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Kjus, Yngvar
(2024).
Panelsamtale under lanseringen av boken "Parody in the age of remix" .
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Kjus, Yngvar
(2024).
Endelig rettferdig? Norsk musikkbransjes forventninger til EUs direktiv om opphavsrett i digitale markeder. .
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Kjus, Yngvar
(2023).
The rise of music production platforms.
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Kjus, Yngvar
(2023).
Working on the (value) chain: A study of how technology companies intervene in music production in the online era.
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Kjus, Yngvar; Kraugerud, Emil & Skjerdal, Øyvind
(2023).
Frokostseminar på Popsenteret om musikk, kreativitet og teknologi .
Show summary
På mandag 24. april har vi invitert Hanne Hukkelberg, Kristine Hoff, Christian Blom og Fartein Orestad for å snakke om hvordan musikk skapes, med hvilke metoder og teknologier. Vi som inviterer har startet et forskningsprosjekt om musikkproduksjon i digitale omgivelser, og ønsker nå å få informasjon, inspirasjon og tilbakemeldinger om hvordan kreativt arbeid med musikk foregår i vår tid.
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Kjus, Yngvar
(2022).
Is music production undergoing platformization? If so, how, and with what effects?
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Kjus, Yngvar; Brøvig, Ragnhild & Wang, Solveig Margrethe
(2022).
Encountering new technology: A study of how female creators explore DAWs.
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Kjus, Yngvar; Brøvig-Hanssen, Ragnhild & Wang, Solveig Margrethe
(2022).
Getting onto the platforms of music production: How women negotiate the creative opportunities of digital audio workstations.
Show summary
The topic of this paper is the encounter with new technology and the exploration of its potential in creative work. More specifically, it looks at experiences with digital audio workstations (DAWs), such as Ableton and Logic, which during a few decades have been established as almost indispensable software for composing songs, shaping sounds and refining expressions, among other things. We ask what characterizes the early and potentially formative encounters with DAWs, probing how beginners relate to opportunities and obstacles for their creative ambitions. Our study focuses on female creators, who often are underrepresented in music production. The study will shed light on the conditions of, and the potential barriers for, women to take part in contemporary music production, thereby also illuminating the pathway for others who begin to use DAW platforms in their music making.
There exists considerable research on the development of new music technology and on the creative processes of production, including how the use of DAWs entail innovations in musical expression (e.g. Bennett and Bates 2018, Brøvig-Hanssen and Danielsen 2016, Kjus 2018, Zagorski-Thomas 2012). There are few studies, however, on how creators encounter technology which is new to them. This can be seen as an explorative sense-making process that music makers go through when they discover the tools and techniques they want to use. Insights from research on perceptual processes can contribute to our understanding of how individuals chart possibilities and limitations in their environment, over time developing awareness of nuances and variations in the musical affordances of tools and technologies (e.g. Clarke 2005). We are interested in how beginners explore the architecture of DAW programs and how they develop competency in the use of different functionalities and effects. Moreover, we are interested in the significance of DAWs for creative processes, whether they are used to continuate existing workflows or to develop musical materials, effects and structures in new ways. We are thereby interested in how the use of DAWs stimulates (or obstructs) different kinds of creativity, and will thereby lean on literature on creative processes (e.g. McIntyre 2011, Csikszentmihalyi 1996). One aspect of creativity is the ability to identify problems as well as solutions, which for music makers involves various issues regarding the construction and articulation of sounding expressions. One of the things we explore is the extent to which the problems/solutions of music making is being entwined with the problems/solutions of using DAWs.
The primary method of the study is qualitative interviews with female musicians, probing various aspects of their experience with using DAWs with specific attention to their accounts of creative gratification as well as to technology-induced frustrations. Our informants (n=11) are recruited from DAW introduction courses, where we also carried out field observation and interviews with experienced instructors as part of our ambition to identify patterns in the appropriation and utilization of DAWs.
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Kjus, Yngvar
(2021).
Collective musicking on DAW platforms?
Show summary
This talk will present key aims of the project “Platformization of music production: Developer and user perspectives on transformations of production technology in the online environment”. The project focuses on digital audio workstations (DAWs) such as Logic Pro and BandLab and the ways in which these networked clusters of music technologies are reshaping the foundations of creative audio work, including composition, performance, and collaboration. This presentation will discuss the extent to which the response (ranging from comprehensive employment to rejection) to technological advances is conditioned by collectives, whether they are informal genre communities or more formalized institutions of art and education. Music making entails various forms of collaboration, and the project will examine how online production resources stimulate or challenge them. It aims to carry out in-depth case studies of genres with specific social characteristics, including rock/pop (with bands involved in long-term projects) and rap/hip-hop (where artists engage in projects more flexibly with other artists and producers). The benefits of this approach will be compared with the insights that might be found by examining how contemporary production platforms are introduced and taught at music education institutions (including the Norwegian Academy of Music), unpacking how the platforms are incorporated into courses on computer music and laptop musicianship, as well as more traditional courses on composition and performance. The talk will discuss how these approaches might shed light on the routes and milieus, informal and formal, through which a new generation of music makers is brought to these new platforms.
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Kjus, Yngvar
(2021).
Transformations in the creative roles and modes of music production.
Show summary
This talk will present key aims and issues of the project “Platformization of music production: Developer and user perspectives on transformations of production technology in the online environment”. The project focuses on digital audio workstations (DAWs) such as Logic Pro and BandLab and the ways in which these networked clusters of music technologies are reshaping the foundations of creative audio work, including composition, performance, and collaboration. One of the project’s key questions is: To what extent is platformization involved with transforming creative roles and modes of music production? The hypothesis is that new platforms influence key professions in the value chain of music. The central roles of composer, performer, and producer are already reflected in the protection afforded by copyright law and the associated right of remuneration, but DAWs represent a growing range of functionality, including algorithmic automatization and networked cooperation, that challenges these established roles.
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Kjus, Yngvar & Brøvig-Hanssen, Ragnhild
(2021).
Møter med teknologi: Kvinnelige skaperes utforsking av DAWs.
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Kjus, Yngvar
(2021).
Comparing the platforms of cultural production: Music, film, game.
Show summary
A key development in the creative industries is the spread of large digital services and tools in numerous countries. Such utilities and technologies are often presented and perceived as platforms that are able to accommodate countless users and uses. Their emergence has been highly visible in the area of distribution, with the proliferation of online services such as YouTube, Facebook, Spotify, the operations and growing dominance of which has triggered much research (for an overview, see Hesmondhalgh 2020, Spilker 2018, Van Dijck et al. 2018). The 2000s and 2010s have also seen pervasive developments in production tech¬nology, including digital audio workstations (DAWs) such as Logic Pro and Live as well as more recent entrants such as AudioTool and BandLab, but their establishment as platforms of music making in the online environment remains comparatively under-researched. This is also the case for neighboring sectors, such as computer games, which leads Foxman (2019: 9) to conclude that “platform tools remain seriously understudied.” To understand how different production platforms develop–and what sets them apart–can be a powerful inroad to understand how cultural content is produced and then channeled into different distribution platforms.
The development of products and services that thrive on the internet is a process of platformization, which has been defined as the “penetration of infrastructures, economic processes and governmental frameworks of digital platforms in different economic sectors and spheres of life” (Poell et al. 2019). It is the hypothesis of the current abstract that the developers of production technology, as well as their various user groups, are all involved in a platformization process which are having profound but also distinctive cultural, social, and economic ramifications for different creative industry sectors.
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Kjus, Yngvar & Spilker, Hendrik Storstein
(2021).
Liveness in deadly times: How artists in Norway explored the expressive potential of live-streamed concerts at the face of Covid-19
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Kjus, Yngvar
(2021).
Har internett gjort det vanskeligere å lykkes i musikkbransjen?
[Radio].
NRK P2 - Studio 2.
Show summary
Selv om de fleste er enige i at strømmetjenester og sosiale medier er viktig for å nå et globalt publikum, kan også de samme plattformene begrense mulighetene for artister i dag. Forskere ved Univesitetet i Oslo mener musikkbransjen er rammet av digital ambivalens.
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Kjus, Yngvar; Hagen, Anja Nylund; Torvund, Olav & Maasø, Arnt
(2021).
Musikk, opphavsrett og internett.
Show summary
Vi ønsker deg velkommen til avslutningsseminaret til forskningsprosjektet Music on demand: Økonomi og opphavsrett i en digitalisert kultursektor (MUSEC) på torsdag 28. januar, kl. 09.00-10.30.
På seminaret vil vi presentere våre undersøkelser og funn knyttet til musikk, opphavsrett og strømmetjenester. Vi har også invitert andre forskere til å presentere sine perspektiver på opphavsrettslige utfordringer, samt erfarne bransjefolk som vil være med å diskutere musikkbransjens utvikling i overgangen fra 2010-tallet til 2020-tallet.
Siden vi må arrangere seminaret via Zoom har vi gjort programmet kort og effektivt. Derfor begynner vi nøyaktig kl. 9.00 og det er derfor fint om du logger på et par minutter før start (du kommer da til et venterom inntil seminaret starter).
Du finner Zoom-invitasjonen nedenfor, under programmet til arrangementet. Vi ber om at lenken til seminaret ikke spres åpent på internett (deriblant på Facebook-vegger) av hensyn til faren for Zoom-bombing, men deling direkte til andre via f.eks. epost er helt fint. Dersom du får problemer med innlogging, ta kontakt med royaja@student.sv.uio.no.
Seminarprogrammet:
Del 1: Funn fra MUSEC-prosjektet: Musikk, opphavsrett og internett (9.00-9.30)
Velkommen og kort presentasjon av seminaret og prosjektet
- Forhandlinger om opphavsrett, Yngvar Kjus
- Norsk musikk i verden (og verdens musikk i Norge), Anja Nylund Hagen
- Opphavsrettslige utfordringer, Olav Torvund
Del 2: Nordisk musikkbransje i et internasjonalt perspektiv (9.30-10.00)
Keynotes:
- Sebastian Felix Schwemer (Københavns Universitet): A Digital Single Market for creative works in the 21st Century: quo vadis?
- Veronique Pouillard (Universitetet i Oslo): Intellectual property rights and music in the history project Creative IPR
Del 3: Panelsamtale: Musikkbransjen i overgangen fra 2010-tallet til 2020-tallet (10.00-1030) Moderator: Arnt Maasø (Universitetet i Oslo)
Panel:
- Kathrine Synnes Finnskog (Music Norway)
- Ole Henrik Antonsen (NOPA)
- Erik Brataas (Arctic Rights, Amplify:Creatives)
Vel møtt!
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Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard
(2020).
Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med strømmekonserter.
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Kjus, Yngvar
(2020).
The record contract in flux: Developments in the agreements of artist and label in the time of music streaming.
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Spilker, Hendrik Storstein; Kjus, Yngvar & Kiberg, Håvard
(2020).
Nødløsninger med langtidsvirkninger? Artisters og konsertarrangørers erfaringer med direktestrømmete "koronakonserter".
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Kjus, Yngvar & Spilker, Hendrik Storstein
(2020).
Lyden av digitalisering: Preludium om musikk og medier.
Norsk Medietidsskrift.
ISSN 0804-8452.
27(3),
p. 1–10.
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Kjus, Yngvar & Hagen, Anja Nylund
(2020).
Music on (and in) demand: Negotiating and competing in streaming.
Show summary
This keynote asks what kind of negotiations that take place as music is made available for streaming and how the various players of the music business maneuver the competition in globalized markets. It presents findings from an industry-wide survey (N=556) and 35 qualitative interviews featuring Norwegian musicians, composers and intermediaries across different genres and roles. The aim is to highlight key developments in the practices and prospects of music streaming in recent years, both for creators and other industry professionals. The presenters are both part of the research project Music on demand: Economy and copyright in a digitised cultural sector (MUSEC), funded by the KULMEDIA program of the Research Council of Norway.
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Kjus, Yngvar
(2020).
Vil ha opphavsretten ut av lukkede rom.
[Business/trade/industry journal].
Ballade.no.
Show summary
Kunne bandkonfliktene vi kjenner fra media og rettsvesenet de siste årene vært unngått? Møt forskeren som mener han har løsninga, etter å ha intervjuet norske artister om deres forhold til den komplekse opphavsretten.
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Kjus, Yngvar; Brøvig-Hanssen, Ragnhild; Askerøi, Eirik; Hartung, Mike; Wergeland Juell, Magnus & Karoliussen, Sara
(2019).
Musikkprodusentens rolle.
Show summary
Musikkprodusentens rolle
- Hva skal til for å lykkes som studioprodusent?
- Hvordan balanserer studioprodusenter hensyn til kunstneriske mål og markedsmål?
- Hva skyldes ubalansen i antall kvinnelige og mannlige studioprodusenter? Hvordan kan den utfordres?
Debattleder: Yngvar Kjus (førsteamanuensis ved IMV)
Med Sara Karoliussen (artist, produsent, ex-IMV)
Magnus Wergeland Juell (nylig uteksaminert MA-student ved IMV)
Ragnhild Brøvig-Hanssen (førsteamanuensis ved IMV og RITMO)
Michael Scott Hartung (produsent)
Eirik Askerøi (førsteamanuensis ved Høgskolen i Innlandet, ex-IMV)
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Kjus, Yngvar
(2019).
Is streaming streamlining copyright in music? .
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Kjus, Yngvar & Hagen, Anja Nylund
(2019).
Musikkbransjen i strømmetiden.
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Kjus, Yngvar
(2018).
Negotiating streaming rights: A study of the contracts and negotiations underlying the music streaming economy
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Kjus, Yngvar
(2018).
The use of copyright in digital times: A study of how singer-songwriters exercise their rights in evolving music markets.
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Kjus, Yngvar
(2018).
Musical negotiations: How singer-songwriters relate to economy and copyright in digital times.
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Kjus, Yngvar
(2018).
Kontemporære medier og fremveksten av nye musikalske sjangere.
Show summary
Prøveforelesning for stilling (førsteamanuensis) innen musikk og medier.
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Kjus, Yngvar
(2018).
Boklansering: Live and Recorded: Music Experience in the Digital Millennium.
Show summary
Gjennom datamaskiner, nettbrett og mobile medier formidles mer musikk enn noensinne – men hvordan oppleves musikk i vår tid? Velkommen til lanseringen av Yngvar Kjus’ bok «Live and Recorded. Music Experience in the Digital Millennium».
Artister og fans kaster seg ofte over nye medier, fra radioapparater til mobilapper, men hvordan brukes de til å kommunisere gjennom musikk? Det åpnes nye muligheter for å uttrykke seg, men samtidig reises nye utfordringer til å leve seg inn i musikken, både den levende og den innspilte. I sin utforskning av denne tematikken bruker forfatteren perspektiver fra medievitenskap, musikkvitenskap og psykologi, deriblant forskning på mentalisering.
Til lanseringen kommer derfor et panel bestående av en medieviter, en musikkviter og en musikkpsykolog. De vil kommentere boka og det tverrfaglige potensialet den peker på.
Program
Presentasjon av boka v/Yngvar Kjus
Musikk, medier, psykologi – innlegg og samtale mellom Yngvar Kjus, Ragnhild Brøvig-Hanssen, Anders Fagerjord og Even Ruud.
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Kjus, Yngvar
(2018).
Music on demand: Economy and copyright in a digitised cultural sector.
Show summary
Presentasjon og diskusjon av delprosjekter.
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Kjus, Yngvar
(2018).
How to make money in music in the digital age?
Show summary
Spotify, Tidal, YouTube, Soundcloud and Facebook: media which have opened up new possibilities for making a living via music, but have also produced challenging conditions for collecting earnings. A research project is starting this year which will take a closer look at the best ways to tap the new potential. What’s the best way to deal with the music media to ensure maximum exposure and revenue? How do you get hold of income from foreign territories? How can state funding strengthen the artists' position in dealing with big media organisations? A research team from the University of Oslo will present these issues, and a panel of artists, managers and record label executives will share their experiences and their hopes for the project.
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Kjus, Yngvar
(2017).
Dur eller moll for norsk musikk?
Dagens næringsliv.
ISSN 0803-9372.
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Kjus, Yngvar
(2017).
Producing consumption: Facilitating musical immersion across online and offline media.
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Kjus, Yngvar
(2017).
Music experience in the digital millennium.
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Kjus, Yngvar
(2017).
Music Experience in the Intersection of Concerts and Archives.
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Kjus, Yngvar
(2017).
Instituttleiar Arne H. Krumsvik i samtalar om media og samfunn: Yngvar Kjus om Idol, X Factor, The Voice og The Stream.
[Internet].
https://krumsvik.podbean.com/e/yngvar-kjus-om-idol-x-factor-.
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Kjus, Yngvar
(2017).
Paneldebatt: Brave New World – med SoMe som våpen.
Show summary
Den eksplosive bruken av sosiale medier har gjort det mulig for artister å gradvis bygge sitt eget image på kontrollert vis. Tradisjonelle og hierarkiske strukturer har blitt skjøvet til side til fordel for direkte kommunikasjon med fansen, og med det en ekstraordinær kontroll over eget uttrykk.
Kan denne selvstyrte merkevarebyggingen gjøre det lettere å omgå etablerte strukturer og hindere knyttet til stereotypier og kjønnsroller? Har vi friheten til å unngå å settes i bås når vi selv kan forme både uttrykk og budskap – eller er maktstrukturer og portvoktere bare bedre skjult? Hvordan promoterer man seg selv på en vellykket måte i denne nye verdenen av muligheter, og kan tilstedeværelsen i sosiale medier egentlig erstatte tradisjonell pressedekning?
I seminaret "Brave New World – med SoMe som våpen" møter du unge influencers som har eget uttrykk i sin hule hånd. Du vil også få inspirasjon til hvordan du på kreativt og nytenkende vis kan vise hvem du er og nå ut til nye grupper gjennom sosiale medier.
Panel:
Moderator: Yngvar Kjus (PhD) jobber med musikk og medier ved Universitet i Oslo og har blant annet undersøkt kjønnsforskjeller i formidlingen av artister. Yngvar deltok i forskningsprosjektet Sky og Scene, som i flere år studerte trender i musikkulturen.
Namra Saleem har skrevet oppvekstromanen I morgen vi ler, spiller i bandet Level & Tyson og jobber til daglig som kulturansvarlig i Antirasistisk senters ungdomsavdeling, Agenda X.
Rebekka/Seaweed Girls har en bachelor i musikkteknologi og er singer/songwriter i Seaweed Girls, en DJ-duo med et svært karakteristisk uttrykk og en enorm følgerskare på sosiale medier.
Oda Faremo Lindholm er utdannet økonomisk historiker og jobber i NRK. Hun har tidligere vært samfunns- og kulturjournalist i Dagsavisen og redaksjonssjef i Natt&Dag. Høsten 2014 ga hun ut sakprosaboken Bullshitfilteret, der hun forsøker å gi ungdom et bullshitfilter mot den seksualiserte og kjønnede medie- og populærkulturen vi er omgitt av i dag.
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Kjus, Yngvar
(2016).
Live and Recorded. Creations of Stage and Studio.
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Danielsen, Anne; Maasø, Arnt; Hagen, Anja Nylund & Kjus, Yngvar
(2016).
Clouds & Concerts summarised.
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Kjus, Yngvar
(2016).
Live and Recorded: Music Experience in the Digital Environment.
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Kjus, Yngvar
(2016).
Festivalopplevelser i den digitale tiden - nye muligheter for musikkformidlere?
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Kjus, Yngvar
(2015).
Konsertopplevelser i digitale omgivelser.
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Kjus, Yngvar
(2014).
Who needs a middleman? Transformations in local music distribution in the age of global online services.
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Kjus, Yngvar
(2014).
Sky og scene: Endringer i musikkformidlingen.
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Kjus, Yngvar & Hagen, Anja Nylund
(2013).
Playlists as phenomenon and analysis of editorial playlists, Playlists use as strategic personalization.
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Kjus, Yngvar
(2013).
The Use of Editorial Playlists: The WiMP Case.
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Kjus, Yngvar
(2013).
Kulturpolitikkens nytale.
Prosa - tidsskrift for skribenter.
ISSN 0805-276X.
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Kjus, Yngvar
(2013).
Strukturendringer i musikkindustrien: Å navigere i digitale omgivelser.
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Kjus, Yngvar
(2012).
Robotmusikk og følelser.
[Radio].
https://www.uio.no/om/aktuelt/universitetsplassen/nyheter/20.
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Kjus, Yngvar
(2012).
Konsertopplevelser i den digitale alderen.
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Kjus, Yngvar
(2008).
Historisk humorist.
Morgenbladet.
ISSN 0805-3847.
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Kjus, Yngvar
(2009).
Event media: television production crossing media boundaries.
Unipub forlag.
ISSN 0806-3222.
Show summary
This thesis studies the production of big program events, which are characterised by creating strong experiences of unfolding here and now. Their sense of presence and liveness is closely connected to their communication via multiple media (TV, radio, online, mobile), and that the media also allows the audience to participate in the events. The study is thereby concerned with a broad program trend, which reality TV is a marked exponent for, with programs like Big Brother, The Farm and Dancing With The Stars, but which also is represented in more educational and informative programs like Test Your Vote, Extreme Weather Week and Better Puls. By addressing this program trend, the thesis is also addressing the transformations of the TV industry after the turn of the century, including in particular its rapid expansions beyond broadcasting due to the rise of digital technology. The study sets out to identify developments in production, distribution and content, and to evaluate their implications for television in industrial as well as public life terms.