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| 2. |
- Asgaard Andersen, Michael, 1973, et al.
(author)
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Paradoxes of Appearing: Essays on art, architecture and philosophy
- 2009
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Book (other academic/artistic)abstract
- The book contains a collection of essays by scholars and artists from a range of different fields including art, art history, architectural theory and philosophy. The essays are based on papers given at a symposium in Copenhagen in June 2008 and refer to the following considerations: When spectators confront and designers invent works of art and architecture, vital questions regarding their appearance arise. These are not simply questions about what appears, also what does not, i.e. what withdraws when works are experienced and created. How do we cope with this withdrawal, with latencies that escape concretization? What are the productive paradoxes associated hereto and how do they influence the processes of making? Based on multiple discourses on these subjects, contemporary positions in art, architecture and philosophy draw up new challenges, especially with regard to the creative practices. Within and between these positions emerge potentials for modes of thinking and doing with a new sensitivity.With contributions by Michael Asgaard Andersen and Henrik Oxvig, Renaud Barbaras, Andrew Benjamin, Olafur Eliasson, Sanford Kwinter, David Leatherbarrow, Martin Seel, David Summers, and Sven-Olov Wallenstein.
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| 3. |
- Bäcklund, Jan, Senior lecturer, 1966-, et al.
(author)
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Introduction : What Images Do
- 2019
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In: What Images Do. - Aarhus : Aarhus Universitetsforlag. - 9788771248555 ; , s. 11-19
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Book chapter (peer-reviewed)
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| 4. |
- Bäcklund, Jan, Senior lecturer, 1966-, et al.
(author)
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Learning by doing with images and words
- 2017
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In: Artifact. - Bloomington : Indiana University Press. - 1749-3463 .- 1749-3471. ; 4:1, s. 1-2
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Journal article (peer-reviewed)abstract
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| 5. |
- Marouli, Eirini, et al.
(author)
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Rare and low-frequency coding variants alter human adult height
- 2017
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In: Nature. - : Springer Science and Business Media LLC. - 0028-0836 .- 1476-4687. ; 542:7640, s. 186-190
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Journal article (peer-reviewed)abstract
- Height is a highly heritable, classic polygenic trait with approximately 700 common associated variants identified through genome-wide association studies so far. Here, we report 83 height-associated coding variants with lower minor-allele frequencies (in the range of 0.1-4.8%) and effects of up to 2 centimetres per allele (such as those in IHH, STC2, AR and CRISPLD2), greater than ten times the average effect of common variants. In functional follow-up studies, rare height increasing alleles of STC2 (giving an increase of 1-2 centimetres per allele) compromised proteolytic inhibition of PAPP-A and increased cleavage of IGFBP-4 in vitro, resulting in higher bioavailability of insulin-like growth factors. These 83 height-associated variants overlap genes that are mutated in monogenic growth disorders and highlight new biological candidates (such as ADAMTS3, IL11RA and NOX4) and pathways (such as proteoglycan and glycosaminoglycan synthesis) involved in growth. Our results demonstrate that sufficiently large sample sizes can uncover rare and low-frequency variants of moderate-to-large effect associated with polygenic human phenotypes, and that these variants implicate relevant genes and pathways.
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| 6. |
- Olsson, Gertrud, 1960-
(author)
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The Visible and the Invisible : Color Contrast Phenomena in Space
- 2009
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Doctoral thesis (other academic/artistic)abstract
- This study deals with the changes in color that arise in space, primarily simultaneous contrast in three dimensions. The typical account of simultaneous contrast is that the contrast phenomenon occurs between two or more color surfaces seen together, thus affecting one another. The overarching question of the study is: How do we perceive the phenomenon of simultaneous contrast in space? The work analyzes how the concept of simultaneous contrast is used historically, and also examines its importance in a cultural context. A theoretical starting point for the study of simultaneous contrast is the French chemist M.E. Chevreul’s (1786–1889) laws governing visual color blending. Three time periods are examined in the dissertation: a) the middle of the 19th century, when Chevreul’s scientific research became well known and began to be put into practice by Impressionists and Neo-Impressionists; b) the time when early modernism manifested aninterest in color contrasts, perception, and a new kind of vision and simultaneity; and c)the present, with a focus on contemporary Swiss architecture, primarily that designed by Gigon/Guyer, Herzog & de Meuron, and Bonnard Woeffray. The study of color contrast phenomena includes color as a material, as well as the visual perception of color, and is based on three philosophical theories, one per chapter. Chapter I is rooted in Merleau-Ponty’s idea of perception as an unreflected experience, applied in the 19th century context. Chapter II investigates how Bergson’s concept of simultaneity has repercussionsin early modernism. Chapter III applies Wittgenstein’s idea of aspect seeing to contemporary Swiss architecture. In addition, via close studies of selected buildings and artworks, the purpose is to follow the changes in color and the way colors appear in architecture. Three separate ways to apply color are observed: a) colors applied in a dot technique; b) colors applied as whole surfaces; and c) colors created as luminous colored light. How one perceives a color or a phenomenon depends, the results show, on a number of factors: how the surfaces are angled, the chemical composition of the color material, illumination, the viewer’s location, the distance between the color and theviewer, and the viewer’s background knowledge and experience. What we see and perceive in and through space is an optical mixture. Systems of small points or dots mix(together) at a distance to form entire surfaces and new colors. When complementary colors are used, juxtaposed in small dots, they cancel each other in the optical mixture to neutral gray hues and muddy tones. On the other hand, when complementary colors are juxtaposed in whole surfaces, they add power to each other and can even be perceived as solid colors. Color in the form of light can be perceived as transparent and luminous; in a small room, a thick light color can alter the contours of the space. The following eleven color phenomena have been noted: the phenomenon of simultaneous contrast, the phenomenon of contrast enhancement, the phenomenon of afterimage, the phenomenon of simultaneous transparency, the phenomenon of the moiré effect, the phenomenon of colored space, the phenomenon of chemical aging, the phenomenon of motion, the phenomenon of changeability, the phenomenon of structural color, the phenomenon ofcolored mist. The observer’s active participation in an experience of space is noticed, for example in the Byzantine mosaic rooms, in Sonia Delaunay’s simultaneous contrasts, and in Moholy-Nagy’s simultaneous transparent layers in his stage design. Color is a material regardless of whether it is painted, a construction element, a dyed fabric, or acolored piece of Plexiglas. In the transformation of a contrast phenomenon, the conclusion must be, colors change shape and can instead appear as light. Color thus becomes immaterial. The color manifests an uncertainty in that it can be transformed from a painted layer to immaterial transparency. This inconstancy provides the color with tension and a certain charge.
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| 8. |
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What Images Do
- 2019
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Editorial collection (peer-reviewed)abstract
- When images look like something they do so because they are different from what they resemble. This difference is not sufficiently captured by the traditional theories of representation and mimesis, and yet it is the condition for any such theory. Various contemporary image theorists have pointed out that Plato already understood that images are not what they look like. Images have their own existence, which cannot be identified with a concept, but should be examined in terms of actions.This book comprises fifteen articles that investigate what images do, particularly in relation to the disciplines of architecture, design and visual arts. It claims that it is the differentiating power of images—their actions—which constitutes their capacity to look like something they are not, as well as create something that does not yet exist. What Images Do address the crucial role that images might play in producing and investigating what we have not yet seen or understood in and of reality.
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