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)

Mounting ambitions and capabilities for public and private, non-government sector crewed space exploration bring with them an increasingly diverse set of space travelers, raising new and nontrivial ethical, legal, and medical policy and practice concerns which are still relatively underexplored. In this piece, we lay out several pressing issues related to ethical considerations for selecting space travelers and conducting human subject research on them, especially in the context of non-governmental and commercial/private space operations.

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)

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)

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

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.

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)

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)

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.

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.

Demonstrates that slapstick film comedies display a canny and sometimes profound understanding of their medium. Slapstick film comedy may be grounded in idiocy and failure, but the genre is far more sophisticated than it initially appears. In this book, Burke Hilsabeck suggests that slapstick is often animated by a philosophical impulse to understand the cinema. He looks closely at movies and gags that represent the conditions and conventions of cinema production and demonstrates that film comedians display a canny and sometimes (...) profound understanding of their medium—from Buster Keaton’s encounter with the film screen in Sherlock Jr. (1924) to Harpo Marx’s lip-sync turn with a phonograph in Monkey Business (1931) to Jerry Lewis’s film-on-film performance in The Errand Boy (1961). The Slapstick Camera follows the observation of philosopher Stanley Cavell that self-reference is one way in which “film exists in a state of philosophy.” By moving historically across the studio era, the book looks at a series of comedies that play with the changing technologies and economic practices behind film production and describes how comedians offered their own understanding of the nature of film and filmmaking. Hilsabeck locates the hidden intricacies of Hollywood cinema in a place where one might least expect them—the clowns, idiots, and scoundrels of slapstick comedy. “From its analysis of the vaudevillian Victorian origins to early Hollywood expressions, and from defining classical performances by the likes of Keaton to recent postmodern recapitulations, Hilsabeck’s theoretically rigorous and wide-ranging study masterfully weaves a path through the historical, technical, and philosophical art of slapstick comedy. A must for scholars working in this field.” — Daniel Varndell, author ofHollywood Remakes, Deleuze and the Grandfather Paradox. (shrink)

In his Paralipomena Johannes Kepler reported an experimentum that he had seen in the Dresden Kunstkammer. In one of the rooms there, which had been turned in its entirety into a camera obscura, he had witnessed the images formed by a lens. I discuss the role of this experiment in the development and foundation of his new theory of optical imagery, which made a distinction between two concepts of image, pictura and imago. My focus is on how Kepler used (...) his report of the experiment inside the camera obscura to criticize the account of image formation given in Giovanbattista Della Porta's Magia naturalis . I argue that this experiment allowed Kepler to sort out the confusion between images 'in the air'—referring to the geometrical locus of images in the perspectivist tradition of optics—and the experimentally produced 'projected images', which were empirically familiar but conceptually alien to perspectivist optics. (shrink)

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)

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)

Review of: Capitalism and the Camera: Essays on Photography and Extraction, Kevin Coleman and Daniel James (eds) (2021) London and New York: Verso, 320 pp., ISBN 978-1-83976-080-8, p/bk, GBP 19.99.

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)

Over the past decade, police departments in many countries have experimented with and increasingly adopted the use of police body-worn cameras. This article aims to examine the moral issues raised by the use of PBWCs, and to provide an overall assessment of the conditions under which the use of PBWCs is morally permissible. It first reviews the current evidence for the effects of using PBWCs. On the basis of this review the article sets out a teleological argument for the use (...) of PBWCs. The final two sections of the article review two deontological objections to the use of PBWCs: the idea that use of PBWCs is based on or expresses disrespectful mistrust, and the idea that the use of PBWCs violates a right to privacy. The article argues that neither of these objections is persuasive, and concludes that we should conditionally accept and support the use of PBWCs. (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)

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)

This article traces the emergence of ecomedia in Japan’s nuclear exclusion zone. I take this emergence as an opportunity to think through the relations of sensing technologies and animals as well as the transformative potential of these relations for critical thought. I turn to the camera trap and the Geiger counter first to understand how these sensor-based media are used to generate data around environmental inquiry as well as how they may be reassembled to help us take measure of (...) the aftereffects of the 3.11 disasters through and with located relationships and encounters among species, human and nonhuman. By exploring how ecomedia invite nonhuman makings to enter the analytical frame, I hope to arrive at an understanding of environmental harm not as a futurological threat but as an ongoing event that calls for new forms of agentic thinking and enactments of multispecies struggle and collaboration. (shrink)

Aiming at the problem of low accuracy of edge detection of the film and television lens, a new SIFT feature-based camera detection algorithm was proposed. Firstly, multiple frames of images are read in time sequence and converted into grayscale images. The frame image is further divided into blocks, and the average gradient of each block is calculated to construct the film dynamic texture. The correlation of the dynamic texture of adjacent frames and the matching degree of SIFT features of (...) two frames were compared, and the predetection results were obtained according to the matching results. Next, compared with the next frame of the dynamic texture and SIFT feature whose step size is lower than the human eye refresh frequency, the final result is obtained. Through experiments on multiple groups of different types of film and television data, high recall rate and accuracy rate can be obtained. The algorithm in this paper can detect the gradual change lens with the complex structure and obtain high detection accuracy and recall rate. A lens boundary detection algorithm based on fuzzy clustering is realized. The algorithm can detect sudden changes/gradual changes of the lens at the same time without setting a threshold. It can effectively reduce the factors that affect lens detection, such as flash, movies, TV, and advertisements, and can reduce the influence of camera movement on the boundaries of movies and TVs. However, due to the complexity of film and television, there are still some missing and false detections in this algorithm, which need further study. (shrink)

This essay employs insights from embodied approaches to cognition to develop a tighter grasp on the phenomenon of camera mobility. Close readings of two early masterpieces of German cinema investigate how the viewer relates to camera movement on the basis of kinaesthetic empathy and is thereby transported, emotionally gripped or expelled from the storyworld. I argue that the construction of the fictional world is based on this specific viewing attitude, which invites us either to merely observe or, in (...) contrast, to engage with the events on screen. As a consequence, the investigation of camera movement on the basis of embodied cognition helps us both to gain a deeper understanding of how we are drawn into the space defined by camera movement and to open up the possibility of a ‘natural’ history of camera conventions as they were established at this early stage of cinema. (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)

From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt’s furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights—and their abuses—is also a richly illustrated one. Following this picture trail, _Human Rights In Camera_ takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have (...) had to them. Sharon Sliwinski considers a series of historical events, including the 1755 Lisbon earthquake and the Holocaust, to illustrate that universal human rights have come to be imagined through aesthetic experience. The circulation of images of distant events, she argues, forms a virtual community between spectators and generates a sense of shared humanity. Joining a growing body of scholarship about the cultural forces at work in the construction of human rights, _Human Rights In Camera_ is a novel take on this potent political ideal. (shrink)

The following study examines the critical interplay between ideology, mediated reality, and the role that individuals’ perceptions, beliefs, and actions play in this process. In doing so, the study delves into the examination of the way power structures and dominant narratives proceed into influencing cultural expression and, consequently, impact social action. It is thus argued that in contemporary society, the Situationist notion of “the spectacle” has replaced any understanding of reality and created a reified social world dominated by commodities that (...) reinforce dominant ideologies and determine subjective perceptions. Furthermore, the paper addresses the impact of this mediated reality on personal subjectivity and agency. Drawing on Marx’s metaphor of the “camera obscura” as ideology, it argues for a transformative “reversal of perspective” that changes how individuals view and engage with their environment. Ultimately, this study underscores the profound impact of “the spectacle” on social relations, ideology, and perception. It argues for a transformative and creative approach that challenges individuals to resist the grasp of the spectacle, reclaim their agency, and develop new perspectives for interacting with the world. The extensions of the gaze subtly refer to the basis of economy manifested as “false consciousness” reflected by the camera obscura as an inverted image but readjusted with the tools of spectacles and mirrors within the reflective apparatus. (shrink)

Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of the (...) figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon's notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arise out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain stability within a system. In the case of archival films in which transduction occurs without prior intention or expectation, transduction can be foregrounded and prolonged. The connection between transduction and the “trembling meaning” of Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of film matter and its interferences with the figurative content. (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)