Anders Fagerjord

• Berry, David M. & Fagerjord, Anders (2017). Digital Humanities: Knowledge and Critique in a Digital Age. Oxford: Polity Press.
• Fagerjord, Anders (2015). Humanist evaluation methods in locative media design . Journal of Media Innovations.  2(1), s 107- 122
• Fagerjord, Anders. "Between Place and Interface: Designing Situated Sound for the iPhone." Computers and Composition 28 (2011). 255-63.
• Fagerjord, Anders (2010). After Convergence: YouTube and Remix Culture, In Lisbeth Klastrup; Jeremy Hunsinger & Matthew Allen (ed.),  International Handbook of Internet Research.  Springer.
• Fagerjord, Anders og Tanja Storsul. "Questioning Convergence." Ambivalence Towards convergence: Digitalization and Media Change. Red. Tanja Storsul og Dagny Stuedahl. Göteborg: Nordicom, 2007. 19-31.
• Fagerjord, Anders. Web-medier: Introduksjon til sjangre og uttrykksformer på internett. Oslo: Universitetsforlaget, 2006. 2. utgave 2008.
• Fagerjord, Anders. "Rhetorical Convergence: Studying Web Media." Digital Media Revisited. Eds. Gunnar Liestøl, Andrew Morrison and Terje Rasmussen. Cambridge: MIT Press, 2003.

• Fagerjord, Anders & Kueng, Lucy (2019). Mapping the core actors and flows in streaming video services: What Netflix can tell us about these new media networks. Journal of Media Business Studies.  ISSN 1652-2354.  16(3), s 166- 181 . doi: 10.1080/16522354.2019.1684717 Vis sammendrag

  The popular video streaming services are complex technological and economic systems, comprising parts that have not received much scholarly attention. We provide an overview of the main technologies used when streaming television from production to the viewers, the main players that are involved, and the revenue flows between them. Our case is Netflix, which we studied through company reports, industry reports, and press accounts. It is mapped as five sets of actors: content providers, Netflix itself, primary dis- tribution, secondary distribution, and device makers. Between these we observe four flows: video, intellectual property rights, revenue, and data. We find that streaming services are “new beasts”, very reliant on external partners, and with a strong focus on technology. They may not be just media companies or technol- ogy companies but somewhere in between. Scholarly or juridical comparisons with legacy players may hide these aspects.

• Fagerjord, Anders (2017). Toward a rhetoric of the place: Creating locative experiences, In Liza Potts & Michael J. Salvo (ed.),  Rhetoric and Experience Architecture.  Parlor Press.  ISBN 978-1-60235-960-4.  13.  s 225 - 240 Fulltekst i vitenarkiv.
• Fagerjord, Anders (2015). Humanist evaluation methods in locative media design. The Journal of Media Innovations.  ISSN 1894-5562.  2(1), s 107- 122 Fulltekst i vitenarkiv. Vis sammendrag

  Media design can be used for research purposes if it includes a clearly defined research question, and clear evaluation to see whether an answer to the research question has been found. Using a project with locative media for classical music communication as our example, we discuss common evaluation methods from the User Experience field, observing that they all tend to test “interface” and not “content.” Instead we propose three other methods of evaluation, that have a basis in humanist theories, such as textual analysis and genre studies: (1) Qualitative interviews with evaluators after the evaluation, asking them to describe the service in their own words, followed by a semantic analysis to get at how they have understood the service. (2) Within-subject A/B tests with alternative versions that are different in key aspects. (3) Peer review by experienced design researchers, who are likely to have a more fine-tuned vocabulary to express their opinions.

• Fagerjord, Anders (2012). Design som medievitenskapelig metode. Norsk Medietidsskrift.  ISSN 0804-8452.  19(3), s 198- 215 Fulltekst i vitenarkiv.
• Fagerjord, Anders (2011). Between Place and Interface: Designing Situated Sound for the iPhone. Computers and Composition.  ISSN 8755-4615.  28(3), s 255- 263 . doi: 10.1016/j.compcom.2011.07.001 Vis sammendrag

  This article explores composition skills and modalities for locative, multimedia texts by reporting experiences from a locative iPhone application that plays church music and explains that music’s history in churches in Rome, Italy. Using a research by design approach, we did three rounds of observation, paper sketches, and user testing of prototypes. We found that an effective locative text must be adapted to the place in which it is intended to be experienced. The locative text must be specific, possibly referring to what the audience can see or experience at the place, and thus it is important to know how people usually behave in that particular place. Images are of little relevance in a mobile guide, except for exterior shots, which may help users to locate interesting buildings. Sound is more effective than visual modes as it allows the audience to look around while listening. For the same reason, the user interface in mobile, locative applications need to be even easier to use than in other services as they invite the audience to move through space while interacting with the application.

• Fagerjord, Anders (2011). MUCH: Presenting Roman church music in hand-held, locative hyper-audio, In  MobileHCI '11 – Proceedings of the 13th International Conference on Human Computer Interaction with Mobile Devices and Services.  Association for Computing Machinery (ACM).  ISBN 978-1-4503-0541-9.  artikkel.  s 617 - 622 Vis sammendrag

  A location-aware iPhone application presenting music in Roman churches was designed using paper prototyping. To enable navigation in busy city, a sequence of three basic kinds of screens was devised, corresponding to city, neighborhood, and actual location. We found sound works better than images, but are still searching for a good solution for hyperlinks.

• Fagerjord, Anders (2010). After Convergence: YouTube and Remix Culture, In Lisbeth Klastrup; Jeremy Hunsinger & Matthew Allen (ed.),  International Handbook of Internet Research.  Springer.  ISBN 978-1-4020-9788-1.  1. Fulltekst i vitenarkiv. Vis sammendrag

  The term ‘convergence’ has been used to describe the media developments following digitalization. In this article, I argue that while convergence was a suitable term to describe the first developments, it is no longer fitting. Convergence levelled out the differences between media, allowing for the developments we now see, and for which I propose the term ‘remix’. Using YouTube as an eample, I outline how genre developments may be seen as remixes of earlier genres, how remixing has become a widespread creative practice, and how online media also remix power relations between media owners and their audience.

• Fagerjord, Anders (2010). Multimodal Polyphony: Analysis of a Flash Documentary, In Andrew Morrison (ed.),  Inside Multimodal Composition.  Hampton Press.  ISBN 1-57273-958-4.  Chapter 4.  s 93 - 120
• Fagerjord, Anders; Maasø, Arnt; Storsul, Tanja & Syvertsen, Trine (2010). High risk, strong belief : images of the future in the media industry. Nordicom Review.  ISSN 1403-1108.  31(2), s 3- 16 Fulltekst i vitenarkiv.
• Fagerjord, Anders (2007). Å skape fra en mal: Preskripter i personlige medier, I: Marika Lüders; Lin Prøitz & Terje Rasmussen (red.),  Personlige medier. Livet mellom skjermene.  Gyldendal Akademisk.  ISBN 978-82-05-37195-8.  kapittel.  s 164 - 185
• Fagerjord, Anders & Storsul, Tanja (2007). Questioning Convergence, In Tanja Storsul & Dagny Stuedahl (ed.),  Ambivalence Towards Convergence. Digitalization and Media Change.  Nordicom.  ISBN 9789189471504.  kap 1.  s 19 - 31 Fulltekst i vitenarkiv.
• Fagerjord, Anders (2005). Retorikk: Læren om overbevisende tale, I: Helene Uri (red.),  (Nesten) alt du trenger å vite om norsk: 52 om språk.  Kunnskapsforlaget.  Kapittel 9.  s 42 - 45
• Fagerjord, Anders (2005). Prescripts: Authoring With Templates. Kairos.  ISSN 1521-2300.  10(1)
• Fagerjord, Anders; Karlsen, Faltin; Maasø, Arnt; Storsul, Tanja & Syvertsen, Trine (2005). Vennlige visjoner for digital-tv: NTVs framtidsbeskrivelse som retorikk. Norsk Medietidsskrift.  ISSN 0804-8452.  12(2), s 94- 115 Fulltekst i vitenarkiv.
• Fagerjord, Anders (2004). Interaktiv Grafik: et studie af fremtiden i dag, I: Ida Engholm & Lisbeth Klastrup (red.),  Digitale Verdener: De nye mediers æstetik og design.  Gyldendal Akademisk.  ISBN 8702023687.  Fremtidens Interfaces.  s 273 - 292
• Fagerjord, Anders (2003). Rhetorical Convergence: Studying Web Media, In Gunnar Liestøl; Andrew Morrison & Terje Rasmussen (ed.),  Digital media revisited : theoretical and conceptual innovation in digital domains.  MIT Press.  kapittel.
• Fagerjord, Anders (2003). Four Axes of Rhetorical Convergence. Dichtung-Digital.  ISSN 1617-6901.  (30) Vis sammendrag

  Anders Fagerjord presents a theoretical model of genre relations in multimedia applying the four axes Mode of Distribution (the balance of amount of material and time between authoring and reading); Mode of Restrictions (range and detail in space and time); Mode of Acquisition (the reading process required of the reader); and Mode of Signification (the particular combination of sign systems).

• Fagerjord, Anders (2002). Frihet: TV2 på nett, I: Gunn Enli; Trine Syvertsen & Susanne Østby Sæther (red.),  Et hjem for oss - et hjem for deg? Analyser av TV2 1992-2002.  IJ-Forlaget AS.  ISBN 82-7147-220-8.  s 242 - 262 Vis sammendrag

  Kapitlet gir en oversikt over TV 2s satsing på internett. Først et historisk riss, deretter et overblikk over nettsidene slik de så ut i 2002. Deretter analyseres tre satsinger mer inngående: "Nyhetene", Video-på-bestillingstjenesten "Frihet", og ungdomssiden "Sone 2" med det formål å avdekke forskjeller og likheter mellom Web og fjernsyn.

• Fagerjord, Anders (2002). Reading-View(s)ing the Über-box, In Markku Eskelinen & Raine Koskimaa (ed.),  Cybertext Yearbook 2001.  Nykykulttuurin Tuttkimuskeskuksen Julkaisuja, Jyväskylä.  ISBN 951-39-1173-X.  s 99 - 110 Vis sammendrag

  A widespread prediction is that all media will converge into one Web medium. This is not likely, due to the incompatibility of the different media's rhetorics.

• Kluge, Anders & Fagerjord, Anders (1999). Nordic Interactive. Nordisk samarbeid i forskning om interaktive multimedier. Nordicom Information.  ISSN 0349-5949.
• Fagerjord, Anders (1997). The phonogram industry in Zimbabwe, In  Media, Democracy and Development.  UiO, Institutt for medier og kommunikasjon.  ISBN 82-570-6099-2.  4.  s 61 - 85 Fulltekst i vitenarkiv.

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• Berry, David M. & Fagerjord, Anders (2017). Digital Humanities: Knowledge and Critique in a Digital Age. Polity Press.  ISBN 978-0-7456-9765-9.  191 s. Vis sammendrag

  As the twenty-first century unfolds, computers continue to change the way we think about culture, society and what it is to be human: areas traditionally explored by the humanities. In a world of Big Data, Google Books, digital archives, real-time streaming systems and smart phones, our use of culture has been changing dramatically. The digital humanities give us powerful tools and methods for thinking about culture and history in the contemporary world, through the use of sophisticated computing techniques and methods. Berry and Fagerjord provide a comprehensive guide, exploring the history, intellectual work, key arguments and ideas of this emerging discipline. They also undertake a substantive critique, suggesting ways in which the humanities can be enriched through computing, but also how cultural critique can transform the digital humanities.

• Liestøl, Gunnar; Fagerjord, Anders & Hannemyr, Gisle (2009). Sammensatte tekster. Arbeid med digital kompetanse i skolen. Cappelen Damm Akademisk.  ISBN 978-82-02-27826-7.  166 s.
• Fagerjord, Anders (2008). Web-medier: Introduksjon til uttrykksmåter og sjangre på nettet. 2. utgave. Universitetsforlaget.  ISBN 9788215013794.  208 s.
• Fagerjord, Anders (2006). Web-medier: Introduksjon til sjangre og uttrykksformer på nettet. Universitetsforlaget.  ISBN 82-15-00818-6.  190 s.
• Fagerjord, Anders (2005). Editing Stretchfilm Hypertext '05; 07.09.2005 - 09.09.2005. Publisert i: Hypertext '05 Proceedings; 2005 Dette resultatet er også registrert som foredrag. Usikker på hva det skal registreres som, men andre med tilsvarende produksjon har registrert skriftlig publikasjon i bok. Association for Computing Machinery (ACM).  ISBN 1-59593-203-8.  3 s.

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• Fagerjord, Anders (2019). Algoritmer og mennesker, makt og filosofi. Norsk Medietidsskrift.  ISSN 0804-8452.  26(1) . doi: 10.18261/ISSN.0805-9535-2019-01-06
• Fagerjord, Anders (2019). Spotify and Netflix as innovations: Streaming media history in the light of innovation theory. Vis sammendrag

  Streaming services such as Spotify and Netflix have taken over large portions of the market for music and audio-visual entertainment worldwide, and in April 2018, music streaming had surpassed physical sales in revenue worldwide (Ball & Auchard, 2018), challenging and possibly destroying established industries. The events that led to this innovation has not yet been charted, however. Most writers who have studied streaming services have included some parts of their history, but the different industries have not yet been compared. This paper is a study of the history of streaming media services under the lens of innovation theory. Innovation theory is a broad area, covering studies of individuals, organisations, and netwoks, often from systems or economic perspectives, including studies of history, strategy, and policy studies (Fagerberg, 2006). Central authors include Schumpeter and his use of Marx’s concept “creative destruction” (Schumpeter, 2010), von Hippel, who wrote about “user innovation” (von Hippel, 1988), and Christensen (1997) with his very influential concept of “disruption”. In this ongoing study, we collect and systematize the findings of earlier histories of streaming technology under the lens of systems-oriented innovation theory (Edquist, 2006). To date, we have consulted about 50 papers, chapters and book-length studies. These are contextualised with other histories of computer development (e.g., Friedman, 2017). Streaming services are similar to most innovations in that “what we think of as a single innovation is often the result of a lengthy process involving many interrelated innovations” (Fagerberg, 2006). In the current literature, we see described many Suggested Citation (APA): Lastname, Firstinitial. (2019, October 2-5). Paper title. Paper presented at AoIR 2019: The 20th Annual Conference of the Association of Internet Researchers. Brisbane, Australia: AoIR. Retrieved from http://spir.aoir.org. different stories of parts of what is now known as streaming. One storyline is the idea itself: Music and video on demand is a very old idea, imagined since the invention of the telephone (Fagerjord et.al., 2010; Williams, 1975) Another history is the many different technologies have been used in attempts to realise this idea. Compression technology is one important factor, and major milestones were the inventions of MP3 (1991-93) and AAC (1997) encoding of music files, and H.263 and H.264 for video (1996 and 2003). These file formats were popularised in part by companies such as Apple and Adobe, and made use of by companies such as Napster, Apple, YouTube, and Pirate Bay. A history of streaming technology must also include infrastructure such as broadband cable networks and mobile networks for telephony and data traffic, important devices such as Apple’s iPhone that launched the smartphone revolution (Snickars, 2012), but also the enormous increase in computer power, exploded by the use of networked server clusters running Hadoop and similar software (Friedman, 2017). For music, the history is focussed on the “pirate wars” between music sharing systems and record companies, often described as reconciled by iTunes music, Spotify, and others (Spilker, 2017). Histories of Netflix tend to focus on its algorithmic recommendation engine (Arnold, 2016; Madrigal, 1 January 2014; Smith-Rowsey, 2016; Finn, 2017) and changes in consumer behaviour, although binge-watching was described already in the age of VHS video, (Jenner, 2016). Interestingly, YouTube tends to be described as its own genealogy (Burgess & Green, 2009; Prelinger, 2009; Snickars & Vonderau, 2009; Levy, 2011) although a few have connected it to the general television industry (Evens & Donders, 2018; van Dijck, 2013; Lotz, 2017).

• Fagerjord, Anders (2018). The innovations of challenger streaming services in film, music, and publishing.
• Fagerjord, Anders & Küng, Lucy (2018). Mapping the core actors and flows in streaming video services.
• Fagerjord, Anders (2017). A platform-flow model for streaming video services.
• Fagerjord, Anders (2017). Idémyldringsteknikker for interaksjonsdesignere.
• Fagerjord, Anders (2017). Introduksjon til Stream.
• Fagerjord, Anders (2017, 04. august). Kulturnytt: Medieforsker Anders Fagerjord om YouTube. [Radio].  NRK P2.
• Bjørnstad, Malini Gaare & Fagerjord, Anders (2015, 12. november). - Er det mindre ok å være tjukk kvinne, enn tjukk mann?. [Internett].  kk.no.
• Fagerjord, Anders (2015). The cloud, the store, and the millions of apps: SaaS on the little screen, In Irina Kaldrack & Martina Leeker (ed.),  There is no software, there are just services.  Meson Press.  ISBN 978-3-95796-055-9.  Kap. 6.  s 91 - 102
• Fagerjord, Anders (2013). Evaluating genre innovation: How can we test a situated sound experiment?.
• Fagerjord, Anders (2013). Towards location literacy: Documenting preliminary guidelines for designing location-based audio. Fulltekst i vitenarkiv.
• Larsson, Anders Olof & Fagerjord, Anders (2013, 19. mars). Tøff på Facebook, sjenert på fest.  Dagbladet.
• Fagerjord, Anders (2012). Toward App studies. Fulltekst i vitenarkiv.
• Jordheim, Helge & Fagerjord, Anders (2012). Tid, minne, oppdatering. Oppdatert eller utdatert, I: Siv Frøydis Berg; Øivind Berg; Sine Halkjelsvik Bjordal & Helge Jordheim (red.),  All verdens kunnskap. Leksikon gjennom to tusen år.  Forlaget Press.  ISBN 9788275476119.  Del 2.  s 78 - 87
• Fagerjord, Anders (2011). Expanding the genre of online encyclopedia.
• Fagerjord, Anders (2011). MUCH: Presenting Roman church music in hand-held, locative hyper-audio. Vis sammendrag

  A location-aware iPhone application presenting music in Roman churches was designed using paper prototyping. To enable navigation in busy city, a sequence of three basic kinds of screens was devised, corresponding to city, neighborhood, and actual location. We found sound works better than images, but are still searching for a good solution for hyperlinks.

• Fagerjord, Anders & Løvlie, Anders Sundnes (2011). Is the Web dead yet? Native app versus open HTML in locative media.
• Fagerjord, Anders (2010). Reiseguiden som sammensatt tekst, I: Martin Engebretsen (red.),  Skrift/Bilde/Lyd: Analyse av sammensatte tekster.  Cappelen Damm Høyskoleforlaget.  ISBN 978-82-7634-858-3.  Kapittel 2.  s 56 - 78 Fulltekst i vitenarkiv.
• Storsul, Tanja & Fagerjord, Anders (2008). Digitization and Media Convergence, In Wolfgang Donsbach (ed.),  The International Encyclopedia of Communication.  Blackwell Publishing.  ISBN 9781405131995.  Volume IV.  s 1319 - 1323
• Fagerjord, Anders; Maasø, Arnt; Storsul, Tanja & Syvertsen, Trine (2008). High Risk, Strong Belief: Images of the Future in the Media Industry.
• Fagerjord, Anders (2007). Bloggerene logger ikke av. Ny tid.  ISSN 0803-3498.  (35)
• Fagerjord, Anders (2007). Den vanskelige oppmerksomheten. Ny tid.  ISSN 0803-3498.  (45)
• Fagerjord, Anders (2007). En ny verdensvev?. Ny tid.  ISSN 0803-3498.  (40)
• Fagerjord, Anders (2007). Playing With the Academic Format: Hypertext Research Publishing in the Age of Online Journals.
• Fagerjord, Anders (2007). Web 2.0 bakom hypen.
• Fagerjord, Anders; Maasø, Arnt; Storsul, Tanja & Syvertsen, Trine (2006). Personalised and Participatory Media: Studying Fortune-telling in the Media Industry.
• Fagerjord, Anders (2005). Editing Stretchfilm.
• Fagerjord, Anders & Storsul, Tanja (2005). Etter konvergensen? Om konvergensbegrepets funksjon og forklaringskraft.
• Fagerjord, Anders (2004). Prescripts: Creating With Templates.
• Fagerjord, Anders (2003). Rhetorical Convergence: Earlier Media Influence on Web Media Form. Vis sammendrag

  This thesis takes as its starting point the widespread conception of media convergence. If all media are converging, as many believe, what do the texts look (or sound) like in the new convergent media? Using feature journalism on the Web as the object of analysis, Fagerjord asks whether the means of expression of earlier media are converging on the Web, and if so, how. Fagerjord argues that many Web genres can be viewed as cases of rhetorical convergence, following various forms of technological convergence of digital media. Using semiotic and rhetoric theory, a large number of Web sites and genres are analysed. The thesis consists of nine essays, each addressing a specific problem related to the multimediated composition of Web sites. More theoretical problems include questions of linearity and nonlinearity in Web sites, and the use of semiotic theory on computer texts. Specific examples of multimedia genres are analysed in detail, such as �interactive graphics,� photo collections on the Web, Web sites combining video with written material, and �edu-tainment� texts resembling computer games. In the introductory essay, the insights from the following contributions are brought together to a higher and more general level of analysis, as elements in a four-dimensional theory of relations between Web genres and earlier media. Fagerjord argues that any text may be described according to the four axes Mode of Distribution (the balance of amount of material and time between authoring and reading); Mode of Restrictions (range and detail in space and time); Mode of Acquisition (the reading process required of the reader); and Mode of Signification (the particular combination of sign systems). Rhetorical convergence is when a text is similar to one genre on one axis and another genre on another axis. However, the model implies that rhetorical divergence may be better than convergence in describing the changes.

• Fagerjord, Anders (2002). Skikkelig om skjermtekster. Norsk Medietidsskrift.  ISSN 0804-8452.  9(1), s 161- 165 Vis sammendrag

  En anmeldelse av Otnes og Schwebs lærebok Tekst.no.

• Fagerjord, Anders (2001). If Aristotle had a Web Page: Rhetoric and Converging Media.
• Fagerjord, Anders (2001). Issues of Sequence in Converging Media: Studying World Wide Web documentaries. Vis sammendrag

  The paper reports on a study where three print articles, three television documentaries, and three Web sites by the National Geographci Society were compared to see what constitutes linearity, and whether nonlinearity takes the place of linearity in Web media. Devices of transistion, disposition, and linking are studied, as well as aspects of narration. The Web sites proved to be linked in a manner that most of the time only allows a linear reading.

• Fagerjord, Anders (2001). Linearity and Multicursality in World Wide Web Documentaries. Vis sammendrag

  Are non-fiction Web sites nonlinear like literary hypertexts, or linear like film and print? A study of magazine articles, television documentaries and Web sites by th eNational Geographic Society reveals that in spite of linking, the Web sits make just as linear reading experiences as the older media, although less creative. The study gives nuance to conceptions of linearity and nonlinearity by studying what linearity really is, thus setting nonlinearity in relief. A number of techniques to bridge gaps in the reading line are indentified in films and articles. It is argued that by using these techniques in linking, both better reading experiences and less linear Web sites could be achieved.

• Fagerjord, Anders (2001). Rhetorical Convergence: Studying Web Media. Vis sammendrag

  One of the difficulties of applying existing media theories to the Web is that periodic Web media seem more to be hybrids of forms from different older media than media just emigrating to a new, digital environment. As this is a logical consequence of the digital development called convergence, I propose to call this rhetorical convergence. Rhetorical convergence occurs when rhetorical techniques inherited from different media co-exist on the same Web page. For today's Web author, all kinds of sign-systems are available, be they text, sound, still or moving images. What emerges is a rhetoric of convergence, a blend of existing figures. A charting of these convergent forms will be the first part of the study of rhetorical convergence. When rhetorics converge, different practises will have to be weighed against each other. Some conventions and practises from old media will be used, and others will not. The second part of the study of rhetorical convergence will be a charting of this process.

• Fagerjord, Anders (2000). Reading-View(s)ing the Ûber-box: a Critical View on a Popular Prediction. Vis sammendrag

  En gjennomgang av den populære forestillingen om at alle mediene kommer til å smelte sammen til ett skjermmedium, "The Über-box", med utgangspunkt i en artikkel av Jakob Nielsen. Jeg viser at forestillingen daterer seg tilbake til 1940-årene, at dette mediet har vært teknisk mulig siden ca. 1970, og at en av mange årsaker til at det ikke har materialisert seg er at det er store uløste retoriske problemer forbundet med å lage materiale for et slikt medium.

• Fagerjord, Anders; Goodnow, Kate; Raa, Helene; Berkaas, Hans Tore & Jensen, Ørjan (2000). Klikk i krystallkula: hva er myter og realiteter om fremtidens mediebruk?. Vis sammendrag

  Paneldebatt om fremtidens mediebruk.

• Lundby, Knut; Fagerjord, Anders; Kluge, Anders & Lovett, Hilde (1999). Norge i Nordic Interactive. Norsk satsing i nordisk ramme: framtidsrettet forskning om interaktive multimedier. Vis sammendrag

  Utredning for Norges forskningsråd om norsk deltakelse i det nordiske forskningssamarbeidet om interaktive multimedier som er knyttet til nettverksorganisasjonen Nordic Interactive.

• Fagerjord, Anders (1999). The Convergence of Digital Media Rhetoric.
• Fagerjord, Anders (1998). Internettkringkasting: arkiv og direkte sending.

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