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  • Other research product . Other ORP type . 2022
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KMD
    Country: Norway

    Research portfolio THE PROBLEM: The collection of items available as uploads (left) are broadly concerned with a class of rhythmic events that that contain disturbing elements, or “hiccups”. Example: Firstly, secondly, weirdly and thirdly… Hiccups can occur in sequences that are either logical, procedural or both (editorial). They are e.g. relevant in connection with photogravure editions. Featuring elements that are unexplainable/irrelevant in the sequence. 1, 2, X and 3… (See Didi-Huberman for an in depth analysis of the question. Didi-Huberman, Georges. (2008). La ressemblance par contact—Archaeologie et modernité de l’empreinte. Minuit.) I am broadly scouting for ways of taking stock such odd elements to see if it is possible to intercept the weft of the passage from image- to object perception. This is done by asking a question, showing an image, and providing an answer. The images are the ones contained in the slide-show (featuring the Q&A at the end). Together, the sequence of 26 Q&As with an image, feature a matrix of the type that Christopher Alexander called a pattern (with the interception X added here). The argument for making an account and finding uses for hiccups is: if unattended they leave a long tail, a growing shadow discussed here in Goethe’s and Jung’s terms. If hiccups are understood as elements occurring in a sequence/edition for which there is no rule, nor any currently existing learning algorithm, then they will tend to aggregate. If left unaccounted and unattended they will grow on par with the power and multiplication of computers in human exchange (i.e., a long entropic tail). Hence we here have a candidate model to explain how human and environmental relations could escalate to states of exception in a variety of un/related areas. And alternatives of how to deal with them are within reach of research. A solution that eliminates the problem—or, an answer that eliminates the question—contains no knowledge. SYNOPSIS From the exhibition element shown in Gallery ROM61 at KMD, for the seminar Tracing Rhythm, a carousel of slides were slung in a spiral out of the Lineup called La Kahina. Her journey around the world as the wife of a diplomat called K, features a variety of homes: domestic interiors adapted to a variety of local circumstances and the job. On the backdrop of this adaptive enclosure the life and work of her husband: the Norwegian political positions in the global oil and gas-trade. Between them a middle zone dedicated to mundane and cultural events: La Kahina’s home is never quite private, and K’s diplomatic errands are never quite public. The middle zone is fringe-space between the private and public domains. It is compared with Goethe’s studio and Arne Næss cabin at Tvergastein (Hallingskarvet). From this an idea of a proximal space—smaller than the world but wider than the body—is connected to the come-and-go between studio-work and fieldwork. In this setting, three art works are compared in terms of how they differently combine field- and studio-work: William Kentridge, Geir Harald Samuelsen, Dragoş Gheorghiu. It is suggested that the vectorial sum of field- and studio-work are organised according to 3 material tropes (Karen Barad): entanglement, superposition and intra-action. From this it is further anticipated that complex phenomena will be composite in terms of these 3 tropes. Providing a ground work for understanding current critical turns. The two chief conversation partners are here Bruno Latour’s titles: Down to Earth (2018) and After lockdown (2021). The idea of the long-tail model above came from there. The essay (attached) was written in preparation to the seminar Tracing Rhythm to reach a ground zero from where the images could be at the forefront. The result was a hiccup: that is, it produced a phenomenological equivalent—or, the event—of Shannon’s definition of information as entropy. On account of the multiplication of images perceived owing to the many instrumental shifts in the production of a photogravure, the techniques becomes an experimental laboratory to explore image collapse into object perception. The Kahina lineup attempts to transpose the production of this transition into an exhibition space, in making the image to object perception available to the viewer in the form of a debatable proposition. However, the photogravure process also features an artistic proposition (exposition) as an active model of similar types of problem (outlined above): notably types of processes where object perception is indeterminately anticipated and proposed. Calling on a hammerbolt, or featuring a counter-beat. As an entry/exit device in working with diary materials—as is the case in the National Library residency in which the project is currently hatching—photgravure has a similar function as the wind-rose on maps. One that steers towards the hatching of an object. Most probably a book. The hosting PKU project—Matter Gesture and Soul—is one of the unique arenas where academic pursuits and research can combine with workshop premises of the art field. Matter Gesture and Soul (DIKU/KMD)

  • Open Access English
    Authors: 
    Rettberg, Jill Walker; Kronman, Linda; Solberg, Ragnhild; Gunderson, Marianne; Bjørklund, Stein Magne; Stokkedal, Linn Heidi; de Seta, Gabriele; Jacob, Kurdin; Markham, Annette;
    Publisher: Zenodo
    Project: EC | Machine Vision (771800)

    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).

  • Open Access
    Authors: 
    Rettberg, Jill Walker; Kronman, Linda; Solberg, Ragnhild; Gunderson, Marianne; Bjørklund, Stein Magne; Stokkedal, Linn Heidi; de Seta, Gabriele; Jacob, Kurdin; Markham, Annette;
    Publisher: DataverseNO
    Project: EC | Machine Vision (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. Drupal, 9 R, 4.1.3 RStudio, 2022.02.0 The dataset includes data describing 77 games, 192 artworks and 237 narratives (in total 500 Creative Works) where machine vision technologies play an important role. This includes Creative Works produced between 1891 and 2021, but with a heavy emphasis on recent works: 80% of the Works are from 2011-2021, and just over half from 2016-2021. The Creative Works are from 59 different countries, with 78,6% from North America and Europe, and 21,4% from other parts of the world.

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.).

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.

  • Other research product . Other ORP type . 2021
    Open Access
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Jafri, Maryam;
    Publisher: Kunsthøgskolen i Oslo
    Country: Norway

    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.

  • Open Access
    Authors: 
    Glomb, Tomas;
    Publisher: DataverseNO
    Project: EC | AscNet (892604)

    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. QGIS, 3.10.10

Advanced search in Research products
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The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.
22 Research products, page 1 of 3
  • Other research product . Other ORP type . 2022
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KMD
    Country: Norway

    Research portfolio THE PROBLEM: The collection of items available as uploads (left) are broadly concerned with a class of rhythmic events that that contain disturbing elements, or “hiccups”. Example: Firstly, secondly, weirdly and thirdly… Hiccups can occur in sequences that are either logical, procedural or both (editorial). They are e.g. relevant in connection with photogravure editions. Featuring elements that are unexplainable/irrelevant in the sequence. 1, 2, X and 3… (See Didi-Huberman for an in depth analysis of the question. Didi-Huberman, Georges. (2008). La ressemblance par contact—Archaeologie et modernité de l’empreinte. Minuit.) I am broadly scouting for ways of taking stock such odd elements to see if it is possible to intercept the weft of the passage from image- to object perception. This is done by asking a question, showing an image, and providing an answer. The images are the ones contained in the slide-show (featuring the Q&A at the end). Together, the sequence of 26 Q&As with an image, feature a matrix of the type that Christopher Alexander called a pattern (with the interception X added here). The argument for making an account and finding uses for hiccups is: if unattended they leave a long tail, a growing shadow discussed here in Goethe’s and Jung’s terms. If hiccups are understood as elements occurring in a sequence/edition for which there is no rule, nor any currently existing learning algorithm, then they will tend to aggregate. If left unaccounted and unattended they will grow on par with the power and multiplication of computers in human exchange (i.e., a long entropic tail). Hence we here have a candidate model to explain how human and environmental relations could escalate to states of exception in a variety of un/related areas. And alternatives of how to deal with them are within reach of research. A solution that eliminates the problem—or, an answer that eliminates the question—contains no knowledge. SYNOPSIS From the exhibition element shown in Gallery ROM61 at KMD, for the seminar Tracing Rhythm, a carousel of slides were slung in a spiral out of the Lineup called La Kahina. Her journey around the world as the wife of a diplomat called K, features a variety of homes: domestic interiors adapted to a variety of local circumstances and the job. On the backdrop of this adaptive enclosure the life and work of her husband: the Norwegian political positions in the global oil and gas-trade. Between them a middle zone dedicated to mundane and cultural events: La Kahina’s home is never quite private, and K’s diplomatic errands are never quite public. The middle zone is fringe-space between the private and public domains. It is compared with Goethe’s studio and Arne Næss cabin at Tvergastein (Hallingskarvet). From this an idea of a proximal space—smaller than the world but wider than the body—is connected to the come-and-go between studio-work and fieldwork. In this setting, three art works are compared in terms of how they differently combine field- and studio-work: William Kentridge, Geir Harald Samuelsen, Dragoş Gheorghiu. It is suggested that the vectorial sum of field- and studio-work are organised according to 3 material tropes (Karen Barad): entanglement, superposition and intra-action. From this it is further anticipated that complex phenomena will be composite in terms of these 3 tropes. Providing a ground work for understanding current critical turns. The two chief conversation partners are here Bruno Latour’s titles: Down to Earth (2018) and After lockdown (2021). The idea of the long-tail model above came from there. The essay (attached) was written in preparation to the seminar Tracing Rhythm to reach a ground zero from where the images could be at the forefront. The result was a hiccup: that is, it produced a phenomenological equivalent—or, the event—of Shannon’s definition of information as entropy. On account of the multiplication of images perceived owing to the many instrumental shifts in the production of a photogravure, the techniques becomes an experimental laboratory to explore image collapse into object perception. The Kahina lineup attempts to transpose the production of this transition into an exhibition space, in making the image to object perception available to the viewer in the form of a debatable proposition. However, the photogravure process also features an artistic proposition (exposition) as an active model of similar types of problem (outlined above): notably types of processes where object perception is indeterminately anticipated and proposed. Calling on a hammerbolt, or featuring a counter-beat. As an entry/exit device in working with diary materials—as is the case in the National Library residency in which the project is currently hatching—photgravure has a similar function as the wind-rose on maps. One that steers towards the hatching of an object. Most probably a book. The hosting PKU project—Matter Gesture and Soul—is one of the unique arenas where academic pursuits and research can combine with workshop premises of the art field. Matter Gesture and Soul (DIKU/KMD)

  • Open Access English
    Authors: 
    Rettberg, Jill Walker; Kronman, Linda; Solberg, Ragnhild; Gunderson, Marianne; Bjørklund, Stein Magne; Stokkedal, Linn Heidi; de Seta, Gabriele; Jacob, Kurdin; Markham, Annette;
    Publisher: Zenodo
    Project: EC | Machine Vision (771800)

    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).

  • Open Access
    Authors: 
    Rettberg, Jill Walker; Kronman, Linda; Solberg, Ragnhild; Gunderson, Marianne; Bjørklund, Stein Magne; Stokkedal, Linn Heidi; de Seta, Gabriele; Jacob, Kurdin; Markham, Annette;
    Publisher: DataverseNO
    Project: EC | Machine Vision (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. Drupal, 9 R, 4.1.3 RStudio, 2022.02.0 The dataset includes data describing 77 games, 192 artworks and 237 narratives (in total 500 Creative Works) where machine vision technologies play an important role. This includes Creative Works produced between 1891 and 2021, but with a heavy emphasis on recent works: 80% of the Works are from 2011-2021, and just over half from 2016-2021. The Creative Works are from 59 different countries, with 78,6% from North America and Europe, and 21,4% from other parts of the world.

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.).

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.

  • Other research product . Other ORP type . 2021
    Open Access
    Authors: 
    Barth, Theodor;
    Publisher: KHiO
    Country: Norway

    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.

  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Jafri, Maryam;
    Publisher: Kunsthøgskolen i Oslo
    Country: Norway

    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.

  • Open Access
    Authors: 
    Glomb, Tomas;
    Publisher: DataverseNO
    Project: EC | AscNet (892604)

    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. QGIS, 3.10.10