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of the database, but is more portable and durable, and will still be accessible after the database itself is no longer maintained.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).
This dataset captures cultural attitudes towards machine vision technologies as they are expressed in art, games and narratives. The dataset includes records of 500 creative works (including 77 digital games, 191 digital artworks and 236 movies, novels and other narratives) that use or represent machine vision technologies like facial recognition, deepfakes, and augmented reality. The dataset is divided into three main tables, relating to the works, to specific situations in each work involving machine vision technologies, and to the characters that interact with the technologies. Data about each work includes title, author, year and country of publication; types of machine vision technologies featured; topics the work addresses, and sentiments associated with that machine vision usage in the work. In the various works we identified 884 specific situations where machine vision is central. The dataset includes detailed data about each of these situations that describes the actions of human and non-human agents, including machine vision technologies. The dataset is the product of a digital humanities project and can be also viewed as a database at http://machine-vision.no. Data was collected by a team of topic experts who followed an analytical model developed to explore relationships between humans and technologies, inspired by posthumanist and feminist new materialist theories. The project team identified relevant works by searching databases, visiting exhibitions and conferences, reading scholarship, and consulting other experts. The inclusion criteria were creative works( art, games, narratives (movies, novels, etc)) where one of the following machine vision technologies was used in or represented by the work: 3D scans, AI, Augmented reality, Biometrics, Body scans, Camera, Cameraphone, Deepfake, Drones, Emotion recognition, Facial recognition, Filtering, Holograms, Image generation, Interactive panoramas Machine learning, MicroscopeOrTelescope Motion tracking, Non-Visible Spectrum Object recognition, Ocular implant, Satellite images, Surveillance cameras, UGV, Virtual reality, and Webcams. The dataset as well as the more detailed database can be viewed, searched, extracted, or otherwise used or reused and is considered particularly useful for humanities and social science scholars interested in the relationship between technology and culture, and by designers, artists, and scientists developing machine vision technologies.
Mønness, Erik Neslein (Inland Norway University of Applied Sciences);
Mønness, Erik Neslein (Inland Norway University of Applied Sciences);
Dette er datasett til til et prosjekt: Medborgerundersøkelsen Innlandet 2013. Prosjektet hadde til hensikt å kartlegge synspunkter på temaer innen regional utvikling i Innlandet. Det gjelder temaer som politikk og demokrati, økonomisk og sosial utvikling, samt medier og hva som kjennetegner innbyggernes identitet og kultur. Undersøkelsen hadde et særlig fokus på politisk samarbeid og demokrati på regionalt og lokalt nivå samt på regionalisering og regional utvikling. Det var Høgskolen i Hedmark og Høgskolen i Lillehammer som sto bak undersøkelsen. Undersøkelsen ble støttet finansielt av Norges Forskningsråd gjennom Regionalt forskingsfond Innlandet. Hensikten med undersøkelsen var å gi bedre kunnskap til lokale og regionale myndigheter om hva innbyggerne mener om viktige spørsmål- Det var foretatt et tilfeldig utvalg på 2400 personer, blant innbyggere over 18 år i Hedmark og Oppland slik at alle kommuner og begge kjønn ble representert.
A 6 flyer-set (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover. In this flyer-series, content is queried as a vectored relationship between image and writing. The reference framework is Samuel Beckett’s queries in the “novellas” Ill Seen Ill Said/Company/ Worstward Ho/Stirrings Still (FF—faber & faber). The concept of excavation determines the hatching of content through a work of staging: the performed container. A ontological status is ascribed to such containers: they feature a category of dis/play which is neither an exhibit, nor a show. The lineup (Germ. Ausstellung, Norw. Oppstilling) is discussed as a dis/play in which the nature of what is seen and said is yet undetermined, or uncertain. From this basis the notion that the Beckett estate clusters the signature, event and context—rather than being external to Beckett’s work—is suggested. From this ground the possibility that Covid19 (pandemic and the lockdown as life-work) can fruitfully be considered an estate, is tentatively demonstrated and argued, from the vantage point of terrestrial estates, that may hatch and develop in the wake of Bruno Latour’s work, and Donna Haraway’s scheme of staying with the trouble. Which is also why the geological time-frame (cf, anthropocene) is discussed. Hereby, the /Covid-19 estate/ is launched.
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.).
6 flyers (1 HEX): 1) attempt; 2) try again; 3) do something else; 4) return; 5) unlearn; 6) crossover. Few would presently disagree that the conditions of our life and work on planet earth is immersive. Yet, can we imagine an existential leap—under these fundamental conditions—that will bring a simultaneous shift to the world and our lives? Based on this question, the present flyer-series queries the expanded self: one not orbital to our ego, but a wider self that includes artefacts and natural occurrences, reflected e.g. in Gregory Bateson’s query into the cybernetics of the expanded mind. In this connection the warehousing of human artefacts and natural occurrences (e.g., seen as resources) operate in a variety of modes reflecting the internal shifts in what e.g. Pierre Bourdieu understood as doxa: featuring opinion and assumption. Instead of querying the relation between opinion/assumption vs. knowledge/critique—according to an established scholarly template—we may attempt a generative analysis of the shifts in opinion, assumption, knowledge and critique as a whole. Thus, the shifts in the warehousing of the entities—artefacts/ occurrences—can be considered, and help us take awareness of the sideways/crabwise motion of change: which may be as much desired as it is difficult to detect. The case-base elaborated on in the set, are from furniture design and archival studies. Furniture and archives always exist alongside: which means that they are in one aspect independent and comparable, in another aspect dependent and functionally supportive. The case-materials are specific: the furniture materials are from Jørund Blikstad’s artistic research in furniture design for his PhD, while the other material hinge on specific insights from discoveries emerging from an ongoing interaction with the National Library. Both interaction-arenas unfolded in the Spring of 2021—as the C19 pandemic foreclosed—and the flyer-set targets a where environmental humanities and STS (science technology studies) are joint: featuring the strategic potential of the flyer-HEX. Essentially an experimental bid on exposition, or what exposition could be if transposed unto theory development. A task which may be as urgent as its occasions are rare. An effort, in league with practice, of a dramaturgical kind: combining the roles of the researcher and the in-house critic.
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.
Data-set of interceptions developed according to the logic of flyers: 1) attempt; 2) try again; 3) do something else; 4) return; 5) unlearn; 6) crossover. The present flyer series #01-#06 springs from a distiction between the current and the present in a family-portrait by Wilhelm Bendz of the Waagepetersens in 1836. Based on an understanding of a Biedermeier interior and the ways adults and children are portrayed in that painting, a broader exploration of the relation between children and adults in built/settled human environments is engaged: with the painting as a contraption featuring more than one time-zone—here the current, present, past and future—and the opportunity for developing an anthroponomic understanding of role of design in shaping public culture, based on a notion of saddle-points referred to Reinhart Koselleck’s notion of possible alternative futures. The anthroponomic venture proposes to bundle art, science, history, mathematics in an attempt to model the human life-form, under impact of paradigmatic constraints (such as, currently, the pandemic). The topic of verticality relates to what is present to us, and the experience that public culture traverses a variety of spaces (of which the private, or domestic space is but one example). Within this framework verticality is not explored in above/below relations, as in hierarchies, but in scope of lifelong learning: in the sense of rising to the task and growing by the challenge. ANTHROPONOMY is proposed as an alternative framework—both artistic and scientific—to research and discuss design in the scope of prototypical life-worlds, rather than stereotypical presets. An Altmodern framework.
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.
Dataset of variables and results for spatial network analysis of shortest distances on Roman roads between the proxies for the positions of Roman soldiers and the worship of Asclepius, Apollo, Minerva, and Jupiter, and the positions of Roman physicians in the selected provinces of the Roman Empire. This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No 892604.