Research Catalogue

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp twist, as satirical comment, in the British tradition of political satire, to the otherwise dark subject matter. Finally, the artistic style refers to the populist character of actors, mainly far right of the XRW, but also others. The text is written like a trip-hop song. I use heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. In the style of art, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For Nikos ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Daddy G" and 'Eric' ("Her Man") - December 2024, January 2025. Who are not politicians, but are doing something political, so they must take care. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

Conceived and co-organised by Emma Cocker, Alexander Damianisch, Cordula Daus and Lena Séraphin, this Society of Artistic Research Special Interest Group (SAR SIG) provides contexts for coming together via the exchange of language-based research. The intent is to support developments in the field of expanded language-based practices by inviting attention, time and space for enabling understanding of/and via these practices anew.

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

Cognitive Architecture est un détour cognitif-psychanalytique autour des théories, hypothèses et des revendications cognitives d’économie mondiale, des idéologies, et des leurs conventions ou réfutations. Bien qu’il soit davantage rencontré dans les sciences humaines, la mode de structuration des événements, des happenings, est également un concept significatif dans les sciences cognitives. Les sciences cognitives conçoivent les fictions des realite faire des données du sens commun et postulats qui décident des problèmes dans leur conditionnement même. Sans doute apparaît-il d’emblée que les cadres dans lesquels les sciences humaines classent les phénomènes en sensations, perceptions, images, croyances, fonctions et travaillés logiques, jugements, etc., sont empruntés comme tels au travail de siècles de philosophie. Loin d’avoir été forgés pour une conception objective de la réalité humaine, ces cadres ne sont que les produits de la destruction abstraite où se tracent les vicissitudes d’un effort spécifique, qui pousse l’homme à chercher la confiance, la vérité, la conscience de soi et l’univers. Une confiance qui est transcendante dans sa position, et qui le reste donc dans la forme, même lorsque le philosophe en nie l'existence. Les tendances à une confiance absolue dans les explications naturalistes des phénomènes culturellement conditionnés exigent une un encadrer l'appropriation cognitive des concepts scientifiques d’économie mondiale. Dans les chapitres consécutives, ce livre critiques d'appropriations des concepts darwinienne dans les discours libérale détourne le darwinisme scientifique dans l’idée de s’appropriation moins avec ou aux technologies avancées que de les adapter aux valeurs idéologiques libérales croissantes qui elles- mêmes sont devenues plus autoritaires dans leurs règles non écrites d’entrepreneuriat, d’auto-évaluation et de développement individuel, particulièrement l’esprit humaine.

Turkish Female director Tomris Giritlioğlu was one of the first in Turkish cinema to touch upon the long-forgotten and pathological consequences of the Turkification efforts in Turkey since forever. In Salkım Hanımın Taneleri / Mrs. Salkım's Diamonds, she (re)creates the recent and pessimistic past of the one-party Turkey of 1943 Wealth Tax, trying to overthrow the official discourse of the chaotic institutionalization and nationalization times in Turkey. In Güz Sancısı / Pains of Autumn (2009), she formed a part of the identity carnival of 6-7 September 1955 Events/Pogrom. In these two films, Tomris Giritlioğlu offers a series of interesting contexts to examine the Turkish government’s national stance and the identity formation in two decades from the 1943 Wealth Tax and to the 6-7 September 1955 Events/Pogrom.

Intervju av Jo Gunnar Håkonsen og Tanja Marie Gjerde ansatt på Feiring Bruk AS.