Kulturindustri og sikkerhedsstat. To noter om kritikken af The Wire og en om ”Dread Pirate Roberts”

The central question in this article concerns the current state of critique at the threshold of the digital age of surveillance. How is it in other words possible to respond critically within this new paradigm of the security state, and where should we look to further develop such a possible critical approach? The HBO TV-series The Wire is at the center of this article, due to its focus on surveillance and communication technologies. The overall focus, however, is to follow the critical readings of the series by Slavoj Žižek and Fredric Jameson. Both Žižek and Jameson frame their analysis by insisting on the political implications of the cultural industries. Furthermore, it is a central claim in the present article that it is not possible any longer (maybe it never was possible) to distinguish the infrastructure of the cultural industries from the infrastructure of the security state. For this reason, the analysis is primarily concerned with the inseparability of the communication technologies, the cultural industries and the security state; and the thesis is that a contemporary critique needs to address this infrastructural problem in the midst of our mediated society

ARKIVER OG BARRIKADER - DIGITALISERINGEN AF DR’S RADIOARKIVER I KULTURHISTORISK PERSPEKTIV. RYDNINGEN AF BYGGEREN (1980) SOM EKSEMPEL

ARCHIVES AND BARRICADES | The Danish Broadcasting Corporation (DR) has begun the digitisation of its audio-visual archives. This transformation from analogue to digital archives raises a number of questions regarding the archive-specific character, history and content of the broadcast material. Furthermore, the digitisation process renders visible a number of problems. This includes possible access for researchers, general availability of the content and permission to present archival material in the public domain; problems all related to intellectual property rights. The article will present the historical broadcast archive from a cultural historical and media policy perspective, suggesting that the cultural heritage of state-owned audio-visual archives remains a contested area due not only to the exis-ting copyright laws but to aspects of historical contextualisation as well. The article presents this perspective through a case study consisting of 48 radio programmes all related to the clearing of the children’s playground Byggeren in Copenhagen in May 1980. The case study underlines the complicated institutional and cultural political implications in which the historic audio-visual source material is situated

On the Air/ In the Sky

Erik Granly Jensen med afsæt i Walter Benjamin skriver om hørespillets udvikling og nærmere udfoldelse hos Bachmann

Kentauren fanget i labyrinten

Erik Granly Jensen:Kentauren fanget i labyrintenAnmeldelse af Arne Melberg: Aesthetics of Pros

ARKIVER OG BARRIKADER - DIGITALISERINGEN AF DR’S RADIOARKIVER I KULTURHISTORISK PERSPEKTIV. RYDNINGEN AF BYGGEREN (1980) SOM EKSEMPEL

ARCHIVES AND BARRICADES | The Danish Broadcasting Corporation (DR) has begun the digitisation of its audio-visual archives. This transformation from analogue to digital archives raises a number of questions regarding the archive-specific character, history and content of the broadcast material. Furthermore, the digitisation process renders visible a number of problems. This includes possible access for researchers, general availability of the content and permission to present archival material in the public domain; problems all related to intellectual property rights. The article will present the historical broadcast archive from a cultural historical and media policy perspective, suggesting that the cultural heritage of state-owned audio-visual archives remains a contested area due not only to the exis-ting copyright laws but to aspects of historical contextualisation as well. The article presents this perspective through a case study consisting of 48 radio programmes all related to the clearing of the children’s playground Byggeren in Copenhagen in May 1980. The case study underlines the complicated institutional and cultural political implications in which the historic audio-visual source material is situated

Constituents of a hit parade: Questioning democracy and listener participation in P4 i P1’s Det elektriske barometer

Due to their historically inaccessible nature, public service broadcasters’ media archives have lent themselves primarily to internal refl ection while historical contextualisation of the cultural heritage in these archives has been broadcasters’ prerogative. In this study, digitised material from the Danish youth radio programme P4 i P1’s Det elektriske barometer forms the basis for an experiment into how access to digital archives can inform humanities scholarship. We argue that one important implication of the new digital archives is that they enable approaches independent of broadcasters’ own narratives since they off er the possibility for autonomous study of large quantities of material. The character of listener participation in Det elektriske barometer, which had the slogan ‘the listener-determined hit parade’, is approached from a micro-, meso-, and macro-level employing Carpentier’s concept of participation (2011b), to explore how diff erent approaches to digital archives can provide new answers to media’s self-presentation

Introduction

Introduction to SoundEffects. An Interdisciplinary Journal of Sound and Sound Experience Vol. 1 No. 1