scholarly journals Non-Cinema, or The Location of Politics in Film

2016 ◽  
Vol 20 (1) ◽  
pp. 131-148 ◽  
Author(s):  
Lúcia Nagib
Keyword(s):  
Film History ◽  
The Other ◽  
The Real ◽  
Similar Idea ◽  
Life Itself ◽  
Film Genres ◽  
Genre Films

Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. Resonating with Bazin and his defence of ‘impure cinema’, that is, of cinema's interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film (In film nist, 2011), whose anti-cinema stance in announced in its own title; and The Mirror (Aineh, 1997), another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi's deconstruction of cinematic acting in his exploration of the geidomono genre (films about theatre actors) in The Story of the Last Chrysanthemums (Zangigku monogatari, 1939), and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing (Joshua Oppenheimer et al., 2012).

scholarly journals "Machina ludens". Rzeczywista i wyobrażona historia komputerów szachowych

Adeptus ◽  
2021 ◽  
Author(s):  
Piotr F. Piekutowski
Keyword(s):  
Artificial Intelligence ◽  
Drosophila Melanogaster ◽  
Computer Science ◽  
Paradigm Shift ◽  
Film History ◽  
The Other ◽  
The Real ◽  
Area Of Interest ◽  
History Of ◽  
Special Case

Machina Ludens: The Real and Imagined History of Chess ComputersThe essay offers a reading of the place of non-human machines in the game discourse, focusing on computer chess’s real as well as literary and film history. Chess, as the Drosophila melanogaster of artificial intelligence, a special case facilitating the study of the entire field, allows for going beyond the primary area of interest – computer science – and entering the realm of the text, where new languages of storytelling and new contexts present themselves. The paper discusses a multifaceted, posthumanist analysis of the game as a medium of non-anthropocentric and empowering narratives of the Other. It also sheds new light on the ongoing paradigm shift in human categories and human-technology relations. Machina ludens. Rzeczywista i wyobrażona historia komputerów szachowychCelem artykułu jest próba odczytania sposobu funkcjonowania nie-ludzkich maszyn w dyskursie growym, skupiona na rzeczywistej i literacko-filmowej historii komputerów szachowych. Szachy i sztuczna inteligencja wchodzą w przestrzeń tekstu, przekraczają pierwotny obszar zainteresowań – informatykę – i dzięki innym językom opowieści otwierają się na nowe konteksty. W tekście przedstawiono wieloaspektową, posthumanistyczną analizę gry jako medium nieantropocentrycznych i upodmiotawiających narracji Innego. Historia szachów i komputerów szachowych oraz ich tekstowe przedstawienia stanowią egzemplifikację zmian ludzkich kategorii oraz relacji człowiek-technologia.

scholarly journals The Camera in House Arrest. Tactics of Non-Cinema in Jafar Panahi’s Films

2018 ◽  
Vol 15 (1) ◽  
pp. 103-123
Author(s):  
Judit Pieldner
Keyword(s):  
The Other ◽  
The Real ◽  
House Arrest ◽  
Accented Cinema ◽  
Life Itself ◽  
Political Act ◽  
The Relationship ◽  
Made In

Abstract In close intratextual connection with earlier pieces of Jafar Panahi’s oeuvre, pre-eminently The Mirror (Ayneh, 1997) and Offside (2006), his recent films made in illegality, including This Is Not a Film (In film nist, Jafar Panahi and Mojtaba Mirtahmasb, 2011), Closed Curtain (Pardeh, Jafar Panahi and Kambuzia Partovi, 2013) and Taxi Tehran (Jafar Panahi, 2015), reformulate the relationship between cinema and the “real,” defying the limitations of filmmaking in astounding ways. The paper addresses the issue of non-cinema, pertaining to those instances of cinematic “impurity” in which “the medium disregards its own limits in order to politically interfere with the other arts and life itself” (Nagib 2016, 132). Panahi’s overtly confrontational (non-)cinematic discourse is an eminent example of “accented cinema” (Naficy 2001). His artisanal and secret use of the camera in deterritorialized conditions and extreme limitations as regards profilmic space – house arrest, fake taxi interior – gives way for multilayered reflexivity, incorporating non-actorial presence, performative self-filming and theatricality as subversive gestures, with a special emphasis on the off-screen and remediated video-orality performed in front of, or directly addressed to the camera. The paper explores the ways in which the filmmaker’s tactics become powerful gestures of “politicized immediacy” (Naficy 2001, 6) that call for the (inter)medial as an also indispensably political act ((Schröter 2010).

scholarly journals An Abstract Expressionist: A Study of Kurt Vonnegut’s Bluebeard

2019 ◽  
Vol 7 (3) ◽  
pp. 8-15
Author(s):  
Thirupathi Reddy Maram
Keyword(s):  
The Other ◽  
Past Century ◽  
The Novel ◽  
The Real ◽  
The Past ◽  
Abstract Expressionist ◽  
Other Hand ◽  
Works Of Art ◽  
Life Itself ◽  
Human Desire

The novel, Bluebeard (1987) presents a dialogue between abstract and representational painting, pointing out both the value and shortcomings of each school. It may end by imagining a type of art in which the usual boundaries separating the real and the artificial fall away; an art that is able to capture the complexity, sorrow, and beauty of life itself. On the other hand, it focuses on human’s cruelty to human. However, the novel also shows that even in the midst of war and death and sorrow the innate human impulse is a creative one. The novel discovers the human desire to create as it investigates the nature of new art itself. Vonnegut was mostly inspired by the grotesque prices paid for works of art during the past century. He thought not only of the mud-pies of art, but of children’s games as well.

Hidden “holes” in the capital of banks and the supply of credit to the real sector of economy

2018 ◽  
pp. 49-68 ◽  
Author(s):  
M. E. Mamonov
Keyword(s):  
Credit Risk ◽  
The Other ◽  
Real Sector ◽  
Capital Management ◽  
Loan Loss ◽  
Short Term ◽  
The Real ◽  
Ex Post ◽  
The One

Our analysis documents that the existence of hidden “holes” in the capital of not yet failed banks - while creating intertemporal pressure on the actual level of capital - leads to changing of maturity of loans supplied rather than to contracting of their volume. Long-term loans decrease, whereas short-term loans rise - and, what is most remarkably, by approximately the same amounts. Standardly, the higher the maturity of loans the higher the credit risk and, thus, the more loan loss reserves (LLP) banks are forced to create, increasing the pressure on capital. Banks that already hide “holes” in the capital, but have not yet faced with license withdrawal, must possess strong incentives to shorten the maturity of supplied loans. On the one hand, it raises the turnovers of LLP and facilitates the flexibility of capital management; on the other hand, it allows increasing the speed of shifting of attracted deposits to loans to related parties in domestic or foreign jurisdictions. This enlarges the potential size of ex post revealed “hole” in the capital and, therefore, allows us to assume that not every loan might be viewed as a good for the economy: excessive short-term and insufficient long-term loans can produce the source for future losses.

Zur Phänomenologie der Suizidalität

2005 ◽  
Vol 2005 (1) ◽  
pp. 269-284 ◽  
Author(s):  
Jan E. Schlimme
Keyword(s):  
The Other ◽  
Other Hand ◽  
Suicidal Person ◽  
Life Itself ◽  
The One

The borderlines of the current psychiatric and psychological discourses concerning suicidality are ascertained when asked: What is it like to be suicidal? A phenomenological understanding concerning this question presents to us the paradox of suicidality. The suicidal person lives in a contradiction with himself. On the one hand there is the basal feeling of despair and inevitable helpless insufferability, showing life itself as a destructive force. On the other hand the extinguishing of ones own life appears as a salvation, showing death itself as a release not found in life. Indeed the paradox of suicidality – the contradictory meanings of annihilation and salvation – appears incontrovertible and cannot be solved in suicidality, for this requires either the experience of overcoming suicidality or the act of suicide itself.

scholarly journals Stochastic Processes with a Particular Type of Variograms

2007 ◽  
Vol 2007 ◽  
pp. 1-5 ◽  
Author(s):  
Chunsheng Ma
Keyword(s):  
Stochastic Process ◽  
Brownian Motion ◽  
Stochastic Processes ◽  
Series Expansion ◽  
Real Line ◽  
Random Fields ◽  
The Other ◽  
Simple Construction ◽  
The Real ◽  
Line Form

This paper is concerned with a class of stochastic processes or random fields with second-order increments, whose variograms have a particular form, among which stochastic processes having orthogonal increments on the real line form an important subclass. A natural issue, how big this subclass is, has not been explicitly addressed in the literature. As a solution, this paper characterizes a stochastic process having orthogonal increments on the real line in terms of its variogram or its construction. Our findings are a little bit surprising: this subclass is big in terms of the variogram, and on the other hand, it is relatively “small” according to a simple construction. In particular, every such process with Gaussian increments can be simply constructed from Brownian motion. Using the characterizations we obtain a series expansion of the stochastic process with orthogonal increments.

scholarly journals GazeEMD: Detecting Visual Intention in Gaze-Based Human-Robot Interaction

Robotics ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 68
Author(s):  
Lei Shi ◽  
Cosmin Copot ◽  
Steve Vanlanduit
Keyword(s):  
Cognitive Load ◽  
Real World ◽  
Robotic Manipulator ◽  
Similarity Score ◽  
Human Robot Interaction ◽  
Experimental Results ◽  
The Other ◽  
Robot Interaction ◽  
Run Length ◽  
The Real

In gaze-based Human-Robot Interaction (HRI), it is important to determine human visual intention for interacting with robots. One typical HRI interaction scenario is that a human selects an object by gaze and a robotic manipulator will pick up the object. In this work, we propose an approach, GazeEMD, that can be used to detect whether a human is looking at an object for HRI application. We use Earth Mover’s Distance (EMD) to measure the similarity between the hypothetical gazes at objects and the actual gazes. Then, the similarity score is used to determine if the human visual intention is on the object. We compare our approach with a fixation-based method and HitScan with a run length in the scenario of selecting daily objects by gaze. Our experimental results indicate that the GazeEMD approach has higher accuracy and is more robust to noises than the other approaches. Hence, the users can lessen cognitive load by using our approach in the real-world HRI scenario.

scholarly journals Distribution of rational points on the real line

1973 ◽  
Vol 15 (2) ◽  
pp. 243-256 ◽  
Author(s):  
T. K. Sheng
Keyword(s):  
Algebraic Number ◽  
Rational Number ◽  
Real Line ◽  
Rational Points ◽  
The Other ◽  
Liouville Numbers ◽  
The Real ◽  
Other Hand ◽  
Image Position

It is well known that no rational number is approximable to order higher than 1. Roth [3] showed that an algebraic number is not approximable to order greater than 2. On the other hand it is easy to construct numbers, the Liouville numbers, which are approximable to any order (see [2], p. 162). We are led to the question, “Let Nn(α, β) denote the number of distinct rational points with denominators ≦ n contained in an interval (α, β). What is the behaviour of Nn(α, + 1/n) as α varies on the real line?” We shall prove that and that there are “compressions” and “rarefactions” of rational points on the real line.

II. Causa und titulus

2021 ◽  
Vol 138 (1) ◽  
pp. 83-179
Author(s):  
Eric H. Pool
Keyword(s):  
The Other ◽  
The Real

Abstract Causa and titulus. Qualifications of possession and a change of terminology in Ulp. D. 5,3,13,1. – In D. 5,3,13,1, Ulpian states that every title to possession (like pro emptore, pro donato etc.) could be accompanied by a general title pro possessore, which becomes decisive if the other title failed. The text is interesting in two aspects: First, it is one of only a handful of classical texts which speak of titulus instead of causa possessionis. Therefore, the text is still today suspected of interpolation. Second, it is heavily disputed which circumstances lead to a possession pro possessore and why this typolology is used at all. This article proposes a solution to both problems. The pro possessore terminology can only be assessed correctly if we focus the procedural position of the possessor, especially in the realm of the hereditatis petitio. The new terminology (titulus) is a mere consequence of the fact, that the burden of prove is assigned according to the ,title‘ of possession indicated by the possessor, not by the real (and possibly unprovable) cause.

Art. XIX.—An old Hebrew Romance of Alexander

1897 ◽  
Vol 29 (3) ◽  
pp. 485-549
Author(s):  
M. Gaster
Keyword(s):  
Middle Ages ◽  
Early Period ◽  
Point Of View ◽  
The Other ◽  
The West ◽  
The Real ◽  
History Of ◽  
Bibliographical Information ◽  
Ancient Times ◽  
Great Mass

More marvellous and more remarkable than the real conquests of Alexander are the stories circulated about him, and the legends which have clustered round his name and his exploits. The history of Alexander has, from a very early period, been embellished with legends and tales. They spread from nation to nation during the whole of the ancient times, and all through the Middle Ages. Many scholars have followed up the course of this dissemination of the fabulous history of Alexander. It would, therefore, be idle repetition of work admirably done by men like Zacher, Wesselofsky, Budge, and others, should I attempt it here. All interested in the legend of Alexander are familiar with those works, where also the fullest bibliographical information is to be found. I am concerned here with what may have appeared to some of these students as the bye-paths of the legend, and which, to my mind, has not received that attention which is due to it, from more than one point of view. Hitherto the histories of Alexander were divided into two categories; the first were those writings which pretended to give a true historical description of his life and adventures, to the exclusion of fabulous matter; the other included all those fabulous histories in which the true elements were smothered under a great mass of legendary matter, the chief representative of this class being the work ascribed to a certain Callisthenes. The study of the legend centred in the study of the vicissitudes to which this work of (Pseudo-) Callisthenes had been exposed, in the course of its dissemination from the East, probably from its native country, Egypt, to the countries of the West.

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