What is Visual Knowledge, and What is it Good for? Potential Ethnographic Lessons from the Field of Legal Practice

1 full d'un mapa en 6 fulls, col.- Dins: Stieler grand atlas de géographie moderne: éd. internationale. Gotha: Justus Perthes, 1935, 1936.N.90 a 95. - Fons Fons Reparaz1:3 700 00040 x 50 c

Law in the Digital Age: How Visual Communication Technologies are Transforming the Practice, Theory, and Teaching of Law

Law today has entered the digital age. The way law is practiced – how truth and justice are represented and assessed – is increasingly dependent on what appears on electronic screens in courtrooms, law offices, government agencies, and elsewhere. Practicing lawyers know this and are rapidly adapting to the new era of digital visual rhetoric. Legal theory and education, however, have yet to catch up. This article is the first systematic effort to theorize law\u27s transformation by new visual and multimedia technologies and to set out the changes in legal pedagogy that are needed to prepare law students for practice in the new environment. The article explores the consequences for legal theory and practice of the shift from an objectivist to a constructivist approach to human knowledge, using an expanded, multidisciplinary understanding of rhetoric to analyze the elusiveness of evidentiary truth and the nature and ethics of persuasion in the digital era

Law in the Digital Age: How Visual Communication Technologies are Transforming the Practice, Theory, and Teaching of Law

Law today has entered the digital age. The way law is practiced - how truth and justice are represented and assessed - is increasingly dependent on what appears on electronic screens in courtrooms, law offices, government agencies, and elsewhere. Practicing lawyers know this and are rapidly adapting to the new era of digital visual rhetoric. Legal theory and education, however, have yet to catch up. This article is the first systematic effort to theorize law\u27s transformation by new visual and multimedia technologies and to set out the changes in legal pedagogy that are needed to prepare law students for practice in the new environment. The article explores the consequences for legal theory and practice of the shift from an objectivist to a constructivist approach to human knowledge, using an expanded, multidisciplinary understanding of rhetoric to analyze the elusiveness of evidentiary truth and the nature and ethics of persuasion in the digital era

Audio-Visual scientific popularisation. Theoretical analysis and critical realisation

La tesi analizza e propone un nuovo modello di divulgazione scientifica attraverso l\u2019utilizzo dell\u2019audiovisivo. Stabilito il quadro di riferimento, entro al quale diverse forme di audiovisivo si sono sviluppate e sono diventate protagoniste della divulgazione scientifica, la seconda dell\u2019elaborato si concentra direttamente sui passaggi necessari per la creazione di un audiovisivo scientifico arrivando alla creazione di un modello originale per la trasmissione scientific

Law in the Digital Age: How Visual Communication Technologies are Transforming the Practice, Theory, and Teaching of Law

Law today has entered the digital age. The way law is practiced - how truth and justice are represented and assessed - is increasingly dependent on what appears on electronic screens in courtrooms, law offices, government agencies, and elsewhere. Practicing lawyers know this and are rapidly adapting to the new era of digital visual rhetoric. Legal theory and education, however, have yet to catch up. This article is the first systematic effort to theorize law\u27s transformation by new visual and multimedia technologies and to set out the changes in legal pedagogy that are needed to prepare law students for practice in the new environment. The article explores the consequences for legal theory and practice of the shift from an objectivist to a constructivist approach to human knowledge, using an expanded, multidisciplinary understanding of rhetoric to analyze the elusiveness of evidentiary truth and the nature and ethics of persuasion in the digital era

Translators' communicative assumptions in subtitling Chinese feature films into English

PhD ThesisMedium-bound features and translation strategies are two central issues in the study of subtitling. However, the translator, who reacts to the medium-bound features and opts for translation strategies, has remained outside the focus in research on subtitling. The scarcity of studies on the translator in the context of subtitling seems to suggest that the translator in this type of translation is simply viewed as a transparent vehicle. This study attempts to shed light on the translator’s discursive presence in subtitling by proposing the use of a new concept, the translator’s communicative assumptions. A bottom-up model, rooted in Descriptive Translation Studies, has been established to investigate the translator’s communicative assumptions. This model consists of a comparative phase followed by an analysis phase. The English subtitles of three Chinese feature films were examined using this model in order to reveal the translators’ communicative assumptions. In the comparative phase, the original dialogues and the subtitles are compared in order to identify and categorise micro-structural shifts in the subtitles. In the following analysis phase, Bordwell’s (1997) approach to filmic perception and cognition, Text World Theory and Relevance Theory are adapted and combined to provide a theoretical framework and analytical tools to further scrutinise patterns and tendencies observed at the comparative phase. The comparative-analysis model proves to be a useful tool to reveal translators’ communicative assumptions in subtitling. The findings show that although translation shifts take place at various levels, the translator makes linguistic adjustments to give priority to syuzhet (plot elements) related to his/her own established fabula (story). Consequently, syuzhet is made more explicit; film characters’ inner worlds and personality are enhanced; culture-specific and stylistic features of the original dialogue exchanges are generally diminished. Viewers seem to be regarded as cultural outsiders who have little knowledge of the Chinese culture in general and need additional assistance in the comprehension of certain syuzhet information

Disclosure of the everyday : the undramatic achievements in narrative film

The claim providing the starting point for this thesis is that most narrative films are in an overtly dramatic, melodramatic or comic idiom. These modes seem most adept at tapping the visually expressive potentialities of the art and satisfying the needs of the audience: the narratives of most films are structured around either confrontation, or colourful events, or crisis, or periods of significant change, and they are expressed in a demonstrative visual style. This thesis is interested in the way a few films uncover profundity by structuring narrative around a range of life experiences unavailable to the melodramatic mode as it has developed in world cinema; life experiences based in the everyday, that is in the routine or repetitive, in the apparently banal or mundane, the uneventful. The first part of the thesis discusses the nature of the achievement of these undramatic films which address the everyday: how they help us to understand the medium of film, its possibilities, and how they enhance our ways of viewing and appreciating narratives. This section also focuses on the work of Stanley Cavell, exploring the links between the everyday, film melodrama, and scepticism. The second half of the thesis looks at the specific achievements of four films. Here, the thesis continues the expressive tradition of film scholarship which analyses the communication of meaning through the construction of mise-en-scene, exploring how the themes, ideas, and happenings of a film are served by their stylistic strategies, while further highlighting how such strategies may reveal significant possibilities of the medium. In doing so it follows the approach of writers such as Stanley Cavell, V. F. Perkins and George M. Wilson whilst redirecting this tradition by applying it to less obviously expressive films

Immediate Invisible

Tämän opinnäytteen tarkoitus on luoda käsitteelliseen ideaan perustuva taiteellinen nais-ten vaatemallisto. Päämääränä oli suunnitella kokeilevia modulaarisia asukokonaisuuksia, joihin on sisäänrakennettu biosensoreita, prosessoreita ja audiojärjestelmiä. Sensoreilla ke-rätyn fysiologisen informaation avulla on mahdollista muokata valmiiksi luotuja äänimai-semia ja siten paljastaa kehon toimintaa ihon alta. Opinnäytteen keskiössä on tutkia uu-den teknologian mahdollistamaa kehon fysiologian paljastamista ja siitä johtuvaa uuden-laista alastomuudentunnetta. Tämän tunteen havaittiin olevan vailla niitä sivumerkityksiä tai odotuksia, joita muotiin ja sosiaalisiin tilanteisiin yleensä liitetään. Lisäksi taiteellisen malliston tavoitteena on kasvattaa tietoisuutta kehosta luomalla kehon, käyttäjän ja kat-sojan välille passiivinen interaktiivinen suhde. Malliston idea ja tavoitteet ovat toimineet lähtökohtana lähteiden etsimisessä ja tutkimuskysymysten määrittelyssä. Päätutkimuskysymys on, kuinka fysiologisten sensorien avulla on mahdollista luoda tai-teellinen mallisto, joka saa aikaan uudenlaisen alastomuudentunteen ja tarkastelee sen kautta paljastamista ja peittämistä osana muotia. Tämä opinnäyte on paitsi kokeileva suunnitteluprosessi ja taiteellinen tuotos, myös läh-teisiin ja kirjallisuuteen pohjaava analyysi. Työ sisältää kirjallisen osuuden ja taiteellisen vaatemalliston, Immediate Invisiblen. Työn osat ovat muodostuneet yhdessä ja samanai-kaisesti toisiaan tukien. Työn pääasiallinen toteutusmenetelmä on taiteellinen toiminta, jonka tavoite on ollut vastata tutkimuskysymykseen. Teoreettinen konteksti yhdistää aja-tuksia, joita on kerätty useilta eri tieteenaloilta. Lähdekirjallisuus sisältää muun muassa sosiologiaa, psykologiaa ja muodin historiaa. Vanha surrealistien menetelmä Exquisite Corpse toimii metaforana taiteelliselle prosessille ja yhteistyölle, sekä projektin tuottamal-le mallistolle. Kirjallinen osa tarkastelee valittua aihetta siten, että taiteellinen projekti Immediate In-visible on yhdistettävissä osaksi laajempaa filosofista kontekstia taiteen, tieteen, tekno-logian ja muodin yhteenliittymässä. Taiteellinen projekti on monialainen yhteistyö ja se keskittyi malliston ideaan. Responsii-vinen ja performatiivinen mallistokokonaisuus muodostui taiteellisen prosessin kautta. Lopputulos sisältää kuusi modulaarista asukokonaisuutta, jotka pyrkivät tarjoamaan uu-denlaisia kokemuksia liittyen jo olemassa olevaan teknologiaan. Parhaimmillaan se pysäyt-tää ja kannustaa tämän päivän katsojaa pohtimaan omaa suhdettaan informaatioteknolo-giaan ja siihen, mitä omasta kehosta on mahdollista peittää tai paljastaa. Kohtaaminen an-taa katsojalle mahdollisuuden muodostaa omat johtopäätöksensä.The aim of this thesis was to create an artistic women’s fashion collection based on a concept driven by creative ambition. The objective was to design experimental modular outfits by using built-in biofeedback sensors, processors and audio systems. The sensors enabled the harnessing of physiological input to give modified soundscapes as an output, thus exposing the active functions that exist underneath the skin. The core of this study involved the investigation of novel feelings of nudity while displaying the body’s adaptive physiology through new technology. These feelings were found to be related to exposure without the connotations or expectations that are usually related to social encounters and fashion. The objective was also to enhance bodily awareness in the present moment by creating a responsive relationship between the body, the wearer and the viewer. These ideas were explored in the context of the endless play of revealing and concealing in fashion, and they served as a starting point for finding sources and defining research questions. The main research question is: how do body-worn sensors enable the creation of an artistic collection, which reveals a new type of unexplored nudity, and which discusses revealing and concealing in fashion? This was answered mainly via art-based practise. This thesis is an artistic process with an experimental outcome and literature-based analysis. It consists of a written part and an artistic fashion collection titled Immediate Invisible; the two parts evolved hand in hand. The theoretical context is an amalgamation of thoughts gathered from various fields such as sociology, psychology and history of fashion. An old surrealist game Exquisite Corpse acts as a metaphor for the artistic process, collaboration and the modular outcome of the project. The written part explores the chosen subject in a way that allows Immediate Invisible to be associated with the intersection of fashion, science, technology and art, as a wider philosophical entity. The artistic project is interdisciplinary and collaborative. It focuses on the idea and the interpretation of it into a responsive modular collection with performative qualities, designed through an artistic hands-on process. The outcome, consisting of six modular outfits, seeks to offer experiences related to new technologies. Ideally, it would cause viewers of the present time to halt and encourage them to think of their own relationship with information technology, and what can be revealed or concealed of their body. This will allow them to draw their own conclusions

Interfaces and interfacings: posthuman ecologies, bodies and identities

This dissertation posits a posthuman theory for a technologically-driven ubiquitous computing (ubicomp) world, specifically theorizing cognition, intentionality and interface. The larger aim of this project is to open up discussions about human and technological relations and how these relations shape our understanding of what it means to be human. Situating my argument within posthuman and rhetorical theories, I discuss the metaphorical cyborg as a site of resistance, the everyday cyborg and its relations to technology through technogenesis and technology extension theories, and lastly the posthuman cyborg resulting from advances in biotechnology. I argue that this posthuman cyborg is an enmeshed network of biological and informatic code with neither having primacy. Building upon Anthony Miccoli, I see the interface (the space in between) as a functional myth, as humans are mutually constituted by material, biological, technological and social substrates of a networked ecology. I, then, reconfigure Kenneth Burke’s identification theory for the technological age and argue that the posthuman subject consubstantiates with the substrates, (or substances), to continuously invent a fluid intersubjectivity in a networked ecology. This project, then, explores both metaphorical and technological interfaces to better understand each. I argue that interfacing is a more thorough term to understand how humans, technologies, objects, spaces, language and code interact and thus constitute what we conceptualize as “human” and “reality.” This framework dismantles the interface as a space in between in favor of a networked ecology of dynamic relations. Then, I examine technological interfaces and their development as they have moved from the desktop to touchscreens to spaces wherein the body becomes a literal interface and site of interaction. These developments require rhetoric and composition scholars to interrogate not only the discourse of technologies but the interfaces themselves if we are to fully understand how human users come to identify with technologies that shape not only our communication but also our sense of subjectivity, autonomy, agency and intentionality. To make my claims clearer, I analyze science fiction representations of interfaces to chart more accessible means through which to understand the larger philosophical arcs in posthuman theory, intentionality as well as artificial intelligence. Using the films, then, this work seeks to elucidate the complexities of relations in the networked ecologies that define how we understand ourselves and the world in which we live

Backward glances: The cultural and industrial uses of nostalgia in 2010s Hollywood cinema

Over the course of the 2010s, one identifiable trend in Hollywood cinema was the significant presence of nostalgia films. These films stage idealized recollections of the past, appealing to affective longing for its perceived comforts and stability. This thesis utilizes an interdisciplinary approach to present a historical narrative of recent Hollywood cinema and its intersection with broader American culture and society. I argue that the most recent cinematic “nostalgia wave” is attributable to the broad, epochal conditions of modernity and late modernity, specific historical events and trends of the 2010s, and Hollywood-specific technological and industrial discontinuities. In an attempt to weather this multitude of discontinuities, the contemporary American film industry can be seen to have internalized the logic of cultural nostalgia in a plea for continuity. This nostalgic outlook is also positioned alongside simultaneous attempts to contend with social progress in recent Hollywood cinema. Nostalgia is thus theorized as a potentially productive way of negotiating past and future, providing a narrative and industrial model for processing social change during a period of widespread uncertainty