Towards a Cripping of Research Practices (2024)
T. P Østern, T. Olsen, E. Øyen, L. Lien, L. C. Holum, A. Ogundipe & K. T. Jorem in Theatre and Performing Arts, Disability Citizenship and Community Development – Perspectives from the Global South and North, edited by V. Glørstad, T. P. Østern, T. McCaffrey, K. Chikonzo & N. Chivandikwa.
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"This chapter offers a critical look at how five disabled and non-disabled researchers, and two commissioners experienced working with the project Artist – an accessible profession? A research project about artists with disabilities in Norway. [...] Dialoguing with theory from co-design research in critical disability studies, they scrutinize their own narrated experience and arrive at insights about: how embodied knowing and nuances of crip time – articulated as slow time and timing, sustainable time, and time as a site of care – could challenge ableist structures of theoretical knowing, efficient time and timing, competitive time, and time as something to control."
Affective Presence through 3D Printing (2023)
A. Ogundipe in Museums and Technologies of Presence, edited by M. Shehade and T. Stylianou-Lambert. Routledge.
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"Through a case study of the neoclassical marble sculpture Nydia, the Blind Flower Girl of Pompeii and its 21 st century re-emergence in 3D print, this chapter explores how 3D prints (the physical objects) and 3D printing (the technological process) may mediate art museum objects and affective presence. The chapter touches upon both challenges and potentials of 3D printing and discusses how affective presence, and 3D printing as an affective technology, emerge from material, temporal and technological conditions."
Museum open data ecosystems: a comparative study (2021)
P. Booth, T. Navarrete and A. Ogundipe in Journal of Documentation.
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"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."
Plattformiseringen av et kunstmøte (2021)
A. Ogundipe in Mangfold i spill, edited by A.B. Gran and E. Røssaak. Universitetsforlaget.
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"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"
Museum Leaders’ Perspectives on Social Media (2019)
P. Booth, A. Ogundipe and S. Røyseng in Museum Management and Curatorship.
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"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."
Kunsten i landskapet Internett (2019)
A. Ogundipe, in Det var jo ingen horisont der, edited by P.B. Boym.
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"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 Digital Museum’s Contribution to Diversity – a User Study (2018)
A.-B. Gran, N.L. Vestberg, P. Booth and A. Ogundipe in Museum Management and Curatorship.
"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. [...] 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."
How Digitized Art May Invite or Inhibit Online Visitor Participation (and Why it Matters for Art Museums) (2018)
A. Ogundipe in The International Journal of the Inclusive Museum.
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"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."
From intimacy to pathology. Reflections on the selfie phenomenon from a fetish perspective (2015)
A. Ogundipe in Ekfrase.
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"This is an examination of the sensuous, personal experience of the act of taking a selfie [...]. The action of taking a selfie is viewed in relation to the notion of fetishism. Fetishism constitutes an object-relation, 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. "