Nordic Journal of Science and Technology Studies <p>The Nordic Journal of Science and Technology Studies (NJSTS) is an Open Access academic journal published at NTNU Norwegian University of Science and Technology, Department of Interdisciplinary Studies of Culture. NJSTS is committed to advancing multidisciplinary studies at the intersection of the social sciences, the humanities and natural and technical sciences. It welcomes contributions that explore the effects of technological and scientific change on societal organization, addressing both contemporary and historic perspectives and employing theories taken from a diverse range of fields including anthropology, sociology, cultural studies, history, philosophy, political science and media studies.</p> <p>The NJSTS is connected to the Nordic network of STS research, which connects researchers within the field from all Nordic countries.</p> NTNU en-US Nordic Journal of Science and Technology Studies 1894-4647 <p>All content in NJSTS is published under a <a href="">Creative Commons Attribution</a> 4.0 license. This means that anyone is free to share (copy and&nbsp;redistribute the material in any medium or format) or adapt (remix, transform, and build upon the material) the material as they like, provided they&nbsp;give appropriate credit, provide a link to the license, and indicate if changes were made.</p> Counting the days <p>This is perhaps (and hopefully) the most strangely situated editorial that will emerge from NJSTS. In Norway, it has, at the time of writing, been over two months since society closed down and we were commanded to work from home. As researchers, most of us are lucky, compared to most workers of society. Even though it might initially have been a strange few days at the home office, we made it through and found new ways of working. Throughout academia, however, most researchers are probably counting the days until society and our work situations return to a more normalized state.</p> Roger Andre Søraa Copyright (c) 2020 Roger Andre Søraa 2020-05-16 2020-05-16 8 1 3 3 10.5324/njsts.v8i1.3584 Scaling up and rolling out through the Web <p>The purpose of this paper is to investigate online public participation and engagement in science through crowdsourcing platforms. In order to fulfil this purpose, this paper will use the crowdsourcing platform Zooniverse as a case study, as it constitutes the most prominent and established citizen science platform today. The point of departure for the analysis is that Zooniverse can be seen as a “platformization” of citizen science and scientific citizenship. The paper suggests that the mobilisation of individuals who participate and engage in science on the Zooniverse platform takes place through an epistemic culture that emphasises both authenticity and prospects of novel discoveries. Yet, in the process of turning “raw” data into useable data, Zooniverse has implemented a framework that structures the crowd, something that limits the sort of participation that is offered on the platform. This limitation means that the platform as a whole hardly be seen as fostering a more radical democratic inclusion, for example in the form of a co-production of scientific knowledge, that dissolves the institutional borders between scientists and non-professional volunteers.</p> Niclas Hagen Copyright (c) 2020 Niclas Hagen 2020-05-16 2020-05-16 8 1 4 15 10.5324/njsts.v8i1.3320 “Best before, often good after” <p>In 2018, several Norwegian food producers added a new phrase to date labels of packaged foods: best before (date), often good after. Why and how did they do this? By using two concepts from Actor-Network Theory, translation and script, this article reveals how a seemingly simple addition to a label can reveal underlying issues and policies. This case study sheds light both on how the script of the date label was used to translate UN Sustainable Development Goal 12 about food waste reduction into everyday use and practice and how the date label moved from the domain of food policy making towards the realm of environmental politics.</p> Tanja Plasil Copyright (c) 2020 Tanja Plasil 2020-05-16 2020-05-16 8 1 16 26 10.5324/njsts.v8i1.3396 Plan S, Open Access and the potential roles for STS research <p>The year 2020 plays a highly symbolic role in the world of academic publishing. As the beginning of a new decade, it featured prominently in various research programmes such as “Horizon 2020”, the framework programme for research and innovation of the European Commission, as well as in numerous roadmaps and development goals in various institutions across the globe. Yet, in the recent past, it has also become a target year in many strategic plans for shifting the business of academic publishing from the prevailing journal subscription model towards full and immediate Open Access.</p> Elena Šimukovič Copyright (c) 2020 Elena Šimukovič 2020-05-16 2020-05-16 8 1 27 30 10.5324/njsts.v8i1.3586 Book review: The Platform Society <p>The Platform Society sets out to understand the role that many of the new digital platforms of our time have come to play in public life and societal organization, and how they have altered (or attempted to alter) social practices and institutions within the countries in which they operate. In the book’s introductory paragraph, the authors – José van Dijck, Thomas Poell and Martijn de Waal – point to terms like “the sharing economy”, “the platform revolution”, and “the gig economy” as attempts to describe the social change that have taken place over the past three decades alongside the transformation of the internet. It is an explicit ambition of the book to examine what role online platforms play in the organization of public values in both American and western European societies, as well as the issue of how public values can be forced upon the ecosystem that these platforms make up between them.</p> Tor Anders Bye Copyright (c) 2020 Tor Anders Bye 2020-05-16 2020-05-16 8 1 31 33 10.5324/njsts.v8i1.3585 About the cover artist <p>Setsuko Kurioka studied at the Trondheim Academy of Fine Art and later worked from Lademoen Kunstnerverksted. The artist is now based in Asker, near Oslo, where she has her studio. Currently, Kurioka works on a grant from Arts Council Norway, and her pieces has been featured multiple times in the annual Autumn Exhibit. Her work has also recently been acquired by the National Museum of Decorative Arts.</p> Martin Anfinsen Copyright (c) 2020 2020-05-16 2020-05-16 8 1 34 34 10.5324/njsts.v8i1.3587