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Displaying: 101-120 of 345 documents

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101. Glimpse: Volume > 11/12
Alberto J. L. Carrillo Canan, Miguel A. Garcia Gonzalez Introduction
102. Glimpse: Volume > 11/12
Alberto J. L. Carrillo Canan, May Zindel Bazin and the Aesthetic of Digital Cinema
103. Glimpse: Volume > 11/12
Gilbert Garza, Brittany Landrum The Politics of Image in the Age of YouTube
104. Glimpse: Volume > 11/12
Victor Gerardo Rivas López On Why Cinema Is Not Reducible to the Sheer Image
abstract | view |  rights & permissions
This paper will unfold the theoretical object mentioned in the title thereof without solution of continuity, but it will be convenient to take into account some points before beginning: firstly, we shall throughout uphold the difference existing between visual and narrative cinema, that is to say, on the one hand, a cinema whose utmost aim is to dazzle the spectator and fill his sight with images of the most variegated kind no matter how much the anecdotic content of the picture is feeble or plainly absurd and that can at least in principle dispense utterly with whatever narrative thread and, on the other hand, a cinema that tells a story or shows a situation with a certain dramatic coherence, which can of course be even more absurd than the products of the visual cmema but that at any rate founds its absurdity on a story whether symbolically or not and not on the sole strength of visual images (Isaacs 4). Secondly, we shall not deal with visual cinema since, according to a slant that will be explicit hereinbelow, it has played a secondary part in the amazing cultural transcendence of cinema as a whole, which in our opinion lies in having shaped all the world over a certain framework of existence beyond the weight of the particular traditions and also in havmg provided the average spectator with a sui generis experience of his own subjectivity, which has above all been the work of the narrative cinema, for the visual one has as such just started to develop together with a digital conception of image and with a cybemetic conception of communication (Manovich 20). Thirdly, the difference at issue does not implicate any appraisal of the two species of cinema whereto we have alluded. Fourthly, there is a distmction between "narrative" or "story" (that is to say, the imaginative bond of subjectivity and action or subjectivity and occurrence) and "literature" or "reflective story" (namely, the ideal identity or the symbolical action that are above all set out in a novel or in a short story), whereon we shall briefly dwell at the end of the paper. Finally, what follows is more a personal reflection than the outcome of a comparison with someone's standpoints or theories, for we consider that the best way to show something is to focus it through the own experience, above all when the matter in question is within everyone's reach; in other words, we shall play the part of an average spectator, not of the critic's that focuses the phenomenon theoretically.
105. Glimpse: Volume > 11/12
Yoni Van Den Eede The Medium "Body": Subversive Perspectives
106. Glimpse: Volume > 13
Friedrich A. Uehlein The Medium: S. T. Coleridge's Concept of the Human Person
107. Glimpse: Volume > 13
Kurt Cline Phenomenology of the Hoax: Orson Welles, Alchemy and the Lie that Tells the Truth
108. Glimpse: Volume > 13
Miguel Ángel García González Immigrants' Political Representation and their Presence in Society: from Object to Subject of the Media
109. Glimpse: Volume > 13
Polana Tratnik SloveniaRhizomatic Body: The Shift in Comprehension of Life and Body with the Turn of the Biotechnological Paradigms
110. Glimpse: Volume > 13
Stephen Crocker Interrupting Images: The Life of Broken Machines in and after Bergson
111. Glimpse: Volume > 13
Mindaugas Briedis Phenomenology and the "Science of Medical Imaging"
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In this article I will bring phenomenological analysis to medicine, but differently from many "humane" approaches to various medical issues, I will explore from the standpoint of Husserlian phenomenological philosophy one "empirical" method of medical diagnostics, i.e. medical imaging, which in turn belongs to the celebrated tradition of scientific imaging. Hence I will relate three major Husserlian projects, that is Categorial intuition. Image Consciousness and Constitution of the Other (phenomenological aspect) to radiological diagnostics, based on various modes of medical imaging (media aspect), for example, stages of radiological diagnosis and the structure of Image Consciousness. This perspective opens up the way to distil transcendental conditions of the "radiologist at work" (identity aspect), to see the importance of mediating intentionalities, discovered by Husserl, for any theoretical enterprise and to speculate about the possible improvement of diagnostics performed by human being and/or computer.
112. Glimpse: Volume > 13
Stefan Selke Identity in the 'Loggossphere': Recalling Daily Life mth Human Digital Memory
113. Glimpse: Volume > 13
Paul Majkut Eidetic Other, Mediated Others, and Embodied Carrots
114. Glimpse: Volume > 13
Mónica Alarcón Identity and Migration in Contemporary Dance
115. Glimpse: Volume > 13
Yoni Van Den Eede A Philosophy of Media: A Medium Itself
116. Glimpse: Volume > 13
Hasibe Kalkan Searching for Identity
117. Glimpse: Volume > 13
Luis Acebal Technology and Stereotypes: The Medium is the Mass Age
118. Glimpse: Volume > 13
Paul Majkut Preface
119. Glimpse: Volume > 13
Marta Graciela Trógolo, Alejandra Fernández Media Deconstruction of the Myth of Communication and Sedentarism
120. Glimpse: Volume > 13
Shoji Nagataki, Satoru Hirose On What Mediates Our Knowledge of the External World: Body, Technology, and Affordance