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Through this paper, we examine the redesign process that the building of Nikolaj Church has gone through from the 1960ies, to how it appears today, as Nikolaj Kunsthal. The traces and layers have visible signs of a random design process through time. Nowadays the art centre aims for a coherent atmosphere and sense of place in an upcoming design process. Our analysis of textual data gathered from relevant documents and interviews with key stakeholders, relies on the development of a sociotechnical perspective. This perspective allows us to recognise the various agencies and networks in connection to the design process that emerge from the technical and social aspects, which are analysed. The findings emphasize the building as an actant and a network, that plays a crucial part in the design process.

This paper, seeks to examine the correlation between stock price and public sentiment expressed through social media. Through twitter scraping and pre- processing, sentiment can be extracted from text. The paper will be based on a heuristic approach to natural language processing. Furthermore, the paper will rely on the most common forms of sentiment analysis, using a rule-based and a machine-learning approach as a starting point and weigh these up against each other. Finally, we will continue with the best performing method, and weigh this up against real market data in a pursuit to find a correlation, should one exist. The paper found a sentiment-to-market accuracy 75%. And the accuracy score utilizing the rules-based approach of 72,72%.

The motivation for this project was based on the newly founded movement DiEM25 (Democracy in Europe Movement 2025) and their manifesto. The movement’s ideas and visions are based on the critique of the European Union’s handling of the economic, refugee and migration crisis’, that has been debated throughout Europe in recent years. With their manifesto, DiEM25 has formulated an idealistic alternative vision for the future Europe. This assignment seeks to find answers to what kind of alternative this is. More specifically; which kind of cosmopolitanism is expressed in the manifesto, and which European concept historical traditions this cosmopolitanism builds upon. The analysis conducted in this project will be a comparative concept historian analysis of the cosmopolitan vision formulated in the DiEM25 Manifesto. The assignment concludes that the manifesto entails a potential utopian cosmopolitan vision of re-democratising Europe, and more specifically the EU in our present modern and globalised world. Furthermore, it concludes that the the cosmopolitanism in the DiEM25 Manifesto builds on a long tradition of cosmopolitan ideas, leading back to Immanuel Kant initial ideas of cosmopolitanism, through post world war and the thoughts of Ulrich Beck up until the 21st century and the notion of New Cosmopolitanism.

Through this paper we examine the process of how an object can exist in different spatial contexts, and how these contexts have an impact on the character of the object. Our interest lies in how a specific spatial context has the power to define an object, and vice versa, i. e. how the object can produce an impact over a specific space, defining people’s interaction within that space and with the object. The main focus of analysis is a caravan, which has been part of a redesign and refurbishing of the shelter Mændenes Hjem (under the project Radical Horisontality by artist Kenneth A. Balfelt) and is currently exhibited at Statens Museum for Kunst. By exploring the transition of locations that has experienced this object we are able to define the caravan and its spatial environment – in the past and now. Further on we argue how the use of art and beautification of spatial surroundings influence the users, when at the same time we discuss the social practices and processes of contemporary art. Additionally, we challenge observations and findings through a theoretical context about the interaction with museums (art)objects. Our findings suggest that there is a distinct change of identity of the caravan according to its spatial context. This change is based on the current consideration of the caravan as an art piece, although the original intention – to create a space that promotes a unique social interaction among users/visitors -, and the use of it as such is fairly consistent.

This report illustrates the factors that influence the decision-making processes of individuals whentaking part in the contemporary art market, notwithstanding the risk often attributed to such asset and the economic uncertainty of periods such as the aftermath of Covid-19. By examining the motivations from different perspectives, this report aims to shed light on the dynamics of the contemporary art market and its resilience in the face of economic instability. To answer the research question what factors drive individuals in Denmark to take part in the contemporary art market amidst the current economic uncertainty? We carry out semi-structured interviews with two amateur art buyers, one curator, and two owners of renowned contemporary art galleries. The results show that investing in contemporary art 1) yields socio-economic advantages 2) is influenced by trust towards the artist, and 3) is a matter of familial background. The research emphasizes how these factors influences the perception of risk in the individuals when investing in a piece of contemporary art. The purpose of this study is to identify the key factors that affect participants' engagement with the art market by investigating their personal motivations, risk perceptions, and investment strategies. The research is also particularly useful and relevant given the current economic uncertainty and its potential effects on the investment landscape. The results of this study will add to the body of knowledge that exists aboutthe contemporary art investment market by giving a more in-depth and precise understanding of the factors that influence people to invest in art despite the current state of the economy.

The project focuses on how the hungarian culture has been preserved throughout the years in the southeast region of Slovakia (Rye Island).

This project was set out to explore the role of the Turing Test in the development of Artificial Intelligence (AI), with emphasis on the historical perspective. This report contains an introductory presentation of the Turing Test and Artificial Intelligence. Furthermore, it presents two methods for analysis. The first method is a quantitative search in extracting the number of results from Google Scholars for search range between 1950 and 2019. The searched terms are ‘Turing Test’ and ‘Artificial Intelligence’. The second method is the one used for the analysis of two case studies, ELIZA and Google Duplex. In exploring the historical development, ELIZA is an early research topic from 1966 and Google Duplex is a contemporary project from 2018. This report concludes that the Turing Test appears to have played a role in the historical development of AI. Results from the quantitative search show that there is an exponential growth, followed by a short stabilisation, before it begins to decay towards the last decade. Both case studies failed when subjected to a strict Turing Test. Though when subjected to the Total Turing Test, Google Duplex seems to surpass it. Finally, this report also concludes that the Turing Test may no longer be relevant, as mediums for AI have evolved beyond text-based and most developments are no longer concerned with tricking humans.

This project will deep into the motives and reasons behind cultural destruction. It will underline the will to entirely wipe off a distinctive group of population and its culture. Taking Syria as our main case given the events of the last decade; centring in the civil war where lives and art have been lost forever, together with the morale of its population, which fled to other countries in big numbers throughout the war. As for the perpetrators, ISIS will be the focus of our project, guilty of intentionally destroying many monuments, especially in Syria. Before explaining and answering to the questions of the project regarding culture, it is more than mandatory to analyse Syria’s history, tribes and regions. After reaching the core of our project and describing the possible reasons behind these actions, the third part of our project, which focuses on the emotional sphere of the victims. War brings with itself grief, loss, damage and destruction to a country and its material environment. To focus on the emotional attachment and emotional damage during this war shall be a matter of discussion nevertheless. We will not only analyse and discuss cultural destruction and the loss for humanity whenever perpetrators decide to damage forever something so important as our, as humans, common and singular past.

This project deals with the perception of the exhibition Riverbed by Olafur Eliasson. We aim to find out, how the exhibition was encoded by the artist and decoded by students. In order to examine this topic, a focus group discussion has been conducted and a “quick and dirty” survey at Louisiana served as a supplement to get a deeper insight. The theoretical frame is given by Stuart Hall’s four step model of encoding and decoding. In order to examine the production stage of Riverbed, a monological interview with Eliasson was taken into account. The main finding of this research is that meaning-making of an abstract artwork as Riverbed cannot be regarded as a linear transmission process from sender to receiver, but must be approached in much more flexible and complex terms.

The main goal of the project will be to investigate to which extent ‘authentic’ culture isperformed. The main theories used, in order to obtain an understanding of culture andperception, will be Bourdieu’s Habitus, Butler’s Performativity and Goffman’s ImpressionManagement. The analysis will be structured around three different aspects: the object, thephenomenology and the discursive, connected by Brinkmann’s ontological triangle from TheEpistemology of Working with Everyday Life Materials. The theories will be applied in order toanalyze interactions made in Venice, by the group members, in order to determine to whichextent they had performed their culture, and how this can affect the ‘authenticity’ in culture.