Andreas Nilsen Ervik

• Ervik, Andreas Nilsen (2023). The Work of Art in the Age of Multiverse Meme Generativity. Media Theory. 7(2), s. 77–102. Fulltekst i vitenarkiv
• Ervik, Andreas Nilsen (2023). Generative AI and the Collective Imaginary: The Technology- Guided Social Imagination in AI-Imagenesis. The International Journal of the Image. ISSN 2154-8560. 37, s. 41–56. doi: 10.1453/1614-0885-1-2023-15450. Fulltekst i vitenarkiv
• Ervik, Andreas Nilsen (2023). A Small Old Plot. Metode (online). ISSN 2704-0550. 1.

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• Ervik, Andreas Nilsen (2022). Becoming Human Amid Diversions: Playful, Stupid, Cute and Funny Evolution. Palgrave Macmillan. ISBN 978-3-031-13876-8. 289 s.

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• Ervik, Andreas Nilsen (2020). Vi må jobbe mindre - også når krisen er over. Morgenbladet. ISSN 0805-3847.
• Ervik, Andreas Nilsen (2020). Teknologi-trivialiteters tyngde. ArtSceneTrondheim.
• Ervik, Andreas Nilsen (2017). Å forklare verdens tilblivelse. Salongen – nettidsskrift for filosofi og idéhistorie. ISSN 2703-7053.
• Ervik, Andreas Nilsen (2016). Lyden av digitale rom. Kunstkritikk.no. ISSN 1504-0925.
• Ervik, Andreas Nilsen (2016). Båtspotting. Kunstkritikk.no. ISSN 1504-0925.
• Ervik, Andreas Nilsen (2016). Mellom eskapisme og økokritikk. Kunstkritikk.no. ISSN 1504-0925.
• Ervik, Andreas Nilsen (2016). De hjemvendte. Kunstkritikk.no. ISSN 1504-0925.
• Ervik, Andreas Nilsen (2016). Den nye oljen. Kunstkritikk.no. ISSN 1504-0925.
• Ervik, Andreas Nilsen (2014). Image Platform Web Portal Portal.
• Ervik, Andreas Nilsen (2020). Diversions. Playful, Stupid, Cute and Funny Evolution. 07 Gruppen. Vis sammendrag

  Diversions are the aspects of contemporary screen-bound life, which attract us to procrastinate. Rather than basing my research in regular responses to these as distractions to be critiqued, this thesis examines how they actually function: What makes digital games, mindless webbrowsing, cute animal clips and political mockery such attractive media forms? The thesis develops a method of modelling production and engagement with diversions, to explore why something diverts. Diversions are conceptualized as unintended consequences from the meeting between populations of users, producers and media forms. Digital development is thus neither entirely intentional, nor fully random. The thesis argues that our inclination to divert our attention results from a common trait of human cognition. This is shown through rendering cognition as a system with three central tendencies: it can crystallize into clear purposeorientation or destabilize into open-ended sensory intensity, but mostly it stays in-between these extremes, flowing together with whatever offers playful, stupid, cute and funny possibilities. The emergence of diversions is traced from contemporary digital culture and the uniquely human, reconfigured as dynamic behavior shared with microbes, vegetation, fungi, animals and hunter-gatherers. Diversions are shown to be influential for evolution by retaining innovation with stability, which increases rapidity and possibilities of change, with the likelihood of this change being advantageous. More than any other species we have tapped into and differentiated the evolutionary intensifiers of diversions. Our current preoccupation with diversions is indicative of how vital diversions have been for our success in dominating the planet, and diversifying our own possibilities here.

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