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The article introduces the Digital Story Model. The model is made with the ambition to improve and enrich digital stories done by journalism students, professional journalists and other kinds of digital storytellers . In the study we adopt an action-based research approach and test the model in an international classroom setting with 85 journalism students representing 35 countries. The findings of students' experiences with applying the model point to a number of strengths and shortcomings. Strengths include the model as a structuring and planning tool, as a way to benefit creativity, as a shared language in an international group and as an assistance in considering the potential story modalities. Shortcomings include the model preventing creativity and creating standardized stories, the model being mostly beneficial for inexperienced reporters and being too linear. The study concludes that there is a significant usefulness of the model when it comes to enriching digital storytelling but also a need to revise the model further and to alter the way it is presented in the classroom.

ABSTRACT In a recent issue of Art History, editors Cathrine Grant and Dorothy Price ask what it would mean to think about art history and colonial history (and in particular decolonization) together. In this article, we continue this conversation in a Danish context, asking: What emerges if we approach Danish art history in light of colonial history and its material and conceptual logics? Our aim is to contribute to critical discussions of art history as discipline by attending to the “contact zones” (Pratt 1992) between art history and colonial history in a Danish and Nordic perspective. With a starting point in an analysis of “colonial ignorance” and methodological nationalism in Danish art history – and in the art museum in particular – the article analyzes two artworks in order to suggest how decolonial perspectives invite a renegotiation of what objects and questions are of relevance and value to art history today.

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Temaintroduktion til Periskop nr. 25

Med inspiration fra en sociologisk fænomenologisk tilgang undersøger denne artikel den levede erfaring med Kronisk Obstruktiv Lungesygdom (KOL), og hvordan sociale relationer meddefinerer den enkeltes situation og valg af strategier. Via 4 portrætter udfoldes, hvordan sociale relationer, fællesskaber og kontakter til sundhedsprofessionelle tegner de konkrete erfaringer med hverdagens håndtering af sygdomstegn og symptomer. Undersøgelsen bidrager til eksisterende viden om ulighed i sundhed ved at rette fokus mod sammenhængen mellem social kapital og de reelle muligheder for at håndtere sygdomstegn og symptomer i hverdagen. Dermed illustrerer analysen også, hvordan konkret omsætning af en stærkt individorienteret tilgang til sygdom og sundhed, som den udmønter sig i bl.a. et centralt begreb som egenomsorg, i sin realisering er betinget af individets mulighed for at trække på relevante sociale netværk. Vores bidrag er væsentligt af to grunde. Dels viser det, at en øget bevidsthed om sociale relationers betydning for den individuelle daglige håndtering af KOL styrker de sundhedsprofessionelles direkte samspil med patienter og pårørende omkring dette. Dels illustrerer det, at en vej til at reducere ulighed i sundhed mere generelt går via øget opmærksomhed på betydningen af at styrke forskellige former for sociale netværk og den enkeltes anknytningsmuligheder hertil, i sundhedsvæsenet og i samfundet som helhed.

In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was supposed to deal with the role of the museum in the 21st century. This article focuses on the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s Abandon the Parents. The article claims that these exhibitions can be seen as working within the tradition of institutional critique, but also after it; through curating some of the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics and the Wunderkammer aesthetics. As such, the exhibitions do not only present a critique but can also be seen as pragmatic suggestions for how to curate, how to think the collections and exhibitions. In the article, the institutional critique of Olesen’s and Steinbach’s exhibitions will be read through another critical position: the Danish art criticism. In other words, this article does not only focus on how the institutional critique was visualized and performed in the exhibitions, but how this critique was discussed and read in written art criticism. This is not to say that art criticism and institutional critique can be wholly separated, but to see how these two forms of critique can say something about museums today. And more specifically, what affects can be read out of the art criticism, when the exhibitions they criticize are so clearly contextualized (by the museum) as institutional critique?

Temaintroduktion

TEMAINTRODUKTION. Generationer: Genlæsninger og reaktualiseringer

On the 10th of March 1914, Mary Richardson went into the National Gallery in London and attacked Diego Velázquez’ Venus del espejo (1647-51) with around seven cuts from an axe before she was stopped by the museum guard. Richardson was one of the English suffragettes that since 1903 had been organized in Women’s Social and Political Union. The suffragettes organized more or less violent demonstrations and actions in order to create focus on the lack of women’s right to vote. In 1913-14 they attacked works and objects in English museum collections. Seen through the violent attacks by the suffragettes, museum collections appear as places where an ongoing fight for visibility, history, and identity exists. With the suffragettes’ attacks in museum collections as a starting point, this article will analyze contemporary works of art that cut, slit, and burn different white surfaces in the museum space: Annarosa Krøyer Holm’s Tent (2015), La Vaughn Belle’s Cuts and Burns (2016), and Carla Zaccagnini’s Elements of Beauty (2012). These are works that have an aesthetic connection through the white colour and through the very tangible incisions that break the surfaces of the works. These are works that not only engage different historical moments, but also make cuts in these histories. Through a reading of the works, the article seeks to ask how it is possible to (re-)read the museum’s space as a place filled with violence and pain? This is done through a queer feminist and decolonial perspective.

This article deals with pedagogical practices on the basic carpentry VET programme in Denmark. On the basis of an anthropologically inspired study among carpentry students at two VET schools, the prime objective of analysis is to understand the various pedagogical practices from the students' perspective. Various different teaching situations are analysed and discussed with regard to their impact on the students' motivation for participation as well as development of independent reflection skills. My argument is that the students look to the teachers for active support in their professional development. Without this active teacher support, the students become disengaged and demotivated and risk dropping out. This is especially clear at the beginning of the programme.

I dette nummer er følgnde bøger blevet anmeldt:Nina Lykke: Kønsforskning – en guide til feministisk teori, metodologi og skrift. Forlaget Samfundslitteratur, 2008.Nanna Mik-Meyer & Mette Brehm Johansen: Magtfulde diagnoser og diffuse lidelser. Samfundslitteratur, 2009.Sofia Sjö: Spelar kön någon roll när man räddar världen? – Kvinnor, kvinnligheter och mes- siasmyter i SF-film. Åbo Akademis förlag, 2007.Helle Hvenegård-Lassen: Et andet hjem – Kvindelig Læseforenings historie 1872- 1962. Museum Tusculanums Forlag, 2008.

A. K. Gjerløff og T. V. Jensen Svin – kvalitet og kontrol. (Pigs – quality and control). This article describes control measures and standardization processes in Danish pork production around 1900. The aim of the production was to create The Good Meat by rationalizing and standardising the body of the pig. Concomitant with this, theories about hygiene and microorganisms influenced veterinarian science, and professional meat control was gradually introduced. A historical analysis of the health and quality control of the slaughterhouses shows how demands about the meat together with economic and political agendas determined the character of the pig's body. Focus was on the thickness and qualities of fat, but rather based on economic than nutritional incentives. So ideals about the good pork were developed with a standardized presence of fat and absence of disease. These ideals were continued and can be found again in later body ideals – animal as well as human.

I dette nummer anmeldes følgende: "Børn i sammenbraget familier. Et studie af forældreskab som social konstruktion" (Mai Heide Ottosen), "Arbejdsmarkedsstyrelsen 1997" (Ruth Emerek m.fl. (red.)), "Køn & Løn" (Lis Højgaard), "Tegnet på kropppen" (Dorte Marie Søndergård), "Stadser" (Rune Gade), "Dolken og såret" (Jens Hougaard), "Litteratur og kjønn i Norden" (Helga Kress (red.))