From intimacy to pathology. Reflections on the selfie phenomenon from a fetish perspective
"This is an examination of the sensuous, personal experience of the act of taking a selfie, as it may be understood through our relation to and use of what I term selfie objects: screen based viewing of the photographic image, the smartphone and the selfie-stick. The action of taking a selfie is viewed in relation to the notion of fetishism. Fetishism constitutes an objectrelation, a particular relationship between man and object, characterized by essential materiality, the centrality of the human body, intimacy and external disparagement. These characteristics are also descriptive of the selfie phenomenon. Because of the synthesis of three forms of photographic praxis inherent in the actof taking a selfie (photographing, being photographed and viewing photographs), the photographic moment demands a close bodily relation to the material selfie objects. The act of taking a selfie, then, may be introverted and intimate to such an extent that the action itself is disparaged by outsiders. By viewing the selfie phenomenon as an expression of fetishism, it can be understood as a bodily, object-based entry to a personal experience of the self, through an action potentially permeated with affect."
A. Ogundipe in Ekfrase.
A Digital Museum’s
Contribution to Diversity – a User Study
"Responding to the Norwegian cultural policy concern of diversity, this article presents the results from three data sets that capture user background, behaviour, values and opinions regarding the digital portal for museum objects, images and stories, DigitaltMuseum. Specifically, the exploratory research draws data from a ‘population’ survey of digital consumption in Norway, a DigitaltMuseum user survey, and device and usage data captured by Google Analytics. Designed, where possible, to capture a user’s perspective, the three data sources describe who uses the digital platform, their content preferences, motivation for using the platform, and what they ultimately do with material found."
A.-B. Gran, N.L. Vestberg, P. Booth and A. Ogundipe in Museum Management and Curatorship.
How Digitized Art May Invite or Inhibit Online Visitor Participation (and Why it Matters for Art Museums
"The aim of this article is to examine diversity dimensions of participation and its role in visitors’ encounters with digitized artworks online. Though often employed in discourse on museum digitization, the notion of participation remains resistant to clear-cut definition, as it is diversified in both theoretical content and practical usage. Through phenomenological analysis of online museum visitors’ reflections on accessing digitized artworks on Norwegian web museum portal DigitaltMuseum and online 3D design community Thingiverse, the diverse participatory potential of photographic, 3D rendered and 3D printed surrogate objects and the platforms on which they appear, is explored. The analysis comprises co-examination of perspectives of participation and mediated materiality, and contributes to the development of a relational understanding of participation, where the encounter between museum object and visitor is vital."
A. Ogundipe in The International Journal of the Inclusive Museum.
Museum Leaders’ Perspectives on
"In the context of the shift towards participatory practices within museums, museum engagement with social media represents a form of organizational change. This study approaches social media and the corresponding organizational change from a museum leader’s perspective, utilizing data from a broad cross-section of 82 museums in Norway. We address how the characteristics of a museum and its leader impact social media attitudes, behaviors and intention towards social media-based change."
P. Booth, A. Ogundipe and S. Røyseng in Museum Management and Curatorship.
Kunsten i landskapet Internett
"Begrepet territorium har sitt opphav i ordet terra, som betyr jord, og jord er noe av det mest fysisk tilstedeværende, mest utvetydig materielle og mest håndgripelige man kan forestille seg. Internett oppfattes gjerne som det motsatte: Som noe grunnleggende ikke-materielt, noe usynlig, noe som mangler romlig utstrekning, og noe som – med hele sitt vesen – motsetter seg berøring og fysisk definisjon."
A. Ogundipe, in Det var jo ingen horisont der (edited by P.B. Boym).
Museum open data ecosystems: a comparative study
"This study aims to investigate how, in forming their policy towards open data (OD), art museums interact with the OD ecosystems they are part of, comprising internal and external components such as cultural policy, legal frameworks, user groups and economic conditions and incentives."
"As the first comparative case study of art museum OD ecosystems that the authors are aware of, the study provides a qualitative analysis of the complex dynamics impacting OD policy within the mid-sized art museum. The authors identify specific dynamics that are thus far restricting further development of the OD ecosystem of the mid-sized European art museum."
P. Booth, T. Navarrete and A. Ogundipe in Journal of Documentation.
Plattformiseringen av et kunstmøte
"The chapter explores how digital mediation affects aesthetic encounters. A case study of Felix Gonzalez-Torres’ «Untitled» (Blue Placebo) (1991) shows how the digital platforms through which the artwork is mediated, contribute to a broader diversity of participation than the physical museum space. The digital processes of mediation the installation is part of, express – and to some extent enforce upon both the audience and the artwork – certain logics, power structures and possibilities."
A. Ogundipe in Mangfold i spill, edited by A.B. Gran and E. Røssaak.