A short paragraph from the laboratory

Patrik Eriksson

Toward a New Conceptualization of The Wire as a Media Object

Jakob Nilsson

Veils and sunglasses

Thorsten Botz-Bornstein

Editorial: John Sundholm

John Sundholm,Bodil Marie Stavning Thomsen

Sound [signal] noise: significative effects in contemporary sonic art practices

Thomas B？gevald Bj？rnsten

Bodies and real-time interfaces: in video performance and interactive digital 3D installation art by VALIE EXPORT and Jette Gejl Kristensen

Ulla Angkj？r J？rgensen

Screens of intensification: on DIY concert videos of Lady Gaga and the use of media interfaces as tools of experience intensification

Carsten Stage

From signal to signification in interactive environments

Jonas Fritsch

Pulse on pulse: modulation and signification in Rafael Lozano-Hemmer's Pulse Room

Merete Carlson,Ulrik Schmidt

Signaletic, haptic and real-time material

Bodil Marie Stavning Thomsen

Perversion and pathology: a critique of psychoanalytic criticism in art

Lucille Holmes

FOREWORD

Bodil Marie Stavning Thomsen,John Sundholm,Ulla Angkj？r J？rgensen

Fashioning the fashion princess: mediation—transformation—stardom

Therése Andersson

Connect and immerse: a poetry of codes and signals

Jesper Olsson

The Gaze as constituent and annihilator

Mats Carlsson

The post-perspectival: screens and time in David Lynch's Inland Empire

Anne Jerslev

Why do vampires avoid mirrors? Reflections on specularity in the visual arts

Vangelis Athanassopoulos

Experience in-between architecture and context: the New Acropolis Museum, Athens

Annette Svaneklink Jakobsen

Digital finger: beyond phenomenological figures of touch

Mika Elo

Immediation as process and practice of signaletic mattering

Christoph Brunner

Creation and erasure: music video as a signaletic form of practice

Mathias Bonde Korsgaard

Honesty with the real

Marina Garcés

Perceptual-responsive environments: sense and sensibility in Japanese media artist Seiko Mikami's installations

Yvonne Spielmann

Hacking the aesthetic: David Haines and Joyce Hinterding's new ecologies of signal

Andrew Murphie

EDITORIAL

The disruptive aesthetics of hijacking urban space

Thomas Markussen

It has not been—it is. The signaletic transformation of photography

Mette Sandbye

A cinema of presence and proximity: Gunvor Nelson's collage films and the aesthetics of the signaletic material before the electronic signal

John Sundholm

The wor(l)d of the animal. Adorno on art's expression of suffering

Camilla Flodin

Introduction to the dossier on transnational cultural memory

John Sundholm,Adrian Velicu

EDITORIAL

Visions of transnational memory

John Sundholm

Structuralism in architecture: a definition

Lisbeth S？derqvist

The object of fashion: methodological approaches to the history of fashion

Giorgio Riello

Transnational archives: the Canadian case

Julia Creet

Cinematic shots and cuts: on the ethics and semiotics of real violence in film fiction

Erik van Ooijen

Aspects of memory acts: transnational cultural memory and ethics

Steffi Hobu？

The holy fool as a TV hero: about Pavel Lungin's film The Island and the problem of authenticity

Per-Arne Bodin

Towards a poetics of the cinematographic frame

Des O'Rawe

Thinking in networks: artistic–architectural responses to ubiquitous information

Yvonne Spielmann

Cultural memory between the national and the transnational

Adrian Velicu

Traumatic pasts, literary afterlives, and transcultural memory: new directions of literary and media memory studies

Astrid Erll

Transnational sense of place: cinematic scenes of Finnish war child memories

Anna-Kaisa Kuusisto-Arponen

The aesthetic ear: sound art, Jacques Rancière and the politics of listening

Matthew Mullane

EDITORIAL

Astrid S？derbergh Widding,Lars Gustaf Andersson,John Sundholm

Hosting the animal: the art of Kathy High

Irina Aristarkhova

Ingmar Bergman, the biographical legend and the intermedialities of memory

Maaret Koskinen

Passion at the threshold: Doctor Glas the flaneur in the films of Rune Carlstén and Mai Zetterling

Tytti Soila

What it is? A question on the derivation of musical meaning

Michael Laurence Woods