Since Russia’s invasion of Ukraine on 24 of February 2022, Swedish media have covered the war daily. Alongside the traditional media coverage a blog named Cornucopia, written by the author Lars Wilderäng, has gained popularity for its post about the ongoing war. In this study the blog Cornucopia and Sveriges Television’s, the Swedish public service television company, written live reporting are subject to textual- and quantitative analysis. The research question in this paper is what differs the two in framing, use of sources and interaction between writer and reader and amongst readers. The theoretical framework consists of framing, Digital Media Logic, Social News Logic and Social witnessing. The result shows that Sveriges Television, SVT, mostly use news agencies and statements made by Ukrainian politicians as source of information. Wilderäng mostly collects information from Twitter/X and the linked Twitter-accounts are often run by anonymous users. While the reporting on Cornucopia describes the harsh everyday reality of war SVT focuses more on economic support and sanctions against Russia. SVT has outsourced the interaction to social media platforms. Cornucopia on the other hand, has kept the interaction on the website and its comment field is frequently used.

Tel qu’il a été formulé par Georges Bataille dans Documents, dans les premières décennies du XXe siècle, l’informe s’est avéré être un puissant moteur de réflexion. Il a fait naître des œuvres qui disent s’en inspirer, et motivé un âpre débat théorique sur le véritable sens à lui donner. Qu’est-ce que l’informe, en effet ? Cette catégorie complexe et paradoxale s’avère très fructueuse dans l’analyse des œuvres théoriques, plastiques et littéraires de la Renaissance qui s’intéressent à la naissance des formes. L’utilisation d’une notion anachronique permet de réunir dans un même ensemble les préoccupations concernant les origines de l’œuvre d’art, celles sur la bonne composition, ainsi que celles concernant la Matière et l’Être. Ce travail dégage ainsi ce qui serait une poétique de la forme en devenir, poétique se réclamant de la philosophie néo-aristotélicienne de l’époque mais opérant un élargissement d’horizons et une refonte conceptuelle très éloignés de la pensée antique. / From the early XXth century the Formless, as defined by Georges Bataille in Documents, has revealed itself to be a powerful tool for reflection. It has inspired art works and triggered an ongoing debate about its true meaning, for what is the formless exactly? In search for its essence, this category has proven to be of great value when analyzing theoretical, artistic and literary Renaissance works dealing with the birth of form. The anachronic notion of Formless permits an intertwining of questions regarding the origins of the piece of art, good composition, matter and being. Through this essay we will discuss the poetics of art in the making, so-called (neo)Aristotelian in the XVIth century – poetics in a constant and fluid definition of the Aristotelian meaning enlarged by non-Aristotelian concepts, and categories distant to those attributed to it in classical times.