A self-portrait of young Leonardo

One of the most famous drawings by Leonardo da Vinci is a self-portrait in red chalk, where he looks quite old. In fact, there is a sketch in one of his notebooks, partially covered by written notes, that can be a self-portrait of the artist when he was young. The use of image processing, to remove the handwritten text and improve the image, allows a comparison of the two portraits.Comment: Image processing, digital restoration, Leonardo da Vinc

Digital Restoration of Ancient Papyri

Image processing can be used for digital restoration of ancient papyri, that is, for a restoration performed on their digital images. The digital manipulation allows reducing the background signals and enhancing the readability of texts. In the case of very old and damaged documents, this is fundamental for identification of the patterns of letters. Some examples of restoration, obtained with an image processing which uses edges detection and Fourier filtering, are shown. One of them concerns 7Q5 fragment of the Dead Sea Scrolls

The iconographic brain: a critical philosophical inquiry into (the resistance of) the image

The brain image plays a central role in contemporary image culture and, in turn, (co)constructs contemporary forms of subjectivity. The central aim of this paper is to probe the unmistakably potent interpellative power of brain images by delving into the power of imaging and the power of the image itself. This is not without relevance for the neurosciences, inasmuch as these do not take place in a vacuum; hence the importance of inquiring into the status of the image within scientific culture and science itself. I will mount a critical philosophical investigation of the brain qua image, focusing on the issue of mapping the mental onto the brain and how, in turn, the brain image plays a pivotal role in processes of subjectivation. Hereto, I draw upon Science & Technology Studies, juxtaposed with culture and ideology critique and theories of image culture. The first section sets out from Althusser's concept of interpellation, linking ideology to subjectivity. Doing so allows to spell out the central question of the paper: what could serve as the basis for a critical approach, or, where can a locus of resistance be found? In the second section, drawing predominantly on Baudrillard, I delve into the dimension of virtuality as this is opened up by brain image culture. This leads to the question of whether the digital brain must be opposed to old analog psychology: is it the psyche which resists? This issue is taken up in the third section which, ultimately, concludes that the psychological is not the requisite locus of resistance. The fourth section proceeds to delineate how the brain image is constructed from what I call the data-gaze (the claim that brain data are always already visual). In the final section, I discuss how an engagement with theories of iconology affords a critical understanding of the interpellative force of the brain image, which culminates in the somewhat unexpected claim that the sought after resistance lies in the very status of the image itself