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This article explores how "the left" meme and the character and emotional reception of taboo-breaking therein via the case of r/DankLeft—a USA-centric Marxist, Anarchist, and Democratic Socialist Internet meme community. It asks: what themes do popular r/DankLeft Internet memes relate to, how does taboo feature within popular r/DankLeft Internet memes, and can any differences in the ways in which taboo-related r/DankLeft Internet memes are received be discerned. In turn, it carries out a thematic analysis of 366 popular memes, a multimodal critical discourse analysis of 41 taboo-related popular memes, and a comparative sentiment analysis of the comments these and other memes have received in r/DankLeft. The article finds that popular memes in r/DankLeft primarily relate to perceived threats to its community of users. It also shows that taboo-breaking does feature in r/DankLeft memes and that when it does correlative patterns emerge in terms of popularity and emotional reception.

The 2022 Swedish election saw a radical-right populist party—the Sweden Democrats—gain direct government influence in the country for the first time. This contrasted with the international image of Sweden as a progressive county yet resonated with the country's growing ideological use by foreign far-right actors. This article analyzes the framing of Sweden's image in traditional and far-right online media from the United States, Germany, India, and China during this election. It explores to what extent and when Sweden gained online media attention and how the election was framed across these countries and media types.

Using a photo from 1985 of a woman swinging her handbag at a neo-Nazi inSweden as an entry point, this chapter explores the formation of collectivememory through iconicity and virality with respect to digital protestimagery. It studies the visual assemblages and constellations that haveformed online around this photo and then reflects on their mnemonicand activist impact. It shows how the algorithms behind search engineslike Google Images place the photo in visual assemblages characterizedby colliding and colluding mnemonic contexts. It also reveals how thevulnerability and violence inferred by the photo are variously emphasizedin the visual constellations of different protest-related image-compilationwebpages, influencing the sorts of collective action the image promotes.

During the first discussion round of goINDIGO 2022, which took place on Thursday, 12 May and was called Creators vs Academics, four local graffiti creators were invited to consider a series of (potentially provocative) statements in discussion with symposium participants (joining in-person and online). The statements, compiled by Geert Verhoeven in consultation with Samuel Merrill, were: Academia CHANGES graffiti Graffiti MUST be recorded ALL graffiti are archive-worthy Decontextualisation MATTERS Graffiti NEED categorisation Digital media are ESSENTIAL The four attending graffiti creators agreed to participate following their contact and invitation via Instagram. When introducing themselves, each conveyed their own, often close, relationship to the Donaukanal as well as their different levels of experience and exposure within Vienna’s wider graffiti scene. JANER ONE (active since 2012), for instance, took hope from doing graffiti in "tough times" and identified the Donaukanal as a really big playground - "it does not have many rules, and the few rules it has, you must pick up by yourself" - and a site of graffiti history. MANUEL SKIRL (active since 2006) meanwhile recounted how the openness and inclusiveness of the Donaukanal offered the chance to begin creating and, in time, to develop a personal style in "more artistic" directions. SERT (active since 2009) highlighted moving to Vienna partly to be close to the Donaukanal after growing up in a "pretty small village" in the countryside. SNUF’s (active since 2012) first piece was at the prestigious Donaukanal, the "best art gallery of the city with almost daily changing exhibitions". Each of the four brought their personal, 'inside' perspectives to the discussion of the selected statements that is recorded in the following text. This text is not, however, a verbatim nor sequential account of that discussion. Firstly, although retaining the 'feel' of the discussion has been prioritised, the text has been edited for r, Attending graffiti creators:JANER ONE (active since 2012), MANUEL SKIRL (active since 2006), SERT (active since 2009) and SNUF (active since 2012).