Generative AI, agency and aesthetic disruption in photographic art (2025)
A. Ogundipe in Journal of Aesthetics & Culture.
"This article examines generative artificial intelligence (GenAI) as a disruptive technology in photographic art. It does so by using diffractive analysis to discuss how photorealistic GenAI imaging may disrupt dominant understandings of photography as an artistic medium and anthropocentric understandings of human versus nonhuman agency in artistic practices. Serving as a prism for discussion is The Electrician (2022), a photorealistic portrait created by Boris Eldagsen using DALL·E 2. Like much visual art that builds on the idea of the photographic and highlights nonhuman agency, The Electrician further challenges the boundaries of photography. It does so by imitating a photographic aesthetic without being a photograph, thereby re-actualising questions of what constitutes photography as an artistic medium.
The article argues that when photography’s boundaries are already porous, and the field of photographic art is characterised by fluidity and experimentation, further challenging these boundaries does not necessarily constitute disruption. Still, photorealistic GenAI imaging may be considered a force of aesthetic disruption, as its current existence in a photo-philosophical limbo makes thinking of and theorising the boundaries of photography and photographic art acutely relevant, no matter their existing porosity."
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.
"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."
Innledende betraktninger om fellesskap, konflikt og politikk (2024)
A. Danielsen & A. Oundipe in Fellesskap, konflikt og politikk: Spenninger i kunst- og kulturfeltet, edited by A. Ogundipe & A. Danielsen.
"Innledningsartikkelen tilbyr et knippe perspektiver på fellesskap og konflikt som fremhever den politiske dimensjonen som oppstår i spennet mellom disse fenomenene, og som er relevante for å beskrive og analysere fellesskapsformasjoner og konfliktsoner i kunst- og kulturlivet. Redaktørene benytter disse perspektivene for å presentere og beskrive likheter og forskjeller mellom temaene og tilnærmingsmåtene i de seks øvrige artiklene i boka. Selv om det ikke er en ambisjon at artikkelen skal presentere en generell ramme for studier av fellesskap og konflikt, har kulturlivets og kulturpolitikkens fellesskap og konflikter trekk som kan gjenfinnes på en rekke andre områder av samfunnslivet. Perspektivene redaktørene tegner opp i denne innledningen, kan dermed også tenkes å være relevante for andre felt."
Affective Presence through 3D Printing (2023)
A. Ogundipe in Museums and Technologies of Presence, edited by M. Shehade and T. Stylianou-Lambert. Routledge.
"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.
"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.
"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.
"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."
On the matter of participation (2019)
A. Ogundipe, doctoral dissertation, Norwegian University of Science and Technology.
"This thesis is about participation and digitization, both of which are notions that are pivotal in museums. Prevailing understandings of participation largely focus on, and favor, the observable activity of museum visitors. When it comes to digitization, such understandings tend to be concerned with how digital technologies facilitate visitor activity in tool-like manners. This thesis illuminates what might be overlooked by equating participation with human activity, and what may be gained by broadening our understanding of who – and what – constitutes “active” participants. Importantly, I consider digital technologies and platforms not as inert tools, but as participants in the aesthetic encounters between art museum visitors and artworks.
I am especially concerned with what digitization contributes to such encounters in terms of difference or variance. In other words, how digitization may contribute to “diversify” aesthetic encounters. Developing a framework for analysis of participatory processes in aesthetic encounters, the thesis makes a key contribution to participation discourse. The framework constitutes a relational network of theoretical concepts – agency, affordance, atmosphere and affect – and aids in disentangling, articulating and understanding the multidirectional, mutually constitutive relations between museums, museum visitors and museum objects, as well as the technologies and environments which mediate and shape aesthetic encounters."
Kunsten i landskapet Internett (2019)
A. Ogundipe, in Det var jo ingen horisont der, edited by P.B. Boym.
"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.
"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.
"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. "