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Displaying: 41-60 of 341 documents

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41. Glimpse: Volume > 16
Joris D. Raven Phenomenological Sociology and the Experience of Time
42. Glimpse: Volume > 3 > Issue: 2
Kathryn Egan The Influence of Ricoeur's Spiral of Mimesis on Television's Search for Authenticity
43. Glimpse: Volume > 3 > Issue: 2
Stacey O'Neal Irwin Technological Texture: A Phenomenological Look at the Experience of Editing Visual Media on a Computer
44. Glimpse: Volume > 3 > Issue: 2
Chris Nagel Empathy, Mediation, Media
45. Glimpse: Volume > 3 > Issue: 2
Chris Nagel Introduction
46. Glimpse: Volume > 3 > Issue: 2
Lea Marie Ruiz Culture and Identity in Electronic Space
47. Glimpse: Volume > 3 > Issue: 2
Alex Zukas The Invisibility of Work: Virtual Toil and Commodity Fetishism on the Web
48. Glimpse: Volume > 3 > Issue: 2
Matti Itkonen The Opacity of the Transparent: A Time-Dweller's Voyage in the World of the Film Titanic
49. Glimpse: Volume > 3 > Issue: 2
Alberto J. L. Carrillo Canán On the Phenomenological Nature of the TV Image
50. Glimpse: Volume > 22 > Issue: 1
Tirtha Prasad Mukhopadhyay Editorial
51. Glimpse: Volume > 22 > Issue: 1
Remy Demichelis Can We Learn Anything from Brain Simulation?: A Hermeneutic Case Against Strong AI
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If you figure out how machines learn, then you will figure out how the brain works, and what the brain’s functions are. Such an idea is widespread among philosophers and computer scientists who agree with a functionalist reductionist point of view of consciousness. This theory leads to hold that the more accurate the simulation of cognitive behavior is, the more the math behind it must be true – when true means what really happens in our brain. In this article, we aim to show that, on one hand, brain simulation is nothing more than just another simulation, and it offers very little help to understand – nor to produce – the vivid experiences (qualia) of cognitive functions. On the other hand, we would like to emphasize that when it succeeds at predicting a mechanism with less ambiguity and more accuracy than without a simulation nor direct observation, it really develops the knowledge of our brain. As long as brain simulation follows scientific principles, it should be regarded as valuable, even though the knowledge it brings to science must not be confused for the real phenomenon. Brain simulation, like all simulation, cannot fill any reality or epistemic gap. It is a consolation prize.
52. Glimpse: Volume > 22 > Issue: 1
Martha Erika Mateos Genis, Luis Daniel Herrera Romero, Uriel Hidalgo Lerma Animation Narrative in Vertical Format
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Animation, defined as a process utilized to suggest motion to image or drawings, has evolved towards different techniques and styles offered by the industry. Its esthetic nature meets a progressive technologization of art and creativity, and therewith it responds to esthetics enrichment not only in animated object, but also in its creation process. The possibility to have an expanded form in techniques and formats has therefore prompted it to explore and to enrich various elements of its visual narrative. One of the most prominent elements has been the application of vertical format, while also acknowledging the consumption of digital content in smartphones. MOJITO LAB of ARPA/BUAP has focused on this technique as a line of research for 2D animation. This article herein presents some areas with considerable interest in the impact of vertical format in animation as follows: 1) The antecedents of vertical format in both still and moving image; 2) the relation between vertical format and digital media generated by smartphones; 3) observations based on the image analysis of 2D animation utilizing vertical format which provides esthetic qualities to visual narrative language of 2D animation.
53. Glimpse: Volume > 22 > Issue: 1
Martta Heikkilä From the Self-Image to the Image Itself: Portrait in Jean-Luc Nancy’s Philosophy and Contemporary Visual Culture
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In this article, I examine the idea of the portrait from two viewpoints: the ‘classical’ portrait as it appears in Jean-Luc Nancy’s post-phenomenological philosophy, and the recent self-portrait photographs or ‘selfies’ on social media. First, I consider the portrait’s value in Nancy’s theories of art: for him, portraits hold an important position among the genres of visual art, since they present themselves as distinctive images by extracting the innermost force of the portrayed person. Secondly, I take up the philosophical and political implications of Nancy’s notion of the portrait vis-a-vis the contemporary selfie culture. I suggest that, instead of emphasizing the model’s singularity as traditional artistic portraits do, the flow of selfies tends to create similarity. I begin by clarifying Nancy’s paradoxical claim that the human portrait may resemble a person only on the condition of not representing him or her. After this, I inquire about the philosophical position of selfies as constructed portraits that make visible the absence of the self. However, as I argue, they do this in a sense that differs from Nancy’s account of the portrait. As a result, I propose that the repetition and circulation of selfies has remarkably changed our view on the significance and, finally, the ontology of the portrait.
54. Glimpse: Volume > 22 > Issue: 1
C. E. Harris Phantom Perceptions: Seeing What Isn’t There in Digital Cinema
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As digital cinema becomes increasingly dematerialized, in the vein of milestones such as Avatar (2009) and Gravity (2013), the role of CGI and other digital film technologies shift from a complement/corrective of filmed images to a means of creating images proper. In these films created without celluloid, without physical decors, and, increasingly, even without a camera, the insistence on retaining artifactual film formal techniques, codes, and devices from analog cinema is nonetheless striking: camera movements are simulated, lens flares are rendered digitally in the absence of lenses, editing proceeds according to classical codes of continuity, etc. This paper investigates the simulation of analog film forms and ‘dispositifs’ in digital cinema through the question of perception: what does it mean to perceive a camera that is not actually there? Or more generally, when are these simulated devices meant to be apparent, and when are they meant to be imperceptible? In order to approach these questions, this paper will look at cases in which perceptual objects may go unregistered, cases in which perceptual objects are rendered more perceptible by virtue of their digital simulation, and cases in which perceptual objects are meant to be perceived otherwise, in order to posit a skeuomorphic sensibility that links analog and digital cinema through experience.
55. Glimpse: Volume > 22 > Issue: 1
Junichiro Inutsuka The Question of Disclosure in Photography: Resisting the Evidence of the Photographic World
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Keeping aside discussions about theories of depiction of photography and the epistemic value of photography from the viewer’s perspective, I reconsider this techne from the photographers’ entire act of photographing. It presents the quest of the possibility to regain the world by the art of photography, especially in a situation where human consciousness of the living environment is overwhelmed by the photographic effects. The nature of the current technological environment—while disguising the manifestation of pure humanity, in the sense that it is the externalization of technology due to human nature—is completely destructive. Today, trying to save or regenerate philosophy should be nothing more than seeking a way for human beings to refuse being incorporated as an automaton in an endless track of automated reproduction processes. As one of those who wish to find a way to reconstruct the relationship between humans and nature or to reveal that human existence can only be established in such correlation, I seek a way of breathing human freedom, momentarily disputing this automated living and social environment. In other words, to regain or to play the art of photography, to unsettle what usually works as concrete support for the cognitive transformation making us unconsciously think of the technological environment as something inevitable and natural. It would be presenting a temporary retreat and a more positive way forward.
56. Glimpse: Volume > 22 > Issue: 1
Ģirts Jankovskis The Phenomenon of the New in the Context of Social Media
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This paper analyzes the phenomenon of the new in the context of social media using the interpretative phenomenological approach based on interviews with social media users. The new, which is mostly used as an adjective (a property), in this paper is treated as a noun (an object), a phenomenon of perception described in three aspects: (1) as the future in presence, (2) as the opposite, (3) as a value. Usually, the new is associated with time, but in the context of social media perception, it rather appears as a value-saturated phenomenon. Two opposing attitudes can be distinguished: on the one hand, the new is seen as a desired progress, on the other hand, it includes an alienation from the being. This alienation also prevents us from seeing the new media as it is.
57. Glimpse: Volume > 22 > Issue: 1
Paul Majkut Bookish Philosophy and Immediated Realism
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Disputes among conflicting “schools of thought,” located predominantly in philosophy departments in universities throughout the world, have degenerated into an academic, bookish philosophy that threatens to replace the discourse of wonder with the jargon of specialists. An elite process of inbred, intellectual decay renders all schools to a discourse that restricts philosophical discourse to print media, professional / professorial standards replace open-ended discussion, and “publish or perish” deflates the value of discourse. Literacy becomes the benchmark of understanding, and illiteracy is equated with lack of understanding. A tyranny of the articulate dismisses the wisdom of ordinary discourse, and the book itself becomes a coffin whose colophon page is a gravestone inscribed with the date of death of the corpse text within. Escape from this inevitable condition can be found in a return to the ordinary, common language and direct realism of the everyday human through a process of mediation, unmediation, and immediation.
58. Glimpse: Volume > 22 > Issue: 1
Pieter Lemmens Thermodynamics of the Technosphere. Rethinking Temporality and Technicity in the Age of Planetary Emergency with Heidegger and Stiegler
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This article critically reflects on Stiegler’s re-interpretation of Heidegger’s views on the relationships between existential temporality, the understanding of being and technology within the context of the latter’s notion of enframing, reconceptualized as an explicitly planetary phenomenon: the technosphere. Stiegler replaces Heidegger’s ontological conception with an organological one, arguing that the latter fails to understand these phenomena from the crucial perspective of thermodynamics, i.e., of the question of entropy and negentropy, which has never been addressed by Heidegger. What I particularly aim to show is that Stiegler’s organological re-intepretation of enframing as the technosphere and of existential temporality in terms of ‘quasi-causality’ (per Deleuze) may profit from being put in the broader, geothermodynamic context of Earth System Science, and considered from the perspective of Schneider & Sagan’s ‘gradient theory’, as being driven by what may be called the planetary ‘thermodynamic imperative’ with Jeffrey Wicken.
59. Glimpse: Volume > 22 > Issue: 1
Michaela Ott Dividual Subjectivation in World Society
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Today, new insights into our interdependency with biotic masses, ecological ensembles, and technological and cultural practices in a growing world society all create the need to redefine human subjectivation. Since the so-called individual cannot be separated from these different involvements without endangering his/her existence, we should rethink our self-understanding in terms of the ‘undivided’ person and recognize that this concept expresses a misleading negation of our inevitable participations. It should therefore be replaced by the modified term ‘dividuation’, which endeavours to indicate our multidirectional and often ambivalent forms of entanglement and involuntary co-constitution by technological, cultural or even non-human ‘others’. The ever-specific dividuation has to be recognized and moderated in order to keep up our cohesion and psychophysical metastability.
60. Glimpse: Volume > 22 > Issue: 1
Tirtha Prasad Mukhopadhyay Media Pseudologies: The Imperatives of Acquisition and Control in Information Society
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In this article, the author seeks to understand how any information society generates clusters of information that act to secure and reinforce ecologies of consumption for media conglomerates and its circle of consumers. Empirical case studies would show that news information may not be based in the larger realities of all the players involved. Societies may be described in such situations as desiring their ends by means of segmented branching, but more empirically, by imperatives of survival and growth. Pseudology comprise the only sustaining principle of discourse for such a world immersed and fragmented by its local interests and their recognizable patterns of behavior as they are retrospectively conditioned by media.