Les technologies contemporaines de l’image, telles que les ultrasons, l’endoscopie, et autres IRM et scanners, transforment l’image de notre corps. Dans cet article, cette transformation est particulièrement mise en lumière à partir d’une œuvre de Mona Hatoum intitulée “ Corps étranger ”. Cette œuvre d’art consiste en une projection vidéo d’images endoscopiques de l’intérieur du corps de l’artiste. On dit souvent qu’il est impossible de s’identifier soi-même à partir de ce type d’images dans la mesure où elles sont (...) difficilement reconnaissables comme des parties de son corps propre. Ou encore qu’elles n’appartiennent pas à l’image narcissique du corps. A l’aide d’une analyse phénoménologique et psychanalytique, l’auteur s’attache ici au contraire à montrer que de telles images fournissent une image affective de notre corps propre et qu’à travers elles il devient possible d’affronter l’étrangeté de celui-ci. (shrink)

Avoir une place, de l'argent, du pouvoir, une belle image : on peut ramener tous nos problèmes à des questions d'avoir. Tout sauf l'essentiel, qui est plutôt une question d'être. Mais qu'est-ce que l'être? L'infini des possibles? La force qui nous fait exister? Les Grecs anciens y ont beaucoup pensé, et, au XXe siècle, Heidegger en a fait le centre de son oeuvre. Et pourtant. C'est d'abord dans la Bible hébraïque, nous révèle Daniel Sibony, qu'on trouve une pensée de (...) l'être, sous forme non pas de concepts, mais d'histoires et de lois. Une pensée qui fut recouverte par les religions et qui, paradoxalement, inclut pour une large part celle de Heidegger, sans le repli narcissique et autoréférentiel qui la caractérise. Telle est la double révélation qu'apporte ce livre, en montrant la voie d'une pensée de l'être vivante, capable de nous inspirer lorsque, loin des identités définies, nous n'avons pour appui que notre désir d'exister. (shrink)

Il y avait l'imaginaire doucereux de l'onirisme baroque, stipulant que le monde est un songe, auquel une rationalité arrogante a voulu opposer un réalisme têtu : la fiction est une chose, la réalité en est une autre. Renvoyant dos à dos le baroquisme rêveur et le réalisme sec, Nietzsche fait valoir la convertibilité réciproque du rêve et de la veille, de l'imaginaire et du réel, de la fiction et du vécu. En examinant l'étoffe dont le monde est fait, le philosophe (...) allemand nous montre comment la réalité et l'imaginaire s'entre-tissent. Et si le rêve n'était que l'archive des veillées anciennes? Cela ne voudrait-il pas dire que ce que nous appelons aujourd'hui "réalité" apparaîtra à l'avenir comme une manière d'avoir rêvé le monde? Pourtant, entre les différentes moutures du monde ne cesserait de percer et de repercer un air de famille opiniâtre. Ainsi, loin de se contempler narcissiquement dans un monde taillé à son image, l'imaginaire humain ne cesserait de rêver le monde à partir de l'amour qu'il 'porte à cette altérité si étrangement familière, celle du visage fraternel."--Page 4 of cover. (shrink)

Comment s'écrit un grand texte, un classique de l'autobiographie? Des spécialistes de la critique génétique ont étudié les avant-textes, brouillons et manuscrits successifs qui au bout de dix ans (1953-1963) ont donné le livre. Sartre voulait élucider les déterminations qui ont fait de lui un écrivain. Ces analyses montrent la construction progressive d'une image de soi avec la prédominance d'une problématique narcissique déniée par l'auteur. La notion d'«universel singulier» fondatrice de l'oeuvre est particulièrement étudiée.

Ce livre propose une réflexion théorico-clinique sur un outil psychanalytique encore trop méconnu, que l'auteur intitule: Cet autre divan. Il traite d'une autre façon d'utiliser la méthode psychanalytique de Freud pour les pathologies non névrotiques actuelles. Cet autre divan peut éveiller la curiosité, car ici le divan lui-même est un outil de la cure. Ce concept de la Psychothérapie Psychanalytique Corporelle (PPC) est issu de la rencontre des travaux de Julian de Ajuriaguerra et des recherches post-freudiennes sur les pathologies des (...) limites. Avec de nombreuses illustrations, l'auteur montre que la PPC permet le dégagement de l'archaïque traumatique à l'aide de la médiation corporelle. L'originalité de cet abord psychanalytique est de faire travailler les paramètres oubliés parce que silencieux dans le cadre psychanalytique classique, qui est mis en difficulté par les patients non névrotiques. Ce livre, qui donne au corps toute son importance organisatrice pour la psyché, montre que nous pouvons innover à partir de Freud pour aider psychanalytiquement ces personnes qui présentent des souffrances identitaires et narcissiques et qui s'adressent à nous. (shrink)

This study examines the theology of the fourth-century bishop, Hilary of Poitiers, concentrating particularly on two commentaries written at different times in his life. The main focus of the study is on Hilary's anthropological theology.

There seems to be no dimension of bodily awareness that cannot be disrupted. To account for such variety, there is a growing consensus that there are at least two distinct types of body representation that can be impaired, the body schema and the body image. However, the definition of these notions is often unclear. The notion of body image has attracted most controversy because of its lack of unifying positive definition. The notion of body schema, onto which there (...) seems to be a more widespread agreement, also covers a variety of sensorimotor representations. Here, I provide a conceptual analysis of the body schema contrasting it with the body image as well as assess whether the body schema can be specifically impaired, while other types of body representation are preserved; and the body schema obeys principles that are different from those that apply to other types of body representation. (shrink)

Engages with the impact of modern technology on experimental physicists. This study reveals how the increasing scale and complexity of apparatus has distanced physicists from the very science which drew them into experimenting, and has fragmented microphysics into different technical traditions.

What are the primary characteristics that define what it means to be human? And what happens to those characteristics in the face of technology past, present, and future? The three essays in Image, by leading philosophers of religion Mark Taylor, Mary-Jane Rubenstein, and Thomas Carlson, play at this intersection of the human and the technological, building out from Heidegger's notion that humans master the world by picturing or representing the real.Taylor's essay traces a history of capitalism, dwelling on the (...) lack of humility, particularly in the face of our own mortality, that is the persistent failure of humans, before turning to art as a possible way to bring us back to earth and recover humility before it is too late. Rubenstein zeroes in on the delusions of imaginative conquest associated with space travel. Through a genealogy of the modern "view from space" from the iconic Earth rise photo of 1968 up to the new privatized American space race, Rubenstein provides an analysis of the perils of the one-world and the false unity it projects. In his essay, Carlson takes as his starting point the surveillance capitalism of facial recognition technology. He dives deep into Heidegger to meditate on the elimination of individuals through totalizing gestures and the relationship between such elimination and our encounters with mortality. Each of these essays, in its own way, reflects on the nature of imagination, the character of technological vision in contemporary culture, and the implications of these for the kinds of sociality and love that condition our human experience. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

En sus Apologías y discursos de las conquistas occidentales, Bernardo de Vargas Machuca, apoyándose en Juan Ginés de Sepúlveda, pretende justificar el dominio español americano. En sus planteamientos es posible constatar un cambio de la noción de bárbaro, que se puede interpretar como una ampliación del concepto de siervo por naturaleza, a partir de la caracterización del indio como alguien ya sometido pero que, de una u otra manera, trata de resistirse a un dominio impuesto y no querido. Así, las (...) ideas de Vargas Machuca al respecto se pueden entender como un aporte para la comprensión filosófica de la construcción de la imagen tanto del indio como del indiano por el tiempo del inicio de la Colonia. Resumen En sus Apologías y discursos de las conquistas occidentales , Bernardo de Vargas Machuca, apoyándose en Juan Ginés de Sepúlveda, pretende justificar el dominio español americano. En sus planteamientos es posible constatar un cambio de la noción de bárbaro, que se puede interpretar como una ampliación del concepto de siervo por naturaleza, a partir de la caracterización del indio como alguien ya sometido pero que, de una u otra manera, trata de resistirse a un dominio impuesto y no querido. Así, las ideas de Vargas Machuca al respecto se pueden entender como un aporte para la comprensión filosófica de la construcción de la imagen tanto del indio como del indiano por el tiempo del inicio de la Colonia.In its Apologías y discursos de las conquistas occidentales , Bernardo de Vargas Machuca pretends to justify the Spanish dominion on America taking support on Juan Ginés de Sepúlveda. In its account it is possible to note a change in the notion of a Barbarian, which can be interpreted as an extension of the concept of “slavery by nature”. From this point of view the Indian is conceived as someone who is submitted but who nevertheless tries to resist to an unwilled and imposed domination. Thus Vargas Machuca claims on this matter can be understood as a contribution to the philosophical understanding of the conception, during the Colonial time, of the Indian as well as of the indiano. (shrink)

The guiding thread of this book is the distinction Colin McGinn draws between perception and imagination.

The vast number of high quality corporate image and advocacy films, combined with the many other instruments of persuasion and control by corporations, powerfully direct the attitudes of the populace. In the absence of equal access, the best protection against deception from any powerful institution is skepticism — minds trained in critical thinking. But technically proficient, expensive films (costing from $50,00 to $600,000) encourage credulity instead of thought. The schools should train young people, therefore, how to resist corporate film (...) propaganda by teaching them the kinds of questions to ask. An analysis of Chesebrough-Pond Corporation's Family offers an effective method through combining traditional rhetorical awareness of the speaker in a communication, knowledge of informal fallacies, the National Council of Teachers of English Committee on Public Doublespeak's intensify/downplay approach, and Richard Ohmann's method in Doublespeak and Ideology in Ads. (shrink)

A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that (...) have been traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression. (shrink)

This article is concerned with the relationship between body, image and affect within consumer culture. Body image is generally understood as a mental image of the body as it appears to others. It is often assumed in consumer culture that people attend to their body image in an instrumental manner, as status and social acceptability depend on how a person looks. This view is based on popular physiognomic assumptions that the body, especially the face, is a (...) reflection of the self: that a person’s inner character or personality will shine through the outer appearance. The modification and cosmetic enhancement of the body through a range of regimes and technologies can be used to construct a beautiful appearance and thereby a beautiful self. The article begins by examining body images in consumer culture and their relation to photography and moving images. This is followed by an examination of the consumer culture transformative process through a discussion of cosmetic surgery. The article then questions the over-simplistic logic that assumes that transformative techniques will automatically result in a more positive and acceptable body image. The new body and face may encourage people to look at the transformed person in a new way. But the moving body, the body without image, which communicates through proprioceptive senses and intensities of affect, can override the perception of the transformed appearance. A discussion of the affective body follows, via a closer examination of the body without image, the opening of the body to greater affect and indeterminacy. The affective body image and its potential greater visibility through new media technologies are then discussed through some examples taken from digital video art. The article concludes by examining some of the implications of these shifts within consumer culture and new media technologies. (shrink)

본 논문의 목적은 서양 고대 철학에는 ‘심신 문제’가 없었다는 통론에 반대하여, 플로티누스가 자연과 영혼을 구분함으로써 일종의 심신 문제에 직면할 수밖에 없었음을 보이는 것이다. 플로티누스는 몸의 생명을 책임지는 업무에서 면제된 영혼 개념을 제시하면서, 그러한 영혼을 다양한 심리적 활동을 수행하는 의식의 주체와 동일시한다. 이를 통해 그는 생명의 원리로서의 영혼이라는 고대적 관념에 종언을 고하고, 의식의 주체로서의 마음이라는 근대적 관념의 탄생을 예고한다. 플로티누스의 철학에서 몸을 살게 하는 생명의 원리는 이제 자연이다. 필자의 해석에 따르면, 플로티누스의 자연과 영혼의 구분은 생리와 심리의 분리를 함축하고, 이것이 결국 심신 (...) 문제의 발생으로 귀결된다. 하지만 이에 대해서는 플로티누스가 자연을 일종의 영혼으로 간주했다는 반론이 제기될 수 있다. 실제로 그는 자연을 종종 세계영혼의 최하위 부분으로 다룬다. 하지만 ‘최하위 부분’으로 불리는 자연은 결국 ‘최상위 부분’으로 불리는 이성의 모상으로 밝혀진다. 플로티누스는 참된 영혼을 이성적 영혼과 동일시하면서 영혼의 모상과 구분한다. 우리의 몸을 살게 하는 자연은 영혼의 모상이지만, ‘우리’는 참된 영혼이다. 자연을 ‘영혼의 모상’으로 묘사함은 자연이 영혼을 닮았지만, 더 이상 영혼이 아님을 뜻한다. (shrink)

The aim of this article is to present the concept of man and image in Gaston Bachelard’s thought. Following the path of the antagonism of concept and image, psychoanalytical and hermeneutic interpretations, the author presents her own interpretation of Bachelardism based on anthropological reflection, asking about the strictly human world and its “being-in-the-world”. Its reading is based on the dynamism and the linkage between reason and imagination in the presentation of the world, which is expressed in the broadest (...) sense in the formula of the “illustrating self”. (shrink)

This book argues that the extraordinary force of the image in contemporary life--the contemporary imaginary--can be traced back to the Byzantine iconoclastic controversy of the eighth and ninth centuries.

The ability of medical science to clone and perhaps even predetermine characteristics of certain species conflicts dramatically with many claims of the religious establishment. Opening with a description of various developments in plant, animal, and human genetics, Made in Whose Image? highlights the progress genetic research has achieved, its future promise, and its social impact. The developments are analyzed from the perspective of Christian ethics, as expounded by Roman Catholic and Protestant theorists, to give an overview of crucial ethical (...) issues. In reviewing the advances of genetic research, noted religion and ethics professor Thomas A. Shannon covers general ethical themes, such as the value of life, materialism, freedom, individuality, the concept of nature, and health and disease. In addition, he discusses problems in genetic engineering and misconceptions of the church. Shannon explores prenatal diagnosis, gene therapy, genes and behavior, freedom and responsibility, and the Human Genome Project. The book concludes with a powerful and groundbreaking methodological discussion of how to approach ethical problems in genetic engineering. (shrink)

In this article I wish to elucidate a form of receptivity in our relation to televisual images that cannot be reduced to the postmodern formula of a closed circuit of desire through which the self infinitely reproduces itself. Through analysis of the peculiar experience of viewing Gore Verbinski’s 2003 film The Ring, I argue for the possibility of an experience of alterity in and through the televisual. I pair this event with the religious experience of viewing the icon that Jean-Luc (...) Marion opposes to the televisual in his recent works collected in The Crossing of the Visible. The purpose of the comparison is not to conflate the two experiences but rather to suggest that the possibility for reclaiming a space for difference in a postmodern world lies within the televisual itself, the very medium that Marion credits with the bankruptcy of the aesthetic. In The Ring, the process through which the viewer expects to see her own desire reproduced is violently interrupted by a vengeful image that shatters the mirror of reflection between viewer and viewed and threatens to cross over that threshold — to cross the visible, in Marion’s terms. (shrink)

Registration of a series of the two-dimensional electron microscope images of the brain tissue into volumetric form is an important technique that can be used for neuronal circuit reconstruction. However, complex appearance changes of neuronal morphology in adjacent sections bring difficulty in finding correct correspondences, making serial section neural image registration challenging. To solve this problem, we consider whether there are such stable "markers" in the neural images to alleviate registration difficulty. In this paper, we employ the spherical deformation (...) model to simulate the local neuron structure and analyze the relationship between registration accuracy and neuronal structure shapes in two adjacent sections. The relevant analysis proves that regular circular structures in the section images are instrumental in seeking robust corresponding relationships. Then, we design a new serial section image registration framework driven by this neuronal morphological model, fully utilizing the characteristics of the anatomical structure of nerve tissue and obtaining more reasonable corresponding relationships. Specifically, we leverage a deep membrane segmentation network and neural morphological physical selection model to select the stable rounded regions in neural images. Then, we combine feature extraction and global optimization of correspondence position to obtain the deformation field of multiple images. Experiments on real and synthetic serial EM section neural image datasets have demonstrated that our proposed method could achieve more reasonable and reliable registration results, outperforming the state-of-the-art approaches in qualitative and quantitative analysis. (shrink)

This chapter wagers that dance holds a singular, irreducible place in Nancy's work, that it cannot be reduced to thought about dance, and that it provides a way to understanding Nancy's approach to visual culture in general, to equality, and to the circulation of sense in terms of what he calls singular plural being. The chapter takes its starting point from Nancy's discussions of dance in the as yet untranslated Allitérations, a series of email exchanges from 2003 and 2004 followed (...) by transcriptions of face-to-face exchanges between Nancy and choreographer Mathilde Monnier loosely addressing the question of the relation between philosophy and dance, and a conversation between Nancy, Monnier and film-maker Claire Denis. In the first half of the book Nancy raises two questions, each presenting a pair of seemingly irreconcilable demands: 1. How can we understand dance as something open to everyone while retaining the privilege of professional expertise? 2. How can we understand dance in a way that maintains its uniqueness, not reducing it to an example of thought or a vehicle for thought, and yet still allowing for a relation between dance and thought? Both questions invite us to think the privilege of dance together with its openness; its singularity together with its plurality. As Nancy and Monnier grapple with these seemingly contradictory demands in Allitérations, their conversation opens up onto a fresh way to think political equality, and a different way to understand – or ‘catch’, a much more suitable term that I shall introduce later in this chapter – the sense of the world. It is by taking a detour via ‘The Image: Mimesis and Methexis’ that we can also see how Nancy's approach to dance can open to a new way of engaging with visual culture in general. -/- The point in this chapter is not simply to use dance as an example or illustration that helps us better to understand Nancy's approach to visual culture or the Nancean singular plural or his notion of ‘sense’, for in considering dance in terms of art, singular plurality and sense, we shall also be drawn to reassess sense, art and the singular plural in terms of dance. (shrink)

There is remarkable convergence between twentieth‐century interpretations of the image of God (imago Dei), what it means for human beings to be created in God's image, and approaches toward creating in our own image in the field of artificial intelligence (AI). Both fields have viewed the intersection between God and humanity or humanity and computers in terms of either (1) a property or set of properties such as intelligence, (2) the functions we engage in or are capable (...) of, or (3) the relationships we establish and maintain. Each of these three approaches reflects a different understanding of what stands at the core of our humanity. Functional and relational approaches were common in the late twentieth century, with a functional understanding the one most accepted by society at large. A relational view, however, gives new insights into human dignity in a computer age as well as new approaches to AI research. (shrink)

This essay explores Jonas’s multifaceted and rich enquiries into the notion of image. In particular, it argues that reflecting on the “image” helps Jonas clarify the unique condition of human existence, where the twine of thought and being reveals a paradoxical (and yet crucial) relationship between time and eternity, change and permanence, immanence and transcendence. The employ of the interpretative device provided by the image enables a nuanced understanding of the human complexity which goes beyond the partial (...) and reductive descriptions of relativistic immanentism, on the one hand, and immutable transcendence, on the other. By commenting upon its anthropological, aesthetic, and ethical significance, we propose that the study of Jonas’s thoughts on the image not only offers valuable insights into the philosophical understanding of such a fascinating object, but also sheds a new and interesting light on the unity of his oeuvre. (shrink)

Is there a dominant global image—call it a world picture—that links the Occupy movement to the Arab Spring? Or is there any single image that captures and perhaps even motivated the widely noticed synergy and infectious mimicry between Tahrir Square and Zuccotti Park?