Catrine Brödje om Sofi Qvarnström, Motståndets berättelser: Elin Wägner, Anna Lenah Elgström, Mar... more Catrine Brödje om Sofi Qvarnström, Motståndets berättelser: Elin Wägner, Anna Lenah Elgström, Marika Stiernstedt och första världskrigetHedemora: Gidlund, 2009, 453 s. (diss. Uppsala) Emma Tornborg om Ann Lundvall, Till det omöjligas konst bekänner jag mig: Gunnar Ekelöfs konstsynLund: Ellerströms, 2009, 348 s. (diss. Stockholm) Lina Sjöberg om Annelie Bränström Öhman, »kärlek! och någonting att skratta åt! dessutom«: Sara Lidman och den kärleksfulla blickenSäter: Pang, 2008, 240 s. Lotta Gavel-Adams om Astrid Regnell, Att se stjärnor på ljusa dagen: förvandling och försoning i August Strindbergs En blå bokLund: Ellerströms, 2009, 407 s. (diss. Lund). Ingrid Ryberg om Magnus Ullén, Bara för dig: pornografi, konsumtion, berättandeStockholm: Vertigo, 2009, 372 s.
Emmanuel Levinas (1906-1995), a French philosopher, argued that the human face has a direct conne... more Emmanuel Levinas (1906-1995), a French philosopher, argued that the human face has a direct connection to the ethical dignity of individuals, thus theorizing a widespread idea. Face recognition is already evident in newborn infants; we learn, very early, to 'trust' a face. Face perception not only relates us to and communicates with friends, families and foes but plays an extraordinary role in our interpretation of our social role. Cultural practices may change how we perceive faces, which has been conspicuous in recent debates about the wearing of niqabs to the requirement to wear a face mask in certain situations. The important bond between individual assurance and face recognition can be temporarily disturbed, as evidenced by the widespread use of masks and the unsettling, distorted faces often seen in horror films. Nevertheless, until recently, faces have been fairly stable and convincing entities in a rapidly changing and fragmented world. Human faceswhich we are used to rely upon and to trustsuddenly seem to be malleable, changeable. AI and advanced image-processing techniques have radically changed this. We can no longer trust a face. Faces are altered in films: dead actors are seen acting in blockbusters, old actors become young (as in Martin Scorsese's The Irishman) and AI-driven face apps redesign our faces. A machine operated by artificial intelligence can create faces that we do not recognize as fake. So-called deep fakes not only create fake news but fake events, fictional events that never took place. The digital face determinedly questions what is realwhat is truthful. By way of the terminology suggested in this chapter, we advocate that these changes to a human face are so utterly disturbing because in our everyday life we perceive the human face to have very strong truth claims: based on earlier experiences and cultural contexts, we connect a face to a person and to their identity and intentions. If we sense that there is a risk that the nature of a human face is fake, this puts at risk the perceived truthfulness of several central psychosocial aspects of everyday life. The fact that we recognize people, that we trust what these particular people say, that we interpret their feelings and attitudes through facial expressions and that we can rely upon their identity, creates strong bonds that are violated through their loss of truthfulness. We realize with sudden despair the potential risk of a lacuna being created between what is being said and who, or even what, is stating it.
Recension: Jenny Bjorklund, Hoppets lyrik. Tre diktare och en ny bild av fyrtiotalismen : Ella Hi... more Recension: Jenny Bjorklund, Hoppets lyrik. Tre diktare och en ny bild av fyrtiotalismen : Ella Hillback, Rut Hillarp, Ann-Margret Dahlquist-Ljungberg, Stockholm, Symposion, 2004
SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience, 2012
In this article I investigate how various representations of sound influence temporality and imag... more In this article I investigate how various representations of sound influence temporality and imagery in pictorial poetry. Literary pictorialism can be defined as a phenomenon that occurs when the fictional reality, psychological or physical, in a text is represented as image. A pictorial poem often revolves around one single image and the poem’s subject matter, a scene or a landscape for example, is described as silent and static; the poem is composed in a way that can lead the reader to create a stable mental image of its subject matter. The introduction of sound into such a poem can have various effects; one being that the static mood of the poem is interrupted. It can have other results as well, depending on the kind of sound. Sound can, for example, be represented as a concrete and tangible object, in which case it becomes part of the visual scene represented in the poem. A cognitive approach is used to illustrate and explain the relation between sound and sight in pictorial poe...
Catrine Brödje om Sofi Qvarnström, Motståndets berättelser: Elin Wägner, Anna Lenah Elgström, Mar... more Catrine Brödje om Sofi Qvarnström, Motståndets berättelser: Elin Wägner, Anna Lenah Elgström, Marika Stiernstedt och första världskrigetHedemora: Gidlund, 2009, 453 s. (diss. Uppsala) Emma Tornborg om Ann Lundvall, Till det omöjligas konst bekänner jag mig: Gunnar Ekelöfs konstsynLund: Ellerströms, 2009, 348 s. (diss. Stockholm) Lina Sjöberg om Annelie Bränström Öhman, »kärlek! och någonting att skratta åt! dessutom«: Sara Lidman och den kärleksfulla blickenSäter: Pang, 2008, 240 s. Lotta Gavel-Adams om Astrid Regnell, Att se stjärnor på ljusa dagen: förvandling och försoning i August Strindbergs En blå bokLund: Ellerströms, 2009, 407 s. (diss. Lund). Ingrid Ryberg om Magnus Ullén, Bara för dig: pornografi, konsumtion, berättandeStockholm: Vertigo, 2009, 372 s.
Emmanuel Levinas (1906-1995), a French philosopher, argued that the human face has a direct conne... more Emmanuel Levinas (1906-1995), a French philosopher, argued that the human face has a direct connection to the ethical dignity of individuals, thus theorizing a widespread idea. Face recognition is already evident in newborn infants; we learn, very early, to 'trust' a face. Face perception not only relates us to and communicates with friends, families and foes but plays an extraordinary role in our interpretation of our social role. Cultural practices may change how we perceive faces, which has been conspicuous in recent debates about the wearing of niqabs to the requirement to wear a face mask in certain situations. The important bond between individual assurance and face recognition can be temporarily disturbed, as evidenced by the widespread use of masks and the unsettling, distorted faces often seen in horror films. Nevertheless, until recently, faces have been fairly stable and convincing entities in a rapidly changing and fragmented world. Human faceswhich we are used to rely upon and to trustsuddenly seem to be malleable, changeable. AI and advanced image-processing techniques have radically changed this. We can no longer trust a face. Faces are altered in films: dead actors are seen acting in blockbusters, old actors become young (as in Martin Scorsese's The Irishman) and AI-driven face apps redesign our faces. A machine operated by artificial intelligence can create faces that we do not recognize as fake. So-called deep fakes not only create fake news but fake events, fictional events that never took place. The digital face determinedly questions what is realwhat is truthful. By way of the terminology suggested in this chapter, we advocate that these changes to a human face are so utterly disturbing because in our everyday life we perceive the human face to have very strong truth claims: based on earlier experiences and cultural contexts, we connect a face to a person and to their identity and intentions. If we sense that there is a risk that the nature of a human face is fake, this puts at risk the perceived truthfulness of several central psychosocial aspects of everyday life. The fact that we recognize people, that we trust what these particular people say, that we interpret their feelings and attitudes through facial expressions and that we can rely upon their identity, creates strong bonds that are violated through their loss of truthfulness. We realize with sudden despair the potential risk of a lacuna being created between what is being said and who, or even what, is stating it.
Recension: Jenny Bjorklund, Hoppets lyrik. Tre diktare och en ny bild av fyrtiotalismen : Ella Hi... more Recension: Jenny Bjorklund, Hoppets lyrik. Tre diktare och en ny bild av fyrtiotalismen : Ella Hillback, Rut Hillarp, Ann-Margret Dahlquist-Ljungberg, Stockholm, Symposion, 2004
SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience, 2012
In this article I investigate how various representations of sound influence temporality and imag... more In this article I investigate how various representations of sound influence temporality and imagery in pictorial poetry. Literary pictorialism can be defined as a phenomenon that occurs when the fictional reality, psychological or physical, in a text is represented as image. A pictorial poem often revolves around one single image and the poem’s subject matter, a scene or a landscape for example, is described as silent and static; the poem is composed in a way that can lead the reader to create a stable mental image of its subject matter. The introduction of sound into such a poem can have various effects; one being that the static mood of the poem is interrupted. It can have other results as well, depending on the kind of sound. Sound can, for example, be represented as a concrete and tangible object, in which case it becomes part of the visual scene represented in the poem. A cognitive approach is used to illustrate and explain the relation between sound and sight in pictorial poe...
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