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This study focuses on the Nordic model of Extended Collective Licenses (ECL) and how this model can be used in the process of digitalising and publishing archival material such as photos, letters, maps or films. The question that this study aims to deal with is what advantages, and disadvantages, there are for archives and copyright holders when an ECL is being used. To help answering this question the ‘theory of the knowledge commons’ has been applied. The research question has been answered through a text analysis based on legal texts including Swedish law. To get a wider perspective, international literature such as official and law-binding documents from the Nordic countries and the European Union have also been consulted. Policies and contributions to the debate about making cultural heritage available online have also been included to give light to the complexity of the question. In 2013 the Swedish copyright law was changed to facilitate for certain archives and libraries to sign an agreement with a so called Collective Administration Organization (CAO). There are no examples of ECLs being used by Swedish archives for classical archival materials even if the possibility to draw up this type of agreements has existed since 2005. One of the reasons might be the complexity of the law and that the archival institutions have problems of interpreting it. The institutions often avoid providing access to their materials online or choose material they know is in the public domain already. Finding copyright holders before publishing material online is time-consuming. One of the major advantages of functional ECLs is that they save time and resources – both for the archival institutions and the copyright holders. The ECLs provide an opportunity for the archival institutions to share their collections with the public and the copyrights holders get an organized way to communicate their terms and conditions. This is a two years master’s thesis in Archive, Library and Museum studies.

The investigation analyzed the implementation and application of the Swedish National Archives' new Process-Oriented Archives Description Model to activities of the hierarchical, function-oriented and decentralized university organizations. The basic reason why a new archive description has evolved is because documents are becoming more and more digital. It requires a new interpretation of how evidence is secured for their reliability and authenticity, and a new way of looking at provenance, for the purpose of describing and searching electronic documents. The new archive description model's logical structure is based on business processes. The relationship between the new archive description and a function-oriented organization's activities can be seen from the different outlooks of processes between archive activities and activities of the organization. It is also reflected in the modification that all universities have made ​​of the new archive description model to be more flexible and pragmatic to fit a function-oriented organization. The relationship between provenance and process-oriented archive description is mainly the link between documents and business processes that produce them. For that reason, provenance with greater clarity fulfills the Archives Act and the Freedom of the Press Act. But provenance is often undermined by the identification and mapping of processes and by the classification of documents. A consequence for the introduction of process-oriented archive description is that both archival description and the role of the archivist have been recognized of a higher importance in the organization today. There are also other types of records and information issues that have been identified and considered. This is a two years master’s thesis in Archival Science.

De senaste åren har begreppet participation har blivit ett centralt tema inom arkivprofessionen och den akademiska arkivvetenskapliga litteraturen. Trots detta råder det stor osäkerhet kring vad participation innebär i arkivsammanhang. Tidigare forskning visar att arkivarier till och med kan känna rädsla för att förlora sin auktoritet och bli överflödiga i det annalkande deltagande arkivet. Därför genomför jag en normstudie med avsikten att att öka förståelsen kring deltagandets villkor genom att analysera participationens grundförutsättningar, normerna i världens mest framgångsrika wiki projekt, participationskulturen Wikipedia. Med en normvetenskaplig ansats och med normmodellen som verktyg analyserar jag dels ett urval av Wikipedias normativa dokument och genomför en normanalys på mikronivå av en diskussionssida för att besvara frågorna; Vilka formella normer styr och påverkar samverkan i svenska Wikipedia? och Vad kännetecknar dessa normer? Jag identifierar 6 kategorier som är kännetecknande för de formella normerna i svenska Wikipedia, Mening och innehåll, Mening och identitet, Beteende, Rättslig, Organisation och koordination och Formella processer. Tillsammans bildar de ett genomgripande mönster av värden, förväntningar och krav som blottlägger villkoren för participation i deltagande kulturen Wikipedia. Kraven som ställs handlar inte om att upprätthålla maktstrukturer, utan kraven handlar ytterst om samverkan. De befäster värden för att forma en gemenskap som samverkar mot ett gemensamt mål. Participationens grundval utgörs således av ett normsystem som inte bara styr och påverkar samverkan utan ställer villkoret att deltagarna samverkar. Denna samverkan är beroende av det socioteknologiska normsystemet och av Wikipedias auktoriteter, utvalda administratörer med högre behörigheter och med befogenheter att sanktionera normbrott. Deltagande medger frihet men aldrig förutsättningslöst. Villkoren som ställs handlar ofta om att deltagarna ska sträva efter samförstånd och visa anständighet, artighet och respekt, och värden som upprepas är ordning och kontroll. Jag drar slutsatsen arkivarierna i ett framtida deltagande arkiv aldrig kommer att bli överflödiga. Arkivariernas kunskap, engagemang och auktoritet kommer att vara nödvändig på samma sätt som Wikipedias administratörer är nödvändiga för att beskydda Wikipedia och dess värden.

This study looks at two Swedish image databases of vastly different scale and how they have decided to apply metadata in relation to gender. The databases in question are Kringla, which is a massive database containing more than 2 million photographs from all over Sweden. The second database is Stockholms digitala stadsmusuem’s (Stockholm’s digital museum) database and it is much smaller and contains mostly images from, and around, the city of Stockholm. As a theoretical base I have used Yvonne Hirdman’s theory of men as a social norm (man-lighetsnorm) and applied it on the type of metadata that was applied to images containing men and women. The study also contains a quantitative element where I documented the amount of hits certain gendered, and non-gendered, search terms generated and then discussed them through a Terry Cook and Joan Schwartz inspired lens of power dynamics and archives.

Syftet med uppsatsen är att undersöka och synliggöra filmskaparens förhållande till konst och forskning. Under åtta år i olika perioder har filmprojektet Kropparnas Arkiv, pågått som jag parallellt med uppsatsen har slutfört. Filmen väver samman konst och forskning i ett möte mellan konstnär och forskare. Såväl i samtal med filmkollegor som inför nya filmprojekt framträder frågan, hur kan man söka det man inte vet vad det är? Detta kom nu att bli min forskningsfråga. Syftet är att efterforska och reflektera över hur den konstnärliga processen kan fördjupas inom mitt filmskapande. Jag har valt att intervjua tre kvinnor, en konstnär, en skådespelare tillika regissör och en forskare. Mitt urval gör inte anspråk på att vara representativt. Att skådespelaren, regissören och konstnären har beröringspunkter med mig, filmskaparen kan kanske vara mer uppenbart än att forskaren har det. Men är det verkligen så? Målet är att få syn på om det finns likheter, olikheter, vad som skiljer eller vad som förenar de tre intervjuade, i det här sammanhanget kallade informanter, med filmskaparen. Svaren från de intervjuade har jag sorterat under teman som –val eller urskiljning–praktisk nyfikenhet eller kreativitet och slutligen att framkalla det oväntade. I min undersökning använder jag mig av kvalitativa metoder, analyserar svaren och teoretiserar kring dem. Den fenomenologiska hermeneutiken tillika toposläran har varit ryggraden i min undersökning. Det är oundvikligt att Aristoteles och hans tankegångar är fundamentet till teorier och reflektioner som jag tillämpar i uppsatsen. Min ambition är att kunna ta med mig den konstnärliga blicken in i vetenskapsvärlden, att kunna ge en dubbel blick på den vetenskapliga terrängen, ett sätt som jag menar kan förmera och bidra till att vidga mitt seende. Hur och på vilket sätt finns det beröringspunkter och likheter mellan film, konst och forskning–humanismen och naturvetenskapen? Att svara på min forskningsfråga har varit en metod för att synliggöra en process, knappt mätbar men ändå synlig för den som vill se. Frågan skapar en process som speglar de intervjuades förhållningsätt till olika problemställningar inom deras arbetsområde och hur de går vidare i sökandet. Utmärkande för alla är gränser, både att skapa och att överskrida. För att spränga gränser är det nödvändigt att bryta tankebanor och begränsningar, något som alla informanterna gör. Det bekanta behövs för att utforska det obekanta. / Fear not going astray – discover the unknown A filmmaker’s take on art and science   The purpose of this essay is to examine and make visible the filmmaker’s relation to art and scientific research regarding the investigation of new knowledge. Can art and science meet, and in what way do they connect? I have finished Secrets of Animal Anatomy (aka Kropparnas Arkiv), a film project I was working on for eight years. I finished it while I was writing on this essay. The film combines art and science in a meeting between an artist and a scientist. During the process, the question arose: how can you search for something when you don’t even know what it is you are searching for?. It is not wholly new, but has been implicit in discussions with colleagues and in film projects. This became my scientific question. My aim is to investigate how to make the artistic process of filmmaking and film deeper, by reflecting upon and investigating this question. I have chosen to interview three women – one artist, one actor-director, and one scientist. The selection is not meant to be representative. It may seem obvious that the actor, director and artist have more in common with each other than with the scientist, but is this necessarily true? Using this question as a starting point, I aim at finding out differences and similarities between the three interviewees and the filmmaker. I have categorised the interviewees’ answers under different themes like “Choice or distinguishing”, “Curiosity in practice or creativity”, and “To evoke the unexpected”. In my investigation, I employ qualitative methods; I analyse the answers and then theorise. Phenomenological hermeneutics, or Topos theory, has been the backbone of my study. It is undoubtedly so, that Aristotle and his thinking is the foundation of the theories and thoughts that I apply in this essay.   My ambition is to bring the artistic vision to the scientific world, and to view the terrain of science with a double gaze, which I believe can contribute to an understanding both wider and deeper. Is there a strong connection and strong similarities between film, art, and science, and are these three entities prerequisites for one another – humanities and science? Answering my question has been a method to make visible a method, barely measurable yet visible for those willing to see it. The question gives rise to a process, reflecting the interviewees’ stance on different problems within the scope of their work, and how they proceed in their search. What they all have in common is boundaries, creating them and transcending them. In order to break boundaries, it is necessary to create new lines of thought and transcend limitations. This is something common to all informants. The known is necessary to examine the unknown.

Examensarbetet berör frågor kring arkivering och dokumenthantering på stads-byggnadsförvaltningen i Trollhättans kommun. Problem som kommunen har är dagslägets hantering av digitala filer. / Se mailadressen

The starting point of this paper has to do with rapid changes within the information technology and the need for agile and fast systems. The primary goal is to investigate what happens with recordkeeping practices in agile environments like service oriented architecture (SOA). It is in the possible transfer between IT architecture and digital archive the area of this paper resides. The paper relates to the Records Continuum model by which records will be considered historical and active at the time of creation. In the Records Continuum model recordkeeping practices and archival requirements will have to be taken into account at the time of creation. This paper concerns SOA from the perspective of Archival and Information science. It describes the different parts that make it possible to achieve a SOA with emphasis on those parts which have the most impact on the requirements of a digital archive. The main requirements discussed in this paper are the principle of provenance, the need to ensure that records remain authentic, reliable and keep their integrity and usability over time. The issue of keeping track of information and activities in a SOA is also discussed. It is established that records which need to fulfil the requirements mentioned above do exists in a SOA. The purpose of this paper is to investigate whether or not the principle of provenance and the archival requirements will be affected by SOA, and whether or not the requirements can be fulfilled over time. Information collection for this paper is basically through studies of literature and information gathering on the Internet. The method is descriptive and comparison between the information gathered has been made. In addition one short interview has been undertaken with Skatteverket, a government that are in the process of implementing both SOA and a digital archive. The main purpose with the interview was to find out if there are any collaboration between SOA and the digital archive at Skatteverket. The results indicate that a lot of the problem concerning preservation of digital records over time also applies for SOA, such as the lack of sustainable format and media and the potential loss of information. However some successful implementations of digital archives based on the OAIS-model with SOA as tool for realising the digital archive has been found. The archival requirements and the principle of provenance will be affected by SOA but it is only when there is a connection between SOA and a digital archive that it is possible to secure some of the archival requirements.

The aim of the thesis is that, from a postmodern archival theoretical perspective, investigate how two personal archives after famous authors Selma Lagerlöf and Astrid Lindgren are arranged, described and presented at KB, the National Library of Sweden. The thesis investigates what constructed image the collections presents, who the supposed user of the archives is, how the collections are accessible and their role as important sources within the humanities research. The study involved the collections digital archive presentations and four different texts that all discuss the archives. The method chosen was qualitative research methodology and critical discourse theory. The analysis included a study of the level of text, discursive practice and social practice. The results showed that specific usage of language and words have a vast impact on the construction of the narrative. Both postmodern archival theory and critical discourse theory enables the exposition of the relations of power and ideology that these discursive and social practices hold. This leads to the conclusion that the majority of knowledge are socially constructed and that archives holds power by promoting one narrative over another. In personal archives this also plays a big role in the construction of identity and in identity politics.

The aim of this thesis is to examine what kind of archival issues have been discussed in the legislation process that lead to the Swedish national Data Protection Act and the associated regulation with additional terms, if achange in focus occurred during this process and examine how these results show about how legislative actorsview personal privacy. To answer that aim a critical discourse analysis of the legislative documents from theGeneral Data Protection Regulation (GDPR) leading up to the complete legislative acts was used in combinationwith Pekka Henttonens theory about how the nature of privacy issues has changed in a more digitalized environment. A result of the analysis is that the themes of the archival issues that is being discussed in the legislative processis mostly related to general rules, sensitive information, safe guards, further processing, archival materialthat has been submitted to an archive authority, and certain exceptions from some of the rights of the data subject.These themes are being discussed both in relation to those kinds of archives that is governed by archivallegislation and those kinds of archives that are not governed by archival legislation. Another result of the study isthat even though several attempts to affect the legislative process is made by respondents very few changes isactually made after the inquiry report is completed. The last result of the study is that the legislative actors havenot fully changed their view on privacy, even though some aspects of it has changed.This is a two years master’s thesis in Archival Science.