3,500 research outputs found
MEETING THE OTHER AS A CHALLENGE 15th International Conference “Philosophy: the New Generation” Summaries of Reports
National University of
«Kyiv-Mohyla academy»
MEETING THE OTHER
AS A CHALLENGE
15th International Conference
“Philosophy: the New Generation”
Summaries of Reports
Kyiv, NaUKMA,
April 21–22, 202
La Forma del cáncer: Socialización y representación visual de la enfermedad en Instagram
Social media platforms like Instagram are a source of information and support for
cancer patients. On this platform, millions of images shared by patients,
organisations and the general public give shape to the social imagination of one of
the most feared illnesses around the world.
This thesis proposes a method to identify and obtain images of cancer from
Instagram, a social media that in 2022 remains nearly inaccessible to research.
Through a transdisciplinary lens, it combines the sociology of everyday life, visual
sociology and methodologies from social media analysis to discover visual patterns
in the images and find alternative discourses.
The results show the variety of visual resources that patients use to communicate
their illness and support the construction of their identity. They also show how
Instagram’s economy of affection favours the publication of positive images,
aligned with the discourse of survivorship, while they hamper the expression of
other experiences. It concludes with the proposal for a new regime in the
communication of cancer, based on the concept of socialisation.Las redes sociales visuales como Instagram son una fuente de información y apoyo
para pacientes de cáncer. En esta red, millones de imágenes compartidas por
pacientes, organizaciones y por el público general configuran la imaginación social
de una de las enfermedades más temidas en todo el mundo.
Esta tesis plantea una metodología para extraer y estudiar imágenes de esta red,
prácticamente inaccesible para la investigación en 2022, y para su codificación. A
través de un enfoque transdisciplinar, combina la sociología de la vida cotidiana, la
sociología visual y las metodologías del análisis de redes sociales para descubrir
patrones visuales en las imágenes de cáncer e identificar discursos alternativos.
Los resultados muestran la variedad de recursos visuales que utilizan los
pacientes de cáncer para comunicar su enfermedad y apoyar un proceso de
construcción de la identidad. Muestran también cómo la economía afectiva de esta
plataforma favorece la publicación de imágenes positivas y alineadas con el discurso
de la supervivencia, mientras que supone un reto para visibilizar otras experiencias.
Concluye con la propuesta de un nuevo modelo de comunicación sobre cáncer,
basado en el concepto de la socialización.Departamento de Sociología y Trabajo SocialDoctorado en Investigación Transdisciplinar en Educació
Datascape: speculative city for data to inhabit
La creciente exponencial de datos está afectando profundamente el entorno físico, y su proliferación descontrolada continuará reconfigurando y alterando el paisaje. Sin embargo, estas afectaciones pueden no ser inmediatamente aparentes.
Este proyecto tiene como objetivo explorar y representar visualmente el impacto de la producción masiva de datos en el paisaje físico, diseñando una ciudad especulativa para que los datos la habiten para ilustrar las posibles implicaciones de esta posibilidad en el futuro. El objetivo es estudiar el estado actual de la producción de datos, comprender sus efectos en el medio ambiente y crear una representación visual que resalte las posibles consecuencias del crecimiento de los datos.
A través de la investigación, el análisis y el diseño, este proyecto pretende contribuir al discurso sobre las implicaciones ambientales de la producción de datos y ofrecer ideas sobre los posibles escenarios futuros que esperan a nuestro entorno construido. Se invita a realizar un examen crítico de nuestras prácticas digitales y se fomenta un enfoque responsable y sostenible en la producción y consumo de datos.The exponential rise in data is profoundly affecting the physical environment, and its uncontrolled proliferation will continue to reshape and alter the landscape. However, these impacts may not be immediately apparent.
This project aims to explore and visually represent the impact of massive data production on the physical landscape by designing a speculative city for data to inhabit, illustrating the potential implications of this impact in the future. The objective is to study the current state of data production, understand its effects on the environment, and create a compelling visual representation that highlights the potential consequences of data growth.
Through research, analysis, and design, this project aims to contribute to the discourse on the environmental implications of data production and offer insights into potential future scenarios that await our built environment. It calls for a critical examination of our digital practices and encourages responsible and sustainable approaches to data production and consumption
Estetika, Seni, dan Media: Bunga Rampai Purnatugas Alexandri Luthfi R.
Buku bunga rampai purnatugas Estetika, Seni, dan Media ini diterbitkan sebagai wujud representasi perjalanan karier Drs. Alexandri Luthfi Rahman, M.S. (AL) sebagai seniman-akademisi selama kurun waktu dari 1986 hingga 2023. Sosok yang akrab disapa Alex, Alex Luthfi, atau Abah Alex ini lahir di Surabaya pada 12 September 1958. Menempuh pendidikan sarjana pada tahun 1978-1983 di STSRI “ASRI”, ISI Yogyakarta dan menyelesaikan kuliah pascasarjana di bidang seni tahun 1989-1992 di Fakultas Seni Murni, Institut Teknologi Bandung, Jawa Barat.
AL mengawali karier akademik seninya sebagai dosen pada tahun 1986 di Jurusan Seni Murni, Fakultas Seni Rupa, ISI Yogyakarta sampai pada tahun 1994. Pada tahun yang sama ia pindah mengajar di Jurusan Film dan Televisi, Fakultas Seni Media Rekam, ISI Yogyakarta. Pernah menjabat sebagai Dekan Fakultas Seni Media Rekam selama dua periode, yakni 2008-2012 dan 2012-2016.
Buku bunga rampai ini tersusun atas 18 artikel ilmiah yang merupakan kontribusi para kolega AL, baik yang berasal dari ISI Yogyakarta di FSR, FSP, dan FSMR maupun para kolega dari seniman dan akademisi berbagai perguruan tinggi di Indonesia. Bahkan, ada satu tulisan dari kolega AL, Andrialis Abdul Rahman dkk. dari Universiti Teknologi MARA.
Hadirnya buku ini dapat pula dimaknai sebagai bentuk ungkapan refleksi atas kiprah AL sebagai seniman dan akademisi. Selain itu, beberapa artikel mengulas estetika seni serta estetika dan media. Tulisan yang dimuat diklasifikasi menjadi tiga bagian, yaitu tulisan estetika seni secara umum; tulisan tentang estetika dan media; serta tulisan yang membahas refleksi atas diri AL. Tulisan dari berbagai pihak tersebut disajikan dan diurutkan dari yang general ke yang spesifik. Sebelum masuk ke bagian inti, AL menulis esai tentang autobiografi dirinya dengan sudut subjektif untuk memberikan pemahaman kepada pembaca
Grounds for a Third Place : The Starbucks Experience, Sirens, and Space
My goal in this dissertation is to help demystify or “filter” the “Starbucks Experience” for a post-pandemic world, taking stock of how a multi-national company has long outgrown its humble beginnings as a wholesale coffee bean supplier to become a digitally-integrated and hypermodern café. I look at the role Starbucks plays within the larger cultural history of the coffee house and also consider how Starbucks has been idyllically described in corporate discourse as a comfortable and discursive “third place” for informal gathering, a term that also prescribes its own radical ethos as a globally recognized customer service platform. Attempting to square Starbucks’ iconography and rhetoric with a new critical methodology, in a series of interdisciplinary case studies, I examine the role Starbucks’ “third place” philosophy plays within larger conversations about urban space and commodity culture, analyze Starbucks advertising, architecture and art, and trace the mythical rise of the Starbucks Siren (and the reiterations and re-imaginings of the Starbucks Siren in art and media). While in corporate rhetoric Starbucks’ “third place” is depicted as an enthralling adventure, full of play, discovery, authenticity, or “romance,” I draw on critical theory to discuss how it operates today as a space of distraction, isolation, and loss
Lecture et altérités
Lecture et altérités est le second volume de la collection « Approches interdisciplinaires de la lecture ». Il rassemble les communications présentées durant le séminaire interdisciplinaire tenu à Reims en 2006-2007. Après « Parcours de la reconnaissance intertextuelle » (session 2005-2006), il s’agissait d’élargir la perspective, de montrer que ce lieu commun du discours contemporain, l’altérité, se décline sous diverses formes : intertextuelles encore, mais aussi culturelles, sémiotiques, psychiques, génériques ; altérités de personnes ou de caractères… Selon l’angle de vue pris sur le texte à lire, selon la discipline convoquée pour penser l’autre, il faut ainsi concevoir des altérités, ce qui ouvre la voie à de nombreux croisements des perspectives. En attestent les contributions de chercheurs venus de France et d’ailleurs : linguistes, comparatistes, spécialistes de littérature française, espagnole, anglaise, qui ont contribué à enrichir ce volume. Les articles s’adressent à tout public intéressé par le rapport entre littérature et lecture
Figuren des Anderen. Zur Chardin-Rezeption bei Marcel Proust
Marcel Proust schreibt sich 1895 mit einem Essay über das Werk Jean Siméon Chardins (1699-1779) in die vor allem durch Diderot und die Brüder Goncourt geprägte Chardin-Rezeption ein. Die Arbeit verfolgt das Ziel, sowohl die Nachwirkungen dieser Betrachtung und Beschreibung der Gemälde Chardins als auch die Auseinandersetzung mit der Tradition der Chardin-Rezeption in Prousts siebenbändigem Roman À la recherche du temps perdu (1913-1927) nachzuzeichnen. Ausgehend von den diskreten Hinweisen auf der Textoberfläche werden die verdeckten Ein- und Umschreibungen der Figurengemälde Chardins im Roman deutlich, die sich zu einer ästhetischen Praxis und Poetik des „refaire“ Chardin verdichten
Atmosphere(s) for Architects: Between Phenomenology and Cognition
Interfaces 5 was born to home the dialogue that the neuroscientist Michael A. Arbib and the philosopher Tonino Griffero started at the end of 2021 about atmospheric experiences, striving to bridge the gap between cognitive science’s perspective and the (neo)phenomenological one. This conversation progressed due to Pato Paez’s offer to participate in the webinar “Architectural Atmospheres: Phenomenology, Cognition, and Feeling,” a roundtable hosted by The Commission Project (TCP) within the Applied Neuroaesthetics initiative. The event ran online on May 20, 2022. Bob Condia moderated the panel discussion between Suchi Reddy, Michael A. Arbib, and Tonino Griffero. The RESONANCES project was responsible for developing the editing and publishing process. This volume collects nine essays: the main chapter is “A Dialogue on Affordances, Atmospheres, and Architecture” by Michael A. Arbib and Tonino Griffero; there are four commentaries to this text by Federico De Matteis, Robert Lamb Hart, Mark Alan Hewitt, and Suchi Reddy; Michael A. Arbib and Tonino Griffero have independently responded to the commentaries, emphasizing the opportunities and challenges of their respective approaches: cog/neuroscience and atmospherology applied to architecture; Elisabetta Canepa offers “An Essential Vocabulary of Atmospheric Architecture,” developing an atmospherological critique of the Marianna Kistler Beach Museum of Art on the Kansas State University campus to evaluate the accuracy, coherence, and adaptability of her lexicon. Bob Condia and Mikaela Wynne provide an introduction entitled “On Becoming an Atmospherologist: A Praxis of Atmospheres.”https://newprairiepress.org/ebooks/1051/thumbnail.jp
Nothing To See Hear
Nothing to See/Hear is a research experiment into minimalist visual narrative via the short film Not the Boss of Me, in which the criteria for production mandated only the bare essential elements required to construct and convey a plot and its characters be used while filming within a nondescript space - in this case, a mostly empty soundstage. How does one tell a story and define its characters without direct expository dialogue? What is needed to establish and define locations and/or environments when limited to only one or two items? Can an audience engage their imagination to fill in the absences of content and come away feeling as though they have experienced a fully realized cinematic event? And will they?
The screenplay - not written to be minimalistic by nature, but rather produced through minimalistic techniques - went through a process of rigorous drafts, actor table readings, feedback sessions and further revisions. Said process resulted in a script which streamlined plot points, eliminated extraneous dialogue and converted exposition into actions. By analyzing environments via a process of sensory elimination, a method of reconstructing spaces one sense element at a time, a basis was established for designing a floor plan for any location needed. If you can’t see a location, how do you hear it? Through audio field recordings mixed with soundstage captures, the atmosphere and scope of environments would be established. If you can only see one thing, what will provide context to define everything unseen surrounding it? Light and shadow, along with strategically placed set items, would create a sense of time, location and tone.
Examples: The sound of a lawn mower might elicit a mental picture of a house and neighborhood. Someone wearing a hardhat could conjure the scene of a construction site. Warm yellow side light creates a sense of morning. A cold wash of blue overhead light evokes an isolating night.
It was determined that doors embody the character of the buildings they inhabit and serve as the single best representation of any location structure. The remaining majority of the world-building, not practically visible or aided by sound, would rely on the actor’s physical engagement - seeing how they put the space into their bodies through behavior - and the audience’s natural tendency to solve the missing visual puzzle.
The finished film, equipped with the bare minimum of visual and narrative elements, presented a layered and detailed character-driven storyline which hinted at a much larger world beyond what was actively seen and heard. This resulted in a cinematic experience that functioned in the audience’s peripheral vision, engaging their minds\u27 eyes to fill in the voids, operating off fragments of sight, sound, gestures and inflection. Based on audience reactions, the project was a resounding success, with feedback affirming that despite the minimalistic approach to the work nothing felt missing, solidifying their investment in the work and leaving them with a desire to see and hear more. In conclusion, less is more
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