Photomediations: A Reader

Photomediations: A Reader offers a radically different way of understanding photography. The concept that unites the twenty scholarly and curatorial essays collected here cuts across the traditional classification of photography as suspended between art and social practice to capture the dynamism of the photographic medium today. It also explores photography’s kinship with other media - and with us, humans, as media.The term ‘photomediations’ brings together the hybrid ontology of ‘photomedia’ and the fluid dynamism of ‘mediation’. The framework of photomediations adopts a processual, and time-based, approach to images by tracing the technological, biological, cultural, social and political flows of data that produce photographic objects

Photomediations: A reader

A Reader offers a radically different way of understanding photography. The concept of photomediations that unites the twenty scholarly and curatorial essays collected here cuts across the traditional classification of photography as suspended between art and social practice in order to capture the dynamism of the photographic medium today. It also explores photography’s kinship with other media – and with us, humans, as media. The term ‘photomediations’ brings together the hybrid ontology of ‘photomedia’ and the fluid dynamism of ‘mediation’. The framework of photomediations adopts a process- and time-based approach to images by tracing the technological, biological, cultural, social and political flows of data that produce photographic objects. Photomediations: A Reader is part of a larger editorial and curatorial project called Photomediations: An Open Book, whose goal is to redesign a coffee-table book as an online experience. A version of this Reader also exists online in an open ‘living’ format, which means it can be altered, added to, mashed-up, re-versioned and customized. The Reader is published in collaboration with Europeana Space, and in association with Jonathan Shaw, Ross Varney and Michael Wamposzyc

Photomediations: A Reader

Photomediations: A Reader offers a radically different way of understanding photography. The concept of photomediations that unites the twenty scholarly and curatorial essays collected here cuts across the traditional classification of photography as suspended between art and social practice in order to capture the dynamism of the photographic medium today. It also explores photography’s kinship with other media – and with us, humans, as media. The term ‘photomediations’ brings together the hybrid ontology of ‘photomedia’ and the fluid dynamism of ‘mediation’. The framework of photomediations adopts a process- and time-based approach to images by tracing the technological, biological, cultural, social and political flows of data that produce photographic objects. Photomediations: A Reader is part of a larger editorial and curatorial project called Photomediations: An Open Book, whose goal is to redesign a coffee-table book as an online experience. A version of this Reader also exists online in an open ‘living’ format, which means it can be altered, added to, mashed-up, re-versioned and customized. The Reader is published in collaboration with Europeana Space, and in association with Jonathan Shaw, Ross Varney and Michael Wamposzyc

Photomediations: A Reader

Photomediations: A Reader offers a radically different way of understanding photography. The concept of photomediations that unites the twenty scholarly and curatorial essays collected here cuts across the traditional classification of photography as suspended between art and social practice in order to capture the dynamism of the photographic medium today. It also explores photography’s kinship with other media – and with us, humans, as media. The term ‘photomediations’ brings together the hybrid ontology of ‘photomedia’ and the fluid dynamism of ‘mediation’. The framework of photomediations adopts a process- and time-based approach to images by tracing the technological, biological, cultural, social and political flows of data that produce photographic objects. Photomediations: A Reader is part of a larger editorial and curatorial project called Photomediations: An Open Book, whose goal is to redesign a coffee-table book as an online experience. A version of this Reader also exists online in an open ‘living’ format, which means it can be altered, added to, mashed-up, re-versioned and customized. The Reader is published in collaboration with Europeana Space, and in association with Jonathan Shaw, Ross Varney and Michael Wamposzyc

Born free and equal?: on the ethical consistency of animal equality

This dissertation investigates the possibility of constructing a consistent ethical system that offers clear notions of equality and incorporates an animal ethic. The first part is more meta-ethical in nature, reflecting on notions such as moral intuitions, universalism, consistency and coherence. It demonstrates that moral illusions might exist and offers a method to discover such moral illusions. The second part turns to normative ethics, dealing with principles of welfare, justice and basic rights. It tackles problems ranging from population ethics to non-ideal theory. Finally, the third part moves to applied (animal) ethics, In analogy to optical illusions, I demonstrate that speciesism is not only a kind of prejudicial discrimination but also a moral illusion: an obstinate intuitive judgment that is inconsistent with a coherent system. The third part also tackles the predation problem and the sentience problem in animal ethics. The end result of this work is a pluralist principlist ethical system that can be captured in a metaphor of five moral fingers working together as the moral hand. This moral hand is a constructed, coherent ethical system of five universalized ethical principles based on strong moral intuitions. The thumb represents the principle of universalism, which is a basic ingredient of coherentism, and generates an anti-discrimination rule. The index finger symbolizes a consequentialist welfare ethic, based on the coherence of impartiality and empathy. The middle finger is the mere means principle of a deontological rights ethic: humans (and animals) have a right not to be used as merely means to someone else’s ends. This principle captures a lot of moral intuitions that pop up in famous dilemmas. A fourth principle, the ring finger, refers to the value of biodiversity and adopts some elements of carnism, the opposite of veganism as ideology. This fourth principle solves the predation problem and is coherent with some other moral intuitions. Finally, the little finger represents the principle of tolerated partiality which can be used in some final moral dilemmas. With these five fingers of ethics, we can grasp the moral problem of consuming animal products, and answer the question whether veganism is a moral duty

Post 1990s Dance Theatre and (the idea of) the Neutral

PhDThe thesis focuses on the concept of neutrality in the works of contemporary European (post 1990s) choreographers. While broad ideas around neutrality are considered, the thesis primarily engages with Roland Barthes’ definition of neutrality as a structural term: 'every inflection that, dodging or baffling the paradigmatic, oppositional structure of meaning, aims at the suspension of the conflictual basis of discourse'. I argue that the minimalist work of Judson Church, New York City, is anticipating the interest in the neutral that will more strongly formulate itself in dance theatre after the 1990s. In the first chapter on Jérôme Bel, the concept of neutrality is introduced as a general idea, together with its inherent problem. The 'problem' is not that this or that element that Bel chooses cannot be perceived as neutral, but that neutral or stage zero can never be neutral enough. The second chapter, dedicated to the work of Thomas Lehmen, explores the idea of 'neutralization' in relation to the notion of the self in Lehmen's performance, where 'It is not I or you who lives: 'one' (une vie) lives in us' (P. Hallward). In the third chapter I argue that in Raimund Hoghe’s performances, love is conceived essentially as a balance between narcissism and pure object-love – as a neutral state. The fourth chapter, on Croatia’s BADco., gravitates around the ways in which group processes function, arguing that the idea of the neutral is located in the ‘invisible hand’ of emergence. The thesis shifts academic performance analysis towards a more concept-based approach, unpicking and/or constructing timeless, abstract and broad concepts and ideas that the work of these choreographers resonates with

Errant Romanticism: Queering Gender and Sexuality in British Literature, 1790-1840

Error is both a purposeless wandering and a purposeful identification of a mistake. Each chapter analyzes texts from the late-eighteenth and early-nineteenth centuries which feature female characters and the epilogue turns to the autobiographical writing of a man in the 21st-century. Chapters on William Godwin\u27s memoirs of Mary Wollstonecraft, Amelia Alderson Opie\u27s Dangers of Coquetry , Anne Plumptre\u27s Something New, Harriet Martineau\u27s Illustrations of Political Economy, and Thomas Beatie\u27s autography Labor of Love feature characters---both real and fictional--- who destabilize what Bourdieu calls collective[ly] misrecogn[ized] understandings of identity as truth/error and either/or. Utilizing notions of error developed by Zachary Sng and Seth Lerer, I take up the category of error as a provisional and tactical strategy to argue that identities, especially gender identities, are errant: wandering, nonsystematic, and nonsystematizable. In doing so, I dislodge the notion that identity is always systematic and demonstrate its queer errancy. I analyze British literature written during the Romantic era, specifically from 1790-1840, because these years help to set the stage for the emergence of sexual and gender identity categories throughout the rest of the 19th century---a period that shapes today\u27s notions of sexuality and gender. Finally, the concept of errancy in particular addresses the concerns of scholars like Carla Freccero, Viviane Namaste and Steven Angelides who argue that queer has not yet gone far enough in its immateriality or in problematizing and addressing identity\u27s fixity

Telemedicine and its application in telemedicine management

Telemedicine can be defined as the extensive depiction of providing medical and healthcare services by using telecommunications structures. Information Technology (IT) which covers controlling, interactive media, pattern recognition, knowledge management, image and signal processing: have empowered an extensive array of telemedicine applications to be supported. The joined consequence of the expansion of the global population and maturing populace in most advanced countries offersascent to an increasing interest on the public health system. The effect on public health systems in various nations were further empowered by a change in the lifestyle and environmental contamination which further increases the demand for health systems. This is obvious from the pattern of perpetual ailments and complication arising from obesity-related conditions which attack youthful individuals over the previous decade. Currently, the financial prosperity which blesses the present generation is a result of the diligent work done by our fore fathers and the rapacious exploitation of the natural resources that will eventually cause various issues to the upcoming generation. Therefore, we should seize the responsibility of caring for the elderly who tirelessly sacrificed their time for the betterment of the current generation. Nevertheless, we are attempting to upgrade medicinal technology to enhance our well-being, and to furnish a supportable healthcare system for the upcoming era. Telemedicine is poised as a means of fulfilling our obligations to the adolescents and the elderly