Is There Really Something Which Might Be Called a 'Self-Demonstrating Picture' : Even Within Scientific Imagery? Some Observations on a Double Illusion of Communication

I will propose some ideas about such pictures claiming to be self-demonstrating or selfillustrating, mostly using some classical anatomy illustrations. Based on these you may say that the anatomy seems to create a remarkable, realistic pictorial code, which casts together in one single, selfdemonstrating shape, an object of knowledge with the properties of the natural object itself. This is the paradox of the self-demonstrating picture’s double illusion of communication: on the one hand it seems to be a picture of the natural appearance of the object, but on the other it is, in fact, simultaneously a depiction of a cognitive concept, a visual name of this object. It is a conditional and man-made classification, which is embodied into the body itself

Further reflections on the performative experiences of artefacts for everyday use

The article may be seen as a sequel to my paper delivered at a conference on art historical subjectivity and methodology in Stockholm 1999, initiated by Margaretha Rossholm Lagerlöf. – Now I will try to move that analysis a little step further by discussing some problems concerning the more explicit performative effects and experiences of everyday technical objects and their occasionally strange visual expressions in relation to their evident role as handy utility articles or equipment. Performative, because I am especially interested in the effects upon the user or beholder, and how the expressions are transmitted into, and re-used, in an individually experienced universe

Om gul fajans, flintgods och lysterglasyrer. En jämförande studie av tillverkningar mellan flytande gränser i Höganäs, Rønne och Næstved under 1800-talet

Yellow Faience, Flintware and Lustreware In the 19th century, contacts between potteries around the Baltic Sea and the Sound were essential and frequent, but they remain almost entirely unrecorded. New styles, materials and glazes were shared among manufacturers in a variety of ways, mostly informally, directly and from person to person, or indirectly through exhibitions or in the form of illustrations, for example in price lists. The article discusses and compares pottery manufactured in the county of Scania in Sweden and on the Danish islands of Bornholm and Sjrelland, where various types of contact were clearly made. I look at issues concerning 19th century design trends and discuss established and potential communication routes that existed, or can reasonably be assumed to have existed, among the potteries