scholarly journals RE-IMPLACEMENT: THE METAMORPHOSIS OF LITERARY SPACE IN THE CYBER-CITIES

2012 ◽  
Vol 2 ◽  
pp. 277-296
Author(s):  
Teresa Vilariño Picos
Keyword(s):  
Visual Arts ◽  
Space Time ◽  
Literary Space ◽  
Starting Point ◽  
The Spectator ◽  
The Way

The study of literature, theatre, cinema, the visual arts, television, and music has undergone an evolution that has produced a rupture with traditional notions of unity, authority, and space/time. This rupture has meant the emergence of a new theoretical discourse and new ways of studying the works that make up the new notion of the literary. In this article, I use Edward S. Casey’s notion of re-implacement to refer to the way in which places, as well as the events that occur within them, are assimilated, processed, and represented by artistic media that combine different techniques and disciplines. From this starting point, I analyze a number of texts that can be defined as forming part of a cyberculture in which the spectator-reader encounters a rich terminological vocabulary that corresponds to concepts such as multimedia, transmedia, intermedia, hypermedia, and postmedia.

Epilogue

2019 ◽  
pp. 157-158
Author(s):  
Valerio Scarani
Keyword(s):  
Space Time ◽  
Nonlocal Model ◽  
Starting Point ◽  
The World ◽  
Orthodox View ◽  
The Way

We first stress that nonlocality forces changes on our view of the world. One can adopt the orthodox view that one should not even attempt to describe individual events; or one can opt for a properly-speaking nonlocal model, with very unpleasant features like influences propagating at infinite speed in our space-time; or one can go all the way to some form of determinism. Then, the hope is formulated that the field of nonlocality, having reached maturity, may serve as starting point for future discoveries.

scholarly journals Çağdaş Sanatta Bir Yanılsama Tekniği: ‘Anamorfoz’ ve Felice Varini / An Illusion Technique in Contemporary Art: ‘Anamorphosis’ and Felice Varini

2018 ◽  
Vol 7 (1) ◽  
pp. 527
Author(s):  
Mustafa Kocalan ◽  
Tansel Türkdoğan
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
21St Century ◽  
Development Process ◽  
Specific Point ◽  
Visual Effects ◽  
Historical Process ◽  
The Spectator ◽  
Light Color ◽  
The Way

<p><strong>Abstract</strong></p><p>In the 20th century and especially in the 21st century, the theory and the concepts such as simulation', ‘manipulation', ‘illusion', 'secret' and 'reality' have been interpreted differently from old times in several disciplines especially in visual arts. Some misleading techniques within various methods and aesthetic rules have been applied in the way that they deal with these concepts which are contained in art dynamics serving as a language of visual expression. Though the performed images within ‘Anamorphosis', its alias ‘anamorphic illusion' technique which is one of the most interesting techniques, at first glance look like difficult and chaotic constructions to solve, they represent a fictitious image, space or surface with the purpose of deceiving and they also include visual effects, deformation, and utopia.In the anamorphic works that change as long as it moves and can only be resolved from a specific point and angle, they become a part of the spectator composition in order to discover the truth and meaning and thus interactive situations also occur.</p><p>In this research, with an overview of the anamorphous technique’s form and development in historical process, was carried out in order to examine and evaluate the approach styles of the concept of Illusion which has modern artist Felice Varini who interprets this technique by associating with light, color, texture, mass, place, space, spacing and surface concepts. In accordance with the aim of the study, firstly the definition, types, methods and development process of the Anamorphosis technique have been examined, then some examples of Varini's work, which the first sight are perceived as having complex fragments and manipulating the perception of space at the same time have been presented and the effect of this situation on the viewer and the way of interpretation depending on the misleading features have been discussed.</p><p><strong>Öz</strong></p><p>20. yüzyıl ve özellikle de 21. yüzyılda ‘simülasyon’, ‘manipülasyon’, ‘yanılsama’, ‘giz’ ve ‘gerçeklik’ gibi kuram ve kavramlar, başta görsel sanatlar olmak üzere çeşitli disiplinlerde önceki dönemlerden farklı biçimlerde yorumlanmıştır. Görsel anlatım diline hizmet eden sanat dinamiklerinin içinde barındırdığı bu kavramları ele alış biçimlerinde çeşitli yöntemler ve estetik kuralları dâhilinde de bazı yanıltıcı teknikler uygulanmıştır. En ilgi çekici tekniklerden biri olan ‘anamorfoz’ diğer adıyla ‘anamorfik illüzyon’ tekniği ile gerçekleştirilen görüntüler, ilk bakışta her ne kadar çözümlenmesi zor ve kaotik yapılar gibi gözükseler de yanıltma amacıyla birlikte gerçeği, imgeyi, mekânı veya yüzeyi temsil etmektedirler. Aynı zamanda bu görüntüler deformasyonu, görsel efekti ve ütopyayı da içinde barındırmaktadırlar. Hareket edildiği sürece değişen, ancak belirli bir noktadan ve açıdan çözümlenebilen anamorfik çalışmalarda gerçeği ve anlamı keşfetme yolunda, seyirci kompozisyonun parçası haline gelmekte ve bu sayede bazı interaktif durumlar da gerçekleşmektedir.</p><p>Bu araştırma, anamorfoz tekniğinin biçemine ve tarihsel süreçte gelişimine genel bir bakış ile birlikte; bu tekniği ışık, renk, doku, kütle, mekân, uzam, espas ve yüzey kavramlarıyla ilişkilendirerek yorumlayan Çağdaş sanatçı Felice Varini’nin ‘yanılsama’ kavramına yaklaşım biçimlerini incelemek ve değerlendirmek amacıyla gerçekleştirilmiştir. Çalışma amacı doğrultusunda, ilk önce Anamorfoz tekniğinin tanımı, çeşitleri, yöntemleri ve gelişim süreci incelenmiş, sonrasında ise Varini’nin ilk bakışta karmaşık parçalara sahipmiş gibi algılanan ve aynı zamanda mekân algısını manipüle eden çalışmalarından bazı örnekler sunularak izleyici üzerinde yarattığı etki ve yanıltıcı özelliklerine bağlı olarak yorumlama biçimleri ele alınmıştır.</p>

Parts of a Whole

2017 ◽  
Author(s):  
Lucas Champollion
Keyword(s):  
Algebraic Semantics ◽  
Reference Measurement ◽  
Single Constraint ◽  
Starting Point ◽  
Accessible Format ◽  
The Way

Why can I tell you that I ran for five minutes but not that I *ran all the way to the store for five minutes? Why can you say that there are five pounds of books in this package if it contains several books, but not *five pounds of book if it contains only one? What keeps you from using *sixty degrees of water to tell me the temperature of the water in your pool when you can use sixty inches of water to tell me its height? And what goes wrong when I complain that *all the ants in my kitchen are numerous? The constraints on these constructions involve concepts that are generally studied separately: aspect, plural and mass reference, measurement, and distributivity. This work provides a unified perspective on these domains, connects them formally within the framework of algebraic semantics and mereology, and uses this connection to transfer insights across unrelated bodies of literature and formulate a single constraint that explains each of the judgments above. This provides a starting point from which various linguistic applications of mereology are developed and explored. The main foundational issues, relevant data, and choice points are introduced in an accessible format.

Engels on women, the family, class and gender

2021 ◽  
pp. 194277862110000
Author(s):  
Sheila Margaret McGregor
Keyword(s):  
Historical Materialism ◽  
Human Society ◽  
Human Beings ◽  
True Nature ◽  
Starting Point ◽  
Women's Oppression ◽  
1960S And 1970S ◽  
Socialist Movement ◽  
The Impact ◽  
The Way

This article looks at Engels’s writings to show that his ideas about the role of labour in the evolution of human beings in a dialectical relationship between human beings and nature is a crucial starting point for understanding human society and is correct in its essentials. It is important for understanding that we developed as a species on the basis of social cooperation. The way human beings produce and reproduce themselves, the method of historical materialism, provides the basis for understanding how class and women’s oppression arose and how that can explain LGBTQ oppression. Although Engels’s analysis was once widely accepted by the socialist movement, it has mainly been ignored or opposed by academic researchers and others, including geographers, and more recently by Marxist feminists. However, anthropological research from the 1960s and 1970s as well as more recent anthropological and archaeological research provide overwhelming evidence for the validity of Engels’s argument that there were egalitarian, pre-class societies without women’s oppression. However, much remains to be explained about the transition to class societies. Engels’s analysis of the impact of industrial capitalism on gender roles shows how society shapes our behaviour. Engels’s method needs to be constantly reasserted against those who would argue that we are a competitive, aggressive species who require rules to suppress our true nature, and that social development is driven by ideas, not by changes in the way we produce and reproduce ourselves.

The Transfer of Power, 1947

1982 ◽  
Vol 16 (1) ◽  
pp. 1-32 ◽  
Author(s):  
W. H. Morris-Jones
Keyword(s):  
Title I ◽  
Direct Acquaintance ◽  
The World ◽  
The Spectator ◽  
The Way

Those who kindly invited me to give this lecture showed some resistance to its sub-title. I insisted on ‘a view from the sidelines’ because I wished to emphasize that my remarks would be based on my own presence at the events of 1947 and confined to those matters with which I had direct acquaintance. This is still largely true: mine is in part an undisguisedly personal tale. But the matter is rather more complicated. For one thing, while I was certainly a spectator I was also able for a couple of months in 1947 to scamper on to a segment of New Delhi's field of fateful play, even to get a touch or two of the ball, before returning to my place on the terraces. But for the purpose of this lecture I could not content myself with recollections; I have, as it were, examined the slow re-plays of the television cameras. In trying to match my memories, diaries and letters from 1947 with the files at India Office Records, there have, I confess, been phases of bewilderment on the way to such modest and provisional enlightenment as I can offer. It is not simply that in the 34 years the world has moved on, the perspective has changed; that is a problem which the historian's whole skill is devoted to overcome. The difficulty is aggravated when the spectator cum minor actor in the drama of yesteryear puts on the historian's robe; for not only the world but he with it has changed.

scholarly journals BLACK HOLE EVAPORATION BASED UPON A q-DEFORMATION DESCRIPTION

2005 ◽  
Vol 20 (26) ◽  
pp. 6039-6049 ◽  
Author(s):  
XIN ZHANG
Keyword(s):  
Black Hole ◽  
Degrees Of Freedom ◽  
Radiation Spectrum ◽  
Correlation Effect ◽  
Space Time ◽  
Noncommutative Space ◽  
Schwarzschild Black Hole ◽  
Black Hole Evaporation ◽  
Starting Point ◽  
New Distribution

A toy model based upon the q-deformation description for studying the radiation spectrum of black hole is proposed. The starting point is to make an attempt to consider the space–time noncommutativity in the vicinity of black hole horizon. We use a trick that all the space–time noncommutative effects are ascribed to the modification of the behavior of the radiation field of black hole and a kind of q-deformed degrees of freedom are postulated to mimic the radiation particles that live on the noncommutative space–time, meanwhile the background metric is preserved as usual. We calculate the radiation spectrum of Schwarzschild black hole in this framework. The new distribution deviates from the standard thermal spectrum evidently. The result indicates that some correlation effect will be introduced to the system if the noncommutativity is taken into account. In addition, an infrared cutoff of the spectrum is the prediction of the model.

“Ọrọ, nwa, ẹkọ”, the talk, the look, the education: reflections on a pedagogy of cosmoperception

2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Roseane Santos Mesquita ◽  
Késia Dos Anjos Rocha
Keyword(s):  
Educational Experience ◽  
The Other ◽  
Educational Practices ◽  
Starting Point ◽  
The World ◽  
The Look ◽  
Ways Of Being ◽  
Present Text ◽  
The Way

The present text bets on the power of reflections on a pedagogy guided by cosmoperception. It is a collective call for the enchanted ways of perceiving and relating to the other. “Ọrọ, nwa, ẹkọ”, the talk, the look, the education, insurgent forces that grow in the cracks, just like moss, alive, reborn. That is the way we think about education, as a living practice, turned to freedom. Freedom understood as a force that enables us to question certain hegemonic truths entrenched in our ways of being, thinking and producing knowledge. In dialogue with the criticisms on the decolonial thought and by authors and authoresses who are putting themselves into thinking about an epistemology from a diasporic place, from the edges of the world, we will try to problematize the effects of the epistemic erasures promoted by the colonial processes and how that has affected our educative practices. The look at the educational experience that happens in the sacred territory of candomblé, will be our starting point to think about politically and poetically transformative educational practices.

scholarly journals Adjustment of the electronic commerce to the digital television

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
María-del-Rosario Fernández-Falero
Keyword(s):  
Electronic Commerce ◽  
El Paso ◽  
Video On Demand ◽  
Digital Television ◽  
Electronic Market ◽  
Electronic Trade ◽  
On Demand ◽  
The Spectator ◽  
La Red ◽  
The Way

The challenge of the electronic commerce for the new century is going to be the step to the digital television, so that we go away to having to adapt at the rate of a television been founded on the diffusion, to a set of services of digital video based on the access. Of this form, the spectator of television is going to meet the possibility of interacting with the way, which supposes a change in the industry of the broadcast, so then though till now they were the distribution companies of information and entertainment the only ones with possibilities of controlling such events, the possibility of interaction the way on the part of the spectators of the digital television it will allow them intervening in the diffusion of information, which supposes a significant change for the hearing of the television. The companies must elaborate contents directed a users who are going to have access to will: it is necessary to offer them what want, when they want - this is VOD (video on demand) - Then the digital television not only is going to modify the way of doing television, but also the way of seeing television. The electronic market is guaranteeing positions in the commercial Spanish panorama, growth that becomes clear in the increase so much of the number of users as of the volume of business, of the number of economic operations by Internet and of the number of web pages of companies dedicated to the trade across the Net. This positive evolution of the market shows how a way technologically so new as it is Internet, has allowed that in only 15 years it could speak about a historical evolution of the same one. This makes foresee that the step and evolution of the electronic market from Internet to the digital television could have a similar evolution in acceptance and consolidation. Finally, the future of the electronic commerce not only is subject to the appearance of new commercial models, but also to the technology; this way, the following step, technologically speaking, it is that of the digital television, which interactive and to allow to the user a use similar to that of Internet, does to the being that the challenge of the electronic trade is to go on to this way and to evolve in agreement with the characteristics of the same one. The first problem to which one is going to face this market is that of the user's change: in Spain the Internet user (according to the AECE, Spanish Association of Electronic Trade) is for the most part a male, with an age understood between 25 and 34 years; the television, nevertheless, is a very spread way and within reach of all, which will suppose a change both in the content and in the way of presenting the information (definitively, the product that is wanted to sell). El reto del comercio electrónico para el nuevo siglo va a ser el paso a la televisión digital, de manera que nos vamos a tener que adaptar al cambio de una televisión fundada en la difusión, a un conjunto de servicios de video digital basados en el acceso. De esta forma, el espectador de televisión se va a encontrar con la posibilidad de interactuar con el medio, lo que supone un cambio en la industria de la teledifusión, pues si bien hasta ahora eran las empresas distribuidoras de información y entretenimiento las únicas con posibilidades de controlar tales eventos, la posibilidad de interacción con el medio por parte de los espectadores de la televisión digital permitirá a estos intervenir en la difusión de información, lo que supone un cambio significativo para la audiencia de la televisión. Las empresas deben elaborar contenidos dirigidos a un usuario que va a tener acceso a voluntad: hay que ofrecerle lo que quiera, cuando quiera -es decir VOD (video on demand)- Luego la televisión digital no sólo va a modificar la forma de hacer televisión, sino también la forma de ver televisión. El mercado electrónico está afianzando posiciones en el panorama comercial español, crecimiento que se hace patente en el aumento tanto del número de usuarios como del volumen de negocio, del número de operaciones económicas por Internet y del número de páginas web de empresas dedicadas al comercio a través de la Red. Esta evolución positiva del mercado muestra cómo un medio tecnológicamente tan joven como es Internet, ha permitido que en apenas 15 años se pueda hablar de una evolución histórica del mismo. Esto hace prever que el paso y evolución del mercado electrónico desde Internet a la televisión digital pueda tener una evolución parecida en aceptación y consolidación. Finalmente, el futuro del comercio electrónico no sólo está sujeto a la aparición de nuevos modelos comerciales, sino también a la tecnología; así, el siguiente paso, tecnológicamente hablando, es el de la televisión digital, la cual por ser interactiva y permitir al usuario un uso parecido al de Internet, hace que el reto del comercio electrónico sea pasar a este medio y evolucionar de acuerdo con las características del mismo. Uno de los primeros problemas a los que se va a enfrentar este mercado es el del cambio de usuario: en España el usuario de Internet (según la AECE, Asociación Española de Comercio Electrónico)es mayoritariamente varón, con una edad comprendida entre 25 y 34 años; la televisión, sin embargo, es un medio muy difundido y al alcance de todos, lo que supondrá un cambio tanto en el contenido como en la forma de presentar la información (en definitiva, el producto que se desea vender).

scholarly journals Living in the Present: Rethinking the Paradox of Suspense through Videogames

2020 ◽  
Author(s):  
Paul Atkinson ◽  
Farzad Parsayi
Keyword(s):  
Frame Of Reference ◽  
The Spectator ◽  
The Way

In the study of film, Nöel Carroll (2001) coined the term the “paradox of suspense” to refer to a situation in which rewatching a film continues to invoke suspenseful feelings. According to the paradox, the tension associated with anticipation and uncertainty persists even though the spectator definitely knows what will happen (Carroll 2001). Many of the articles on the paradox and suspense examine the narrative events shaping spectator or player knowledge (Branigan 1992; Gerrig 1997; Ortony, Clore, and Collins 1988; Prieto-Pablos 1998; Smuts 2008; Yanal 1996), however, this paper takes a slightly different approach by addressing factors that contribute to the feeling of suspense irrespective of the awareness of specific narrative events. By examining videogames, we also shift the frame of reference from narration to gameplay and the way players prepare for suspenseful events. We argue that videogames require a particular attitude manifest in the gameplay that continues to foster suspense even in the replaying of a game.

scholarly journals A Justiça Parcial e a Ganância enquanto virtude e vício do caráter na Ética a Nicômaco: ação interpessoal, emoção e prazer

2019 ◽  
Vol 13 (2) ◽  
pp. 109-145
Author(s):  
André Luiz Cruz Sousa
Keyword(s):  
The Other ◽  
Nicomachean Ethics ◽  
Other Hand ◽  
The People ◽  
Starting Point ◽  
The One ◽  
The Way

The aim of this paper is to study a set of three issues related to the understanding of partial justice and partial injustice as character dispositions, namely the distinctive circumstance of action, the emotion involved therein and the pleasure or pain following it. Those points are treated in a relatively obscure way by Aristotle, especially in comparison with their treatment in the expositions of other character virtues in the Nicomachean Ethics. Building on the expression ‘capacity towards the other’ (δύναμις ἐν τῷ πρὸς ἕτερον), the paper highlights the interpersonal nature of the circumstances of just and unjust actions, and points how such nature is directly related to notions such as ‘profit’ (κέρδος) or ‘getting more’(πλεονεκτεῖν) as well as to the unusual conception of excess, defect and intermediacy in Nicomachean Ethics Book V. The interpersonal nature of just and unjust actions works also as the starting-point for the interpretation both of the pleasure briefly mentioned in 1130b4 as characterizing the greedy person and of the emotion involved in acting justly or greedy, which is mentioned in an extremely elliptical way in 1130b1-2: the paper argues, on the one hand, that the pleasure felt in acting justly or unjustly concerns not only the goods that are the object of just or unjust interactions, but also the way such interactions affect the people involved; on the other hand, it argues that the emotion actuated in just or unjust interactions relates to the agent’s concern or lack of concern with the good of those people.

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