This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

Recovering largely forgotten and untranslated texts, Endless Intervals makes the case that cinema, rather than being a technology assaulting the psyche, is in fact the technology that produced the modern psyche. It considers the ways machines can create meaning, offering a fascinating theory of how the discontinuous intervals of soulless mechanisms ultimately produced a rich continuous experience of inner life.

Introduction: The end of cinema? -- Cinema is not what it used to be -- Digitalizing cinema from top to bottom -- A brief phenomenology of 'digitalized' cinema -- From shooting to filming: the Aufhebung effect -- A medium is always born twice -- New variants of the moving image -- 'Animage' and the new visual culture -- Conclusion: A medium in crisis in the digital age.

This updated edition of Cinema in the Digital Age takes a fresh look at the state of digital cinema. It pays special attention to the ways in which nostalgia for the look and feel of analogue disrupts the aesthetics of the digital image and examines how recent films have disguised and erased their digital foundations.

“We raised the power of reason, the power of manipulating words, above all other faculties. The written word became our god. We forgot that before words there were actions … that there have always been things beyond words. We forgot that spoken words preceded the written one. We forgot that written form of our letters came from ideographic pictures … that standing behind every letter is an image like an ancient ghost. The image stands for natural movements of the (...) body and other living things.” Frank Herbert. (shrink)

Now that well-paying jobs in film criticism have largely evaporated, while blogs, message boards, and social media have given new meaning to the saying that "everyone's a critic," urgent questions have emerged about the critic's status and purpose. In Film Criticism in the Digital Age, ten scholars from across the globe, as well as critics and bloggers, come together to consider whether we are witnessing the extinction of serious film criticism or seeing the seeds of its rebirth in a new (...) form. (shrink)

Introduction. Going digital: cinema's new age -- The reality of the index, or where does the truth lie? -- Physical presences: reality, materiality, corporeality -- Spatial coordinates: in between celluloid strips and codified pixels -- Rediscovering cinematic time -- Tracing an ethics of the movie image -- Conclusion. change: a point of constant departure.

Innovation in fisheries is a global development that focuses on a broad range of aims. One example is a project that aims to develop technology for key phases of the demersal fishery operation to improve product quality and safeguard fish welfare. As this step to include welfare is novel, it raises questions associated with stakeholder acceptance in a wider aim for responsible innovation. How do stakeholders (a) value fish and their welfare and (b) consider the relation between welfare and other (...) relevant values? To address these questions, an approach combining desk research with an empirical study was used. The desk study analysed the ethical and biological arguments for whether fish welfare should be accounted for in this context. The empirical study explored how fish and their welfare are perceived by Norwegian professionals in this industry, by conducting semi-structured interviews and subsequently analysing the results based on a labelling method we developed. The desk study showed a consensus that welfare should be considered in its own right, while at face value the interviews presented a rather instrumental view on this theme. However, analysis of the interview results leads to a more nuanced picture, where fish and their welfare are viewed from the perspective of respect for nature. Despite the apparent divergence between stakeholder opinions and the literature on the importance of welfare, we present three steps that enables professionals to be responsive to both the (moral) views of stakeholders and accounting for welfare in the innovation process fisheries. (shrink)

Here is a mystery: in 1939, when the Hollywood Studio System, at the peak of its power, produced such films as Gone with the Wind, Ninotchka, Stagecoach, The Wizard of Oz, Mr. Smith Goes to Washington, and Wuthering Heights, the movies' number-one box-office attraction was not Gable, Garbo, Wayne, Garland, Stewart, or Olivier. In 1939, 1940, and 1941, the most popular performer in the American cinema was Mickey Rooney, who owed his success primarily to a low-budget MGM series that concentrated (...) on his character, Andy Hardy. Here is another mystery: at some point in the past decade, film studies, once the most innovative of the humanities disciplines, began to harden into a catechism of predictable questions and answers. By committing itself exclusively to rational critique, film studies left itself overmatched by the enormously popular, seductive, and enigmatic representations that constitute the movies. And by eschewing experimentation with the forms of criticism, film studies ironically cut itself off from the new methods of research and writing prompted by the twentieth century's revolution in communications technologies. Robert Ray's book about Andy Hardy proposes that alternative ways of thinking and writing about the movies can be derived from the humanities' equivalent of science's pure research--the avant-garde arts. Drawing on the Surrealist tradition, with its use of games, chance, fragments, anecdotes, and collage, Ray invents for film studies new forms of research that imitate the cognitive habits encouraged by photography, computers, and the cinema itself. In doing so, he reveals that even the Andy Hardy movies, a routine product of the Hollywood Studio System, were, after all, rich and mysterious. (shrink)

Time Tells is a grand study of time, technology, performance, the attention economy, and comedy. Using the cinematic time-jump, "a numerical shorthand for a fated intermission," to weave a narrative of chronopolitics, memoir, and cultural study, Masha Tupitsyn constructs a unique literary and visual phenomenology on the loss of time, presence, and attention in the digital age. Structured into two interlocked inquiries--Time and Acting--Time Tells focuses on the internet to talk about the ethics of presence and attention, comedy to talk (...) about timing and the language of critique, and lying masculinity, the double, and acting to talk about performance and the reign of falsehood. Both volumes intersect to examine our inability to experience coherence and integration in the post-truth era. In the first volume, Time, Tupitsyn covers wide-ranging cultural touchstones such as the '90s TV show Felicity, Hitchcock's Vertigo, Luca Guadagnino's Call Me by Your Name, Joan Didion's The Year of Magical Thinking, Pretty Woman, Wong Kar-wai's 2046, David Fincher's Zodiac, Jean-Luc Godard, the Beastie Boys, Wim Wenders, the art of style, memory and music in the post-internet age, and the lost ontology of cinema. Using what Tupitsyn terms "screen-shot criticism," Time Tells makes innovative critical thinking accessible to anyone interested in American culture today. (shrink)

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded (...) upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. (shrink)

Advances in veterinary orthopaedics are assessed on their ability to improve the function and wellbeing of animal patients. And yet historically veterinarians have struggled to bridge the divide between an animal's physicality and its interior experience of its function in clinical settings. For much of the twentieth century, most practitioners were agnostic to the possibility of animal mentation and its implications for suffering. This attitude has changed as veterinarians adapted to technological innovations and the emergence of a clientele (...) who claimed to understand and relate to the subjective experiences of their animals. While visualising technologies and human analogies have shaped the nuts and bolts of veterinary orthopaedic practices, an emerging awareness of the inability of radiographic images to apprehend or correlate to a patient's experience of their function reliably has required veterinarians to place a greater emphasis on the owner's knowledge of the "selves" inhabiting their animals. Rather than simply basing clinical judgments on the "look" of their patients, the indeterminacy in the connection between form and function has compelled veterinarians to put questions regarding particular human-animal relationships near the centre of their practices, not least in orthopaedic surgery. (shrink)

The relationship between cinema and technology is a complex and fascinating one. Andrew Utterson brings together key theoretical texts spanning more than a century of writing. He begins by investigating cinema as technology or as an interconnected series of technologies, then goes on to examine the technological history of cinema within a much broader context: as one element in a sustained period of technological expansion, cinematic or otherwise, and its impact on the wider world. Rather than seeing technologies (...) in traditional mechanical terms, this reader explores by way of the moving image the various cultural, social, political, economic and ideological dimensions that are essential to an understanding of technology. Students taking courses on cinema and media technologies will find this an ideal introduction to the wealth of writing and research in the field. (shrink)

The article deals with the self-education of future specialists in the field of culture and art within the context of philosophical, psychological, and pedagogical studies of the postmodern era. This substantiates the need to use e-learning in professional training. The use of cloud computing technologies is one of the educational process’ innovations. As shown by our research and personal experience implementing cloud computing technologies into the educational process proves to be feasible for training future professionals in the field of (...) culture and art, including their self-education. The article shows that the aim of self-education of the future professionals in the field of culture and art is personal and professional perfection, and also achievement, at the maximum possible level, of the creative ideal. Today their professional training is focused on self-perfection, ability to self-educate, skill to foresee the consequences of their professional activity and search for the new ways to solve their professional tasks using ICT. The article justifies that cloud computing technologies allow spreading content in the Internet, they facilitate posting the text messages, photographs, pictures and musical files. Accessibility, openness, interactivity of the cloud computing technologies cause their wide use for both on-line and off-line communication, data sharing of text, multimedia and audio resources for all participants of the educational process that enriches the self-education of future professionals in the field of culture and art and makes it rich in content, practically-oriented and enhances professional competence. The article concludes that e-learning best meets methodological requirements of the postmodern society. (shrink)

The book addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the nascent twentieth century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas---cultural, social, and personal---associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development of (...) the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back"--Provided by publisher. (shrink)

In the twenty-first century, there has been a resurgence of ecologically conscious art among artists using new technologies. Like Eco-art, this recent movement, which might be called Eco-media, is interdisciplinary. Eco-media is heavily influenced by developments in environmental science, in particular developments in remote imaging and other kinds of remote Earth sensing (for example, the widespread use of satellite imaging and GPS) and developments in computer modelling (for example, detailed global models of climate that not only model the physics of (...) the Earth and solar system, but also explore the chemistry and biology of the Earth). This article will discuss developments in media art related to the computerized interpretation of complex data sets describing and modelling the natural world. It will explore work that has historically straddled artistic and scientific development, specifically Marey's work in the nineteenth century in photography and motion pictures and give examples of artists who are working in the area in-between art and science today. It will also discuss connections between this work and the historical Romantic sublime and the political dimension of this work as advocating for the preservation of the natural world, and give examples of some of the author's artworks in this area. (shrink)

Machine generated contents note: Preface ix -- Chapter One: Technology, Technique, and the Body 3 --Chapter Two: The First Technology: Bottle-Feeding 30 --Chapter Three: Slow Motion: Zori 51 --Chapter Four: Double Time: Athletic Shoes 75 --Chapter Five: Sitting Up Straight: Posture Chairs 104 --Chapter Six: Laid Back: Reclining Chairs 134 --Chapter Seven: Mechanical Arts: Musical Keyboards 161 --Chapter Eight: Letter Perfect?: Text Keyboards 187 --Chapter Nine: Second Sight: Eyeglasses 213 --Chapter Ten: Hardheaded Logic: Helmets 238 --Epilogue: Thumbs Up 263 (...) -- Notes 269 --Suggestionsfor Further Reading 302 --Index 305. (shrink)

The term ‘nano-divide’ has become a catch-phrase for describing various kinds of global nanotechnology inequities. However, there has been little in-depth exploration as to what the global nano-divide really means, and limited commentary on its early nature. Furthermore, the literature often presents countries from the Global South as ‘passive’ agents in global nanotechnology innovation—without the ability to develop endogenous nanotechnology capabilities. Yet others point to nanotechnology providing opportunities for the South to play new roles in the global research and development (...) process. In this paper I report on the findings of a qualitative study that involved the perspectives of 31 Thai and Australian key informants, from a broad range of fields. The study was supplemented by a survey of approximately 10% of the Thai nanotechnology research community at the time. I first explore how the global nano-divide is understood and the implication of the divide’s constructs in terms of the roles to be played by various countries in global nanotechnology innovation. I then explore the potential nature of Southern passivity and barriers and challenges facing Southern endogenous innovation, as well as an in-depth consideration of the proposition that Southern countries could be ‘active’ agents in the nanotechnology process. I argue that it is the nano-divide relating to nanotechnology research and development capabilities that is considered fundamental to nanotechnology’s Southern outcomes. The research suggests that Southern countries will encounter many of the traditional barriers to engaging with emerging technology as well as some new barriers relating to the nature of nanotechnology itself. Finally, the research suggests that nanotechnology may offer new opportunities for Southern countries to enter the global research and development picture. (shrink)

Pictorial meaning involves not just resemblance, but also pictorial skills, pictorial acts, practices, and performance. Especially in the classroom setting, at all levels of education, it is essential to realize that teaching with pictures and learning through pictures is a practical enterprise where thinking is embedded in doing. Promoting visual learning means to be a visionary, and to take on an enormous educational challenge. But while adaptation and innovation are inevitable in a world where technological changes are (...) rapidly and radically altering the learning environment, educational science and the everyday practice of education clearly need to retain a measure of conservatism. And any conservatism worth the name has to take account of visuality, visual thinking, and visual learning. (shrink)

ArgumentFrom 1924 to 1948, developmental psychologist Arnold Gesell regularly used photographic and motion picture technologies to collect data on infant behavior. The film camera, he said, records behavior “in such coherent, authentic and measurable detail that... the reaction patterns of infant and child become almost as tangible as tissue.” This essay places his faith in the fidelity and tangibility of film, as well as his use of film as evidence, in the context of developmental psychology's professed need for legitimately (...) scientific observational techniques. It also examines his use of these same films as educational material to promote his brand of scientific child rearing. But his analytic techniques – his methods of extracting data from the film frames – are the key to understanding the complex relationship between his theories of development and his chosen research technology. (shrink)

Retrospective issues: the discursive approach to genre and the misdirection film -- -- The truth is out there: manufacturing conspiratorial narrative coherence -- Constructing the (im)perfect cover: masculine masquerade and narrative agency -- -- Start making sense: narrative complexity, DVD, and online fandom -- The masters of misdirection: branding M. Night Shyamalan and Christopher Nolan -- Genre prestige: the misdirection film as blockbuster and middlebrow art -- Conclusion.

In his 1969 book The Making of a Counterculture, Theodore Roszak described the youth of the late 1960s as fleeing science “as if from a place inhabited by plague,” and even seeking “subversion of the scientific worldview” itself. Roszak’s view has come to be our own: when we think of the youth movement of the 1960s and early 1970s, we think of a movement that was explicitly anti-scientific in its embrace of alternative spiritualities and communal living. Such a view is (...) far too simple, ignoring the diverse ways in which the era’s countercultures expressed enthusiasm for and involved themselves in science—of a certain type. Rejecting hulking, militarized technical projects like Cold War missiles and mainframes, Boomers and hippies sought a science that was both small-scale and big-picture, as exemplified by the annual workshops on quantum physics at the Esalen Institute in Big Sur, or Timothy Leary’s championing of space exploration as the ultimate “high.” Groovy Science explores the experimentation and eclecticism that marked countercultural science and technology during one of the most colorful periods of American history. (shrink)

The magnitude of public concerns about agricultural innovations has often been underestimated, as past examples, such as pesticides, nanotechnology, and cloning, demonstrate. Indeed, studies have proven that the agricultural sector presents an area of tension and often attracts skepticism concerning new technologies. Digital technologies have become increasingly popular in agriculture. Yet there are almost no investigations on the public acceptance of digitalization in agriculture so far. Our online survey provides initial insights to reduce this knowledge gap. The sample represents (...) the German population in terms of gender, age, education and size of place of residence. Results showed that if the potential of digital farming technologies regarding animal welfare and environmental protection was described, respondents reacted positively. Thus, the general attitudes of respondents toward the benefits of DFT were mostly positive. The approval to increasing adoption rates of particular DFT by providing subsidies was also high. Linear regression models showed that the dominant positive influences on respondents’ attitudes toward the benefits of DFT were a generally positive attitude toward farming and a strong trust in farmers in Germany. Confronting respondents with pictures showing DFT resulted in many spontaneous negative associations and general criticism of agricultural production. The latter holds true for DFT in animal husbandry in particular. However, as agriculture as a whole is criticized by many groups in Germany, it is unlikely that benefits from digitalization will significantly increase the public acceptance of agriculture as a whole. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

The assessment of nanotechnology applications such as nanocarrier-based targeted drug delivery has historically been based mostly on toxicological and safety aspects. The use of nanocarriers for TDD, a leading-edge nanomedical application, has received little study from the angle of experts’ perceptions and acceptability, which may be reflected in how TDD applications are developed. In recent years, numerous authors have maintained that TDD assessment should also take into account impacts on ethical, environmental, economic, legal, and social issues in order to lead (...) to socially responsible innovation. Semi-structured interviews were conducted with French and Canadian researchers and research trainees with diverse disciplinary backgrounds and involved in research related to emerging technologies. The interviews focussed on scenarios presenting two types of TDD nanocarriers in two contexts of use. Content and inductive analyses of interviews showed how facets of perceived impacts such as health, environment, social cohabitation, economy, life and death, representations of the human being and nature, and technoscience were weighed in acceptability judgments. The analyses also revealed that contextual factors related to device, to use, and to user influenced the weighting assigned to perceived impacts and thus contributed to variability in interviewees’ judgments of acceptability. Giving consideration to researchers’ perspective could accompany first steps of implementation and development of nanomedicine by producing a first, but wide, picture of the acceptability of nanocarrier-based TDD. (shrink)

Motion pictures, from their emergence in the late nineteenth century, have been used in ways that have held in tension a number of competing or seemingly contradictory impulses. Movies can document and reveal physical and social realities, extend perception through time and space, and create audio-visual approximations of subjective perspective and mental states; they can mimic or transform reality, or create new verisimilar or fantastical screen worlds that, in part, resemble, or abstract our own. Over the past 120 (...) years, many thinkers have attempted to define the aesthetic nature of the medium in, at times, prescriptive or overly conditional ways that centre on some technologies (notably the camera), techniques, or types of motion picture making while excluding others (notably animation), and that bracket or narrowly circumscribe the question of viewer experience. However, in the past thirty years or so, we have seen an expanded interest in forms previously more marginalized in film studies, such as documentary, docudrama, and animation. This is due in part to the digital turn in both screen media production and distribution, which has led to the proliferation and pervasiveness of both. We have also seen much deeper consideration of how viewers understand, experience, and think with screen media with the rise of phenomenological and cognitive approaches to the screen-viewer relationship. Carl Plantinga has become a key and productive figure during these years, generating persuasive understandings of the emotional, schematic, and moral dimensions of our experience of screen media, and the ways in which films and TV are designed for such purposes. A cognitivist, he is interested in the possibilities of the screen to allow us to better imagine and empathize with the experiences of others, to persuade us of a state of affairs, and to provoke our capacity for moral reasoning. (shrink)

With the rapid development of sports science, human motion recognition technology, as a new biometric recognition technology, has many advantages, such as noncontact target, long recognition distance, secret recognition process, and so on. Traditional human motion recognition technology is affected by environmental factors such as motion background, which is prone to rough edges of the recognized objects and loss of motion tracking information, thus further reducing the recognition accuracy. In this paper, the traditional snake model will (...) be improved and optimized to improve the defect of human motion model contour extraction, so as to realize the accurate repair of image contour; in terms of algorithm running time, this paper innovatively improves the construction process of the snake model, further improves the running time of model evaluation, and solves the concave contour problem of corresponding moving objects in the snake model. In order to solve the problem of accurate convergence, this paper improves the snake model of the average moving algorithm and sets the corresponding weight coefficient to distinguish the corresponding moving target background, so as to achieve the convergence of the differential concave contour. In order to verify the superiority of the improved optimized snake model, experiments are carried out in the corresponding database. The experimental results show that the contour of the moving object extracted by the improved snake model algorithm is complete and the segmentation effect is obvious. At the same time, the running speed of the whole algorithm has been significantly improved. (shrink)

The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for (...) an inversion of that relationship, whereby animation is paramount. Finally, I consider the implications of these consequences for film ontology, compare theories, and conclude in favour of Berys Gaut, for whom digital film is the latest incarnation of a history of moving pictures that stretches back for centuries. (shrink)

In Pastoral and Monumental, Donald C. Jackson chronicles America's longtime fascination with dams as represented on picture postcards from the late nineteenth to the mid-twentieth century. Through over four hundred images, Jackson documents the remarkable transformation of dams and their significance to the environment and culture of America. Initially, dams were portrayed in pastoral settings on postcards that might jokingly proclaim them as “a dam pretty place.” But scenes of flood damage, dam collapses, and other disasters also captured people's attention. (...) Later, images of New Deal projects, such as the Hoover Dam, Grand Coulee Dam, and Norris Dam, symbolized America's rise from the Great Depression through monumental public works and technological innovation. Jackson relates the practical applications of dams, describing their use in irrigation, navigation, flood control, hydroelectric power, milling, mining, and manufacturing. He chronicles changing construction techniques, from small timber mill dams to those more massive and more critical to a society dependent on instant access to electricity and potable water. Concurrent to the evolution of dam technology, Jackson recounts the rise of a postcard culture that was fueled by advances in printing, photography, lowered postal rates, and America's fascination with visual imagery. In 1910, almost one billion postcards were mailed through the U.S. Postal Service, and for a period of over fifty years, postcards featuring dams were “all the rage.” Whether displaying the charms of an old mill, the aftermath of a devastating flood, or the construction of a colossal gravity dam, these postcards were a testament to how people perceived dams as structures of both beauty and technological power. (shrink)

From the 1910s through the 1930s, the American naturalist and photographer Arthur C. Pillsbury made time-lapse and microscopic films documenting what he, in common parlance, called the “miracles of plant life”. While these films are now mostly lost, they were part of Pillsbury’s prolific work as a conservationist and traveling film lecturer who used his cameras everywhere from Yosemite National Park to Samoa to promote both public understanding of plants and a desire to protect the natural world. Guiding this work (...) was Pillsbury’s belief that the nonhuman optics of the film camera, which revealed the animacy of plants, could also incite viewers to sympathize with them. In the context of the early American conservation movement, that sympathy stemmed in complicated ways from longstanding transcendental and pastoral ideas of nature that were entangled with imperialist visions of controlling nature. With an eye to that context, I show that Pillsbury’s filmmaking was not simply about using motion picture technologies to shape attitudes toward plants and nature more broadly; it was also about using nature to think through the techno-scientific possibilities of the cinema in the early part of the twentieth century. (shrink)

The idea of the Anthropocene postulates that, epistemically and ontologically, we must consider the climatic, geological, and biological systems of the Earth as essentially bound up with the technological systems that have been developed by human beings. This idea has been aesthetically configured through images of ‘Spaceship Earth’ and in the orbital pictures of light patterns emitted by human settlements across the globe. I will argue that this shift towards the idea of the Anthropocene is complicit with a (...) certain kind of technological messianism, which assumes that the most serious problems of global warming and environmental despoliation will be solved by future technologies. Furthermore the impact of this futural orientation, which includes the idea of transhumanist adaptations to the consequences of climate change, has been to intensify the nexus between technological innovation, neoliberal economics, and entrepreneurial heroism that has come to shape the collective imagination of the future. This, I will argue, has profound consequences for the way human beings orientate themselves to their ethical and political responsibilities in respect of climate change, human suffering, and cosmopolitan democracy. (shrink)

During the nineteenth and early twentieth centuries, a wide variety of American writers proposed the existence of energies connecting human beings to cosmic processes. From varying points of view--scientific, philosophical, religious, and literary--they suggested that such energies would eventually result in the perfection of individual and collective bodies, assuming that assimilation into larger networks of being meant the expansion of humanity's powers and potentialities--a belief that continues to inform much posthumanist theory today. Universes without Us explores a lesser-known countertradition in (...) American literature. As Matthew A. Taylor's incisive readings reveal, the heterodox cosmologies of Edgar Allan Poe, Henry Adams, Charles Chesnutt, and Zora Neale Hurston reject the anthropocentric fantasy that sees the universe as a kind of reservoir of self-realization. For these authors, the world can be made neither "other" nor "mirror." Instead, humans are enmeshed with "alien" processes that are both constitutive and destructive of "us." By envisioning universes no longer our own, these cosmologies picture a form of interconnectedness that denies any human ability to master it. Universes without Us demonstrates how the questions, possibilities, and dangers raised by the posthuman appeared nearly two centuries ago. Taylor finds in these works an untimely engagement with posthumanism, particularly in their imagining of universes in which humans are only one category of heterogeneous thing in a vast array of species, objects, and forces. He shows how posthumanist theory can illuminate American literary texts and how those texts might, in turn, prompt a reassessment of posthumanist theory. By understanding the posthuman as a materialist cosmology rather than a technological innovation, Taylor extends the range of thinkers who can be included in contemporary conversations about the posthuman. (shrink)

Because law, policy, and ethics are multiply intertwined, developments in any one of these areas can affect what happens in each of the others. Thus those interested in African information ethics will find it valuable to examine trends in law and policy – and those concerned about legal trends should acknowledge effective leadership when it comes from the direction of ethical practices. Though African societies are almost always pictured as receivers of social, informational, and technological innovations that come (...) from other sources, today many Africans are providing global leadership by developing innovative techniques for approaching the problem of information access. This article describes the context within which this is taking place, including a brief introduction to innovations in a number of areas, before looking in particular at innovations involving intellectual property rights that blend law, policy, and ethics. (shrink)

In this paper we contribute to “sociology in bioethics” and help clarify the range of ways sociological work can contribute to ethics scholarship. We do this using a case study of an innovative neurotechnology, functional magnetic resonance imaging, and its use to attempt to diagnose and communicate with severely brain-injured patients. We compare empirical data from interviews with relatives of patients who have a severe brain injury with perspectives from mainstream bioethics scholars. We use the notion of an “ethical landscape” (...) as an analogy for the different ethical positions subjects can take—whereby a person’s position relative to the landscape makes a difference to the way they experience and interact with it. We show that, in comparison to studying abstract ethics “from above” the ethical landscape, which involves universal generalizations and global judgements, studying ethics empirically “from the ground,” within the ethical landscape foregrounds a more plural and differentiated picture. We argue it is important not to treat empirical ethics as secondary to abstract ethics, to treat on-the-ground perspectives as useful only insofar as they can inform ethics from above. Rather, empirical perspectives can illuminate the plural vantage points in ethical judgments, highlight the “lived” nature of ethical reasoning, and point to all ethical vantage points as being significant. This is of epistemic importance to normative ethics, since researchers who pay attention to the various positions in and trajectories through the ethical landscape are unlikely to think about ethics in terms of abstract agency—as can happen with top-down ethics—or to elide agency with the agency of policymakers. Moreover, empirical perspectives may have transformative implications for people on the ground, especially where focus on the potential harms and benefits they face brings their experiences and interests to the forefront of ethical and policy discussion. (shrink)

Increase in popularity of games like "Second Life" has contributed not only to significant changes in the development of the electronic entertainment industry. Promoting Games 2.0, the new trend of video game production that are assumed to be the virtual worlds that contain user-generated content makes both measured with a specific technological innovation, as well as a serious change in the organization of socio-cultural heritage. The article presents problems of the existing difficulties of terminology, the implications of the availability (...) of Games 2.0 for social life, the concept of leisure as work in the new economy and creative non-material and the characteristics of "Generation C". Work stresses the need for discussion on trends in the development of video games - defined as a choice between the projects’ of "socio-cultural ideology of perpetual motion" and "utopia of universal creativity". These approaches allow to identify the methodological basis for analysis of relations between the operators and users of Games 2.0, taking into account the wider social environment. ** Wzrost popularności gier typu „Second Life” przyczynił siȩ nie tylko do znacznych przemian w rozwoju branży rozrywki elektronicznej. Upowszechnianie Games 2.0, nowego nurtu produkcji gier wideo które z założenia maj¸a} stanowić wirtualne światy zawieraj¸a}ce treści tworzone przez użytkowników sprawia, że mierzymy siȩ zarówno z określon¸a} innowacj¸a} technologiczn¸a}, jak też z poważn¸a} zmian¸a} organizacji życia społeczno-kulturowego. Artykuł przedstawia problematykȩ istniej¸acych trudności terminologicznych, konsekwencje dostȩpności Games 2.0 dla życia społecznego, pojȩcie rozrywki jako pracy w nowej gospodarce niematerialnej i twórczej oraz charakterystykȩ „generacji C”. Praca podkreśla potrzebȩ dyskusji nad kierunkami rozwoju gier wideo - określanymi jako wybór miȩdzy projektami „ideologii społeczno-kulturowego perpetuum mobile” i „utopii powszechnej twórczości”. Podejścia te pozwalaj¸a na wskazanie podstaw metodologicznych do prowadzenia analiz relacji miȩdzy operatorami, a użytkownikami Games 2.0 przy uwzglȩdnieniu szerszego otoczenia społecznego. (shrink)

Compared with traditional technological innovation modes, green technology innovation is more targeted for low carbon development and critical support for countries worldwide to combat climate change. The impact of green technology innovation on carbon emissions is considered in terms of fixed effect and mediating effect models through industrial structure upgrading. For this purpose, the sample dataset of 30 provincial administrative areas in China from 2008 to 2020 is employed. The results demonstrate that green technology innovation exerts significantly inhibitory effects (...) on carbon emissions, whose conclusion still holds after removing municipalities and replacing the dependent variable. Industrial structure upgrading is vital for green technology innovation to diminish carbon emissions. There is significant regional heterogeneity in the effects of green technology innovation on carbon emissions, i.e., the direct and indirect impact of green technology innovation on carbon emission reduction is significant in the eastern-central area, but its effect is insignificant in the western region. Therefore, it is essential to realize carbon emission reduction by further bolstering green technology innovation and accelerating industrial structure upgrading to fulfill the synergy of technology and structure. (shrink)

The use of motion pictures for research has a long history, of course, but beyond documenting a phenomenon and then projecting it for demonstration, scientists using this technology spent much energy figuring out how to extract information from a strip of film. Understanding film (or audiovisual) analysis is therefore necessary to grasping the relationship between an object of study, moving-image technology, and scientific evidence. This article explores one common technique within that history of film analysis: projecting a frame (...) of the motion picture and then tracing the object of study onto paper, which was especially important for behavioral sciences such as developmental psychology or ethology. Behavior became tangible through a variety of means, but for those who relied on film for their observations, such as developmental psychologist Arnold Gesell, behavior took form at least partly through the process of tracing. Gesell's use of this technique reveals the broader functions of tracing as well as the patterns that emerge from its interplay with other inscriptions in the creation of evidence. How does behavior take form? The practice of tracing provides one answer to this larger question. (shrink)

The lunar Three-Body problem is a famously intractable problem of Newtonian mechanics. The demand for accurate predictions of lunar motion led to practical approximate solutions of great complexity, constituted by trigonometric series with hundreds of terms. Such considerations meant there was demand for high speed machine computation from astronomers during the earliest stages of computer development. One early innovator in this regard was Wallace J. Eckert, a Columbia University professor of astronomer and IBM researcher. His work illustrates some interesting (...) features of the interaction between computers and astronomy. (shrink)

What happens to philosophy when philosophical activities migrate to the AI lab? My article explores the philosophical work that has gone into the machine simulations of language and understanding after Alan Turing. The early experiments by AI practitioners such as Karen Spärck Jones, Richard Richens, Yorick Wilks, and others at the Cambridge Language Research Unit (CLRU) led to the creation of the machine interlingua, semantic networks, and other technological innovations central to the development of AI in the 1950s–1970s. (...) I attempt to show how, in the midst of their computational work, the CLRU pioneers engaged with Ludwig Wittgenstein, Ferdinand de Saussure, Rudolf Carnap, and other philosophers and developed startling new ways of formulating fundamental questions about language and human understanding. More significantly, their philosophical activities on the machine present an inclusive and culturally diverse picture of the world that profoundly negates the ethnocentric metaphysics of human-machine conundrums that John Searle and his critics represent in the Chinese Room debate. The familiar legacy of that debate has long distorted the narrative of AI origins through its simultaneous reiteration and repudiation of the Turing test. My study seeks to clarify those origins, but my primary goal is to demonstrate what it is like to practice philosophy on the machine and how the critique of metaphysics is made possible in the AI lab. (shrink)

Theories on categorization have led to numerous technical innovations. Starting with artificial intelligence and neural models, scientists have leveraged psychological theories to drive forward innovative technology. More recently, software companies and Internet firms have implemented high technology software developed from cognitive theory. One class of systems rooted in the philosophical tradition stresses the importance of explanation and function. Another focuses on feature similarity and rule-based reasoning. Both approaches have had modest success and solve fundamental problems, but neither has achieved (...) the higher-levels of categorization found in humans. The current paper critically analyzes the various theories of categorization and their collective impact on recent technology innovations. (shrink)

Technological innovation is almost always investigated from an economic perspective; with few exceptions, the specific technological and social nature of innovation is often ignored. We argue that a novel way to characterise and make sense of different types of technological innovation is to start considering uncertainty. This seems plausible since technological development and innovation almost always occur under conditions of uncertainty. We rely on the distinction between, on the one hand, uncertainty that can be quantified (e.g. (...) probabilistic risk) and, on the other, deep forms of uncertainty that may resist the possibility of being quantified (e.g. severe or fundamental uncertainties). On the basis of these different ingredients of uncertainty in technological innovation, we propose a new taxonomy that reveals the technological nature of innovation. Unlike previous taxonomies employed to handle different types of technological innovations, our taxonomy does not consider the economic value of innovation alone; it is much more oriented towards societal preferences and forms of technological uncertainty. Finally, we investigate the coherence of our proposal with the dual nature of technological artefacts, showing that innovation can be grounded on structural and functional factors and not just on economic ones. (shrink)

Picturing Technology in China from Earliest Times to the Nineteenth Century. By Peter J. Golas. Hong Kong: Hong Kong University Press, 2015. Pp. xxix + 205, plus 16 plates. $56; HK$430.

I discuss three tiers of technological innovation: mild innovation, or the acceleration by technology of a human activity aimed at a good; moderate innovation, or the obviation by technology of an activity aimed at a good; and radical innovation, or the altering by technology of the human condition so as to change what counts as a good. I argue that it is impossible to morally assess proposed innovations within any of these three tiers unless we rehabilitate a natural-law (...) ethical framework. And I offer some moral starting points within such a framework, in connection with innovations of each of the three types. (shrink)

Technological innovation has an important impact on environmental pollution. In this paper, first, we analyze the influence mechanism of technological innovation on environmental pollution and then design the index system of technological innovation. Then, we use the entropy method to calculate the technological innovation level of different regions in China based on provincial panel data from 2004 to 2016. Finally, the panel vector autoregression model is adopted, and taking the discharge of sewage, solid waste, and exhaust (...) gas as the research objects, the impact of technological innovation on them is empirically analyzed. The results show that China’s technological innovation level is steadily improving, but there are significant differences in the impact of technological innovation on wastewater, waste gas, and solid waste. Specifically, technological innovation can contribute to an increase in wastewater and solid waste emissions. However, the impact of this technological innovation on them is not equal. Secondly, the impact of technological innovation on exhaust emissions is to inhibit exhaust emissions in the short term and promote exhaust emissions in the long term. Finally, there are clear differences between them in terms of the specific impact of changes in wastewater, solid waste, and exhaust emissions. Changes in wastewater discharges and solid waste generation are largely derived from their own effects, while the role of technological innovation is supportive and insignificant. The change in exhaust emissions is initially influenced by itself, but in the long run, the influence of technological innovation gradually increases and eventually exceeds its own influence. Based on these research results, this paper puts forward corresponding policy suggestions to speed up environmental pollution control. (shrink)