Science Education as a Site for Biopolitical Engagement and the Reworking of Subjectivities: Theoretical Considerations and Possibilities for Research

Author(s):  
Jesse Bazzul
1995 ◽  
Vol 34 (1) ◽  
pp. 43-50 ◽  
Author(s):  
Shirley J. Magnusson ◽  
Annemarie Sullivan Palincsar

Author(s):  
Adam Nash

This chapter examines digital virtual environments as a site for art and proposes a formal aesthetics for art in digital virtual environments. The study arises from the author's decades-long practice producing art in virtual environments and the related theoretical considerations that have arisen from that practice. The technical, conceptual and ontological status of virtual environments is examined in order to establish a base of intrinsic qualities that identify virtual environments as a medium for art. The philosophy of Gilbert Simondon is used to achieve this. The elements and principles the artist must employ to work with this medium are identified as data, display and modulation. The specificities of virtual environments as a medium for art are examined in order to establish a formal aesthetics. In particular, digital colour, visual opacity, digital sound, code, artificial intelligence, emergence and agency are identified as the primary qualities that the artist manipulates to bring forth art in a virtual environment.


Author(s):  
David L. Haberman

Loving Stones: Making the Impossible Possible in the Worship of Mount Govardhan is based on ethnographic and textual research with two major objectives. First, it is a study of the conceptions of and worshipful interactions with Mount Govardhan, a sacred mountain located in the Braj region of north-central India that has for centuries been considered an embodied form of Krishna. In this capacity it provides detailed information about the rich religious world associated with Mount Govardhan, much of which has not been available in previous scholarly literature. It is often said in that Mount Govardhan “makes the impossible possible” for devoted worshipers. This investigation includes an examination of the perplexing paradox of an infinite god embodied in finite form, wherein each particular form is non-different from the unlimited. Second, it aims to address the challenge of interpreting something as radically different as the worship of a mountain and its stones for a culture in which this practice is quite alien. This challenge involves exploration of interpretive strategies that aspire to make the incomprehensible understandable, and engages in theoretical considerations of incongruity, inconceivability, and like realms of the impossible. This aspect of the book includes critical consideration of the place and history of the pejorative concept of idolatry (and secondarily, its twin, anthropomorphism) in the comparative study of religions. Accordingly, the second aim aspires to use the worship of Mount Govardhan as a site to explore ways in which scholars engaged in the difficult work of representing other cultures struggle to “make the impossible possible.”


Author(s):  
Adam Nash

This chapter examines digital virtual environments as a site for art and proposes a formal aesthetics for art in digital virtual environments. The study arises from the author's decades-long practice producing art in virtual environments and the related theoretical considerations that have arisen from that practice. The technical, conceptual and ontological status of virtual environments is examined in order to establish a base of intrinsic qualities that identify virtual environments as a medium for art. The philosophy of Gilbert Simondon is used to achieve this. The elements and principles the artist must employ to work with this medium are identified as data, display and modulation. The specificities of virtual environments as a medium for art are examined in order to establish a formal aesthetics. In particular, digital colour, visual opacity, digital sound, code, artificial intelligence, emergence and agency are identified as the primary qualities that the artist manipulates to bring forth art in a virtual environment.


2021 ◽  
pp. 50-72
Author(s):  
Nathan Myrick

This chapter continues examining ethics and music beyond discourse and meaning, and, drawing on fieldwork and theoretical considerations from the literature, argues that the second way that music is ethically significant is through shared experiences of emotional orientation. Musical activity forms communities through its ability to marshal human emotions and orient emotional postures toward or against ideas or objects. Participants experience the emotions of others in profound ways through music, and this influences their thinking, suggesting that musical activity is a site where meaning and emotion intersect. This intersection of meaning and emotion is intensely formational, indicating that music plays an important role in the formation of both reason and relationships.


Author(s):  
O.L. Krivanek ◽  
J. TaftØ

It is well known that a standing electron wavefield can be set up in a crystal such that its intensity peaks at the atomic sites or between the sites or in the case of more complex crystal, at one or another type of a site. The effect is usually referred to as channelling but this term is not entirely appropriate; by analogy with the more established particle channelling, electrons would have to be described as channelling either through the channels or through the channel walls, depending on the diffraction conditions.


Author(s):  
Fred Eiserling ◽  
A. H. Doermann ◽  
Linde Boehner

The control of form or shape inheritance can be approached by studying the morphogenesis of bacterial viruses. Shape variants of bacteriophage T4 with altered protein shell (capsid) size and nucleic acid (DNA) content have been found by electron microscopy, and a mutant (E920g in gene 66) controlling head size has been described. This mutant produces short-headed particles which contain 2/3 the normal DNA content and which are non-viable when only one particle infects a cell (Fig. 1).We report here the isolation of a new mutant (191c) which also appears to be in gene 66 but at a site distinct from E920g. The most striking phenotype of the mutant is the production of about 10% of the phage yield as “giant” virus particles, from 3 to 8 times longer than normal phage (Fig. 2).


Sign in / Sign up

Export Citation Format

Share Document