The Technics of Prehension: On the Photography of Nicolas Baier

2021 ◽  
pp. 141-165
Author(s):  
Nathan Brown

Chapter 6 offers a philosophical interpretation of Nicolas Baier’s experimental digital photography. Approaching Baier’s work through Alfred North Whitehead’s concept of “prehension,” Bernard Stiegler’s account of “the default of origin,” and C.S. Peirce’s concept of the index, I theorize the retentional exactitude of his digital transformations of physical objects. The chapter intervenes in debates in media philosophy while offering a reading of Baier’s work that is both poetic and conceptually rigorous. The chapter concludes by positioning my reading in relation to Bachelard’s theory of the “transmutation of epistemological values.”

2020 ◽  
Vol 11 (1) ◽  
pp. 204-208
Author(s):  
Hristina Petrova ◽  

Physical objects, phenomena, laws and theories are studied in high school physics. They can be presented through various visual aids such as experiments, diagrams, graphics, photographs, videos and more. Our focus is on educational photographs as a means of visualizing physical objects and phenomena. Educational photographs’ merits are presented. They can be used in all types of physics lessons. For example, lessons for new knowledge or solving problems, laboratory or seminar lesson. Important didactic functions that they perform are considered such as illustrating of physical objects, technical application of studied laws and phenomena, solving problems during the lesson or for independent work and creating problematic situations. The emphasis is on the so-called photo tasks, which solution can be realized with the help of an interactive whiteboard. The use of digital photography in physical educational experiment is also considered. A model of the activity of the teacher and the students in conducting physics laboratory work is proposed. A methodology for using digital photography in physics demonstration experiment is presented.


1999 ◽  
Vol 9 (3) ◽  
pp. 85-87
Author(s):  
Bessam Farjo
Keyword(s):  

2019 ◽  
Vol 28 (1) ◽  
pp. 19-27
Author(s):  
Ja. O. Petik

The connection of the modern psychology and formal systems remains an important direction of research. This paper is centered on philosophical problems surrounding relations between mental and logic. Main attention is given to philosophy of logic but certain ideas are introduced that can be incorporated into the practical philosophical logic. The definition and properties of basic modal logic and descending ones which are used in study of mental activity are in view. The defining role of philosophical interpretation of modality for the particular formal system used for research in the field of psychological states of agents is postulated. Different semantics of modal logic are studied. The hypothesis about the connection of research in cognitive psychology (semantics of brain activity) and formal systems connected to research of psychological states is stated.


2013 ◽  
Vol 8 (2) ◽  
pp. 175-187 ◽  
Author(s):  
Lucy Talbot

The Metropolitan Police’s Crime Museum, famously known as the Black Museum, exhibits evidence from some of the most appalling crimes committed within English society from the late-Victorian era into modernity. Public admittance to this museum is strictly prohibited, preventing all but police staff from viewing the macabre exhibitions held within. The physical objects on display may vary, but whether the viewer is confronted with household items, weaponry or human remains, the evidence before them is undeniably associated with the immorality surrounding the performance of a socially bad death, of murder. These items have an object biography, they are both contextualized and contextualize the environment in which they reside. But one must question the purpose of such a museum, does it merely act as a Chamber of Horrors evoking the anomie of English society in physical form, or do these exhibits have an educational intent, restricted to their liminal space inside New Scotland Yard, to be used as a pedagogical tool in the development of new methods of murder investigation.


Panggung ◽  
2013 ◽  
Vol 23 (2) ◽  
Author(s):  
Arief Datoem

ABSTRACT This article aims at deepening the possibility of utilizing the art of photography that is rich of sig- nificance of the socio-cultural representation. The visual ethnographic field or photo-ethnography, which is relatively new, can provide assistance and answer for this. Therefore, the author has tried a form of collaboration between the photo-ethnographic approach and the sense approach in doing his research on the subject in order to obtain the deep understanding and the truth significance attached to them. The method of digital photography art creation which is intuitively the basis of the art cre- ation in digital domain, then was tried to be formulated, based on heuristics research in the process of the art of digital photography. This concept was developed from the experience in the field of digital photography and visual anthropology, guided by the basic theories of creativity, quantum theory in art, and theory of artistic creation that has existed before. Through emotional approach as a method, along with the structured systematic approach of photo-ethnography and with the deep awareness of the environment and social life of the subject leads to the creation of the image that tends to be better and more meaningful, more productive in a social sense, and offers a credible empiric documentation. Keywords: photo-ethnography, photography art works  ABSTRAK Artikel ini dibuat dalam upaya melakukan pendalaman mengenai kemungkinan peman- faatan seni fotografi yang kaya makna representasi sosio-kultural. Bidang etnografi visual atau foto-etnografi yang relatif masih baru, dapat memberikan bantuan dan jawaban un- tuk hal ini. Oleh karena itu penulis mencoba suatu bentuk kolaborasi antara pendekatan foto-etnografi dengan pendekatan rasa ketika melakukan penelitian terhadap subjek agar diperoleh pemahaman mendalam serta makna kebenaran yang menyertainya. Metode penciptaan seni fotografi digital yang merupakan dasar dari penciptaan seni secara intu- itif dalam domain digital, kemudian dicoba dirumuskan, berdasarkan penelaahan heu- ristik dalam proses seni fotografi digital. Konsep ini dikembangkan dari pengalaman di bidang fotografi digital dan antropologi visual, dipandu oleh teori-teori dasar kreativitas, teori kuantum dalam seni, dan teori penciptaan seni yang telah ada sebelumnya. Melalui pendekatan emosional sebagai metode, disertai dengan pendekatan sistematis yang ter- struktur dari foto-etnografi dan dengan kesadaran yang mendalam mengenai lingkungan dan kehidupan sosial subjek mengarah pada penciptaan gambaran yang cenderung lebih baik dan lebih bermakna, lebih produktif dalam arti sosial, dan menawarkan dokumentasi empiris yang kredibel. Kata kunci: foto-etnografi, karya seni fotografi


2010 ◽  
Vol 1 (2) ◽  
pp. 185-208 ◽  
Author(s):  
Dieter Mersch

In media philosophy since Benjamin, the concept of medium is conceived in terms of »translation« or »transport«. In a similar vein, Christoph Tholen has brought the literal sense of »metaphor« as »meta-pherein« into focus. In my paper I argue that Tholen's approach misses the »meta« (»in the middle« or »beyond«) of »metaphor«, corresponding to the Latin »trans«. This is contrasted with the greek »dia« that allows the development of a performative notion of medium, which orients itself at material practices of transition.


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