scholarly journals Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology

ZARCH ◽  
2017 ◽  
pp. 84-105
Author(s):  
Douglas M. Klahr
Keyword(s):  
Nineteenth Century ◽  
General Public ◽  
Human Beings ◽  
Crystal Palace ◽  
Phenomenology Of Perception ◽  
The World ◽  
Spatial Dimensions ◽  
Viewing Experience

Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every building that was deemed to be culturally significant by the European and American photographers who pioneered the medium, starting with its introduction to the general public at the Crystal Palace in London in 1851. By the early 1900s, consumers in Europe and America could purchase from major firms stereoscopic libraries of buildings from around the world. Stereoscopic photography brought together the emotional, technical and informed acts of looking, especially with regard to architecture. In this essay, the focus in upon the first of those acts, wherein the phenomenal and spatial dimensions of viewing are examined. Images of architecture are used to argue that the medium not only was a manifestation of Maurice Merleau-Ponty’s phenomenology of perception, but also validated the philosophy. After an analysis of how stereoscopic photography and Merleau-Ponty’s philosophy intersect, seven stereographs of architectural and urban subjects are discussed as examples, with the spatial boundaries of architecture and cities argued as especially adept in highlighting connections between the medium and the philosophy. In particular, the notion of Fundierung relationships, the heart of Merleau-Ponty phenomenology, is shown to closely align with the stereoscopic viewing experience describing layers of dependency.  

Design and Application about System of Plant Science Popularization Based on the QR Code

2015 ◽  
Vol 738-739 ◽  
pp. 1303-1308
Author(s):  
Jing Hua Han ◽  
Ming Jia Li
Keyword(s):  
New Media ◽  
Plant Species ◽  
General Public ◽  
Raw Materials ◽  
Plant Science ◽  
Qr Code ◽  
Human Beings ◽  
Plant Resources ◽  
Science Popularization ◽  
The World

Plant is not only closely related to human beings’ life, but also an integral part of raw materials in production. Protection of nature and plant resources is an increasingly urgent needs around the world. Cognition is a prerequisite for the protection of plant. But the way of plant science popularization is old, the knowledge of plant is too obscure to the general public. The system of plant science popularization based on the QR code spreads the knowledge of plant with illustrations interactively, to facilitate ordinary users to learn, understand and identify plant species. The article will detail all aspects of development of the system, allowing more scholars to understand the digitized plant science popularization under the new media.

scholarly journals Identity considerations for a psychology based on a complex epistemology

2009 ◽  
Vol 2 (2) ◽  
pp. 158-166 ◽  
Author(s):  
Juan Carlos Jaramillo Estrada
Keyword(s):  
Quality Of Life ◽  
Nineteenth Century ◽  
Active Part ◽  
Late Nineteenth Century ◽  
Human Beings ◽  
The Poor ◽  
The World ◽  
Late Nineteenth ◽  
The Way

Born in the late nineteenth century, within the positivist paradigm, psychology has made important developments that have allowed its recognition in academia and labor. However, contextual issues have transformed the way we conceptualize reality, the world and man, perhaps in response to the poor capacity of the inherited paradigm to ensure quality of life and welfare of human beings. This has led to the birth and recognition of new paradigms, including complex epistemology, in various fields of the sphere of knowledge, which include the subjectivity, uncertainty, relativity of knowledge, conflict, the inclusion of "the observed" as an active part of the interventions and the relativity of a single knowable reality to move to co-constructed realities. It is proposed an approach to the identity consequences for a psychology based on complex epistemology, and the possible differences and relations with psychology, traditionally considered.

scholarly journals INTELLECTUAL [DIS]HONESTY IN ARCHITECTURE

2014 ◽  
Vol 38 (3) ◽  
pp. 187-191 ◽  
Author(s):  
Kenneth G. Masden II ◽  
Nikos A. Salingaros
Keyword(s):  
Built Environment ◽  
General Public ◽  
Power Structure ◽  
Human Beings ◽  
High Profile ◽  
True Value ◽  
Logical Conclusion ◽  
The World ◽  
The Media ◽  
Contemporary Architecture

Many, if not a majority, of the world’s citizens view contemporary architecture as ineffective in accommodating the lives of everyday human beings. And yet, voluminous texts by prominent architects and the media argue just the opposite; that, in fact, flashy and expensive new projects profoundly benefit humanity. Those buildings supposedly provide continued advancement in how humans occupy the world. While there is no doubt that the built environment is instrumental to human achievement and wellbeing, what is the true value of the ill-formed, and perhaps ill-conceived, products of today’s leading architects? This essay argues that the elite power structure behind high-profile architectural projects is focused more upon promoting like-minded architects, and their narrow ideological interests, than in satisfying the ordinary everyday user. In doing so, this activity irrevocably damages the environment and markedly diminishes human neuro-physiological engagement with the man-made world. The logical conclusion from this purposeful misrepresentation is that the profession deliberately manipulates both the general public and architecture students to serve its own agenda.

A Global Epidemic

2019 ◽  
pp. 17-40
Author(s):  
Edoardo Campanella ◽  
Marta Dassù
Keyword(s):  
Nineteenth Century ◽  
Psychological Disorders ◽  
Tipping Point ◽  
Human Beings ◽  
Mental Processes ◽  
Global Epidemic ◽  
Meiji Restoration ◽  
The World ◽  
Japanese Prime Minister ◽  
Vladimir Putin

The world is becoming populated by jingoistic leaders who appeal to past national glory and inhabit a rose-tinted past. Brexit is merely the tipping point of a global phenomenon. Chinese President Xi Jinping calls for the “great rejuvenation of the Chinese people”, whereas Donald Trump promises to “Make America Great Again”. Turkish President Recep Tayyip Erdogan harbors neo-Ottoman ambitions, while Japanese Prime Minister Shinzo Abe’s political lodestar is the nineteenth-century Meiji Restoration. In other cases, nostalgic leaders reject their countries’ historical reversals of fortune like Viktor Orbán in Hungary and Vladimir Putin in Russia. Despite its romantic flavor, nostalgia is actually a malaise – a mix of paranoia and melancholy. Like most psychological disorders, nostalgia is usually accompanied by amnesia. It depicts the past in such an idealized way that some crucial details are lost. Human beings tend to view historical evidence in a myopic manner, ignoring what does not fit their preconceptions. Populist leaders simply leverage these mental processes to recount their own version of history and mobilize their followers. The chapter analyzes how demographic, economic and technological forces are spreading the disease of longing in a structural way.

Humanity and Nature in the Steamboat Paintings of J.M.W. Turner

1986 ◽  
Vol 18 (3) ◽  
pp. 455-474 ◽  
Author(s):  
William S. Rodner
Keyword(s):  
Nineteenth Century ◽  
New Age ◽  
Crystal Palace ◽  
The World ◽  
The Face ◽  
Snow Storm ◽  
Technological Achievement ◽  
Great Exhibition

The year 1851 witnessed the Great Exhibition, Britain's celebration of technological achievement. Thousands of curious and excited visitors from the world over flocked to Joseph Paxton's futuristic Crystal Palace to marvel at the various exhibits which underscored, not only Britain's commercial and industrial preeminence, but also the Victorian faith in progress and the triumph of the machine.Less noticed, late that same year, was the passing of one of the most perceptive observers of the new age, the veteran artist J.M.W. Turner. This great English Romantic, famed for his paintings of bucolic landscapes, storms at sea, and Alpine avalanches, also had drawn significant inspiration from the new forces which were then rapidly transforming Britain and the world. A notable body of his work, particularly the efforts of his later career, exist as complex visual commentaries on the reality and the meaning of nineteenth century industrialism. Watercolors of blackened mills, polluted skies, and steam locomotion capture the face of change, while great oils such as The Fighting Temeraire and Snow Storm—Steam–Boat off a Harbour's Mouth symbolize a dynamic new age.

Rereading the Later Merleau-Ponty in the Light of his Unpublished Work

2018 ◽  
Author(s):  
Emmanuel de Saint Aubert
Keyword(s):  
Human Beings ◽  
Methodological Challenge ◽  
Unpublished Work ◽  
Phenomenology Of Perception ◽  
The World ◽  
The Status ◽  
The Common ◽  
Unpublished Manuscripts ◽  
The Invisible

Access to a large number of unpublished manuscripts allows us to follow the continuity of Merleau-Ponty’s thought from his first to his last writings, to uncover its double critical constitution, anti-Cartesian and anti-Sartrean, and to understand the status of this philosophy of the flesh as it establishes itself as ontology. This philosophy is geared toward a never-abandoned methodological challenge to grasp humanity first as another manner of being a body, the challenge of thinking a corporeity which is always already, in the very principle of its animation, intercorporeity. Through his continual pursuit of a phenomenology of perception, its insistence on the motifs of depth, the inexhaustible, the invisible, and incompletion, Merleau-Ponty’s carnal ontology proceeds in the discovery of the common negativity of human beings and the world, of myself and others, which affects its conception of being.

The Queensland International Exhibition of 1897: ‘Dazzling display’ or ‘a frost’?

1998 ◽  
Vol 5 (1) ◽  
pp. 78-85 ◽  
Author(s):  
Judith McKay
Keyword(s):  
Nineteenth Century ◽  
International Exhibition ◽  
Crystal Palace ◽  
The World ◽  
Mixed Feelings ◽  
World Expo

On 5 May 1897, just over a century ago, the Queensland International Exhibition opened in Brisbane. This, the seventh international exhibition to be held in Australia, was Queensland's contribution to the great series of world expos that followed London's famous Crystal Palace Exhibition of 1851. The exhibition also marked Queensland's recovery from a disastrous depression of the early 1890s, proclaiming to the world that Queensland was now on a steady path of progress. Contemporaries viewed the exhibition with mixed feelings: to some it was a ‘dazzling display’; to others ‘a frost’ (a nineteenth-century term for ‘a fizzer’). ‘Frost’ or not, the event was soon forgotten after it closed three months later, and hardly rated a mention at the time of its recent successor, World Expo '88.

Expansion, Diaspora, and Encounter in the Early Modern South Atlantic

Itinerario ◽  
1995 ◽  
Vol 19 (2) ◽  
pp. 48-59 ◽  
Author(s):  
Stuart B. Schwartz
Keyword(s):  
Nineteenth Century ◽  
Native Americans ◽  
Early Modern ◽  
General Public ◽  
South Atlantic ◽  
Public Concern ◽  
Public Attention ◽  
European Expansion ◽  
The World ◽  
History Of

In a decade marked off by the quincentenaries of the voyages of Columbus (1492) and that of Vasco da Gama (1498) or perhaps more chronologically and interculturally correctly by the 1502 arrival of three Native Americans at the court of Henry VII of England, it is appropriate to take stock of the field of ‘European expansion’ and to ask if, in fact, such a field exists, or ought to exist, or still means the same thing that it did a generation ago. The celebrations and condemnations that accompanied the quincentenary in 1992 refocused public attention on the question of European expansion and its impact on history of die Americas and of the world. Voices long suppressed and opinions never before expressed found new audiences and joined with scholarly and semi-scholarly works to make Columbus and all that followed in his wake a topic of general public concern. It is dierefore appropriate to take stock once again of what we know about die Era of European Expansion prior to die emergence of modern imperialism in die nineteenth century.

scholarly journals The Crystal Palace, environmentally considered

2008 ◽  
Vol 12 (3-4) ◽  
pp. 283-294 ◽  
Author(s):  
Henrik Schoenefeldt
Keyword(s):  
Nineteenth Century ◽  
Architectural Design ◽  
Large Scale ◽  
Public Spaces ◽  
Temperate Climate ◽  
Human Beings ◽  
Crystal Palace ◽  
Primary Object ◽  
Environmental Criteria ◽  
Clean Air

In the nineteenth century, horticulturists such as John Claudius Loudon and Joseph Paxton, aware of the new environmental possibilities of glasshouses that had been demonstrated in the context of horticulture, contemplated the use of fully-glazed structures as a means to creating new types of environments for human beings. While Loudon suggested the use of large glass structures to immerse entire Russian villages in an artificial climate, Henry Cole and Paxton envisioned large-scale winter parks, to function as new types of public spaces. These indoor public spaces were intended to grant the urban population of London access to clean air, daylight and a comfortable climate. Although glasshouses had only been experienced in the immediate context of horticulture, designed in accordance with the specific environmental requirements of foreign plants, rather than the requirements of human comfort and health, they were perceived as a precedent for a new approach to architectural design primarily driven by environmental criteria. The environmental design principles of horticulture were discussed extensively in nineteenth-century horticultural literature such Loudon's Remarks on the Construction of Hothouses (1817), Paxton's Magazine of Botany (1834-49) and the Transactions of the Horticultural Society of London (1812-44). Since the purpose of glasshouses was to facilitate the cultivation of an increasing variety of foreign plants in the temperate climate of Northern Europe, the creation of artificial climates tailored to the specific environmental needs of plants became the primary object of the design.

The Elemental Past

2014 ◽  
Vol 44 (2) ◽  
pp. 262-279 ◽  
Author(s):  
Ted Toadvine
Keyword(s):  
The Body ◽  
The Sun ◽  
Human Beings ◽  
Contemporary Philosophy ◽  
The Past ◽  
Phenomenology Of Perception ◽  
Continental Divide ◽  
The World ◽  
The Subject ◽  
Quentin Meillassoux

In a 1951 debate that marked the beginnings of the analytic-continental divide, Maurice Merleau-Ponty sided with Georges Bataille in rejecting A. J. Ayer’s claim that “the sun existed before human beings.” This rejection is already anticipated in a controversial passage from Merleau-Ponty’s Phenomenology of Perception, where he claims that “there is no world without an Existence that bears its structure.” I defend Merleau-Ponty’s counterintuitive position against naturalistic and anti-subjectivist critics by arguing that the world emerges in the exchange between perceiver and perceived. A deeper challenge is posed, however, by Quentin Meillassoux, who argues that the “correlationism” of contemporary philosophy rules out any account of the “ancestral” time that antedates all subjectivity. Against Meillassoux, and taking an encounter with fossils as my guide, I hold that the past prior to subjectivity can only be approached phenomenologically. The paradoxical character of this immemorial past, as a memory of the world rather than of the subject, opens the way toward a phenomenology of the “elemental” past. Drawing on Merleau-Ponty’s descriptions of the absolute past of nature and the anonymity of the body, as well as Levinas’ account of the elements at the end of the world, I argue that our own materiality and organic lives participate in the differential rhythms of the elements, opening us to a memory of the world that binds the cosmic past and the apocalyptic future.

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