scholarly journals Metropolis and post-modern metropolis as a critical field of modern mimicry

2010 ◽  
Vol 2 (3) ◽  
pp. 239-254
Author(s):  
Nenad Stjepanović
Keyword(s):  
Critical Field ◽  
Visual Communication ◽  
Work Of Art ◽  
Mechanical Reproduction ◽  
New Methods ◽  
Money Economy ◽  
Definition Of

Hegel's analysis and definition of the work of art in the Esthetic foretold transformation in visual communication and perception of arts in the advertising age. During the transformative period of economy into money economy fundamental social and cultural ruptures introduced new methods of transgression in forms expression and conception of meaning in arts, and by implication, in architecture. Aesthetic radically departed from the norms of figuration in the classical art into symbolic reading. These exigencies in style and conception reflected the new consciousness that was impinged on by the age of sciences and mechanical reproduction.

scholarly journals Formation of Space, Experience and Thought: A Critical Study of Ambedkar’s Biopic Bhim Garjana

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Sudhir Mehra ◽  
Keyword(s):  
Walter Benjamin ◽  
Cultural Discourse ◽  
Critical Study ◽  
National Discourse ◽  
Work Of Art ◽  
Visual Texts ◽  
Mechanical Reproduction ◽  
Ideological Discourse ◽  
Visual Text ◽  
Definition Of

In his 1936 essay “The Work of Art in the Age of Mechanical Reproduction”, Walter Benjamin establishes that it is the ‘aestheticization of politics’ or ‘politicization of art’ which streamlines the cultural discourse of a nation at a given moment. The present paper attempts to critically analyze the ‘politics of visuality’ vis-à-vis ‘visuality of politics’ as an elemental framework in the making of Indian national discourse. To understand or rationalize this elemental framework, the paper postulates its hypothesis, that the politicization of art is a valid inquiry into how a certain ideological discourse is pre-selected and pre-programmed with a certain grid of features and structures of perception. It is this ideological discourse that needs to be exposed through a visual text namely, Vijay Pawar’s Bhim Garjana. This visual text broadly represents what Kancha Illaiah terms the Ambedkarite phase of Dalit history spanning over two decades – 1936-1956[i]. Bhim Garjana is an aesthetic artifact directed by a Dalit himself – an ‘insider’s’[ii] document on Ambedkar’s life and philosophy. There have so far been three films on Ambedkar including Bhim Garjana, one directed by Jabbar Patel titled Dr. Babasaheb Ambedkar (2000) and second by Anand Patwardha titled Jai Bhim Comrade (2011). All the visual texts though do not follow the definition of biopic strictly, but more or less, the paper places them in the category of biopics. Each text focuses on the life and struggle, both in historical and ideological terms, of Ambedkar.

Ildar Garipzanov, Caroline Goodson, and Henry Maguire, ed., Graphic Signs of Identity, Faith, and Power in Late Antiquity and the Early Middle Ages. Cursor Mundi, 27, Turnhout: Brepols, 2017, xviii, 392 p., 141 ill.

Mediaevistik ◽  
2020 ◽  
Vol 32 (1) ◽  
pp. 377-379
Author(s):  
Kriszta Kotsis
Keyword(s):  
Middle Ages ◽  
Interdisciplinary Research ◽  
Late Antiquity ◽  
Visual Communication ◽  
Group Identity ◽  
Religious Affiliation ◽  
Late Antique ◽  
The Third ◽  
Cursor Mundi ◽  
Definition Of

Late antique and early medieval graphic signs have traditionally been studied by narrowly focused specialists leading to the fragmentation and decontextualization of this important body of material. Therefore, the volume aims “to deepen interdisciplinary research on graphic signs” (7) of the third through tenth centuries, with contributions from archaeologists, historians, art historians, a philologist, and a paleographer. Ildar Garipzanov’s introduction defines the central terms (sign, symbol, graphicacy), calls for supplanting the text-image binary with “the concept of the visual-written continuum” (15), and argues that graphicacy was central to visual communication in this period. He emphasizes the agency of graphic signs and notes that their study can amplify our understanding of the definition of personal and group identity, the articulation of power, authority, and religious affiliation, and communication with the supernatural sphere.

scholarly journals BIOLOGICAL AGE AS A METHOD FOR ESTIMATING HEALTH LEVEL UNDER ENVIRONMENTAL RISKS (LITERATURE REVIEW)

2019 ◽  
Vol 98 (7) ◽  
pp. 761-765 ◽  
Author(s):  
N. I. Prokhorov ◽  
V. I. Dontsov ◽  
Vyacheslav N. Krutko ◽  
T. M. Khodykina
Keyword(s):  
Human Body ◽  
Quantitative Assessment ◽  
Modern Human ◽  
The Body ◽  
Biological Age ◽  
Whole Body ◽  
New Methods ◽  
Biomarkers Of Aging ◽  
Age Related ◽  
Definition Of

The widespread formation of unfavorable environmental, the swiftness of modern life with large information and psycho-emotional loads and extremely natural and climatic cataclysms, as well as harmful addictions and wrong way of life of modern human, lead to the development of stress and disruption of the mechanisms of adaptation of the human body and its accelerated wear. This stimulates the development of research on the creation of new methods of integrated assessment of health and quantitative assessment of the aging processes of the body systems and the whole body, as well as the possibilities of new methods of risk assessment of climatic and environmentally related pathological and age-related diseases. The aim of the work was to consider the methodology of quantitative assessment of individual health and the rate of aging of the human body on the basis of the system index of Biological age (BA); description of its essence and structure, requirements for tests - biomarkers of aging used as the index of BA, definition of possibilities and scope of application of the BA method in modern practice of Biomedicine. The use of modern methods of scientific analysis - a systematic approach to the analysis of the processes of human aging and determine its quantitative side - the value of BA, allows a reasonable approach to the choice of the number of BM, to take into account their information content and precision, and the cost of diagnostics and availability for different users, to take into account the specific objectives of the researcher. The use of the index-partial BA allows individual approaching the choice of biomarkers and create personalized panels for the definition of BA programs for the prevention of aging in personalized preventive medicine. The complexity of the content and calculation of indices of BA requires automation and the use of methods of modern computer science and computer calculations and programs. For this purpose, we have created special computer software for diagnosing aging by calculating the BA indices with the possibility of choosing BM and automatic calculation of indicators and conclusions.

A PHIGS-Based Graphics Input Interface for Spatial Mechanism Design

1987 ◽  
Author(s):  
B. R. Thatch ◽  
A. Myklebust
Keyword(s):  
Data Entry ◽  
Interactive Graphics ◽  
Mechanism Synthesis ◽  
Spatial Mechanism ◽  
Input Interface ◽  
New Methods ◽  
Spatial Mechanisms ◽  
Six Dof ◽  
Device Independence ◽  
Definition Of

Abstract Creation of input specifications for synthesis or analysis of spatial mechanisms can be a significant problem. A graphics preprocessor which interactively assists in the definition of spatial mechanism problems is described. New methods of depth cucing and six DOF data entry are presented. To achieve graphics device-independence, the proposed graphics standard PHIGS (Programmer’s Hierarchical Interactive Graphics System) is used. Examples of application are presented including generation of input commands for Integrated Mechanisms Program (IMP) and generation of input for spatial mechanism synthesis routines.

Conclusion

2013 ◽  
Author(s):  
David Wengrow
Keyword(s):  
Bronze Age ◽  
Fourth Century ◽  
Emergent Properties ◽  
Institutional Dynamics ◽  
Mechanical Reproduction ◽  
Elite Culture ◽  
Specific Distribution ◽  
History Of ◽  
Definition Of ◽  
Visual Record

This book concludes with a discussion of the emergent properties of cognition. It first considers an essay published in 1942 by Rudolph Wittkower entitled “Marvels of the East: A Study in the History of Monsters,” which documented the transmission of a particular style of ethnographic description (and depiction) from its earliest known sources in hand-copied manuscripts of the fourth century BC to the age of the printing press. The monsters in question fall mostly under this book's definition of “composites.” The book proceeds by examining how the counterfactual properties of composite figures were offset against two distinct forms of intuitive knowledge, one universal and the other historically contingent. It suggests that the specific distribution of composite figures in the visual record must be situated within the institutional dynamics of elite culture, and within particular strategies of governance that first took root during the Bronze Age, including the dissemination of officially sanctioned images through mechanical reproduction.

Introduction: almost nothing

2017 ◽  
Author(s):  
Anna Dezeuze
Keyword(s):  
Contemporary Art ◽  
Human Condition ◽  
Work Of Art ◽  
Art Object ◽  
New Perspective ◽  
The 1960S ◽  
Definition Of ◽  
The Human Condition

This introduction introduces the term ‘precariousness’ by contrasting it with the ‘ephemeral’. Precarious practices that explore the ‘almost nothing’ are situated in the context of studies of ‘nothingness’ and empty exhibitions in contemporary art. Such debates focus on the ‘dematerialisation’ of the art object since the 1960s, which will be addressed from a new perspective following Lawrence Alloway’s 1969 definition of ‘an expanding and disappearing’ work of art. Re-readings of the materiality of contemporary art since the 1960s are related to continental debates concerning ‘precarity’ in the 1990s, and traced back to Hannah Arendt’s 1958 remarks on The Human Condition. Two different philosophical books — Vladimir Jankélévitch’s 1957 Le Je-ne-sais-quoi et le presque rien, and Simon Critchley’s 1997 Very little, almost nothing — point to some of the questions and methods raised by the study of precarious practices.

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