Our goal was to establish some form of interpretation between the analytical work of Carl Jung in depth psychology and the views of Marshall McLuhan regarding the impact of media. It was hoped that such a correlation of contrasting viewpoints would yield additional insight in the study of mass reactions to media. In accomplishing this purpose a “universe” based upon analytical psychology was juxtaposed with an expressly “McLuhanesque” analysis of media and technological effects. After establishing correlations between the major dynamics of the two systems, several functional conclusions were reached. These are: (1) that media have an inescapable influence, (2) that media sustain consciousness as their content, (3) that media take a major role in the functions of the unconscious, (4) that media participate in the integration between internal and external, and (5) that media directly effect the requirements for and suitability of symbolic vehicles. These conclusions are the product of correlations between two apparently dichotomous systems; one developed primarily through analyses of external effectors, and the other, primarily through analyses of internal elements. Since our conclusions are not in disagreement with current views in the field, the outcome of our research is in keeping with our goal of adding to available material dealing with the analysis of mass reactions to media.

Le travail de Willem Boshoff s’articule autour de la date charnière d’avril 1994, les premières élections démocratiques en Afrique du Sud. Il fait des sculptures en granite et des installations de matériaux accumulés. L’artiste revendique son attachement à un art basé sur le langage, il est écrivain de dictionnaires. En revisitant les questions posées par les artistes du XXème siècle, textes et œuvres produits en Europe sont systématiquement vérifiés au regard de leur contrepartie sud-africaine. L’attitude de Boshoff, une mélancolique interrogation de son rôle de créateur, s’explique par les conditions politiques et son milieu culturel. L’artiste découvre des façons plus dynamiques de faire geste quand il adopte ce persona du druide. Lors de son objection de conscience au service militaire il avait appris qu’il est mieux de cacher la véritable signification d’un signe ou d’inventer des façons de disqualifier les textes. Les “Notes pour une esthétique aveugle” où l’essentiel n’est pas visible, inventent un dictionnaire à être lu avec les mains. Boshoff interroge ici les théories de perception qui munissent l’artiste sud-africain d’une façon de faire basculer le monde occidental vers une pensée qu’il peut réclamer sienne. La multiplicité des langues en Afrique du Sud s’ouvre à des questions de mémoire, d’écologie, de disparition, d’espace mental, des limites de la ficticité. Boshoff incite son spectateur à une opération de traduction qui peut être envisagée de façon tangible dans des œuvres tels que “Writing in the Sand” et les “Jardins de mots”. Le druide est le berger des mots et des plantes en danger d’oubli. Par le même geste il les protège contre la possibilité d’être pétrifiés ou fossilisés dans une théorie ou dans un dogme. Un champ d’intelligibilité du travail de Boshoff est créé à l’aide d’esprits apparentés: Sarkis, Mofokeng, Baumgarten, Gette, Mudzunga, Ulrichs, Zulu, Kosuth, Wafer, Bochner, Filliou, Darboven, Alÿs, Acconci, Langa, Marshall McLuhan, Ivan Vladislavić. / Willem Boshoff’s work articulates around a pivotal date, April 1994, the first democratic elections in South Africa. He may choose to work gigantic rocks of granite or establish vast installations of accumulated material. The artist claims that his work is based on language, often taking the form of Dictionaries. While reviewing the main questions by artists of the twentieth century, texts or artworks from Europe are systematically tested against their South African counterpart. Boshoff’s attitude is determined by a melancholic questioning of his role as a creator linked to a political situation and cultural milieu. He discovers more dynamic ways of presenting gestures when his artistic activity is related to the way of life of a druid. As a conscientious objector he learnt that it is often better to hide the true signification of a sign or to disqualify a text. Boshoff’s “Notes towards a blind Aesthetic”, where the essential is not visible, invent a dictionary to be read with the hands. Questioning perception theories provides the artist with a way of capsizing the occidental world towards patterns of thinking that he can claim for himself. The multiplicity of languages in South Africa opens up to questions of memory, ecology, disappearance, mental space as a site of creation, experiments with the limits of the fictional. The druid is one exceptional character amongst others in the contemporary art world. Boshoff obliges his visitor to participate in an act of translation which is given provisional but tangible form in such works as “Writing in the Sand” and the “Gardens of Words”. The druid becomes the guardian of words and plants in danger of being forgotten also safeguarding them against being petrified or fossilized into a set theory or dogma. Kindred spirits working on all continents are: Sarkis, Mofokeng, Baumgarten, Mudzunga, Ulrichs, Kosuth, Wafer, Bochner, Gette, Filliou, Darboven, Alÿs, Acconci, Langa, Marshall McLuhan and Ivan Vladislavić.

While today, archival theory is permeated with postmodern ideas and philosophies, borrowing from fields as diverse as anthropology and computer science, even just a few decades ago, this was far from the case. This transition was pioneered and strongly influenced by the imaginative and thought-provoking essays of Hugh Taylor, a Canadian archivist who developed a worldview that positioned archives and archivists at centre stage. Taylor was able to do so as a result of his fascination with the works of the media theorist, Marshall McLuhan, whose ideas Taylor found directly applicable to archives and archival theory. This thesis examines the mental state of Hugh Taylor throughout his life and how this mental state shaped his revolutionary concepts, which delved into epistemology and metaphysics, placing archives at the centre of a universal network of connections. These concepts would go on to drastically change archival theory to what it is today. / October 2016

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I denna uppsats tittar jag närmare på webb-tv och hur användningen av detta medium har utvecklats under de senaste åren. Jag har valt att studera SVT Play eftersom de är störst och att SVT var först av de stora tv-kanalerna i Sverige med en play-tjänst. Med hjälp av Jay David Bolters och Richard Grusins teser kring remediering, Marshall McLuhans filosofiska grunder kring medier, kopplar jag ihop dagens användning av webben som ett tv-medium tillsammans med Pelle Snickars teorier som ger en nutida svensk kontext. Huvuddelen av uppsatsen består av en analys av webb-tv-statistik från 2011 fram till och med första kvartalet 2016. Majoriteten av statistiken kommer från MMS som ansvarar för tv- och webb-tv-mätningar i Sverige. Uppsatsens statistikgenomgång görs utifrån ett helårsperspektiv, månadsperspektiv och ett programspecifikt perspektiv. Programmet jag valt är På spåret och hur webb-tv- publiken till detta program förändrats sedan 2011. Här gör jag även en jämförelse med linjär-tv-tittandet för att se om respektive medium påverkar det andra. På spåret har under de senaste fem säsongerna haft en stabil tv-publik via linjär-tv, med ett tittarsnitt på omkring 2,5 miljoner per avsnitt. Webb-tv-tittandet har däremot ökat kraftigt från och med 2013, vilket samtidigt visar att det är ett medium som kommer att fortsätta växa under de närmsta åren.

The thesis aims to give an overview of the treatment of media in texts that have formed modern dystopian writing and to which new additions in the genre necessarily relate. This set of texts consists of George Orwell's Nineteen Eighty-Four, Aldous Huxley's Brave New World and When the Sleeper Awakes by H. G. Wells; first chapter substantiates this selection and proceeds to define the concepts of "media" and "dystopia". Second chapter is concerned with the understanding of history in dystopian societies and shows that the very concept of historicity is undesirable for a totalitarian state, which seeks to blur history and reduce it to a three-point schema "before the Event - the Event (revolution) - after the Event". Closer analysis then shows that the Event itself can be divided into a further triad that has to be completed in order to pass into eternal post-Event society. Third chapter describes the use of citizens as media and shows that while Huxley's society uses what Michel Foucault calls "biopower" to achieve this goal, Orwell's society rather uses the concept of "discipline". Fourth chapter turns to printed media a the privileged role they are ascribed in the novels: The authors see literature as an embodiment of individuality and, at the same time, as a guarantee of tradition established by an...

Le travail de Willem Boshoff s'articule autour de la date charnière d'avril 1994, les premières élections démocratiques en Afrique du Sud. Il fait des sculptures en granite et des installations de matériaux accumulés. L'artiste revendique son attachement à un art basé sur le langage, il est écrivain de dictionnaires. En revisitant les questions posées par les artistes du XXème siècle, textes et œuvres produits en Europe sont systématiquement vérifiés au regard de leur contrepartie sud-africaine. L'attitude de Boshoff, une mélancolique interrogation de son rôle de créateur, s'explique par les conditions politiques et son milieu culturel. L'artiste découvre des façons plus dynamiques de faire geste quand il adopte ce persona du druide. Lors de son objection de conscience au service militaire il avait appris qu'il est mieux de cacher la véritable signification d'un signe ou d'inventer des façons de disqualifier les textes. Les "Notes pour une esthétique aveugle" où l'essentiel n'est pas visible, inventent un dictionnaire à être lu avec les mains. Boshoff interroge ici les théories de perception qui munissent l'artiste sud-africain d'une façon de faire basculer le monde occidental vers une pensée qu'il peut réclamer sienne. La multiplicité des langues en Afrique du Sud s'ouvre à des questions de mémoire, d'écologie, de disparition, d'espace mental, des limites de la ficticité. Boshoff incite son spectateur à une opération de traduction qui peut être envisagée de façon tangible dans des œuvres tels que "Writing in the Sand" et les "Jardins de mots". Le druide est le berger des mots et des plantes en danger d'oubli. Par le même geste il les protège contre la possibilité d'être pétrifiés ou fossilisés dans une théorie ou dans un dogme. Un champ d'intelligibilité du travail de Boshoff est créé à l'aide d'esprits apparentés: Sarkis, Mofokeng, Baumgarten, Gette, Mudzunga, Ulrichs, Zulu, Kosuth, Wafer, Bochner, Filliou, Darboven, Alÿs, Acconci, Langa, Marshall McLuhan, Ivan Vladislavić.

The professionalization of political parties has significantly altered the means by which parties interact with voters and supporters. The current study is an attempt to examine what these changes in political communication mean for the ability of parties to organize supporters and mobilize them both in a campaign setting and in the longer-term struggle. Habermasian and Gramscian perspectives on the relational aspects of political communication highlight the challenges presented by the growing unidirectionality of communication and the concomitant atrophying of intermediary institutions. Beyond this, the work of Bottici and McLuhan is used to expose the effects of the 'arational' aspects of these changes in both form and content. To test the plausibility of the theoretical insights obtained, the case of the New Democratic Party of Canada is considered. The study concludes by considering the potential of new technological developments for resolving or mitigating concerns identified throughout the thesis. / Graduate

As we speak, analogue film is being phased out of the international film industry. The medium that once reigned in capturing and projecting our world's light and the flow of time, has now been rendered obsolete and replaced by digital media technology. However, analogue film remains, and has come to be increasingly used and investigated in contemporary art. In my essay, I examine how our aesthetic perception of analogue film is changing with this shift to digital film technology. How do we experience analogue film – now that it is both on the verge of disappearing from society and is put in contrast to its digital successor? My investigation is based on the thesis that analogue film is now in a state of change. By analyzing three contemporary artists I attempt to discern how this change is aesthetically articulated, and trace alternative forms of continued existence for analogue film. The British artist Tacita Dean, the Italian artist Rosa Barba and the Swedish artist Alexander Gutke all work with film in their own way, and also in the context of the changed status of analogue film today. Furthermore, I examine the possibility that these artists form an active part of a continuous reshaping of analogue film, which is taking place in the fracture created in this shift to digital media technologies.

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