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Orthodox copyright scholarship frames piracy in ‘developing’ countries as a detrimental and illegal practice that results from these countries’ lack of economic, social and cultural development. It argues that piracy needs to be discouraged, regulated, and finally overcome for legitimate business to flourish. In this article, the authors challenge this viewpoint and question whether the implementation of international copyright instruments in legislation across Africa really promotes those local economies or if it merely exposes them to neo-colonial exploitation. While the early international treaties on intellectual property rights (IPR) were formulated by European states and implemented in most parts of Africa through colonial laws, more recent legislation has been globally implemented through institutions such as the United Nations or the World Trade Organization, which remain dominated by Western interests. Through a structured overview of the adoption of IPR treaties in African countries, the authors advance a political economy perspective of intellectual property rights as a (neo-)colonial regime., Les membres de l’école traditionnelle sur les questions de droits d’auteurs mettent en avant le piratage dans les pays « en développement » comme une pratique préjudiciable et illégale qui résulte du manque de développement économique, social et culturel de ces pays. Ils soutiennent que le piratage doit être découragé, réglementé et finalement surmonté pour que le commerce légitime puisse prospérer. À travers cet article, nous remettons en question ce point de vue et nous nous demandons si la mise en place de mesures internationales relatives au droit d’auteur dans la législation à travers le continent africain, favorise réellement ces économies locales ou si elles ne font que les exposer à l’exploitation néo-coloniale. Alors que les premiers traités internationaux sur les droits de propriété intellectuelle étaient formulés par des États européens puis appliqués à travers la plupart des régions d’Afrique à travers les lois coloniales, plus récemment la législation a été globalement mise en oeuvre par des institutions telles que l’Organisation des Nations unies ou l’Organisation mondiale du commerce, qui restent dominées par les intérêts occidentaux. À travers une vue d’ensemble structurée de l’adoption des traités sur les droits de propriété intellectuelle dans les pays africains, nous mettons en avant une perspective d’économie politique des droits de propriété intellectuelle en tant que régime (néo-)colonial.

What Russian people are experiencing today is a conflict of memories of the shared past. The polarization within the society has risen to the extent that the critical approach to the past becomes an insult: one of the recent legislative initiatives in Russian Parliament is to criminalize “insulting patriotic feelings”. The problem of “misinterpretation of history” is used in political rhetoric on such level as “history as a science should serve the national interests of Russia” (as it stated in the thesis of the Russian minister of Culture, Vladimir Medinsky). The most recent Russian cultural policy includes the reconsideration of the 20th century’s history with all its paradoxes that cause heated public discussions. Such exhibitions as “The Orthodox Russia. From the Great Upheavals to the Great Victory” (Moscow Manege, November 2015; on this exhibition Soviet leaders were presented alongside Orthodox clergymen in one heroic narrative, ignoring the fact that the former gave orders to put the latter to death) could serve as illustrations of this process as well as civic initiatives such as “The Last Address” (a Russian analogue of the German Stolperstein project to commemorate the victims of political repressions). In the modern multicultural world, the preservation and dialogue of different identities is a highly significant question. The cultural institutions are historically located on the forefront of the national identity construction and specific role in this process belongs to museums. By studying the controversies in contemporary cultural narratives of Russian museums and the deliberate cultural insulation as a national policy, I intend to contribute to developing a new language for museums to encompass both global and local identities.

Are museums political institutions? This question draws the attention of academic researchers as well as the broader public. In Sweden, where cultural institutions, even if state-funded, are officially autonomous from the ‘political sphere’, the discussion around museums, heritage and politics keeps emerging in traditional media, social networks, political communications, and academic debate. Using analytical perspectives borrowed both from the political sciences and from the memory studies field, this article addresses the role of popular movements in Swedish museum practice and the emerging project of museum for migration and democracy (Museum of Movements) in Malmö as a possible arena for trying out a new form of museum as a civil society institution.

Since the 1970s international law has tried to provide protection for traditional knowledge (TK) and traditional cultural expressions (TCEs). Academics, activists and policymakers have discussed how to apply a legal framework based on Western norms of authorship on various forms of creativity that exist in different traditional communities. While aiming to acknowledge indigenous rights, this discourse also reflects assumptions and distinctions regarding differences between indigenous and non-indigenous cultures, relating to concepts of commons as well as individual and collective authorship. Here certain norms of cultural creativity are taken for granted, not only with regards to indigenous cultures but also regarding a Western cultural heritage. This article questions these assumptions by analyzing international legislation regarding the protection of TCEs and comparing them to the articulation of creativity and cultural entitlements in European cultural and legal discourses. It takes a particular paragraph in the Swedish copyright law, regarding the so called “protection of classics”, as a case study to discuss the inconsistencies between individual authorship and collective cultural entitlements within Western copyright law. Eventually it takes a decolonizing perspective on dichotomies between concepts such as: Western/non-Western; modern/traditional; authored/non-authored and intellectual property/cultural property., Commons and Commodities, finansierat av Vetenskapsrådet och Marie Skldowska Curie Actions Grant E0633901

Det här är en biografi över ett hemligt liv. Om passioner, spioner, kärlek och krig, om resor, svek, ömhet och samvaro. Om ett liv mellan första och andra världskriget. De två som så omsorgsfullt håller sina liv hemliga är Verner von Heidenstam och hans största och sista kärlek, danskan Kate Bang. Martin Kylhammar ger sig på jakt efter spåren av detta hemlighållna liv. De leder till dammiga vindar, bortglömda lådor, undanstoppade kuvert och pärmar. Till hundratals kärleksbrev från Verner, till Kates fascinerande dagböcker om deras tjugoåriga liv tillsammans; rättegångsprotokoll och testamenten, naziagenters infiltrationsrapporter, privatdetektivers undersökningar av hemlighållen erotik ... På så sätt följer vi detta Nobelpristagarpar dag för dag.

The ideas and ideals of authorship and the discourse on property rights that emerged in parallelsince the 18th century have come to form the bedrock of copyright law. Critical copyright scholars arguethat this construction of authorship and ownership contributes to individualisation and privatisationof artistic works that disregards the collective aspects of creativity. It also embodies a certain kind ofauthorial character—or “author function” as Michel Foucault puts it—imbued with racial and genderedpowers and privileges. While the gendered and racialised biases of intellectual property rights are welldocumented within copyright research, the commodification of ideas and cultural expressions relies onindividualisation of creativity that is significant not only to the cultural economy but also to the 20th-centurynotion of the entrepreneur as the protagonist of capitalism. This article relates the idea of the entrepreneurto the deconstruction of authorship that was initiated by Foucault and Roland Barthes in the late 1960s,and the critique of an author-centred IPR regime developed by law scholars in the 1990s. It asks if and howthe deconstruction of the author as a cultural and ideological persona that underpins the privatisationof immaterial resources can help us understand the construction and function of the entrepreneur inextractive capitalism., Commons and Commodities: Knowledge, Natural Resources and the Construction of Property

Through comparative and integrated case studies, this book demonstrates how aesthetics becomes politics in cultural policy. Contributors from Norway, Sweden and the UK analyse exactly what happens when art is considered relevant for societal development, at both a practical and theoretical level. Cultural policy is seen here as a mechanism for translating values, that through organized and practical aesthetical judgement lend different forms of agency to the arts. What happens when aesthetical value is reinterpreted as political value? What kinds of negotiations take place at a cultural policy ground level when values are translated and reinterpreted? By addressing these questions, the editors present an original collection that effectively centralises and investigates the role of aesthetics in cultural policy research.

What does it take to make a museum? A building designed by wor- ld-known ‘starchitect’? Public demand? Authentic and exciting collec- tions to present? Committed staf? Generous sponsors? Depending on the context, more questions might arise. However, the question I aim to address is if there is a demand for museological competence in new museum projects, how this competence is being performed and what perspectives there are for further development. The article analyses and compares two museum projects. The first is the Orthodox Church’s museum at the New Jerusalem Monastery near Moscow, Russia; the second is a pilot study for the national Museum for Democracy and Migration in Malmö, Sweden., Que faut-il pour créer un musée ? Un bâtiment conçu par un architecte reconnu ? Une demande populaire ? Des collections authentiques et intéressantes ? Des employés engagés ? Des mécènes généreux ? La liste peut s’allonger en fonction du contexte. Les questions auxquelles je souhaite répondre ici sont plus spécifiques : Existe-t-il un besoin de compétences en muséologie au sein des projets muséaux ? Com- ment sont utilisées ces compétences et quelles sont leurs perspectives de développements ? Cet article présente deux études de projets de musées : le Musée de l’Eglise Orthodoxe au Monastère de la Nouvelle Jérusalem qui se trouve près de Moscou en Russie et l’étude pilote pour le Musée National de la Démocratie et des Migrations à Malmö en Suède.

This introductory chapter presents the basic idea and topic of the book—the relations between aesthetics and cultural policy. We understand cultural policy as the organized, mainly but not exclusively public support, economic or otherwise, of the production and distribution of cultural expressions. The chapter gives some introductory answers to these questions: What kind of relations are there between aesthetics and cultural policy? And, furthermore, how can concepts from aesthetical theory shed light on cultural policy practice? The main argument of the chapter is that cultural policy is a practical and pragmatic operationalization of aesthetic theory. This vantage point has analytical relevance both for the analysis of cultural policy and for an empirical discussion of central concepts from the aesthetical canon.

This chapter employs the concept of value to shed light on how aesthetical value interacts with political, societal and economic value within cultural policy. The authors summarize how cultural policy measures can be seen to negotiate between the seemingly incompatible. The field of culture is in essence a complex game of values—involving a set of non-monetary and monetary values interwoven in cultural production, dissemination and consumption. A variety of value concepts populates regularly any discourse on culture, whether this discourse is led on economic, political, ideological or aesthetical grounds. A discourse on culture is usually also a discourse on the acknowledgement, explication, creation and measurement of different forms of value—intrinsic or instrumental, economic or symbolic. The chapter ends with a discussion of the potential incommensurability of the values dealt with in cultural policy.

Although aesthetics, primarily in the shape of the arts, can be seen as the raison d’etreof cultural policy, it is seldom in the forefront of cultural policy research. This article focuses on the aesthetics of Concerts Sweden, which was founded in 1968 and closed down in 2010. With the aim to give high quality music to all citizens around the country and its concentration on mobile concerts and the production of records, Concerts Sweden initially rested on a Bildung aesthetics thoroughly elaborated in the white papers underlying its foundation. This Bildung aesthetics was based on classical views on Bildung and the emergence of modern theories of aesthetics, from the late eighteenth century by foremost Immanuel Kant and Friedrich Schiller. Kant changed the way of looking at aesthetics, but in the 20th century his view on the a priori based universal character of aesthetical judgment lost its prior credibility. This is also reflected in the restricted aesthetic claims of most national cultural policies during the century, and in the history of Concerts Sweden (Svenska Rikskonserter), which musical-aesthetic platform changed when the aim to “counteract the negative effects of commercialism” was introduced as one of the goals of the new Swedish national cultural policy in 1974. With the support of this goal Concerts Sweden drifted away from the Bildung aesthetics prescribed for it in the white papers when it was founded, but without explicitly abandoning it. The history of Concerts Sweden shows that aesthetics had a stronger position in Swedish cultural policy prior to its reorganization in the 1970s, when it became more subordinated to political viewpoints. From this point of view, the Swedish cultural policy of music successively takes on a post-aesthetic character from the 1970s, in the sense that it no longer takes principle stands in matters of aesthetics, except in pragmatic ways, as when it for example comes to the assignment of su

Den här avhandlingen handlar det underhåll till sårade och gamla soldater som den svenskastatsmakten organiserade under tidigmodern tid. Undersökningen tar sin utgångspunkt i den tid närstatsmakten började organisera mer omfattande hjälp för soldater, vilket var slutet på Gustav Vasasoch under Erik XIV:s regeringstid i mitten av 1500-talet. Motiven till att statsmakten organiseradehjälp för en del soldater var att dessa skulle ha offrat sin hälsa och arbetsförmåga i kronans tjänst, menså länge statsmakten fortsatte att vara relativt löst organiserad var även hjälpen till soldaterna avganska liten omfattning. Det ändrades under Gustav II Adolfs regering då planerna på att skapa ettkrigsmanshus i Vadstena etablerades, vilka senare genomfördes efter hans död och institutionen kundeta emot de första soldaterna senast 1640. I krigsmanshuset fick ett trettiotal soldater med familjeruppehälle, samtidigt som soldater boende i andra delar av landet fick stöd från krigsmanshuskassansom också administrerades från Vadstena. Mot slutet av 1600-talet blev kassan proportionellt merbetydelsefull än krigsmanshuset och runt år 1700 försörjde kassan flera tusen soldater runtom i riket.1700-talet innebar stora förändringar, bland annat genom att krigen blev färre, att krigaryrket intelängre var lika attraktivt som karriärväg för adelsmän och att statsmakten utvecklade andra mer civiladelar. Behovet av ett krigsmanshus fanns till sist inte längre och institutionen i Vadstena stängde förboende våren 1784, men kassan fanns kvar in på 1970-talet., This dissertation focuses on the maintenance of wounded and old soldiers organized by the Swedishstate in the Early Modern Period. The thesis starts at the time when the government began to organizemore help for soldiers, which was the end of Gustav Vasa’s reign and during that of his son Erik XIVin the mid-16th century. The reasons why the government organized help for some soldiers weremainly that the soldiers would have sacrificed their health and ability to work in their service of theCrown. But as long as the government continued to be relatively loosely organized, the aid to thesoldiers remained on a relatively small scale. This changed under the reign of Gustav II Adolf (ruled1611–1632) when plans for the establishment of the Veteran's Home in Vadstena were established.These plans were later executed after his death and the institution was able to welcome the firstsoldiers by 1640. At the Veteran's Home, some 30 soldiers were kept with families while othersoldiers lived in their home parishes in other parts of the country and were supported by the Veteran’sFund, which was also administered in Vadstena. Towards the end of the 17th century, the fund becameproportionally more important than the Veteran’s Home and around 1700 the fund delivered support toseveral thousand soldiers. The 18th century meant major changes in society, including fewer wars, thatbecoming an officer was no longer as attractive as career path for the nobility, and that the governmentdeveloped other more civilian functions. The need for a Veteran’s Home was no longer the same underthose circumstances and the Veteran’s Home closed for residents in the spring of 1784, but the fundremained until the 1970s.

The actual definition of the museum is articulated around different roles: the preservation of tangible and intangible heritage in addition to research on and communication of knowledge. Consequently, visitors need to trust museums with their interpretation of reality. Historical or national museums hold a central role, insofar as they strongly influence the identity of entire nations. In this article, I will study the ways in which heritage is used to construct politically engaged collective memories and contemporary Russian cultural policies, which promote such uses. In particular, I will analyse the transformation of the 2013‐2016 Moscow Manege exhibitions into an entertainment centre called ‘Russia—my (hi)story’, which is promoted by the Russian Orthodox Church and supported by the authorities. Another case presented herein is the Gulag History Museum in Moscow. My aim is to demonstrate how the cultural heritage is being ‘applied’ to construct historical narratives of the difficult past and what is the relation of cultural policies implemented by the State to this process.

Since the 1990s the patenting a n d commodification of biological resources and traditional knowledge has become a contested phenomenon. This practice comes in many guises: it can be conducted by universities working in collaboration with local communities, by small commercial research companies or by multinational pharmaceutical corporations. Some call it biopiracy while others prefer the term bioprospecting or biodiscovery. The choice of words is significant as it reflects not only different ways to conduct and distribute the revenues from patenting of biological resources, but also different ways to look at the legitimacy of biopatents as such. This chapter takes the Nagoya Protocol – a UN protocol aiming to prevent biopiracy – as an example to discuss how the negotiations over bio patents also reflect different approaches to commodification of nature and the limits of propertization., Table of ContentsIntroduction: Property, Place & Piracy, Martin Fredriksson Almqvist and James ArvanitakisChapter 1: Commons, Piracy and the Crisis of Property, James Arvanitakis, Spike Boydell and Martin Fredriksson AlmqvistChapter 2: The Concept of the Commons in the age of extractionism: From sea to land to code, Martin Fredriksson AlmqvistChapter 3: Property, sovereignty, piracy and the commons: early modern enclosure and the foundation of the state, Sean Johnson AndrewsChapter 4: Unreal Property: Anarchism, Anthropology and Alchemy, Jonathan Marshall & Francesca da Rimini Chapter 5: Piracy and Mobility in Anglophone Atlantic Literature and Culture, Alexandra GanserChapter 6: An Attack to the Growth of the Imperial Body: John Locke, Colonial Piracy, and Property, Sonja Schillings Chapter 7: Piracy and the maritime commons, Amedeo Policante Chapter 8: Compensation in the Absence of Punishment: Rethinking Somali Piracy as a Form of Maritime Xeer, Brittany Gilmer Chapter 9: Creation and protection of private property rights by the state: an Australian case study, Ingrid MatthewsChapter 10: The Knitting Pirate: Craft as Resistance and Property Intervention, Johanna Dahlin Chapter 11: Piracy on the celestial frontier? The ‘NewSpace’ quest for the privatisation of the outer space commons, Matthew Johnson Chapter 12: Outer Space Property and Piracy, Kim EllisChapter 13: 'The Ancestry Land': Land Reclamation and China’s Pursuit of Dominance in the South China Sea, Jingdong YuanChapter 14: Nuclear Testing and the 'Terra Nullius Doctrine': From Life Sciences to Life Writing, Mita Banerjee Chapter 15: Biopiracy or bioprospecting: Negotiating the limits of propertization, Martin Fredriksson Almqvist, Commons and Commodities: Knowledge, Natural Resources and the Construction of Porperty

This chapter aims to set the theoretical framework for this collection by challenging the established, liberal understanding of property. Second, it presents a theoretical overview of piracy. The chapter addresses how a better understanding of the commons allows to problematise the concept of property, which, as this collection highlights, is continuously destabilised through acts of 'piracy'. It discusses the process of enclosure not as an isolated act, but as part of an ideology that prioritises private ownership over the common good. The concept of the commons can be traced back to ancient Rome with discussions of the Res Communes. The immaterial conceptualisation spreads into the 'information commons' that has had a particular political impact in the copyright debates that emerged since the late 1990s. In response to the invisible and 'natural' processes of enclosure, the chpater debates that both the existence and reciprocated exchange of the commons is fundamental in the functioning of authentic and vibrant communities.

This article investigates how resources that are perceived as common are turned into property through different interventions of extractivism, and how this provokes counter-activism from groups and actors who see their rights and living conditions threatened by the practices of extraction. The article looks at how extraction is enacted through three distinct practices: prospecting, enclosure and unbundling, studied through three different cases. The cases involve resources that are material and immaterial, renewable as well as non-renewable, ‘natural’ as well as man-made. Prospecting is exemplified by patenting of genetic resources and traditional knowledge, enclosure is exemplified by debates over copyright expansionism and information commons, and unbundling through conflicts over mining and gas extraction. The article draws on fieldwork involving interviews and participant observation with protesters at contested mining sites in Australia and with digital rights activists from across the world who protest against how the expansion of copyright limits public access to culture and information. The article departs from an understanding of ‘commons’ not as an open access resource, but as a resource shared by a group of people, often subjected to particular social norms that regulate how it can be used. Enclosure and extraction are both social processes, dependent on recognising some and downplaying or misrecognising other social relations when it comes to resources and processes of property creation. These processes are always, regardless of the particular resources at stake, cultural in the sense that the uses of the commons are regulated through cultural norms and contracts, but also that they carry profound cultural and social meanings for those who use them. Finally, the commonalities and heterogeneities of these protest movements are analysed as ‘working in common’, where the resistance to extraction in itself represents a process of commoning., Funding agencies: Swedish Research Council; Marie Skldowska Curie Actions [E0633901, INCA 600398], Commons and Commodities

Over the last decade piracy has emerged as a growing field of research covering a wide range of different phenomena, from fashion counterfeits and media piracy, through to 17th century buccaneers and present-day pirates off the coast of Somalia. In many cases piracy can be a metaphor or an analytical perspective to understand conflicts and social change. This article relates this fascination with piracy as a practice and a metaphor to academia and asks what a pirate methodology of knowledge production could be: how, in other words, researchers and educators can be understood as ‘pirates’ to the corporate university. Drawing on the history of maritime piracy as well as on a discussion on contemporary pirate libraries that disrupt proprietary publishing, the article explores the possibility of a pirate methodology as a way of acting as a researcher and relating to existing norms of knowledge production. The methodology of piratical scholarship involves exploiting the grey zones and loopholes of contemporary academia. It is a tactical intervention that exploits short term opportunities that arise in the machinery of academia to the strategic end of turning a limiting structure into an enabling field of opportunities. We hope that such a concept of pirate methodologies may help us reflect on how sustainable and constructive approaches to knowledge production emerge in the context of a critique of the corporate university.

This chapter takes the Nagoya Protocol a UN protocol aiming to prevent biopiracy as an example to discuss how the negotiations over biopatents also reflect different approaches to commodification of nature and the limits of propertization. These practical problems can potentially be addressed through legislation. The chapter looks at such an initiative on an international level. Another limitation to the Nagoya Protocol is that it does not address the core issue of biopiracy; that is, patents and intellectual property rights in general. It argues that property relates to place in a very specific manner in the context of nuclear testing. Indigenous Australians were hence doubly denied access to the Australian nation: because they held no title to the land, and because they were not given citizenship rights which would extend to them the rights and protection which any nation grants to its citizens., Table of ContentsIntroduction: Property, Place & Piracy, Martin Fredriksson Almqvist and James ArvanitakisChapter 1: Commons, Piracy and the Crisis of Property, James Arvanitakis, Spike Boydell and Martin Fredriksson AlmqvistChapter 2: The Concept of the Commons in the age of extractionism: From sea to land to code, Martin Fredriksson AlmqvistChapter 3: Property, sovereignty, piracy and the commons: early modern enclosure and the foundation of the state, Sean Johnson AndrewsChapter 4: Unreal Property: Anarchism, Anthropology and Alchemy, Jonathan Marshall & Francesca da Rimini Chapter 5: Piracy and Mobility in Anglophone Atlantic Literature and Culture, Alexandra GanserChapter 6: An Attack to the Growth of the Imperial Body: John Locke, Colonial Piracy, and Property, Sonja Schillings Chapter 7: Piracy and the maritime commons, Amedeo Policante Chapter 8: Compensation in the Absence of Punishment: Rethinking Somali Piracy as a Form of Maritime Xeer, Brittany Gilmer Chapter 9: Creation and protection of private property rights by the state: an Australian case study, Ingrid MatthewsChapter 10: The Knitting Pirate: Craft as Resistance and Property Intervention, Johanna Dahlin Chapter 11: Piracy on the celestial frontier? The ‘NewSpace’ quest for the privatisation of the outer space commons, Matthew Johnson Chapter 12: Outer Space Property and Piracy, Kim EllisChapter 13: 'The Ancestry Land': Land Reclamation and China’s Pursuit of Dominance in the South China Sea, Jingdong YuanChapter 14: Nuclear Testing and the 'Terra Nullius Doctrine': From Life Sciences to Life Writing, Mita Banerjee Chapter 15: Biopiracy or bioprospecting: Negotiating the limits of propertization, Martin Fredriksson Almqvist, Commons and Commodities: Knowledge, Natural Resources and the Construction of Porperty

Varför är Norden inte ett enda land i dag? Kristian står i en union som skakas om, vid randen till den nya tiden, och han är ung. 21 år gammal blir han ivägskickad av sin nyckfulle far för att lugna unionens västra delar, till Oslo och Bergen. Han slits mellan de nordiska ärkebiskoparna, adeln i Skåne, på öarna och på Jylland, teokratin i Trondheim, östra Östersjöns fria bönder och, förstås, de mäktiga jordägarna i Mälardalen. Det är en internationell värld, där hela Europa spelar roll och blandar sig i. Kristian var huvudfigur i den strid om Norden som kom att forma oss ända till i dag, fem hundra år senare. Men de som vann ville inte att vi ska få veta vad som gick förlorat. De hade alla skäl att dölja vad som hände. Utan att förstå de här omvälvande åren kan vi luras att tro att historien är enklare och mer rätlinjig än vad den är. Och inget var givet och utstakat när ridån går upp för Erik Peterssons mest omfattande bok hitintills.

This book takes the concept of piracy as a starting point to discuss the instabilityof property as a social construction and how this is spatially situated. Piracyis understood as acts and practices that emerge in zones where the constructionand definition of property is ambiguous. Media piracy is a frequently usedexample where file-sharersand copyright holders argue whether culture andinformation is a common resource to be freely shared or property to be protected.This book highlights that this is not a dilemma unique to immaterialresources: concepts such as property, ownership and the rights of use are just asdiffuse when it comes to spatial resources such as land, water, air or urban space.By structuring the book around this heterogeneous understanding of piracy asan analytical perspective, the editors and contributors advance a transdisciplinaryand multi-theoreticalapproach to place and property. In doing so, thebook moves from theoretical discussions on commons and property to empiricalcases concerning access to and appropriation of land, natural and culturalresources. The chapters cover areas such as maritime piracy, the philosophicaland legal foundations of property rights, mining and land rights, biopiracy andtraditional knowledge, indigenous rights, colonization of space, military expansionismand the enclosure of urban space.This book is essential reading for a variety of disciplines including indigenousstudies, cultural studies, geography, political economy, law, environmentalstudies and all readers concerned with piracy and the ambiguity of property.

The aim of this dissertation is to explore and understand three important social contexts for the becoming of an artistic subjectivity: education, work and family life. The empirical data consist of interview material with alumni from the Royal Institute of Art in Stockholm, staff of the institute, and a survey material from the Swedish National Artists Organization (KRO/KIF). Generally, the thesis employs a theory of conflicting understandings of labour as well as the importance of discourses and narratives for the formation of subjects. The contribution of the thesis is the analysis of a continuing conflict between being and working as an artist actualized in the social contexts explored. The arts education encouraged a romanticized understanding of art as unrelated to market value, which clashed against societal norms of career progression, survival and supporting a family. This conflict informed the subjective way in which the respondents related to their activities as artists, workers and relatives. The concept of freedom can be understood as mediating this conflict in the sense of forming the basis of attraction to the arts but also a burden as it relates to insecurity. The analysis found several subjective representations of the artist that indicate strong norms of individuality and self-direction, understood as the outcome of a working life fraught with personal responsibility for coping with insecurity. As such, the thesis is part of ongoing research on changes in working life towards non-standard and sometimes precarious working conditions., Syftet med avhandlingen är att undersöka och förstå tre betydelsefulla sociala kontexter för konstruktionen av en konstnärlig identitet: utbildning, arbete och familj. Avhandlingens material består av intervjuer med alumner från Kungl. Konsthögskolan i Stockholm, undervisande personal på skolan, samt ett enkätmaterial från Konstnärernas riksorganisation KRO/KIF. Teoretiskt utgår avhandlingen från olika forskningsperspektiv på arbete samt diskursiv och narrativ konstruktion av subjektivitet. Avhandlingen påvisar en kontinuerlig konflikt mellan att vara eller att arbeta som konstnär. Den konstnärliga utbildningen positionerar konsten enligt romantisk tradition i motsättning till marknadslogik vilket efter utbildningen skapar en konflikt för konstnären som måste förhålla sig till normer av karriär, överlevnad av arbete och försörjning av familj. Denna konflikt påverkar hur konstnärerna subjektivt förhåller sig till sin konstnärliga aktivitet, totaliteten av sitt arbete och sin roll som anhöriga. Frihetsbegreppet kan förstås relatera till denna konflikt dels genom att utgöra en attraktion till konsten, dels genom att relatera till osäkerhet. I analysen framträdde flera konstnärliga subjektspositioner vilka alla indikerar starka normer av individualism och självtillräcklighet. Dessa kan relateras till ett arbetsliv karaktäriserat av eget ansvar för att hantera osäkerhet. Avhandlingen är därför del i en pågående forskning kring ett arbetsliv i förändring mot atypiska och även mer prekära arbetsförhållanden.

Artists are known to manage low income and work insecurity by holding multiple jobs. Through an analysis of interview data, this study explores the narratives of 20 visual artists in Sweden regarding breadwinning work. Positive and negative experiences of such work are analyzed in relation to the artists’ work behavior and identity as either ‘bohemian’ or ‘entrepreneurial.’ Breadwinning work may be seen by artists as either enabling autonomy from the market or hindering the construction of a professional identity, depending on these behaviors/identities. However, conditions such as low wage, temporary contracts, and low control over work hours ultimately decides artist’s experiences of breadwinning work. This article adds to the existing knowledge on artistic labour markets by highlighting the role of multiple job holding in mediating between an understanding of the bohemian art for art’s sake artist role and the entrepreneurial role of the artist.

This article takes the politicisation of copyright and file sharing as a starting point to discuss the concept of the commons and the construction of property. Empirically, the article draws on a series of interviews with Pirate Party members in Sweden, Australia, Germany, the UK and USA; placed in the theoretical framework of the commons. We argue that piracy, as an act and an ideology, interrogates common understandings of property as something self-evident, natural and uncontestable. Such constructions found liberal market ideology. The article has two broad aims: to outline the different phases of enclosure, from the physical commons, to the institutional and finally the cultural commons; and to discuss the way that piracy highlights the emergent crisis in private property rights, brought to the fore by the global financial crisis and ongoing privatization of public resources. We conclude by questioning what new modes of enclosure are emerging in a digital economy driven by excessive data mining and centralized streaming services., The Ideology of Piracy

Since the 1990s, the understanding of how and where politics are made has changed radically. Scholars such as Ulrich Beck and Maria Bakardjieva have discussed how political agency is enacted outside of conventional party organizations, and political struggles increasingly focus on single issues. Over the past two decades, this transformation of politics has become common knowledge, not only in academic research but also in the general political discourse. Recently, the proliferation of digital activism and the political use of social media are often understood to enforce these tendencies. This article analyzes the Pirate Party in relation to these theories, relying on almost 30 interviews with active Pirate Party members from different parts of the world. The Pirate Party was initially formed in 2006, focusing on copyright, piracy, and digital privacy. Over the years, it has developed into a more general democracy movement, with an interest in a wider range of issues. This article analyzes how the party’s initial focus on information politics and social media connects to a wider range of political issues and to other social movements, such as Arab Spring protests and Occupy Wall Street. Finally, it discusses how this challenges the understanding of information politics as a single issue agenda., Piratkopieringens ideologi

Since the early days of parliamentary democracy, political movements have tried to cometo terms with the conflict between the struggle for radical political change and the need tobe accepted as a respectable alternative within parliamentary politics. This paper analyzeshow this conflict has played out in the Pirate Party: a political party focusing on issues ofcopyright, surveillance, access to information, and right to privacy in a digital age. Sincethe first Pirate Party was formed in Sweden in 2006, national pirate parties haveemerged across Europe, North America and Australia, and they have occasionally wonrepresentation in different parliaments.This article looks at how the Pirate Party has handled the tensions between radical andreformist fractions, contextualized within contemporary social movement theories. Theconflicts have largely dealt with colliding principles for political organization whereconventional party structures are challenged by new, and assumingly less hierarchic,forms of interaction and decision making inspired by radical, digital protests movements.This study rests on a series of interviews with Pirate Party members in Sweden, the USAand Germany. It analyses the interviews in relation to Ulrich Beck’s and MariaBakardjieva’s theories on subpolitics and subactivism, asking why a movement thatcomes across as the prototype for a decentered, networked, subpolitical movementdecides to organize as a parliamentary political party and what consequences that has hadfor the Pirate Party., Piratkopieringens ideologi: En studie av piratkopiering, upphovsrätt och modernitet i Sverige, USA och Australien

The objectives of this study are to critically map and analyse past and current discussions, negotiations and social processes that take place and relate to conditions created by living in- or monitoring the World Heritage City Angra do Heroísmo in the Azores, Portugal. Based on ethnographic fieldwork and qualitative interviews with the stakeholders in the city, the purpose has been to study how, and with what result and consequences, contested values, interests, rhetoric and powers are mobilized and made into dynamic forces for these stakeholders. Hence, this thesis gives a chronological presentation of selected issues and discussions, which have been taking place in the city from 1980 to 2012. The first subjects attended to are the 1980 earthquake and the nomination process which led to the inscription of Angra to the World Heritage List in 1983. However, some of the core objectives relate to the implications of living in a World Heritage City, given the preservation provisions which follow such a classified area. The aim has further been to assess the point of departure for the official monitors and their views on monitoring a vibrant historical area. The discussions analysed relate to the predicaments occurring when modern development is set up against preservation. However, the analyses show how policies and preservation ideals change, as well as how powers and authorities are challenged and affected by forces within and outside the “authorized heritage discourse”. Finally, this study has assessed the notions of pride, local attachment and identity among the inhabitants in Angra. The World Heritage Status can trigger a double sense of feelings; on the one side it holds emotions related to pride and recognition, on the other it represents obstacles for living- and developing the city in accordance with the present needs. World Heritage and tourism are closely linked, and this investigation explores how the stakeholders in Angra relate to the possibilities and t, Avhandlingen er en kritisk kartlegging og analyse av tidligere og pågående diskusjoner, forhandlinger og sosiale prosesser som er relatert til det å leve i og forvalte verdensarvbyen Angra do Heroísmo på Asorene i Portugal. Basert på etnografisk feltarbeid og kvalitative intervjuer med for eksempel innbyggere, kulturminneforvaltningen, politikere og utviklere har formålet vært å forstå hvordan, og med hvilke konsekvenser, ulike verdier, retorikker, interesser og ressurser er mobilisert og gjort til drivende krefter for disse stakeholderne. Avhandlingen gir en kronologisk fremstilling av utvalgte tematikker og diskusjoner fra 1980 og frem til 2012, hvor de første temaene er knyttet til jordskjelvet som rammet byen i 1980, og den påfølgende nominasjonsprosessen til verdensarvlisten som ga Angra do Heroísmo verdensarvstatus i 1983. Et hovedanliggende for denne avhandlingen er problemstillinger knyttet til det å leve i en verdensarvby, med de restriksjoner som følger et klassifisert område. Videre har målet vært å studere myndighetenes- og kulturminnevernets ståsted og deres bevaringspolitikk. I skjæringspunktet mellom hensynet til bevaring og behovet for utvikling oppstår diskusjoner og forhandlinger, og avhandlingen analyserer utvalgte diskusjoner som hovedsakelig er knyttet til utbyggingsprosjekter. Studien viser imidlertid hvordan bevaringsidealer- og politikk endres, og likeledes hvordan myndigheter og autoriteter utfordres av krefter innenfor og utenfor ‘the authorized heritage discourse’. Avslutningsvis gir avhandlingen en analyse av hvilken betydning verdensarvstatusen har for innbyggerne, noe som berører temaene identitet, stolthet og lokal tilknytning. Verdensarven har således en dobbeltsidig størrelse, som på den ene siden trigger følelser som stolthet og annerkjennelse, mens på den andre siden representerer begrensninger og diskusjoner.

Biographies of scientists occupy a liminal space, highly popular with general readers but questioned in academia. Nonetheless, in recent years, historians of science have not only embraced the genre with more enthusiasm and less guilt, they have also turned to the metabiography in order to renew the study and story of scientists’ roles. This essay focuses on Marie Curie, the world’s most famous female scientist, in order to unpack some of the theoretical and methodological claims of the science biography, and especially to address the sexing mechanisms at play in the construction of the biographical subject. Pierre Curie (1923), Marie’s biography of her husband Pierre, paid tribute to her dead husband and collaborator, but also allowed Curie a legitimate outlet to construct her own persona and legacy. Categories such as personhood, person, and persona are not only central to the biography genre but also are essential to the sense of self and self-fashioning of scientists. Looking at how Marie Curie negotiated these categories in Pierre Curie not only gives new insight into Curie’s self-fashioning strategies but may also shed some light on the more general analytical lacunae of the science biography.

A political battle is being waged over the use and control of culture and information. While media companies and copyright organisations argue for stricter intellectual property laws, a growing body of citizens challenge the contemporary IP-regime. This has seen a political mobilisation of piracy. Pirate parties see themselves as a digital civil rights movement, defending the public domain and the citizen’s right to privacy against copyright expansionism and increased surveillance. Since the first pirate party was formed in Sweden in 2006, similar parties have emerged across the world. This article draws on a study of the culture and ideology of copyright resistance, through interviews with pirate party representatives in Europe and North America. It focuses on challenges to democracy, and the distinction between public and private property and spaces, in the wake of the war on terror and the global financial crisis., Piratkopieringens ideologi: En studie av piratkopiering, upphovsrätt och modernitet i Sverige, USA och Australien

Järnvägsstationer är att betrakta som offentliga platser och regleras av transportpolitiska målsättningar om jämställdhet och tillgänglighet för alla (Prop. 2008/09:93). Trots det saknas forskning om hur genus påverkar resenärer vid deras vardagliga vistelser på järnvägsstationer. Det övergripande syftet med denna avhandling är därför att ur ett genusperspektiv undersöka hur manliga och kvinnliga resenärer i sin vardag använder och upplever järnvägsstationer som fysiska platser och sociala rum. Det empiriska materialet baseras på resedagböcker, intervjuer med resenärer, deltagande observationer och intervjuer med planerare och förvaltare av järnvägsstationer. Kimstad pendeltågsstation, Norrköpings järnvägsstation och Stockholms Centralstation ingår i studien. I avhandlingen kombineras olika teorier som gör det möjligt att betrakta genus som rytm. Genom detta teoretiska ramverk undersöks hur genusmaktordningen återverkar i tid, rum och mobilitet. Resultaten av studien visar att resenärer är påverkade av genusmaktordningen, som återfinns såväl i kollektiva föreställningar som i materialiserade objekt som möter resenärer när de vistas på järnvägsstationerna. Sammanfattningsvis visar studien att såväl manliga som kvinnliga resenärer påverkas av denna maktordning. Även om denna ordning påverkar alla tycks kvinnor vara de som påverkas mest negativt, eftersom de genom en manlig normerad blick betraktas som antingen ärbara eller sexuellt tillgängliga objekt, därutöver att de är tvungna att förhålla sig till risken att utsättas för sexualiserat våld från män. Av dessa anledningar tenderar kvinnors livsrum att inskränkas, oavsett ålder och plats., Railway stations are perceived as public spaces and are regulated by national transport goals of equality and accessibility for all (Prop. 2008/09:93). However, hardly any research has looked at how gender affects commuters in their daily life at railway stations. The overriding aim of this study is to examine how male and female commuters use and experience railway stations as gendered physical places and social spaces, during their daily travels. The empirical material is based on travel diaries, interviews with male and female commuters, participant observations inspired by auto-ethnography and interviews with planners and managers of the railway stations. Stations included in the study are Kimstad commuter rail station, Norrköping railway station and Stockholm Central station (all in Sweden). In this thesis this combination of theories makes it possible to define gender as rhythm. Through this theoretical frame the thesis analyses gendered power relations of bodies in time, space and mobility. Results from the study show that individuals are affected by gendered power relations that dwell in collective believes and in shape of materialized objects that encounter the commuter when visiting the railway station. In conclusion the study shows that both female and male commuters are affected by gender power relations while visiting railway stations. Even though they affect all, women seem to be most negatively affected by these power relations, since women by gender as rhythms are considered as either objects of decency or as sexually available to heterosexual men. Further, female bodies negotiate the risk of encountering sexual violence therefore gender as rythm tend to decrease the extent of women’s everyday living spaces, regardless of age and place.

All over Europe, the founding of new history museums brings to the fore questions as to which stories should be told, which objects should be put on display, for what audiences and with what results and future possibilities. This collection of papers brings together reflections on the nature and roles of history museums on a general level with reports from case studies in Brussels, Berlin, Warsaw and Paris. The cases dwell on the challenges and negotiations of collections, communities and citizenship that arise when polities create new museums. How to balance political and intellectual concerns? The report starts out with the intersection between policy and research, including interventions from the European Commission and reflections on the balancing acts involved in producing research with policy relevance. The conference and the report were co-produced by EuNaMus and the House of European History. The conference proceedings are produced within the three-year research programme EuNaMus – European National Museums: Identity Politics, the Uses of the Past and the European Citizen, coordinated at Tema Q at Linköping University (www.eunamus.eu). EuNaMus explores the creation and power of the heritage created and presented by European national museums to the world, Europe and its states, as an unsurpassable institution in contemporary society. National museums are defined and explored as processes of institutionalized negotiations where material collections and displays make claims and are recognized as articulating and representing national values and realities. Questions asked in the project are why, by whom, when, with what material, with what result and future possibilities are this museums shaped., Correction: The series name on the title page is incorrect. The correct series name is Linköping Electronic Conference Proceedings, No. 83.