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Utstilling av 6 mugger i forbindelse med vinhøsten i Torgiano, Italia. Visningssted: Keramikkmuseet i Torgiano, Italia. Utstillingsperiode: 01.11.2009 - 15.01.2010.

Dark Blue II, high fired porcelain, decorated with cobalt chloride, woodfired with salt. 10,5 x 10,5 x 19 cm. Ferdigstilt: 2012. Innkjøpt til Collection of The American Museum of Ceramic Art, Pomona, California, USA.

This is a static version of the Database of Machine Vision in Art, Games and Narratives, which was originally developed as a Drupal 9 database as part of the ERC project Machine Vision in Everyday Life: Playful Interactions with Visual Technologies in Digital Art, Games, Narratives and Social Media. The static version consists of HTML and CSS files that can either be downloaded, or viewed in a web browser at https://machinevisionuib.github.io. To view the website in your browser, select GitHub-pages from the Environments section in the right hand menu of the Github repository, then select View deployment. The static version is intended as a permanent archive of the database. It does not have the search functionality of the database, but is more portable and durable, and will still be accessible after the database itself is no longer maintained. We plan to maintain the original database until at least July 2023. Data from the database is also available as a dataset consisting of csv files and documentation: Rettberg, Jill Walker; Kronman, Linda; Solberg, Ragnhild; Gunderson, Marianne; Bjørklund, Stein Magne; Stokkedal, Linn Heidi; de Seta, Gabriele; Jacob, Kurdin; Markham, Annette, 2022, "A Dataset Documenting Representations of Machine Vision Technologies in Artworks, Games and Narratives", https://doi.org/10.18710/2G0XKN, DataverseNO, V1 This project has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation programme (grant agreement No 771800).

Fotodokumentasjon An inquiry into the limits of using images by and of other people in today’s networked, socially-mediated landscape. The project aims to situate contemporary image culture at the intersection of art, law and ethics. The point of departure is a real life incident in which the artist was accused of violating the privacy of an individual imaged in a video that was on display in her recent exhibition.

This research put the nature and rigidity of linguistic hierarchies to test, taking multiple adjective placement as a case study. We developed an on-line forced choice experiment that measured (i) acceptability judgment ratings and (ii) reaction times, in a big sample of neurotypical, adult speakers of Standard Greek (n=140) and Cypriot Greek (n=30). The task compares what happens when people are asked to process sentences that either comply with or violate allegedly universal ordering constraints that have been described as the outcome of innately wired hierarchies. Our findings do not provide any evidence for a universal hierarchy for adjective ordering that imposes one rigid, unmarked order. We argue that the obtained results are effectively reducing the amount of primitives that are cast as innate, eventually offering a deflationist approach to human linguistic cognition.

Data set, 6 flyers, 1 HEX The flyer-series (dataset 1HEX) departs from the existence of mathematics in literary prose—for public exposés—in the Romantic era. And from here pursues the gross-fertilisation of group-theory in art and science. Featuring the idea of disordered systems (that comes from structural geology) and the keeping of logbooks in field studies. The flyer-set uses the same knowledge basis as Rosalind Krauss in the essay Sculpture in the Expanded Field, i.a. an article on structure in mathematics by Marc Barbut in Les Temps Modernes. The argument is merological: i.e., how we can study part-whole relations in terms of restricted, principal and expanded sets.

6 flyers (1HEX). #01—attempt; #02—tryagain; #03—do something else; #04—return; #05—unlearn; #06—crossover Ludwig Binswanger (1881-1966) was a clinical psychiatrist, a philosopher and the founder og existential analysis in psychology. He was translated into French by Michel Foucault. His ideas are adjacent to Maurice Merleau Ponty’s. His fame linked to his care of Aby Warburg, during his mental breakdown, when he was a patient at the Bellevue asylum in Kreuzlingen (Northern Switzerland) for a period of 3 yeas (1921-1924). Aby Warburg was discharge after he was able to give lecture of what had caused him turmoil. In this series the concepts of Umgebung and Umwelt—which we also know from Agamben’s discussion of Heidegger and von Uexküll—and what they might entail in how we conceive our daily lives and the world we live, in Bruno Latour’s scope of the terrestrial. It is intended as a query on Ludwig Binswanger using the approach of a case study. The series also includes a discussion of drawing, in this perspective, with due reference to a forthcoming essay on digital vs. analog drawing by Tiril Schrøder (Arts and Craft dpt.).

Trečiame-ketvirtame XX a. dešimtmečiais Lenkijos karaliaus ir Lietuvos Didžiojo kunigaikščio Stepono Batoro vardu pavadintame universitete susiklostė savarankiškas menotyros židinys. Dailės fakultete nuo 1922 m. veikė Meno istorijos katedra, kuri organizavo teorinių dalykų studijas būsimiems dailininkams ir architektams, tačiau menotyros specialistų nerengė. Katedros veikloje ženklų pėdsaką paliko jos vadovai J. Remeris ir M. Morelowskis. Fakulteto studentams dėstyta visuotinė meno ir architektūros istorija, medinės statybos istorija, Lenkijos tapyba, paminklų apsauga ir restauravimas, muziejininkystė. Daugelis fakultete dirbusių menotyrininkų ėmėsi tyrinėti LDK epochos meno palikimą. Kiekvieno indėlis savaip reikšmingas, tačiau dvi svarbiausios Vilniaus menotyros židinio kryptys atsiskleidė M. Morelowskio ir J. Kłoso veikloje. Pirmasis atstovavo akademinę menotyrą, antrasis – taikomąją. Šio straipsnio tikslas – išaiškinti menotyrininkų edukacinės ir mokslinės veiklos apimtį, jos formas bei kryptis 1919–1939 metų Vilniuje, nustatyti svariausią indėlį įnešusius autorius. Gilinantis į šią veiklą paskatinusias aplinkybes ir kitų šalių menotyros mokyklų įtakas, kartu bandoma apibrėžti neformaliam Vilniaus tarpukario menotyros centrui būdingus bruožus. Šiame tekste remtasi negausia išlikusia Stepono Batoro Universiteto dokumentine medžiaga, o taip pat paskelbtais šaltiniais – Ferdinando Ruščico proginiu leidiniu apie Dailės fakultetą, pačių Vilniaus tarpukario menotyrininkų publikacijomis, Vlado Drėmos ir Stanisławo Lorentzo (Stanisław Lorentz) laiškais. In the 3rd and 4th decades of the 20th c., an independent centre of art history and criticism appeared in the university named by Stefan Batory, the King of Poland and the Grand Duke of Lithuania. Since 1922 in the Faculty of Arts, there was an Art History Department which organised theoretic studies for future artists and architects but it did not prepare specialists for art history and criticism. The heads of the department J. Remeris and M. Morelowski had left a significant trace in its activity. Its students attended such classes as art and architecture history, wooden construction history, Polish painting, protection and restoration of monuments and museology. Many art specialists who worked in the faculty started analysing art heritage of the GDL epoch. Every contribution was significant; however, two the most important trends of Vilnius art history and criticism were revealed by M. Morelowski and J. Klos. The first was a representative of academic art history and criticism, the latter of applied one. An aim of this article is to reveal the extent of educational and scientific activities of art critics, its forms and trends in Vilnius in 1919–1939, and to indicate authors whose contribution was the most significant. It is intended to get deeper into the reasons which influenced the activity and the influences of other states' art history schools. Also, to determine features characteristic of an informal art history centre of Vilnius during inter-war. The text is based on a slender extant documentary material of Stefan Batory's University and the published sources such as Ferdynand Ruszczyc's occasional publication about the Faculty of Arts, the publications of Vilnius art critics of inter-war period, and the letters of Vladas Drėma and Stanislaw Lorentz.

The zipfile contains the project directory which includes the source code and datasets used in the paper on Climate-driven introduction of the Black Death and successive plague reintroductions into Europe, as published in Proceedings of the National Academy of Sciences (PNAS). Access the paper at http://www.doi.org/pnas.1412887112 If you are not familiar with Clojure, Leiningen, and its project directory format, see http://clojure.org/getting_started for one of the IDE's to run the clojure code in, and use http://leiningen.org/ as the project / dependency manager.

Protocol 1 (deep ecology): 1) initiate an operation A; 2) identify an obstacle B; 3) determine a path A' around B; 4) record reactions B'; 5) conceive the whole [1-4]; 6) take stock of what is actually achieved. Protocol 2 (ecosophy): 1) attempt; 2) try again; 3) do something else; 4) return/come back; 5) unlearn; 6) cross over. The flyer-series develops an experimental companionship with Spinoza's Ethics, under the conditions of the Corona pandemia (Spring 2020). On this backdrop a 'plateau-assemblage' of learning-outcomes and reflections on multi-video conference is developed. And also a list of questions preparing a forthcoming situated and positioned reading of Spinoza's Ethics (Ethica,1677).