Sem pretender esgotar o tema, este trabalho visa refletir sobre o conceito de Modernidade aqui entendida como a construção de uma perspectiva ou projeto de futuro. O ponto de partida são as reflexões teóricas de Jurgen Habermas e nesse sentido pretende ser uma contribuição para a elaboração de uma noção emancipatória de Modernidade podendo também servir como contribuição para o debate entorno dos rumos de uma reconstrução do país também emancipadora.

O objetivo deste trabalho é o de examinar processos de exclusão e expulsão que vem se ampliando nos diversos aspectos da vida sob as condições atuais do neoliberalismo e como se manifesta na ocupação/desocupação do território, no papel da informação nesse processo e como as alterações das condições tanto da ocupação da terra quanto de produção e uso da informação impostas podem resultar na expulsão de moradores e na exclusão de usuários. Este trabalho também aponta possibilidades de surgimento de condições (...) alternativas por meio da construção de contraracionalidades na constituição de uma esfera pública política e democrática. Elaborei 7 Notas. (shrink)

In this article, we explore some of the roles of cameras in policing in the United States. We outline the trajectory of key new media technologies, arguing that cameras and social media together generate the ambient surveillance through which graphic violence is now routinely captured and circulated. Drawing on Michel Foucault, we suggest that there are important intersections between this video footage and police subjectivity, and propose to look at two: recruit training at the Washington state Basic Law Enforcement Academy (...) and the Seattle Police Department’s body-worn camera project. We analyze these cases in relation to the major arguments for and against initiatives to increase police use of cameras, outlining what we see as techno-optimistic and techno-pessimistic positions. Drawing on the pragmatism of John Dewey, we argue for a third position that calls for field-based inquiry into the specific co-production of socio-techno subjectivities. (shrink)

These quiet but moving images represent the changing role of photographic portraiture in India, a topic anthropologist Christopher Pinney explores in Camera Indica.

In _ Plato's Camera_, eminent philosopher Paul Churchland offers a novel account of how the brain constructs a representation -- or "takes a picture" -- of the universe's timeless categorical and dynamical structure. This construction process, which begins at birth, yields the enduring background conceptual framework with which we will interpret our sensory experience for the rest of our lives. But, as even Plato knew, to make singular perceptual judgments requires that we possess an antecedent framework of abstract categories to (...) which any perceived particular can be relevantly assimilated. How that background framework is assembled in the first place is the motivating mystery, and the primary target, of Churchland's book. Unexpectedly, this neurobiologically grounded account of human cognition also provides a systematic story of how such low-level epistemological activities are integrated within an enveloping framework of linguistic structures and regulatory mechanisms at the social level. As Churchland illustrates, this integration of cognitive mechanisms at several levels has launched the human race on an epistemological adventure denied to all other terrestrial creatures. (shrink)

This chapter contains sections titled: Must We Shoot to Kill? Hunting in the Real World The Mastery of the Spectator and the Humility of the Hunter What Photography Cannot Capture Notes.

In _ Plato's Camera_, eminent philosopher Paul Churchland offers a novel account of how the brain constructs a representation -- or "takes a picture" -- of the universe's timeless categorical and dynamical structure. This construction process, which begins at birth, yields the enduring background conceptual framework with which we will interpret our sensory experience for the rest of our lives. But, as even Plato knew, to make singular perceptual judgments requires that we possess an antecedent framework of abstract categories to (...) which any perceived particular can be relevantly assimilated. How that background framework is assembled in the first place is the motivating mystery, and the primary target, of Churchland's book. Unexpectedly, this neurobiologically grounded account of human cognition also provides a systematic story of how such low-level epistemological activities are integrated within an enveloping framework of linguistic structures and regulatory mechanisms at the social level. As Churchland illustrates, this integration of cognitive mechanisms at several levels has launched the human race on an epistemological adventure denied to all other terrestrial creatures. (shrink)

In her opening chapter on Marx, Kofman provides a reading of inversion as necessary to the ideological process. She then explores the metaphor of the camera obscura in Freud's description of the unconscious.

In National Camera, Roberto Tejada offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and in the borderlands where the two nations and cultures intersect--a place Tejada calls the shared image environment. The "problem" of photography in Mexico, Tejada shows, reveals cross-cultural episodes that are rife with contradictions, especially in the complex terms of cultural and sexual difference. Analyzing such topics as territory, sexuality, (...) and social and ethnic relations in image making, Tejada delves into the work of key figures including Manuel Alvarez Bravo, Edward Weston, Tina Modotti, Marius de Zayas, and Julien Levy, as well as the Agustín Víctor Casasola Archive, the Boystown photographs, and contemporary Mexican and Latina photo-based artists. From the Mexican Revolution of 1910-1920 to the U.S.-Mexico borderlands of today, Tejada traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production and, in doing so, defines both nations. (shrink)

Learn to achieve the best possible images with minimal lighting equipment Author Bob Davis is a photographer whose high-profile clients include Oprah Winfrey and Eva Longoria, and whose work has appeared in Time, O Magazine, and People. Along with his invaluable professional advice, this beautiful full-color book includes a DVD featuring portions of his workshop curriculum. He covers the elements of lighting and shares his two-strobe technique that will enable you to create studio-quality lighting anywhere with only minimal equipment. High-profile (...) photographer Bob Davis is especially known for his lighting techniques; this book shares his advice on lighting for professional photographers and serious amateurs Covers all the key elements of photographic lighting, with informative illustrations and lighting grids Details the author's pioneering two-strobe technique that reduces the amount of equipment a photographer must carry to a shoot and dramatically lowers equipment costs Features professional tips and stunning full-color images 60-Minute DVD includes video from the author's three-day lighting and photography workshop Lights, Camera, Capture: Creative Lighting Techniques for Digital Photographersoffers your professional advice worth many times the cost of the book. Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file. (shrink)

Artykuł zawiera prezentację najstarszych zachowanych świadectw w starożytnej Grecji zawierających opis camera obscura. Terminu używa się zamiennie na określenie zarówno zjawiska, jak i urządzenia optycznego wykorzystujacego wspomniany fenomen. Schemat działania jest prosty: promienie światła biegnące od przedmiotu i przechodzące przez niewielki otwór, padają na powierzchnię w zaciemnionej przestrzeni tworząc odwrócony obraz przedmiotu. Pierwsze opisy fenomenu camera obscura pojawiają się w starożytnych Chinach i Grecji. W kulturze greckiej i zarazem tradycji europejskiej, chronologicznie pierwszym zapisem jest tekst zawarty w dziele (...) pt. Zagadnienia przyrodnicze, w Księdze XV, rozdziale 11, a dopełnienie w Księdze XV, rozdziale 6. Wspomniane dzieło zostało napisane przez nieznanego nam bliżej autora lub autorów, ale wywodzącego się z tradycji dociekań przyrodniczych Liceum Arystotelesa. (shrink)

Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scène to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," disrupts the (...) very material of film, much like historical events disturb the narrative of human progress. De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works of _catastroika_; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristic _mise en forme_ of filmmaker Sacha Guitry, who, in _Si_ _Versailles m'était conté, filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate._. (shrink)

The merging of the positions of photographer and collector defines the drive of a certain kind of photographic work, for which the camera becomes a collecting device, accumulating a collection that speaks the subjectivity of its author – the photographer. There are, however, two impulses at work here: the photographer-as-collector and the collector-as-photographer. Both are present in the work of Martin Parr, who has openly admitted that he has ‘the collecting gene’, but also, somewhat earlier, in the work of (...) Walker Evans whose obsession with collectibles and whose mode of photographic collecting provide a striking historical precedent for Parr’s compulsive practice. My article explores the collecting impulse that motivates these photographers and, more particularly, shapes a new mode of making photographs and cataloguing social life that seem to escape established genre categories, including especially the category of documentary. (shrink)

Using a number of his recent site-specific installations, conceptual artist and theorist Victor Burgin discusses the status and future of the camera from photography to moving image to computer-generated virtual works that combine both still and moving images. In the process he modifies Bazin’s question ‘What is cinema?’ to ask ‘What is a camera?’ These works extend and develop Burgin’s long-standing interest in the relationship of aesthetics and politics as rendered through visualization technologies, especially as it pertains to (...) space. Burgin’s discussion constructs a genealogy of seeing, visualizing and image-making as technologically-determined and crafted. The ideology of vision and the ideological artefacts produced by and through visual technologies from perspectival painting to analog photography to computer imaging constitute, in Burgin’s argument, ‘the ideological chora of our spectacular global village’. (shrink)

Expert photographer Rob Sheppard explains the details of Camera Raw, the steps for using it, the workflow process, and certain best practices that demonstrates how Camera Raw can empower the digital photographer. Encouraging you to use it as you see fit, he explores the enhancements in the newest generation and helps you deal with RAW's limitations, manage white balance and exposure, reduce noise and learn to use camera settings that make the most of RAW capabilities.

Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scène to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," disrupts the (...) very material of film, much like historical events disturb the narrative of human progress. De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works of _catastroika_; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristic _mise en forme_ of filmmaker Sacha Guitry, who, in _Si_ _Versailles m'était conté (1954), filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate._. (shrink)

This article examines the connections be- tween the camera shot and the gun sight in the age of classic Hollywood cinema. Com- paring THE LOST PATROL (USA 1934, John Ford) with TRINADTSAT (THIRTEEN, UdSSR 1936, Mikhail Romm), it asks what kind of relationship films from this era strove to establish between the viewer and the gun shot on screen. The ideological and stylistic differences between the films make visible divergent fantasies of agency, community and technology.

L’article analyse les effets de la cohabitation sur un même terrain, d’un sociologue, enquêtant sur les élèves d’une classe préparatoire pour des bacheliers d’origine modeste, et d’une équipe de tournage réalisant un documentaire à leur sujet. Analysant la réception différenciée du tournage parmi les élèves et ses effets sur la conduite de l’enquête, l’article revient sur la collaboration entre le sociologue et les réalisateurs. Il montre comment cette expérience, malgré les difficultés qu’elle suscite, peut aussi s’avérer heuristique.

Without exaggeration, it could be said that we are entering a golden age of neuroscience. Informed by recent developments in neuroimaging that allow us to peer into the working brain at both a structural and functional level, neuroscientists are beginning to untangle mechanisms of recovery after brain injury and grapple with age-old questions about brain and mind and their correlates neural mechanisms and consciousness. Neuroimaging, coupled with new diagnostic categories and assessment scales are helping us develop a new diagnostic nosology (...) about disorders of consciousness which will likely improve prognostication and suggest therapeutic advances. Historically such diagnostic refinement has yield therapeutic advances in medicine and there is no reason to doubt that this will be the case for disorders of consciousness, perhaps bringing relief to a marginalized population now on the periphery of the therapeutic agenda. In spite of this promise, the translation of research findings into the clinical context will be difficult. As we move from descriptive categories about disorders of consciousness, like the vegetative or minimally conscious states, to ones further specified by integrating behavioral and neuroimaging findings, humility not hubris should be the virtue that guides the ethical conduct of research and practice. (shrink)

"I confess — I took virtually every picture in this book with my compact camera!" Pros like Rick Sammon make their living with top-of-the-line dSLR cameras.

There is a long tradition of the value of using film as a pedagogical tool. Such use spans a variety of business disciplines including organizational behavior (Smith 2009), accounting (Bay & Felton 2012), business ethics (Fisher, Grant & Palmer 2015) and cultural competency (Greene, Barden, Richardson & Hall 2014). Presented here is a recently developed course, Business in Film, which engages students in deep reflection on business issues with an emphasis on ethics and values. The course is structured around a (...) weekly film (mix of dramas and documentaries), 15 weeks, 15 films covering approximately 40 years. For each film, students prepare a 2-3 page reflection paper. Student feedback has been consistently positive, with comments along the themes of a greater appreciation of the intersection between business and the human experience, bringing to life ethical considerations, and a greater appreciation of the historical context of business events. (shrink)

Many pop culture pundits find characteristics of Jewish humor in their analysis of Jon Stewart's Jewish identity. Though no one has ever suggested that Stewart's a “good Jew,” Stewart still radiates a Jewish persona. This persona and Stewart's satiric treatment of Judaism echo Martin Buber's philosophy. What links the great humanist and the contemporary television satirist is that both point to the outside world and then explain to others what they should have seen. Our pursuit of Buber begins with Stewart's (...) life as a Jew. While it's impossible to watch The Daily Show without Stewart's Jewish persona being obvious, hearing an echo of Martin Buber's philosophy of engagement requires that we carefully review how Stewart's Jewish persona represents the great humanist. Buber insisted on political involvement and the seamless convergence of religion, ethics, politics, education, and art. (shrink)