svårdefinierat samt att det saknas konsensus om dess användning och förståelse. Trots intresset för barns välbefinnande saknas fortfarande kunskap om yngre barns perspektiv på välbefinnande (Mashford-Scott et al, 2012). Välbefinnande formaliseras och lyfts i stället fram utifrån vuxnas förståelser av barn och deras närmiljö där barns välbefinnande tenderar att reduceras till mätningar och utfallsmått med mindre utrymme till relationella värden och gemensamt skapande med barn (Watson et al, 2012). Med reduceringen följer risker för att välbefinnande blir indikatorer skapade av vuxna som mäts snarare än hur det kan förstås och vad det kan innebära och betyda för barn själva (Davis & Smith, 2017; Tisdall, 2015).
Denna studie har en fenomenologisk utgångspunkt där barn ses som upplevare och skapare i sina liv snarare än mottagare och betraktare (jmf Frykman & Gilje 2003) och syftar till att synliggöra hur yngre barn visar och gör välbefinnande. För att utforska yngre barns sätt att visa och göra välbefinnande har jag valt en etnografisk och medskapande forskningsansats. Studien har jag genomfört tillsammans med femton barn i åldrarna ett till sex år på en förskola som barnen bestämde skulle heta Katten. Under sju månader (ca 130 h) har jag deltagit i både obundna och styrda aktiviteter med barnen. Aktiviteter kopplat till gemensamt utforskande om välbefinnande har varit initierade av både barnen och mig. Katten är lokaliserad i ett så kallat ”socioekonomiskt utsatt område” i en kommun med drygt 20 000 invånare belägen i södra Sverige. Valet av förskola har på så sätt möjliggjort deltagande av barn med varierande bakgrunder.
Övergripande har arbetet tillsammans med barnen visat att välbefinnnade för dem inte är statiskt utan handlar snarare om något föränderligt och är sammanbundet med relationer, samhörighet och med att bli bekräftad. Empirin lämnar flera exempel på hur barn värdesätter familjerelationer, visar omtanke, strävar efter gemenskap samt efter att bli sedd och vara viktig för den de är. Sammantaget visar barnen på betydelsen av att uppleva välbefinnande där de befinner sig i stunden och som medskapare till både eget och andras välbefinnande. Vägen till välbefinnande är för barnen i studien detsamma som målet
On transcodification: A proposal for a code-oriented approach to adaptation and intermediality
Get PDFMy paper proposes to look at intermedial processes as part of the larger set of transformations through which the “elements” (memes, concepts, characters, narratives, etc.) that make up our culture migrate from one knowledge system to another. I will thus try to define and to interrogate the notion of transcodification, that first appeared in Hutcheon’s A Theory of Adaptation, as a potentially useful contribution to the field of adaptation/intermedial studies.
I will start by observing that the novels of J.R.R. Tolkien have not only spawned an incredibly complex intermedial network, but have also become the basis of a spiritual belief system – and that something similar has happened to the storyworlds of Star Wars and Harry Potter. Can fiction-based religions be considered adaptations? And do such phenomena fall within the scope of intermedial studies? I will suggest that they do, provided that we look at adaptation less in terms of media than in terms of codes. To emphasize such a shift in focus, I will propose to define these exchanges between radically different semiotic realms as falling under the notion of transcodification – a category which both includes and transcends adaptation.
I will then discuss some examples of transcodification, ranging from the relation between Defoe’s Robinson Crusoe and Tournier’s novel Vendredi ou les limbes du Pacifique to that between Freud’s psychosexual theory and the Oedipus myth, and from Erwing Goffman’s application of the language of theatrical performance to sociology to Hilary Putnam’s study of the “brain in a vat” scenario (a classical trope of science fiction) from the perspective of the philosophy of consciousness.
I will conclude by sketching some hypotheses about what transcodification is and how it can be used as a tool to map the transfer of semiotic and aesthetic resources across cultures, knowledge systems, and disciplines
An intermedial perspective on elemental media: The virtuality of environments beyond the digital
Get PDFToday's digitized world has made an old truth evident: media are not only communicative tools, but also integral elements of any organism's living environment. This is the simple idea of John Durham Peter's philosophy of elemental media. In this paper, I examine what Lars Elleström's intermedial model has to say about media types whose function cannot be reduced to their use in communicative processes. The theoretical work of Durham Peters and Elleström belong to different traditions in media studies, but share a common ground in early American pragmatism. By investigating their respective use of this common ground, I will delineate the points of convergence and divergence between these two traditions. I argue that Elleström's intermedial model can enhance the analytical precision of Durham Peter's philosophy of elemental media, but also that the latter can expand the analytical scope of the former. In the focal point of attention are the virtual spheres and realities generated by media products of different types
Intermedial digital Wunderkammer in the 21st Century
Get PDFNo baroque cabinet of curiosities has survived till out times, perhaps because of an extremely individualistic and personal character of each cabinet collection (contextual qualifying aspect). We can only learn about the phenomenon through intermedial perspective provided by cognitive import transferred and communicated to us by media products that transformed and represented the historical cabinet of curiosities, i.e. catalogues, inventories, engravings, paintings, watercolors, and drawings. However, with the advance of the digital era, the return of the Wunderkammer as a qulified media product can be observed. Not only has the distance between the image/object and the beholder been considerably reduced, but also the contents of a curiosity chamber have become virtual, i.e. they have become digitalised abstract data, much more perosnalised and customised, i.e. “tailored precisely to the individual user, based on social proximity and interactions ranked as more relevant or less so” (Burda 181). Today’s digital cabinets of curiosities, like Google, Facebook or former Twitter (now X) and the technical media of display we carry on us and with us to gain access to these and many more, not only “create endless number of possibilities for the global storage, networking and representation of knowledge” (Burda 182) but also collect and save data concerning different aspects of individuals’ lives in a space which is unlimited and gives endless possibilities of reorganising and accessing the stored items. The paper seeks to explore the changes in the modalities of contemporary
Wunderkammer (as opposed to the baroque cabinet) determined by the shift in contextual and operational qualifying aspects and related to the digital media types. It also attempts to discuss the consequences of these changes for the wider intermedial networks. Henry Jenkins’ convergence culture and black box fallacy might additionally shed new light on the intermedial digital Wunderkammer in addition to Hubert Burda’s deliberations in his seminal study The Digital Wunderkammer: 10 Chapters on the Iconic Turn (2011)
The narrative is out of Joint: Crossmapping the spectre in A ghost story and How to be both
Get PDFFollowing Bronfen’s intermedial approach of crossmapping, this paper brings together literary and cinematic texts to carve out a contemporary conception of the seeing subject. In focusing on the underlying “will to formalization” in aesthetic texts (Bronfen 2018, 3), I examine how the figure of the specter negotiates shifting conceptions of visuality in contemporary media. As a figure enmeshed in paradoxical (in)visibility, this juxtaposition traces how the figure brings together cultural and technological shifts to stage “a new and discrete perceptual mode of existential and embodied presence” (Sobchack 2004, 139). Thus, by tracing the specter in David Lowery’s film A Ghost Story (2017) and Ali Smith’s novel How to be Both (2014), this paper reads these contemporary ghost stories as articulating technological and medial shifts in the contemporary mediascape. Specifically picking up on post-cinematic discourses of discorrelation, I suggest the narratives find recourse in aesthetic and narrative strategies to negotiate the perceptual break between our technologies of vision and the human seeing subject. Through the crossmedial encounter of the literary narrativization and the cinematic visualization of the gaze, these texts give rise to aesthetic and narrative experimentation to formalize the visual logic of the contemporary age. Disjointed from time, this paper argues that the figure of the specter responds to a media landscape grappling with increasing fragmentation and the rise of post-perceptual scopic regimes
Lengthening and Enhancing the Image: The Documentary Hybridity of the Digitally Edited Found Footage
Get PDFI consider found footage films intermedial in the sense that Sara Collahan uses it in her article „Analogue”: conceptual connotations of a historical medium. She argues that the so-called digital turn opens the possibility of tapping into analogue photography as a conceptual and cultural sensitivity distinguishable from the technique. Collahan’s suggests that the notion of “the analogue” offers a useful way of thinking about media in terms of ontological and conceptual possibilities, by focusing not on what it means to shift from one medium to another, but what it means to evoke a medium as conceptual content in another medium.
Documentaries from the recent years, like Three Minutes: a Lengthening (2021, Bianca Stigter) or Turn Your Body to the Sun (2021, Aliona van der Horst) are such examples, that excavate the analogue archival material or supplement the missing picture through digital interventions. The documentary ecology of the short fragment is subverted into a rich treasure trove through AI and other digital tools.
In the article entitled To narrate or describe? Experimental documentary beyond docufiction Erika Balsom states that instead of documentary’s dependence on the indexical claim, contemporary documentary is expected to „reinvent itself on the new groundless ground of hybridity”, to more „sophisticated approaches to questions of truth”. Through the selection of films to be scrutinized I propose a revisitation of the status that photography and analogue media in general, hailed as the protoptypical index, gaines in this kind of docu-hybridity. What happens to Roland Barthes’ idea that the noeme of photography is the „this has been”? What is the role of the analogue media inserted in the digital imagery of a contemporary documentary film? Are they reappropriated in order achive an archive effect, as temporal, metaleptic leaps into the past? Are they used to perform an ontological statement, or are they viewed as merely images that produce medially a different type of reality?
The main hypothesis is that documentaries in the digital age increasingly relying on archival images coming from different sources develop new, idiosyncratic methods to produce the “real” and to affect the viewer
Amazing Year 2023: Recent Remakes of Polish Film Classics and their Reception
Get PDFThe year 2023 brought a new phenomenon to Poland’s fairly conservative film landscape. This phenomenon was the appearance of three major remakes of popular Communist-era films, which in themselves were adaptations of earlier 20th century novels.
The 2023 remakes were (1) Forgotten Love (distributed by Netflix) a melodrama set in 1920s, and a remake of a cult classic released in 1981, (2) an animated film Peasants, helmed by DK Welchman and Hugh Welchman, a second adaptation of a canonical novel by Władysław Reymont, following a widely successful Communist-era blockbuster of 1971, and finally (3) Kleks Academy, a children’s film set in a school for aspiring magicians, which was a loose adaptation of a hugely popular book by Jan Brzechwa and followed in the footsteps of a 1983 film adaptation, which was a great hit in the whole of Eastern Bloc in 1980s, spawning three sequels.
As opposed to larger national film industries in which repeated adaptations of the same canonical novels, as well as various forms of remakes, reboots and appropriations are normalized, such as the US or the UK, the advent of the three repeated adaptations in 2023 met with confusion and resistance from many critics and audience-members in Poland. The remakes were called ”unnecesary” and ”presumptuous”, with large sections of reviews devoted to comparative analyses of the earlier and newer adaptations. However, the huge box office success of all three films led to a gradual change of tone of both critics and audiences, who came to grudgingly accept the right of filmmakers to make repeated adaptations of the same material.
My paper will look at the reception of the three films, looking at the tenor of the professional reviews and on the audience opinions voiced on social media and on the Polish film review aggregator website called Filmweb, analyzing the gradual change of tone. My contention is that the lively debate surrounding the three films would not have been possible outside of the digital context. The sense of connectedness, equality and immediacy brought by the social media contributed to the vibrant public conversation around the issues of repeated adaptation, appropriation and fidelity. The case study will hopefully be instrumental in illuminating the broader picture of the change in film reception and media consumption brought by the advent of social media
Radical Mediation, Psychogeography and the Hodologies of Urban Forestness
Get PDFThis paper is an exploration of the notion of forestness – the quality of being forest – in the extended sense that it can be applied to forestness in an urban environment. Conceiving of the forest as a complex set of interacting ecologies, or perhaps networks, traversing different media and forms of mediation, it seeks to make connections between Richard Grusin’s concept of radical mediation and Gilles Deleuze’s very brief theorization of hodology deriving from his take on minimalist art – quite literally that the meaning of individual sculptures are the patterns of movement they require to be experienced. The paper poses the question of what hodologies of forestness exist in an urban environment. This includes human-centred path systems as well as the paths created by multiple other species and the different forms of interconnected hodologies that form the ecosystems of particular senses of forestness across media. Taking its inspiration from psychogeographical approaches, the paper will also consider ways in which we can artistically engage with these hodologies, simultaneously mapping out and rendering existing relations and hodologies intelligible and perceptible across registers and media, and creatively and critically envisioning – and designing – new ones
Challenges in intermedial thinking: Contemplating the database as an expression of the world
Get PDFThe database has been described by Lev Manovich as a key form of cultural expression of the digital present, even as a "symbolic form". It is a way of organizing data, but at the same time this conceptual metaphor encompasses a way of understanding the world or structuring experience. This metaphor also includes issues of memory, its storage and archiving - or rather, in digital media, its persistent degeneration and regeneration, in a preservation that consists in "frequent rereading, erasure and rewriting of the content" (W. Hui Kyiong Chun, P. DeMarinis).
Similar inquiries can be directed towards the oeuvre of contemporary Czech artist Zbyněk Baladrán. Employing an approach akin to that of a "media archaeologist", he delves into the archive or database as both source material and subject of investigation. wherein he scrutinizes diverse cultural records such as fragments of paintings, texts, and films. (Perhaps more than archaeology it’s media “anarchaeology”; S. Zielinsky.) Furthermore, Baladrán probes techniques and manipulative potential inherent in various media forms, embracing montage and assemblage as fundamental principles of engagement.
While these inquiries may initially appear confined to the contemporary art, intermedial thinking is always interested in "old media" as well. Aware of this tradition, I am interested in whether such inquires might "illuminate" forms and practices from before the digital present. For instance, one might consider the collages of Jiří Kolář and his contemporaries from the mid-20th century as manifestations of information sorting, organizational strategies, and reality comprehension. How, then, does the practice of (intermedial) assemblage, alongside the metaphor of the database of the digital present, recalibrate our understanding of such historical precedents