Audiovisions: cinema and television as entr'actes in history

The production, distribution, and perception of moving images are undergoing a radical transformation. Ever-faster computers, digital technology, and microelectronic are joining forces to produce advanced audiovision - the media vanishing point of the 20th century. Very little will remain unchanged. The classic institutions for the mediation of film - cinema and television - are revealed to be no more than interludes in the broader history of the audiovisual media. This book interprets these changes not simply as a cultural loss but also as a challenge: the new audiovisions have to be confronted squarely to make strategic intervention possible. Audiovisions provides a historical underpinning for this active approach. Spanning 100 years, from the end of the 19th to the end of the 20th century, it reconstructs the complex genesis of cinema and television as historically relative - and thus finite - cultural forms, focussing on the dynamics and tension in the interaction between the apparatus and its uses. The book is also a plea for 'staying power' in studies of cultural technology and technological culture of film. Essayistic in style, it dispenses with complicated cross references and, instead, is structured around distinct historical phases. Montages of images and text provide supplemental information, contrast, and comment

Theologi electrici: kilka fragmentów

Tłumaczenie: Marcin SanakiewiczORCID: 0000-0002-8068-637

Ser offline e existir online // Be online, offline exist

Artigo convidado / Invited Articl

Back to the Future in a Place Called America

Our media and current technologies are the result of a global form established by Western thought. This thought, as in many parts of the world was imposed particularly in The New Spain in the discovery by Christoph Columbus in the late 16th century. Before the European contact, pre-America had a different way of thinking to the West and therefore a different development and understanding of concepts such as media, technology, time, body and space. On one hand the official history shows a pre-Columbian poor picture in technological developments, but on the other hand archaeological discoveries demonstrate an illuminated past with a more sustainable and different form of “hight technology.” To get closer to this form, we have to consider the worldview of pre-Columbian cultures as the central matrix for their technological developments. The aim of this research is to extend the pre-Columbian understanding so that we could approach archaeological discoveries and access to alternative forms of knowledge to expand Western boundaries

A simple algorithm for quantifying DNA methylation levels on multiple independent CpG sites in bisulfite genomic sequencing electropherograms

DNA methylation at cytosines is a widely studied epigenetic modification. Methylation is commonly detected using bisulfite modification of DNA followed by PCR and additional techniques such as restriction digestion or sequencing. These additional techniques are either laborious, require specialized equipment, or are not quantitative. Here we describe a simple algorithm that yields quantitative results from analysis of conventional four-dye-trace sequencing. We call this method Mquant and we compare it with the established laboratory method of combined bisulfite restriction assay (COBRA). This analysis of sequencing electropherograms provides a simple, easily applied method to quantify DNA methylation at specific CpG sites

Changer le monde, c’est le réinventer en permanence : Explorations de l’épistémologie et de la « temporalité profonde » du concept de projection

Loin d’appréhender la projection comme une modalité spécifique à la praxis médiale ou encore comme un dispositif propre à la transformation cinématographique, le présent texte vise à ouvrir le champ de la projection d’un point de vue épistémologique en l’abordant en lien avec la faculté d’imaginer dans sa dimension active, dans sa capacité à changer le monde. Cette approche de la projection comme champ de possibilités, comme esquisse de mondes alternatifs, rassemble des penseurs aussi hétérogènes qu’Henry Corbin, Martin Heidegger, Vilém Flusser, Dietmar Kamper, Emmanuel Kant, Anton Muratori et certains alchimistes du début de l’ère moderne.Instead of approaching projection as a technique specific to media praxis or an apparatus strictly for cinematographic transformation, this article considers projection from an epistemological point of view, addressing it through its link to the faculty of imagination in its active dimension and ability to change the world. This approach to projection as a field of possibilities, as a draft of alternative worlds, unites thinkers as diverse as Henry Corbin, Martin Heidegger, Vilém Flusser, Dietmar Kamper, Emmanuel Kant, Anton Muratori, as well as alchemists from the beginning of the modern era