scholarly journals El verdadero reto de la fotografía (como arte representacional comunicativo)

2018 ◽  
pp. 59
Author(s):  
Robert Hopkins
Keyword(s):  
Philosophy Of Art ◽  
Self Image ◽  
Palabras Clave ◽  
Limited Degree ◽  
Art Photography ◽  
A Chain

Abstract: I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development.   Keywords: aesthetics, philosophy of art, photography, painting   Resumen: sostengo que la fotografía genuina no puede desarrollarse al máximo como un arte representacional comunicativo. La fotografía es genuina cuando es fiel a su propia imagen como de impresión imágenes. Que una imagen sea una impresión significa que su contenido está ligado con la escena en la cual se origina por una cadena de causas suficientes e independientes de la mente. Un arte representacional comunicativo (en cualquier medio: fotografía, pintura, literatura, música, etc.) es un arte que explota los recursos de la representación para lograr la comunicación de un pensamiento de forma artísticamente interesante. Los recursos principales de la representación son el contenido, las propiedades del vehículo y la interacción entre estos dos. Mientras que la pintura y otras artes representacionales son capaces de explotar los tres para comunicar un pensamiento, la fotografía genuina puede explotar esa interacción solo en un grado muy limitado. Sin embargo, la explotación de esta interacción es el culmen del arte representacional comunicativo: el punto final natural de su desarrollo.   Palabras clave: estética, filosofía del arte, fotografía, pintura. Abstract: I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development.   Keywords: aesthetics, philosophy of art, photography, painting   Resumen: sostengo que la fotografía genuina no puede desarrollarse al máximo como un arte representacional comunicativo. La fotografía es genuina cuando es fiel a su propia imagen como de impresión imágenes. Que una imagen sea una impresión significa que su contenido está ligado con la escena en la cual se origina por una cadena de causas suficientes e independientes de la mente. Un arte representacional comunicativo (en cualquier medio: fotografía, pintura, literatura, música, etc.) es un arte que explota los recursos de la representación para lograr la comunicación de un pensamiento de forma artísticamente interesante. Los recursos principales de la representación son el contenido, las propiedades del vehículo y la interacción entre estos dos. Mientras que la pintura y otras artes representacionales son capaces de explotar los tres para comunicar un pensamiento, la fotografía genuina puede explotar esa interacción solo en un grado muy limitado. Sin embargo, la explotación de esta interacción es el culmen del arte representacional comunicativo: el punto final natural de su desarrollo.   Palabras clave: estética, filosofía del arte, fotografía, pintura.

scholarly journals The Real Challenge to Photography (as Communicative Representational Art)

2015 ◽  
Vol 1 (2) ◽  
pp. 329-348 ◽  
Author(s):  
ROBERT HOPKINS
Keyword(s):  
The Real ◽  
Self Image ◽  
Limited Degree ◽  
Art Photography ◽  
A Chain ◽  
Real Challenge

ABSTRACT:I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development.

scholarly journals Análisis de la cadena agroalimentaria del coco (cocos nucifera) en la provincia de Manabí, Ecuador

2020 ◽  
pp. 43
Author(s):  
Valeria Monserrate Romero Delgado ◽  
Genessis Valeria Rosado Zambrano ◽  
Neyfe Sablón Cossío ◽  
Luzmila Burbano Mera
Keyword(s):  
Food Chain ◽  
Cocos Nucifera ◽  
Vulnerable Population ◽  
Marketing Management ◽  
Palabras Clave ◽  
A Chain

Analysis of the agri-food chain of coconut (cocos nucifera) in the province of Manabí, Ecuador Resumen El sector cocotero representa uno de los sectores agrícolas que ayuda a sostener la economía de la provincia de Manabí, sin embargo, presenta debilidades en su gestión productiva y de comercialización, además de ausencia de datos en su manejo alrededor de Manabí. El objetivo del presente estudio es caracterizar la cadena agroalimentaria de coco en Manabí, mediante la identificación de los actores y las debilidades del sector, a través de entrevistas y el mapeo de la cadena. Los resultados detallan que existen seis eslabones, treinta y cuatro productores, treinta y nueve comerciantes mayoristas y distribuidores, diez fabricantes (transformadores) y setenta y siete vendedores. El aporte de esta investigación es social y práctica, debido a que se enfoca en generar información sobre una cadena poco analizada en la provincia, y en donde se sitúan gran parte de la población vulnerable de la zona. Palabras clave: Gestión productiva; integración; cadena agroalimentaria, coco, desarrollo y sostenibilidad. Abstract The coconut sector represents one of the agricultural sectors that helps to sustain the economy of the province of Manabí, however, it presents weaknesses in its production and marketing management, in addition to the absence of data on its management around Manabí. The objective of this study is to characterize the coconut agri-food chain in Manabí, by identifying the actors and the weaknesses of the sector, through interviews and mapping the chain. The results detail that there are six links, thirty-four producers, thirty-nine wholesalers and distributors, ten manufacturers (transformers) and seventy-seven sellers. The contribution of this research is social and practical, because it focuses on generating information about a chain that is little analyzed in the province, and where a large part of the vulnerable population of the area is located. Keywords: Productive management; integration; agri-food chain, coconut, development and sustainability.

scholarly journals Arte y fotografía digital. Una aproximación al estudio de algunas tendencias creativas de la fotografía digital en el contexto de la producción artística

2015 ◽  
Author(s):  
Javier Marzal Felici
Keyword(s):  
Visual Culture ◽  
Digital Technology ◽  
Digital Photography ◽  
Artistic Creation ◽  
Palabras Clave ◽  
The World ◽  
Art Photography ◽  
Characteristic Features ◽  
The Impact ◽  
Sobre Todo

Resumen:Nos proponemos presentar en las siguientes páginas algunas reflexiones sobre la incidencia de la tecnología digital en el campo de la fotografía, en concreto en el contexto de la creación artística. En primer lugar, se articula una breve revisión de las principales dificultades que plantea la acotación de un territorio creativo como el de la “fotografía artística”. A continuación se propone un recorrido, necesariamente parcial y subjetivo, a través de la obra fotográfica de diferentes creadores contemporáneos, con el fin de determinar algunos rasgos característicos de la creación digital en el mundo del arte fotográfico. El propósito de este trabajo es subrayar cómo la transformación digital de la fotografía ha multiplicado sus posibilidades expresivas y narrativas, y ha convertido al medio fotográfico en un campo fértil, no sólo para la creación artística, sino sobre todo para la reflexión en torno a la naturaleza de la imagen y de la cultura visual contemporánea.   Abstract: In the following pages we present some reflections on the impact of digital technology in the field of photography, particularly in the context of artistic creation. First, a brief review of the main difficulties in dimensioning a creative territory like the "art photography" is articulated. Then, we follow a panoramic review of different practises, necessarily partial and subjective, through the photographic work of various contemporary artists, in order to determine some characteristic features of digital creation in the world of photographic art. The purpose of this paper is to highlight how digital photography processing has increased its expressive and narrative possibilities, and the photographic medium has become a fertile field, not only for artistic creation, but especially for the reflection on the nature of the image and contemporary visual culture.   Palabras clave: Fotografía artística; fotografía digital; autorreflexividad; arte; creación; espectáculo.   Keywords: Artistic photography; digital photography; auto-reflexivity; art; creation; spectacle

scholarly journals Repeticiones y revisiones: el remake en la fotografía construida

2013 ◽  
pp. 5-41
Author(s):  
Maribel Castro
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Cultural Meaning ◽  
New Approaches ◽  
Palabras Clave ◽  
The World ◽  
Collective Imagination ◽  
Strong Commitment ◽  
Art Photography ◽  
Arte Contemporáneo

Desde la posmodernidad, la teoría de la fotografía se ha ocupado de la idea de que las fotografías pueden ser entendidas como procesos de significación y codificación cultural. En un contexto artístico interesado por el pastiche, la cita, la deconstrucción y el cuestionamiento de las ideas de autoría y originalidad, el remake se consolida como modo de producción de versiones de iconos pertenecientes al imaginario colectivo, y se convierte en una estrategia representacional recurrente en la fotografía artística actual. Nos reta a reconocer lo que vemos, cuestionar cómo lo vemos, y problematizar cómo las imágenes dan forma a nuestras emociones y comprensión del mundo. Tras desarrollar el concepto de remake, analizaremos sus implicaciones estéticas, narrativas y representacionales en la fotografía escenificada, mediante el estudio de un conjunto de propuestas artísticas recientes que hacen uso de un stock de imágenes preexistentes (especialmente procedentes de la Pintura), reelaborándolas con nuevos enfoques que expresan además un compromiso con el presente. PALABRAS CLAVE: Fotografía escenificada; remake; arte contemporáneo; deconstrucción; originalidad.ABSTRACT Since posmodernism, photography theory has dealt with the idea that photographs can be understood as processes of cultural meaning and coding. In an artistic context interested in pastiche, quotation, deconstruction and questioning ideas of authorship and originality, the remake is consolidated as way of producing revisions of icons belonging to the collective imagination, and becomes a recurring representational strategy in current art photography. It challenges us to recognize what we see, to question how we see it, and to problematize how images give shape to our emotions and understanding of the world. After developing the concept of remake, we will analyze its aesthetic, narrative and representational implications in staged photography, through the study of a set of recent artistic proposals that make use of a stock of preexisting images (specially from Painting), that then are reworked with new approaches that express a strong commitment to the present.                                                                                                                 KEY WORDS: Staged photography; remake, contemporary art; deconstruction; originality.

scholarly journals Ecozon@ with love

2010 ◽  
Vol 1 (1) ◽  
Author(s):  
Cheryll Glotfelty
Keyword(s):  
Sense Of Place ◽  
Local History ◽  
Regional Studies ◽  
Community Arts ◽  
Regional Literature ◽  
World Citizenship ◽  
History Museums ◽  
Self Image ◽  
Palabras Clave ◽  
Literary Regionalism

Key words: new directions in ecocriticism, regional literature, regional studies, literary Nevada, place, caring for the environment, eco-cosmopolitanism, sense of place, sense of planet Regional studies and literary regionalism continue to fulfil important functions in the era of globalisation. Educating people (particularly those in parts of the world with a “self-image problem”) in the richness of local literary tradition can help them identify more strongly, through story, with the place they live in, and take care of it. Ecocritics must learn to work together with the curators of local history museums, people running community arts centres, and the members of writing circles. World citizenship and eco-cosmopolitanism do not obviate the need for a local sense of place. Palabras clave: nuevas tendencias de la ecocritica, literature regional, studios regionales, el Estado literario de Nevada, lugar, cuidado del medioambiente, eco-cosmopolitanismo, sentido de lugar, sentido de planeta Los estudios regionales y el regionalismo literario continúan realizando importantes funciones en la era de la globalización.  Educar a la gente – en especial aquella en lugares del mundo con un “problema de imagen de sí mismo” – en la riqueza de la tradición literaria local puede ayudarles a identificarse más sólidamente, a través de historias, con el lugar en el que viven  y a cuidar de él. Los/as ecocríticos/as deben aprender a trabajar con los conservadores de los museos de historia local, con la gente que dirige centros de arte comunitarios y con los miembros de los círculos de escritura. La ciudadanía mundial y el eco-cosmopolitanismo no obvian la necesidad de un sentido de lugar local.

scholarly journals El trabajo cooperativo y el interaprendizaje en los estudiantes de Química de primero de bachillerato

2020 ◽  
Vol 5 (4) ◽  
pp. 17
Author(s):  
Freddy Eduardo Santana Giler ◽  
Gabriela Arelys Zambrano Zambrano ◽  
Oscar David Seni Pinoargote ◽  
Blanca Leonor Cedeño Briones ◽  
Cirilo Heinert Solórzano Zamora ◽  
...  
Keyword(s):  
Cooperative Work ◽  
Educational Process ◽  
Quality Of Education ◽  
First Year ◽  
Chemistry Students ◽  
Palabras Clave ◽  
The Subject ◽  
A Chain ◽  
Aprendizaje Cooperativo

La presente investigación se la realizó debido a la importancia que implica la calidad de educación que se imparta a los estudiantes en el aula de clases y se cumplan los objetivos que en un principio fueron establecidos por los docentes. Hay que estar conscientes de que, el proceso educativo es una cadena de propuestas objetivas que deben cumplir en un orden secuencial hasta cumplir su objetivo final que es la formación académica de un ser humano listo para enfrentar, cumplir nuevos retos y metas. El aprendizaje cooperativo constituye una de las metodologías alternativas de gran importancia en el proceso de interaprendizaje que permite desarrollar habilidades y destrezas grupales que promuevan la motivación del estudiante. En este sentido se pudo determinar la incidencia del trabajo cooperativo en el interaprendizaje de los estudiantes en la asignatura de Química en la Unidad Educativa fiscal “José Leónidas Delgado” mediante la aplicación de los métodos descriptivos y propositivos, fortaleciendo el aprendizaje de manera colectiva, generando mayor motivación y el deseo de aprender de manera cooperativa. PALABRAS CLAVE: Metodología; colaboración; motivación; innovación. Cooperative work and inter-learning in Chemistry students of the first year of high school ABSTRACT This research was carried out due to the importance of the quality of education given to students in the classroom and the objectives that were initially established by teachers are met. We must be aware that the educational process is a chain of objective proposals that must be met in a sequential order until they reach their final objective, which is the academic formation of a human being ready to face, meet new challenges and goals. Cooperative learning is one of the alternative methodologies of great importance in the inter-learning process that allows developing group skills and abilities that promote student motivation. In this sense, it was possible to determine the incidence of cooperative work in the inter-learning of students in the subject of chemistry in the Fiscal Education Unit "José Leónidas Delgado", through the application of descriptive and propositive methods, strengthening learning collectively, generating greater motivation and the desire to learn cooperatively. KEYWORDS: Methodology; collaboration; motivation; innovation.

Observation of Atom Rows in Thorium Pyromellitate Using a Field Emission STEM

1977 ◽  
Vol 35 ◽  
pp. 80-81
Author(s):  
H. Todokoro ◽  
S. Nomura ◽  
T. Komoda
Keyword(s):  
Field Emission ◽  
Amorphous Carbon ◽  
Carbon Film ◽  
Dark Field Image ◽  
Dark Field ◽  
Amorphous Carbon Film ◽  
Atomic Size ◽  
Wide Range ◽  
A Chain

It is interesting to observe polymers at atomic size resolution. Some works have been reported for thorium pyromellitate by using a STEM (1), or a CTEM (2,3). The results showed that this polymer forms a chain in which thorium atoms are arranged. However, the distance between adjacent thorium atoms varies over a wide range (0.4-1.3nm) according to the different authors.The present authors have also observed thorium pyromellitate specimens by means of a field emission STEM, described in reference 4. The specimen was prepared by placing a drop of thorium pyromellitate in 10-3 CH3OH solution onto an amorphous carbon film about 2nm thick. The dark field image is shown in Fig. 1A. Thorium atoms are clearly observed as regular atom rows having a spacing of 0.85nm. This lattice gradually deteriorated by successive observations. The image changed to granular structures, as shown in Fig. 1B, which was taken after four scanning frames.

Time-Resolved Cryo-Electron Microscopy of Oscillating Microtubules

1990 ◽  
Vol 48 (1) ◽  
pp. 502-503
Author(s):  
Eva-Maria Mandelkow ◽  
Ron Milligan
Keyword(s):  
Electron Microscopy ◽  
Dynamic Instability ◽  
Entire Solution ◽  
Reaction Scheme ◽  
Time Resolved ◽  
X Ray ◽  
X Ray Scattering ◽  
A Chain ◽  
Ray Scattering

Microtubules form part of the cytoskeleton of eukaryotic cells. They are hollow libers of about 25 nm diameter made up of 13 protofilaments, each of which consists of a chain of heterodimers of α-and β-tubulin. Microtubules can be assembled in vitro at 37°C in the presence of GTP which is hydrolyzed during the reaction, and they are disassembled at 4°C. In contrast to most other polymers microtubules show the behavior of “dynamic instability”, i.e. they can switch between phases of growth and phases of shrinkage, even at an overall steady state [1]. In certain conditions an entire solution can be synchronized, leading to autonomous oscillations in the degree of assembly which can be observed by X-ray scattering (Fig. 1), light scattering, or electron microscopy [2-5]. In addition such solutions are capable of generating spontaneous spatial patterns [6].In an earlier study we have analyzed the structure of microtubules and their cold-induced disassembly by cryo-EM [7]. One result was that disassembly takes place by loss of protofilament fragments (tubulin oligomers) which fray apart at the microtubule ends. We also looked at microtubule oscillations by time-resolved X-ray scattering and proposed a reaction scheme [4] which involves a cyclic interconversion of tubulin, microtubules, and oligomers (Fig. 2). The present study was undertaken to answer two questions: (a) What is the nature of the oscillations as seen by time-resolved cryo-EM? (b) Do microtubules disassemble by fraying protofilament fragments during oscillations at 37°C?

Can the Academic Self-Concept be Positive and Realistic?

2005 ◽  
Vol 19 (3) ◽  
pp. 129-132 ◽  
Author(s):  
Reimer Kornmann
Keyword(s):  
Academic Performance ◽  
Opposite Effect ◽  
Self Esteem ◽  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
High Ability ◽  
Self Image ◽  
Other Hand

Summary: My comment is basically restricted to the situation in which less-able students find themselves and refers only to literature in German. From this point of view I am basically able to confirm Marsh's results. It must, however, be said that with less-able pupils the opposite effect can be found: Levels of self-esteem in these pupils are raised, at least temporarily, by separate instruction, academic performance however drops; combined instruction, on the other hand, leads to improved academic performance, while levels of self-esteem drop. Apparently, the positive self-image of less-able pupils who receive separate instruction does not bring about the potential enhancement of academic performance one might expect from high-ability pupils receiving separate instruction. To resolve the dilemma, it is proposed that individual progress in learning be accentuated, and that comparisons with others be dispensed with. This fosters a self-image that can in equal measure be realistic and optimistic.

Do Event-Related Brain Potentials Reflect Mental (Cognitive) Operations?

2002 ◽  
Vol 16 (3) ◽  
pp. 129-149 ◽  
Author(s):  
Boris Kotchoubey
Keyword(s):  
Cognitive Processes ◽  
Point Of View ◽  
Internal Variables ◽  
Brain Potentials ◽  
Cognitive Operations ◽  
External Variables ◽  
Series Of Experiments ◽  
Mental Operations ◽  
A Chain ◽  
Processing Mechanisms

Abstract Most cognitive psychophysiological studies assume (1) that there is a chain of (partially overlapping) cognitive processes (processing stages, mechanisms, operators) leading from stimulus to response, and (2) that components of event-related brain potentials (ERPs) may be regarded as manifestations of these processing stages. What is usually discussed is which particular processing mechanisms are related to some particular component, but not whether such a relationship exists at all. Alternatively, from the point of view of noncognitive (e. g., “naturalistic”) theories of perception ERP components might be conceived of as correlates of extraction of the information from the experimental environment. In a series of experiments, the author attempted to separate these two accounts, i. e., internal variables like mental operations or cognitive parameters versus external variables like information content of stimulation. Whenever this separation could be performed, the latter factor proved to significantly affect ERP amplitudes, whereas the former did not. These data indicate that ERPs cannot be unequivocally linked to processing mechanisms postulated by cognitive models of perception. Therefore, they cannot be regarded as support for these models.

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