Book reviews: BOER, Wietse de; ENENKEL, Karl; MELION, Walter S.. Jesuit image theory. Leiden: Brill, 2016.. ISBN 978-90-04-31911-0 ISBN 978-90-04-31912-7.

The technological literacy of students has recently become one of the primary goals of education in countries such as the USA, England, New Zealand, Australia, and so forth. However the question here is whether these educations - their long-term policy documents as well as the standards they provide in particular - address sufficient learning about the nature of technology. This seems to be an important concern that through taking advantage of the philosophy of technology (the arena which affords a bountiful (...) ground of various reflections on the nature of technology) is intended to be discussed throughout this study. In the first place, the paper presents a relevant framework based upon Mitcham's (1994) four-aspect account of technology, i.e., technology as objects, knowledge, activities, and volition. Then it categorizes the main relevant concepts and concerns put forward by many other philosophers of technology into this framework; this will yield a concrete model (tool) to analyze any intended standard such as the above mentioned ones. Afterwards, to show how this model works, the well-known case of the USA - Standards for Technological Literacy (ITEA, 2007) - will be used as an example for inspection; the results will disclose the points where the current American case needs to be modified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Image and SilenceGiorgio AgambenTranslated by Leland de la Durantaye (bio)[End Page 94]In the Roman pantheon there is a goddess named Angerona, represented with her mouth bound and sealed (ore obligato signatoque).1 Her finger is raised to her lips as if to command silence. Scholars claim that she represents, in the context of pagan mystery cults, the power of silence, although there is no consensus among them as to (...) how to understand this power. Etymologically speaking, myein, the root of the Greek word mysterion, means “to close the mouth, to silence.” At the beginning of the sacred rites in Eleusis a herald “commanded silence” (epittatei tēn siōpen). It is said that that the initiates into these Eleusinian mysteries were required to maintain absolute silence concerning what they had seen and heard during their initiation. Our question is how to understand this silence. Was it a prohibition aimed at keeping a secret doctrine from the uninitiated? Or did it concern, instead, something truly impossible to say?To begin we might ask what sense there might have been in the obligation to remain silent given that it was possible for anyone—including slaves, and thus, potentially, the entire population of Athens—to be initiated into the mysteries. In his early work, “On Philosophy,” Aristotle affirmed that, “the initiates do not need to learn something (mathein ti), but, instead, to be disposed to something, to experience and to undergo something (pathein kai diatethēnai).”2 It would therefore be possible that in the ancient mystery cults the initiate did not learn a doctrine that could be expressed in words (yet had to remain secret), but, instead, experienced something essentially silent, something impossible to say. “A great awe in face of the gods,” we read in the Homeric ode to Demeter, “silences the voice.”3The impossibility of speaking—and the power of silence—has two forms, one joyful and the other disturbing. In myth muteness is often associated with rape. The Romans tell the story of Lara who was punished for her inclination to gossip by being rendered mute and who was then raped in a sacred wood by Mercury (who took advantage of her impossibility of speaking). Before being transformed into a swallow Philomela was raped by Tereus, who cut off her tongue to prevent her from recounting his misdeed. Persephone, raped, kidnapped, and conducted to Hades, remained there silent as the dead. In every one of these cases silence is the painful experience of a privation of speech, of being unable to say what one wishes to say.In Gnostic mythology, the preexisting, eternal, uncreated God contains within himself a female figure which is his silence, Sigē. From his union with Silence Thought is born. “Sigē,” we read in a Valentinian text, “is the mother of all the beings that have emerged from the Abyss. He who has failed to say the unsayable has silenced it; he who was understood the unsayable, has declared it unsayable.”4 Here too silence appears as the experience of an impossibility of saying, as a privation. It is in opposition to this abyssal figure of silence that the church fathers affirmed the primacy of the logos in which God is revealed. Nevertheless, of the power of silence Heidegger would write: “This primordial silence is more powerful than any human potentiality. No one, on his or her own, has ever invented language—that is, has been strong enough to break the power of this silence.”5 [End Page 95]In Kafka’s parable on Ulysses, we are told that the silence of the Sirens is more perilous than their song, and that Ulysses—who realized, as his ship neared them, that the Sirens were silent—put on an act to protect himself from this silence, plugging his ears with wax and having his men tie him to the mast.6 In Kafka’s retelling of the tale, the silence of the Sirens represents a zero degree of song and, following a stubborn tradition that sees in absence the most extreme form of presence, also represents an at once zero and ultimate degree of reality. In this sense Heidegger could write... (shrink)

ABSTRACT This article argues for a unique role of imagination and mental images in the moral education of students. Imagination is rendered here as a capacity oriented toward realizable and salient goals; mental images are understood as particular future-oriented self-representations (FOSRs) devised by and held in imagination. FOSRs have four moral attributes: they are 1) expressive of us as moral agents, 2) shape our moral identity, 3) serve as moral pointers, and 4) help devise mitigating strategies. FOSRs can be created (...) and utilized in educational settings to further the goals of moral education by i) fostering sensitivity to moral situations among students, ii) motivating learners to act morally, iii) facilitating environments supportive of moral practice and moral habituation, and iv) helping strengthen cross-situational consistency of moral action. The four moral attributes of future-oriented self-representations (FOSRs) (1–4) that are to be engaged in moral education to further its goals (i–iv) are correlated with four elements of moral education, namely: a) moral awareness; b) moral competency; c) moral motivation; and d) moral capacity. To argue for the special role of imagination and mental images in moral education this paper integrates philosophical research and conceptual and empirical studies in psychology and education on the morality of imagination and mental images. (shrink)

Traditionally the central trope in Christian theological anthropology, “the image of God” tends to function more as a noun than a verb. While that has grounded significant interplay between specific Christian formulations and the concepts of nontheological disciplines and cultural constructs, it facilitates the withdrawal of the image and of theological anthropology more broadly from the context of active relation with God. Rather than a static rendering of the image a more interactionist, dynamic, and relational view (...) of “imaging God” is commended as a key anthropological term. Engaging with Psalm 8 suggests that, biblically, asking the anthropological question “What is humanity?” is tied to the answer to the theological question: who is God? This locates theological anthropology securely within the interactive context of being related to by God and suggests that theological anthropology might be a matter of performance rather than definition: actively imaging God. (shrink)

Images are at the heart of strategies of persuasion. They render certain aspects visible and leave others unrepresented; and they may shape processes of scientific reasoning and imagination. By tracing diagrammatic images in the anthropological sciences throughout the 20thcentury, the contributions to this special issue highlight some dominant pictorial traditions for rendering human evolution and diversity visible. This article aims to provide an overview of and an introduction to the special issue ‘Visibility Matters’.

In this text, Georges Didi-Huberman responds, in letter-form, to the critical reflections about his work formulated by Jacques Rancière in “Images Re-read: Georges Didi-Huberman’s Method.” Didi-Huberman disagrees with Rancière’s analysis that images are “passive” and that the words which accompany them are “active.” Instead, he agrees with Merleau-Ponty’s view, which postulates that any analysis of images that seeks to disentangle its elements will render the image unintelligible. In opposition to Rancière’s presentation of his work, Didi-Huberman argues that his method (...) is one of tracing the mutually entangled implications of images. Furthermore, Didi-Huberman challenges Rancière to articulate what exactly “the sensible” means when he uses the phrase “distribution of the sensible.” While Rancière distrusts the reliance on pathos and emotions when it comes to analysing images, Didi-Huberman argues that “the sensible” will always involve the body with all its pathos, emotions and gestures. (shrink)

This paper explores the ethical challenges involved in the ways public representation structures our experiences of atrocities and facilitates an adequate awareness of and response towards the suffering of others. It points out that such an analysis should not exhaust itself in answering what makes public representations of human suffering ethically suspicious and intolerable, but should rather extend this task by clarifying how the public forms sentiments about their social and political reality by elucidating under which conditions public representation promotes (...) broader political agendas. One of the central tenets of human rights advocacy is the widespread conviction that exposure to images and stories of human rights abuse has a mobilizing effect on western audience whose exposure to such knowledge can motivate them to intervene and prevent future atrocities. In order to assess the basic implications of such a conviction we must answer at least three principal clusters of questions. First, how do public representations of atrocities affect individuals and their capacities to conceive and respond to social injustices and the suffering of others? Under what circumstances may agents respond effectively to shocking content? Second, how do social powers operate within the field of perception in order to control how the viewing public is affected? And how do these effects inform and galvanize political support or opposition regarding concrete historical events? Finally, what can be said about the responsibilities of visual representation? Whose agency is it that images inform, and what reforms are necessary to make representations of suffering ethically effective means to encourage better acknowledgment of individual and collective responsibilities that would motivate the public to meet its moral and political obligations? This paper ultimately suggests that in order for politically implicated images to have an immediate critical effect on individuals and their agency, they need to cultivate alternative modes of perception.Article first published online: 21 DEC 2015. (shrink)

A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly (...) articulates different production stages, such as registering and rendering, that are relevant to understanding the relation between a photographic image and the photographed scene. By denying that any photographic image is a causal imprint, the multistage approach proposes a more demanding evaluation of photographic evidence. This has implications for documentary film and photojournalism, along with specialized applications such as forensics, surveillance, and face-recognition technology. (shrink)

1. To list Pound’s triumphs of recognition in the realm of art, music, or literature is by itself no more enlightening than to catalog his oversights. Thus, for example, his instant and almost uncanny responsiveness to the work of Henri Gaudier-Brzeska is not more informative than his bizarre ranking of Francis Picabia’s paintings above those of Picasso or Matisse. Clearly it is essential to know, with as much specificity as possible, exactly what Pound said about a particular work of art (...) or literature and, equally important, given the frequent shifts of emphasis and interest throughout his long career, just when these opinions were first formulated. Like every reader of the The Cantos, I am conscious of the enormous service rendered by Pound scholars whose research is giving us a more complete inventory of the poet’s various statements and positions, and it would be foolish to take my point here as a derogation of such efforts. But a list, no matter how complete, is not an argument, and an inventory, no matter how scrupulously assembled, is not an explanation; a recurrent problem in Pound studies is that too often the compoilation of discrete items of information is seen as a sufficient answer to problems of interpretation and understanding. In other words, I think it essential that discussions of pound and the Visual Arts move beyond the quagmire resulting from still another frain-storm of “factual atoms” chronicling his various passions and dislikes.2. Far from implying, however, that we must therefore simply accept Pound’s brilliant discoveries and pass over his “howling blunders,” my position would emphasize the need to take his ideas seriously enough to confront them, to test them against the material to which they are a response and for which they often seek to provide an explanatory account. There are times, as I have argued in an analogous context, when it is less demeaning to give a man credit for his worst errors than to remove from him the capacity to err.3. What we require, I believe, is less a catalog of all of Pound’s specific statements about various artists, with each utterance assigned a positive or negative prefix depending upon our own personal and currently sanctioned hierarchy of values, than a careful study of the place of those statements in the logic and texture of Pound’s own work. The attempt to focus attention on The Cantos’ network of artistic references—its invocation of masterpieces and privileged moments of cultural achievement—will yield only trivial results unless the inner dynamic linking Pound’s various exampla and the actual role these play in the poem’s argument become clearer in the process. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione , a volume of verse. He is currently completing a study of the Abject Hero and literary genealogy. His previous contribution to. (shrink)

With more than 120 color photographs, Images of Kansas City provides an exquisite view of one of the country's most desirable places to live. This outstanding collection showcases the many landmarks and scenes associated with Kansas City: Country Club Plaza, with its beautiful fountains and statues; two great sports teams, the Kansas City Chiefs and Royals; buildings such as the Power & Light Building, the H. Roe Bartle Exhibition Hall, and the Nelson-Atkins Museum of Art; events at the American Royal (...) arena; and, of course, views of Kansas City's magnificent skyline. The images in this book were chosen from hundreds of photos submitted to William Mills by both professional and amateur photographers from Kansas City and the surrounding area. Because the contest had few restrictions about subject matter, the photos included demonstrate a wide sampling of photographic approaches and techniques, rendering an excellent portrayal of this vital city. In his introduction, William Mills provides important historical data on the background and development of Kansas City, touching briefly on the special people and features that have made Kansas City the thriving city that it is today. (shrink)

The “active image” refers to the operative nature of images, thus capturing the vast array of “actions” that images perform. This volume features essays that present a new approach to image theory. It explores the many ways images become active in architecture and engineering design processes and how, in the age of computer-based modeling, images play an indispensable role. The contributors examine different types of images, be they pictures, sketches, renderings, maps, plans, and photographs; be they analog or (...) digital, planar or three-dimensional, ephemeral, realistic or imaginary. Their essays investigate how images serve as means of representing, as tools for thinking and reasoning, as ways of imagining the inexistent, as means of communicating and conveying information and how images may also perform functions and have an agency in their own. The essays discuss the role of images from the perspective of philosophy, theory and history of architecture, history of science, media theory, cognitive sciences, design studies, and visual studies, offering a multidisciplinary approach to imagery and showing the various methodologies and interpretations in current research. In addition, they offer valuable insight to better understand how images operate and function in the arts and sciences in general. (shrink)

Given that visualisations via medical imaging have tremendously increased over the last decades, the overall presence of colour-coded brain slices generated on the basis of functional imaging, i.e. neuroimaging techniques, have led to the assumption of so-called kinds of brains or cognitive profiles that might be especially related to non-healthy humans affected by neurological, neuropsychological or psychiatric syndromes or disorders. In clinical contexts especially, one must consider that visualisations through medical imaging are suggestive in a twofold way. Imaging data not (...) only visually render pathological entities, but also tend to represent objective and concrete evidence for these psychophysical states in question. This article aims to identify key issues in visually rendering psychiatric disorders via functional approaches of imaging within the neurosciences from an epistemological point of view. (shrink)

ABSTRACTThe paper examines the relevance of the nomological view of nature to three discussions of tide in the thirteenth century. A nomological conception of nature assumes that the basic explanatory units of natural phenomena are universally binding rules stated in quantitative terms. Robert Grosseteste introduced an account of the tide based on the mechanism of rarefaction and condensation, stimulated by the Moon's rays and their angle of incidence. He considered the Moon's action over the sea an example of the general (...) efficient causality exerted through the universal activity of light or species. Albert the Great posited a plurality of causes which cannot be reduced to a single cause. The connaturality of the Moon and the water is the only principle of explanation which he considered universal. Connaturality, however, renders neither formulation nor quantification possible. While Albert stressed the variety of causes of the tide, Roger Bacon emphasized regularity and reduced the various causes producing tides into forces. He replaced the terminology of ‘natures’ by one of ‘forces’. Force, which in principle can be accurately described and measured, thus becomes a commensurable aspect of a diverse cosmos. When they reasoned why waters return to their place after the tide, Grosseteste argued that waters return in order to prevent a vacuum, Albert claimed that waters ‘follow their own nature’, while Bacon held that the ‘proper force’ of the water prevails over the distant force of the first heaven. I exhibit, for the thirteenth century, moments of the move away from the Aristotelian concerns. The basic elements of these concerns were essences and natures which reflect specific phenomena and did not allow for an image of nature as a unified system. In the new perspective of the thirteenth century the key was a causal link between the position of the Moon and the tide cycle, a link which is universal and still qualitative, yet expressed as susceptible to quantification. (shrink)

Cognitive Iconology is a new theory of the relation of psychology to art. Instead of being an application of psychological principles, it is a methodologically aware account of psychology, art and the nature of explanation. Rather than fight over biology or culture, it shows how they must fit together. The term “cognitive iconology” is meant to mirror other disciplines like cognitive poetics and musicology but the fear that images must be somehow transparent to understanding is calmed by the stratified approach (...) to explanation that is outlined. In the book, cognitive iconology is a theory of cognitive tendencies that contribute to but are not determinative of an artistic meaning. At the center of the book are three case studies: images depicted within images, basic corrections to architectural renderings in images, and murals and paintings seen from the side. In all cases, there is a primitive perceptual pull that contribute to but do not override larger cultural meaning. The book then moves beyond the confines of the image to behavior around the image, and then ends with the concluding question of why some images are harder to understand than others. Cognitive Iconology promises to be important because it moves beyond the turf battles typically fought in image studies. It argues for a sustainable practice of interpretation that can live with other disciplines. Ian Verstegen is an art writer and historian living in Philadelphia. He is the author of Arnheim, Gestalt and Art (2005) and A Realist Theory of Art History (2012). (shrink)

In order to secure ethical relevance for phenomenology, Peter Dabrock proposes a synthesis with a Kantian rational ethic. The theological question thus arises concerning the tenability of such a synthesis and the acceptability of the corresponding translation of Protestant anthropology into the language of philosophy. Dabrock argues that man's character as an image of god, understood in the context of a theology of justification, can be translated into the philosophical concept of incarnate reason. Even if the concept of incarnate (...) reason sounds plausible in view of foundational theology and anthropology, its contribution to a foundation for material ethics is very limited because the body itself however has no normative impact when it comes to deciding about the ethical acceptability of concrete medical interventions. Thus, the constitutive significance of our being embodied becomes ethically relevant only insofar as that significance is integrated into a moral philosophical or theological ethical framework theory. (shrink)

Which modernism or modernisms circulate in Deleuze’s two-volume work on cinema? Can one meaningfully claim that both or either The Movement-Image and The Time-Image maintain connections with literary modernism? What relationship if any may be forged between theoretical debates in the areas of literary and film studies as these have been influenced by engagement with Deleuze’s work on cinema? The first obstacle to any successful negotiation of these questions lies in the absence in the books of any reference (...) to the category of modernism – a fact which is after all hardly surprising in a French author of Deleuze’s generation. A second consideration is summed up well by Joost Raessens when he argues that “For Deleuze the term ‘modernity’ is not a neutral category. In effect modern cinema is a representation of differential thought which is determined [...] as a fundamental critique of the classic thought of Plato and Hegel.” Scholars often assert that Deleuze’s modernity owes much to Nietzsche, in the shape of the latter’s demand for a new approach to questions of truth and knowledge. Once life is no longer judged in the name of a higher authority such as the good or the true, the stage is set for Nietzschean transvaluation. This is a process which subjects “every being, every action and passion, even every value, in relation to the life which they involve” to evaluation. This normative model of a cinema which has the capacity to carry out a Nietzschean total critique by means other than philosophy presides over The Time-Image in particular. In terms of the trajectory of Deleuze’s thought, total critique is opposed, in Nietzsche and Philosophy and Difference and Repetition, to Kantian critique as well as to Hegelian sublation. The thinking images of modern cinema, more specifically of its preeminent auteurs in Deleuze’s pantheon such as Welles, Resnais, Godard, and others, can effectuate this new image of thought. Thus is rendered tangible Deleuze’s claim that films think, that cinema thinks. Thus are linked a modernism of cinema and a project which dates back to Difference and Repetition, namely the challenge to a certain image of thought. In this challenge the allies include the two philosophers who dominate the film books – Bergson and Nietzsche. This chapter assumes the position that it is impossible to consider Deleuze’s modernism as being in any way other than intrinsically linked to his overall philosophical system and therefore that it is only in this context that connections with literary modernism can be explored. (shrink)

The eponymous dialogue presents the sophist as a figure who defies definition, and those difficulties are attributed to the conception of the image. Ultimately, the sophist is defined as a species of image maker. The image, however, which is important throughout the Platonic corpus as a metaphor, an analogy, and a metaphysical concept as well, receives in the Sophist little clarification or definition apart from whatever may be inferred from the division of image making arts. In (...) the Sophist, the sophist escapes definition as in no other dialogue, rendering even the concluding division one that makes the distinction of the sophist from the philosopher problematic, if not impossible. The paper explores how the dialogue problematizes and rethinks the metaphysics of the image, as compared to its use in dialogues such as the Phaedo and the Republic, pointing to a refinement in understanding the relation of judgment to knowledge and appearance to reality. (shrink)

Which modernism or modernisms circulate in Deleuze’s two-volume work on cinema? Can one meaningfully claim that both or either The Movement-Image and The Time-Image maintain connections with literary modernism? What relationship if any may be forged between theoretical debates in the areas of literary and film studies as these have been influenced by engagement with Deleuze’s work on cinema? The first obstacle to any successful negotiation of these questions lies in the absence in the books of any reference (...) to the category of modernism – a fact which is after all hardly surprising in a French author of Deleuze’s generation. A second consideration is summed up well by Joost Raessens when he argues that “For Deleuze the term ‘modernity’ is not a neutral category. In effect modern cinema is a representation of differential thought which is determined [...] as a fundamental critique of the classic thought of Plato and Hegel.” Scholars often assert that Deleuze’s modernity owes much to Nietzsche, in the shape of the latter’s demand for a new approach to questions of truth and knowledge. Once life is no longer judged in the name of a higher authority such as the good or the true, the stage is set for Nietzschean transvaluation. This is a process which subjects “every being, every action and passion, even every value, in relation to the life which they involve” to evaluation. This normative model of a cinema which has the capacity to carry out a Nietzschean total critique by means other than philosophy presides over The Time-Image in particular. In terms of the trajectory of Deleuze’s thought, total critique is opposed, in Nietzsche and Philosophy and Difference and Repetition, to Kantian critique as well as to Hegelian sublation. The thinking images of modern cinema, more specifically of its preeminent auteurs in Deleuze’s pantheon such as Welles, Resnais, Godard, and others, can effectuate this new image of thought. Thus is rendered tangible Deleuze’s claim that films think, that cinema thinks. Thus are linked a modernism of cinema and a project which dates back to Difference and Repetition, namely the challenge to a certain image of thought. In this challenge the allies include the two philosophers who dominate the film books – Bergson and Nietzsche. This chapter assumes the position that it is impossible to consider Deleuze’s modernism as being in any way other than intrinsically linked to his overall philosophical system and therefore that it is only in this context that connections with literary modernism can be explored. (shrink)

The thrust of Hannay’s work is to investigate certain arguments that support a denial that mental images are objects. His choice of thinkers is eclectic and he devotes much of the book to a detailed treatment of Ryle, Shorter, Sartre and Wittgenstein with briefer notes on Hume, Berkeley and Hobbes. Ryle’s and Shorter’s analytical approach is negatively constructed and we are only told that imagining is not a way of "seeing," and hence commands no object. This inability to render a (...) positive account of imagining as Hannay demonstrates makes their arguments vulnerable. Nor can Wittgenstein offer any positive analysis of imagination since he concerns himself with a grammatical investigation of the term "imagination" with its usual language game implications. Sartre, however, does furnish a thorough descriptive analysis of the experience of imagination and affords Hannay an opportunity to offer a viable reconstruction of Sartre’s arguments. (shrink)

Copy of a copy of a copy of a copy of a copy of … Trent Reznor’s formula sounds so much more exciting and seductive than two millennia-old formula of representation and identity also known as A=A. Oversubscribed to central perspective, concerned with clarity and distinctness too content with the content of the image and strongly bonded with its apparatus, photography of the past century repeatedly failed to see the invisible, still acting as a copy of some ideal original, (...) assuming this role from painting. If the painting managed to free itself from representation, what can photography do? With new technologies of image production and dissemination, the pillars of the image of thought begin to crack, with identity and recognition losing the centre stage to difference and repetition. Through the emergence of the ability to photograph everywhere, automated camera and ubiquitous digital dissemination of images, photography is suddenly revealed as the medium of a copy, of uncountable recurrences of the same, and with all of its subjects and objects becoming simulacra, rendering only difference as real and originary. (shrink)

Copy of a copy of a copy of a copy of a copy of … Trent Reznor’s formula sounds so much more exciting and seductive than two millennia-old formula of representation and identity also known as A=A. Oversubscribed to central perspective, concerned with clarity and distinctness too content with the content of the image and strongly bonded with its apparatus, photography of the past century repeatedly failed to see the invisible, still acting as a copy of some ideal original, (...) assuming this role from painting. If the painting managed to free itself from representation, what can photography do? With new technologies of image production and dissemination, the pillars of the image of thought begin to crack, with identity and recognition losing the centre stage to difference and repetition. Through the emergence of the ability to photograph everywhere, automated camera and ubiquitous digital dissemination of images, photography is suddenly revealed as the medium of a copy, of uncountable recurrences of the same, and with all of its subjects and objects becoming simulacra, rendering only difference as real and originary. (shrink)

The pleasure of burning books consumed Montag, consumed him until the day the books burned back, their possibilities enflaming his curiosity to the point of existential immolation. Yet from these ashes, he rises. Fahrenheit 451 is a novel of ascent, an ascent to freedom that can be found only in knowledge. Superficially, the relationship between freedom and knowledge seems antagonistic; however, examining Bradbury’s novel in Plato’s light—particularly focusing on the images of the Cave and Line—can provide piercing insights into the (...) inherent harmony uniting knowledge and freedom, rendering this antagonism illusory. (shrink)

In 2011, Elke Verbeke has examined the Greek rendering of Hebrew absolute and non-absolute hapax legomena in the Septuagint (LXX) version of Job. This examination has indicated that the LXX translator of Job dealt with hapaxes in a variety of ways, that is, omission, transliteration, consistent rendering, association with a similar-looking word, contextual exegesis, approximate translation and paraphrasing. Although Verbeke’s study has shed more light on the translation technique of the LXX translator of Job, she has only examined (...) the Hebrew hapaxes and their Greek rendering in the speeches of Job and God. In order to come to a more accurate description of the translation technique of LXX Job, this article has analysed the Greek rendering of Hebrew absolute hapax legomena in the speeches of Job’s friends. This examination has indicated that the LXX translator of Job has applied a diversity of techniques to deal with Hebrew hapaxes. Therefore, this article has obtained a more complete image of the translation technique of LXX Job. Contribution: This article fits well within the scope of HTS Teologiese Studies/Theological Studies because it focusses on the translation technique of the LXX translator of Job and thus contributes to research regarding historical thought (textual transmission of biblical texts) and source interpretation (because the LXX translator does not only reflect a translational but also an interpretative process). (shrink)

The present article devoted to non-verbal means of describing main characters in fiction. On the basis of a gothic science fiction novel by A. Carter ‘Nights in the Circus‘, elements of character portrayal, namely descriptive, symbolic, and expressive means of non-verbal representation of a hero are analyzed. Their role in rendering the inner-states of a personage is also revealed in the article. During the analysis, it was discovered that descriptive non-verbal means of communication such as body movements and gestures (...) prevail in the text, which can be explained by the fact that emotional state of the character is revealed by her appearance and behavior. The second place is given to expressive and symbolic non-verbal elements describing heroine’s look, intonation, and mimics. Summing everything up, non-verbal means help to understand the plot fully and comprehend character’s inner-world better. (shrink)

From US Supreme Court Justice Louis Brandeis’s 1933 judgement in Louis K Liggett Co v Lee to Matt Wuerker’s satirical cartoon “Corpenstein”, the use of Frankenstein’s monster as a metaphor for the modern corporation has been a common practice. This paper seeks to unpack and extend explicitly this metaphorical register via a recent filmic and graphic interpretation of Mary Shelley’s Frankenstein myth. Whilst Frankenstein has been read as an allegorical critique of rights—Victor Frankenstein’s creation of a monstrous body, reflecting the (...) figurative construction of a body by rights discourse—the metaphoric notion of reanimating a ‘soulless corpse’ resonates with Edward’s Thurlow’s description of the corporation as having ‘no soul to damn’. By exploring the figurative and optical representations of this process of reanimating the body in Scott Beattie’s film I, Frankenstein and Kevin Grevioux’s companion graphic novel I, Frankenstein: Genesis, I would like to extend this metaphoric register, by examining the theological origin and nature of the corporate form. This theology is explicitly referenced in the film and graphic novel via the battle between Gargoyles and Demons, which dominates the plot and backstory. The role of Frankenstein’s monster—now called Adam—however, is about enabling the reanimation of thousands of corpses without souls for possession by the demon hoard headed by Prince Naberius, who in his alternative persona Charles Wessex, controls the Wessex Institute and Wessex Industries. This ‘corporate baron’ himself has devoted his ‘life’ to enabling the rediscovery of Frankenstein’s ability to reanimate the dead for the purposes of gaining immortality. This mythic framing, however, renders explicitly visible the nature and purpose of the corporate form itself—of capturing and reanimating life in a form of immortality via the mechanisms of perpetual succession. This visual rendering, of a metaphoric framing goes to show the way in which the optical nature of the dominant forms of popular culture—film, television, comic books—provide a means for seeing law’s metaphorical images and for thus unpacking, interrogating and rendering them anew. It argues for a shift from the image of the corporation as a monstrous body to one which involves relations of reciprocity, gratuitousness and gift. (shrink)

In March 1956 there appeared in Monde Nouveau a relatively short piece by Emmanuel Levinas called “Maurice Blanchot et le regard du poète.” It is an extended review of L’Espace littéraire, published by Gallimard the previous summer, which is also laced with a polemic against Heidegger. Levinas observes that Blanchot is close to the Heidegger of Vorträge und Aufsätze (1954), almost to the point of immediate intellectual intuition, but he is just as quick to register the distance between the two (...) on a decisive issue: on Blanchot’s account of literature we are led away from the world of dwelling and rootedness that Heidegger affirms in his meditations on art. Here as elsewhere, Levinas is profoundly disturbed by Heidegger’s slighting of ethics and, in turning to show that his friend finds a way beyond the primacy of Sein, he observes parenthetically that Blanchot “also abstains from ethical preoccupations, at least in explicit form.” A little later he remarks, more pointedly, that Blanchot’s concern with “authenticity” must one day “herald an order of justice” if it is to be more than “a consciousness of the lack of seriousness of edification, anything other than derision” (137; SMB 24). Clearly, Levinas is uneasy at the proximity of his friend to the Heidegger of Sein und Zeit (1927) and beyond, having freed himself from “the climate of that philosophy,” starting in “De l’évasion” (1935) and then more completely in De l’existence à l’existent (1947) (EE 19; DEE 19). The invitation is for Blanchot to render his ethics explicit. Levinas’s review even hints at how this can be done. Other essays by Levinas, later collected in Sur Maurice Blanchot (1975), return to the prediction or hope registered in this review that someone will express “the latent meaning” of his friend’s novels and récits (133; SMB 17), and there is no doubt when reading his reflections on L’Attente l’oubli (1962) and La Folie du jour (1973) that for Levinas their manifest meaning is ethical, at least in part. (shrink)

In March 1956 there appeared in Monde Nouveau a relatively short piece by Emmanuel Levinas called “Maurice Blanchot et le regard du poète.” It is an extended review of L’Espace littéraire, published by Gallimard the previous summer, which is also laced with a polemic against Heidegger. Levinas observes that Blanchot is close to the Heidegger of Vorträge und Aufsätze (1954), almost to the point of immediate intellectual intuition, but he is just as quick to register the distance between the two (...) on a decisive issue: on Blanchot’s account of literature we are led away from the world of dwelling and rootedness that Heidegger affirms in his meditations on art. Here as elsewhere, Levinas is profoundly disturbed by Heidegger’s slighting of ethics and, in turning to show that his friend finds a way beyond the primacy of Sein, he observes parenthetically that Blanchot “also abstains from ethical preoccupations, at least in explicit form.” A little later he remarks, more pointedly, that Blanchot’s concern with “authenticity” must one day “herald an order of justice” if it is to be more than “a consciousness of the lack of seriousness of edification, anything other than derision” (137; SMB 24). Clearly, Levinas is uneasy at the proximity of his friend to the Heidegger of Sein und Zeit (1927) and beyond, having freed himself from “the climate of that philosophy,” starting in “De l’évasion” (1935) and then more completely in De l’existence à l’existent (1947) (EE 19; DEE 19). The invitation is for Blanchot to render his ethics explicit. Levinas’s review even hints at how this can be done. Other essays by Levinas, later collected in Sur Maurice Blanchot (1975), return to the prediction or hope registered in this review that someone will express “the latent meaning” of his friend’s novels and récits (133; SMB 17), and there is no doubt when reading his reflections on L’Attente l’oubli (1962) and La Folie du jour (1973) that for Levinas their manifest meaning is ethical, at least in part. (shrink)

In scholarly writing on metaphor, there is a great gap between literary theory and critical practice. Phillip Stambovsky here attempts to close that gap by presenting a theory of literary metaphor that is grounded in actual literary experience. Stambovsky begins by critically reviewing the most well-known and influential theories of metaphor, including those based on notions of comparison, substitution, transfer, analogy, semantic interaction, and context. He then introduces a phenomenology of literary experience, drawning from the writings of Whitehead, Cassirer, Merleau-Ponty, (...) Sartre, and Frye, among others. With this as his theoretical foundation, Stambovsky stresses the primacy of presentational awareness in literary experience, arguing for the reader's collaborative involvement in the creation of textual meaning. In the third chapter, Stambovsky examines how literary imagery functions in narrative discourse, showing how Henry James's imagery in The Golden Bowl depictively renders the relationships of characters, their thoughts, and their feelings so that the reader perceives them with the immediacy and aesthetic impact of perceptual, as opposed to conceptual, experience. Turning to the very concept of depictive imagery, Stambovsky next discusses experiential approaches to metaphor, particularly those of Marcus Hester and George Yoos. He concludes his study with an explication of a metaphor centered in the closing line of Dickinson's poem, "A Bird Came Down the Walk.". (shrink)

In this article I discuss the attribution of photographic indexicality to synthetic photorealistically rendered images. For some traditionalists the idea of photographic indexicality being associated with a synthetically produced digital image is heresy, while others who are more comfortable with the attribution will look to the underlying computational methods that lie behind this insight. An examination of the underpinnings of the software algorithms that produce these synthetic images points to a class of statistical methods based on Monte Carlo simulation, (...) which employs nondeterministic randomness as a strategy to overcome the overwhelming complexity of the simulations. Expanding on a practice that uses the instrumental nature of these probabilistic algorithms as a means to examine the aesthetic qualities of simulated light, I suggest that these mathematically incomplete simulations capture a referential linkage between subject and image – equivalent to a form of indexicality. (shrink)

ABSTRACTThe pragmatist reform and opening-up in 1978 has revolutionised the way China communicates internally and engages with the outside world. Firmly embedded within this broader historical context, the interpreter-mediated and televised Premier-Meets-the-Press conferences are a high-profile institutional event in China. At this discursive event, the Chinese premier – ranked second in China’s political hierarchy – is put in the international media limelight, answering journalists’ questions on a range of topics. The section involving the interpreters’ rendering of journalists’ questions is (...) triadic and dynamic and represents a particularly interesting site of ideological contestation, which can be conceptualised profitably using Bakhtin’s concept dialogised heteroglossia. Drawing on a corpus containing 20 years’ press conference data between 1998 and 2017, this CDA study interrogates the interpreters’ agency, particularly in constructing the Chinese government’s image when rendering journalists’ questions. Despite the commonplace assumptions of interpreters being impartial with little agency, the government-affiliated interpreters are found to actively engage in facework and image construction. This leads to a discursive pattern described in Van Dijk’s ideological square, which involves further emphasising and foregrounding the positive elements yet de-emphasising and mitigating the negative elements about Beijing. (shrink)

Recent advances in neuroimaging technologies have rendered multimodal analysis of operators’ cognitive processes in complex task settings and environments increasingly more practical. In this exploratory study, we utilized optical brain imaging and mobile eye tracking technologies to investigate the behavioral and neurophysiological differences among expert and novice operators while they operated a human-machine interface in normal and adverse conditions. In congruence with related work, we observed that experts tended to have lower prefrontal oxygenation and exhibit gaze patterns that are better (...) aligned with the optimal task sequence with shorter fixation durations as compared to novices. These trends reached statistical significance only in the adverse condition where the operators were prompted with an unexpected error message. Comparisons between hemodynamic and gaze measures before and after the error message indicated that experts’ neurophysiological response to the error involved a systematic increase in bilateral dorsolateral prefrontal cortex (dlPFC) activity accompanied with an increase in fixation durations, which suggests a shift in their attentional state, possibly from routine process execution to problem detection and resolution. The novices’ response was not as strong as that of experts, including a slight increase only in the left dlPFC with a decreasing trend in fixation durations, which is indicative of visual search behavior for possible cues to make sense of the unanticipated situation. A linear discriminant analysis model capitalizing on the covariance structure among hemodynamic and eye movement measures could distinguish experts from novices with 91% accuracy. Despite the small sample size, the performance of the linear discriminant analysis combining eye fixation and dorsolateral oxygenation measures before and after an unexpected event suggests that multimodal approaches may be fruitful for distinguishing novice and expert performance in similar neuroergonomic applications in the field. (shrink)

Imaging technologies “transform” an object of study into something we can visually perceive in the form of an image. In science and medicine, imaging technologies enact a large variety of transformations, sometimes changing the spatiality of an object of study, or changing its temporality. I make use of the postphenomenological philosophical perspective, and in particular the work of its founder, Don Ihde, for guidance in exploring the different ways that imaging technologies transform our world in the process of (...) class='Hi'>rendering it available to visual perception. The main project of this paper is to develop a provisional categorization of a large variety of image transformations common to science and medicine. (shrink)

ArgumentThe new English term “empathy” was translated from the GermanEinfühlungin the first decade of the twentieth century by the psychologists James Ward at the University of Cambridge and Edward B. Titchener at Cornell. At Titchener's American laboratory, “empathy” was not a matter of understanding other minds, but rather a projection of imagined bodily movements and accompanying feelings into an object, a meaning that drew from its rich nineteenth-century aesthetic heritage. This rendering of “empathy” borrowed kinaesthetic meanings from German sources, (...) but extended beyond a contemplation of the beautiful to include a variety of experimental stimuli and everyday objects in the laboratory. According to Titchener's structural psychology, all higher thought could be reduced to more elemental aspects of mind, and experimental introspection showed empathy to be constituted of kinaesthetic images. The existence of kinaesthetic images, Titchener argued, formed an incisive critique of the view that thought could take place without images, held by one of Titchener's major psychological rivals, the school of thought-psychologists in Würzburg, Germany. The new term “empathy” in early American academic psychology therefore delineated a kinaesthetic imaginative projection that took place on the basis of ontological difference between minds and things. (shrink)

The assessment of chronic pain is a highly unmet medical need. Chronic pain is also the subject of a large and costly category of legal claims. Yet, with pain cases, the jury always face a doubt: is the claimant faking or malingering? How can we be assured that the claimant is 'really' in pain? Most recently, several new neuroimaging technologies are promising to solve these questions, by rendering pain visible, measurable and, to some degree, verifiable. The results of these (...) advancements have prompted us to think of pain in a different way, i.e. as an altered brain state in which functional connections are modified, with components of degenerative aspects. But, does this imply the stronger claim that these technologies allow us to 'know', or to literally 'see', the pain of others? Is the pain being objectified by these techniques? And if so, what might the law do differently, or do better? (shrink)

The twentieth century began with the deconstruction of the image, as it is ending with the effort to restore it. Cubism, dada, and abstract expressionism took apart what, in their various ways, pop art, magic realism, and neoexpressionism have tried to put back together. Tonality in music and narrative in literature have undergone similar change.1 What has been at stake in each case has been the redefinition of a center, a normative or ordering principle as such. Yeats intuited this (...) general phenomenon in his famous observation that “the center cannot hold,” and though whether one applauds or, with Yeats, condemns the result, it is undeniable that the crisis of contemporary culture has been in large part experienced as a deprivation of norms.This sense of deprivation has been most apparent in the plastic arts. The fashioning of images has been one of the primary impulses of human art. It has been the basis of most systems of visual representation and constitutes the earliest record we have off art itself. Its loss or abandonment has been in good part responsible for the bewilderment and hostility much of the general public continues to express toward modern art.The experience of this loss, however, has not been confined to the public alone. For many artists, the sense of modern art’s expressive potential has been tempered by an anxiety about its ultimate direction.2 For these artists, the image had not been transcended but rather rendered inaccessible, and implicitly or explicitly they sought its restoration. At the same time, they were keenly aware that there could be no return to exhausted modes of representation, no looking back except as parody or quotation.3 1. Among the studies comparing changes across the arts in the early twentieth century are Georges Edouard Lemaître, From Cubism to Surrealism in French Literature , and Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz, and the Early Poetry of William Carlos Williams . More recently, visualization in cubist art and relativity theory has been compared in Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art . For a general overview, see Stephen Kern, The Culture of Time and Space, 1880-1918 . Marxist critics, notably Walter Benjamin, have long insisted on the relationship between modernism in the arts and the crisis of the traditional order.2. This is clearly visible in the work and writing of pioneers such as Kandinsky and Klee or, to take a later case, Adolph Gottlieb. The correspondence between Kandinsky and Schönberg is illuminating as well.3. Much of the neoimagistic art of the past twenty-five years falls into these categories, and thus signals a prolongation rather than a resolution of the crisis. Pop art was clearly an art of parody, while work of an artist such as Malcolm Morley might almost be taken as an illustration of Benjamin’s thesis about the work of art in an age of mechanical reproduction. His “imitations,” like those of Robert Lowell in verse, betray a deep anxiety about mastery and tradition. Much the same can be said for such musical compositions as Lukas Foss’ “Baroque Variations” and “Phorion” or Luciano Berio’s “Sinfonia,” to name but a random few among many. Robert Zaller is professor of history and head of the department of history and politics at Drexel University. He was formerly on the faculties of Queens College , the University of California at Santa Barbara, and the University of Miami. His books include The Parliament of 1621: A Study in Constitutional Conflict and The Cliffs of Solitude: A Reading of Robinson Jeffers. (shrink)

This paper addresses the question of the earth. I center this effort on a reading of the figure of animality in the writings of Nietzsche and Bataille. I begin by accepting one of the decisive questions (die Entscheidungen) that Heidegger poses in the Beiträge zur Philosophie: "Whether nature is degraded to the exploitative place of calculation and furnishing and to an opportunity to 'have an experience' or whether nature as the self-closing Earth bears the opening of a world without (...) class='Hi'>image." In an attempt to think the Earth, I argue that the human as a natural kind emerges in denial or flight from animality. Animality renders natural kinds porous. It does not congeal into a categorically delimitable operation, but rather interrupts and multiplies such operations. Moreover, they multiply them with what Nietzsche called "transvaluative" force. Animality contests the closure of a discourse on kinds of animals. (shrink)

Recent advances in neuroimaging technologies have rendered multimodal analysis of operators’ cognitive processes in complex task settings and environments increasingly more practical. In this exploratory study, we utilized optical brain imaging and mobile eye tracking technologies to investigate the behavioral and neurophysiological differences among expert and novice operators while they operated a human-machine interface in normal and adverse conditions. In congruence with related work, we observed that experts tended to have lower prefrontal oxygenation and exhibit gaze patterns that are better (...) aligned with the optimal task sequence with shorter fixation durations as compared to novices. These trends reached statistical significance only in the adverse condition where the operators were prompted with an unexpected error message. Comparisons between hemodynamic and gaze measures before and after the error message indicated that experts’ neurophysiological response to the error involved a systematic increase in bilateral dorsolateral prefrontal cortex (dlPFC) activity accompanied with an increase in fixation durations, which suggests a shift in their attentional state, possibly from routine process execution to problem detection and resolution. The novices’ response was not as strong as that of experts, including a slight increase only in the left dlPFC with a decreasing trend in fixation durations, which is indicative of visual search behavior for possible cues to make sense of the unanticipated situation. A linear discriminant analysis model capitalizing on the covariance structure among hemodynamic and eye movement measures could distinguish experts from novices with 91% accuracy. Despite the small sample size, the performance of the linear discriminant analysis combining eye fixation and dorsolateral oxygenation measures before and after an unexpected event suggests that multimodal approaches may be fruitful for distinguishing novice and expert performance in similar neuroergonomic applications in the field. (shrink)

This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as (...) argued by Heidegger and his inheritors, is that technology is ontologically problematic; rather than technology being evidence of performative knowledge, it is instead existentially threatening by virtue of the fact that it changes the tenor of our relationship with the world-as-given. Despite the fact that these claims seem prima facie incompatible, I argue that they may be successfully reconciled by introducing a third body of scholarship: the philosophy of photography. For it is the case, I argue, that although we, qua human beings, occupy lifeworlds that are necessarily constituted by technology, technology also induces a kind of phenomenological scepticism: a concern that mediated action precludes us from the possibility of authentic experience. Arguing in favour of the sentiment that photographs serve as a kind of phenomenal anchor—a kind of machine for living—I claim that photographic images provide a panacea to this existential concern: despite being epistemically problematic, it is this selfsame epistemic “specialness” of photographs that forces us to phenomenologically recommit, if only temporarily, to the world in a serious way. Consequently, it is my belief that an analysis of our artefacts and the way they function is fundamentally incomplete without an analysis of the epistemic and ontological problems introduced of the photographic image; as I will demonstrate, the photographic image casts an extremely long shadow over the philosophy of technology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 54-82 [Access article in PDF] Seeing With The Body The Digital Image In Postphotography Mark B. N. Hansen In a well-known scene from the 1982 Ridley Scott film Bladerunner, Rick Deckard scans a photograph into a 3-D rendering machine and directs the machine to explore the space condensed in the two-dimensional photograph as if it were three-dimensional [see fig. 1]. Following Deckard's commands to (...) zoom in and to pan right and left within the image space, the machine unpacks the "real" three-dimensional world represented by the two-dimensional photograph [see figs. 2-3]. After catching a glimpse of his target—a fugitive replicant—reflected from a mirror within the space, Deckard instructs the machine to move around behind the object obstructing the two-dimensional photographic view of the replicant and to frame what it sees [see figs. 4-5]. Responding to the print command issued by Deckard, the machine dispenses a photograph of the replicant which is, quite literally, a close-up of an invisible—indeed nonexistent—part of the two-dimensional original [see fig. 6]. And yet, following the fantasy of this scene, this impossible photograph is—or would be—simply the image of one particular data point within the data set comprising this three-dimensional data space. As fascinating as it is puzzling, this scene of an impossible rendering—a rendering of two-dimensional data as a three-dimensional space—can be related to the crisis brought to photography by digitization in two ways. On the one hand, in line with the film's thematic questioning of photography as a reliable index of memory, this scene foregrounds the technical capacity of digital processing to manipulate photographs. In this way, it thematizes the threat posed by digital technologies to traditional indexical notions of photographic realism. On the other hand, in what has turned out to be a far more prophetic vein, the scene presents a radically new understanding of the photographic image as a three-dimensional "virtual" space. Such an understanding presupposes a vastly different material existence of the photographic image: instead of a physical inscription of light on sensitive paper, the photograph has become a data set that can be rendered in various ways and thus viewed from various perspectives.The first position corresponds to the arguments made by William Mitchell in his now classic book, The Reconfigured Eye. In a comprehensive analysis of the techniques and possibilities of digital imaging, Mitchell concentrates on demarcating the traditional photographic image from its digital doppelgänger. While the specter of manipulation has always haunted the photographic image, it remains the exception rather than the rule: "There is no doubt that extensive reworking of photographic images to produce seamless transformations and combinations is technically difficult, time-consuming, and outside the mainstream of photographic practice. When we look at photographs we presume, unless we have some clear indications to the contrary, that they have not been reworked" [Mitchell 7]. To buttress this claim, Mitchell sketches three criteria for evaluating traditional photographic images: (1) does the image follow the conventions of photography and seem internally coherent? (2) does the visual evidence it presents [End Page 54]Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click for larger viewFigure 1Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="32" />Click for larger viewFigure 2Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click... (shrink)

Epilepsy surgery is the most effective therapeutic approach for children with drug resistant epilepsy. Recent advances in neurosurgery, such as the Laser Interstitial Thermal Therapy, improved the safety and non-invasiveness of this method. Electric and magnetic source imaging plays critical role in the delineation of the epileptogenic focus during the presurgical evaluation of children with DRE. Yet, they are currently underutilized even in tertiary epilepsy centers. Here, we present a case of an adolescent who suffered from DRE for 16 years (...) and underwent surgery at Cook Children's Medical Center. The patient was previously evaluated in a level 4 epilepsy center and treated with multiple antiseizure medications for several years. Presurgical evaluation at CCMC included long-term video electroencephalography, magnetoencephalography with simultaneous conventional EEG and high-density EEG in two consecutive sessions, MRI, and fluorodeoxyglucose - positron emission tomography. Video long-term EEG captured nine focal-onset clinical seizures with a maximal evolution over the right frontal/frontal midline areas. MRI was initially interpreted as non-lesional. FDG-PET revealed a small region of hypometabolism at the anterior right superior temporal gyrus. ESI and MSI performed with dipole clustering showed a tight cluster of dipoles in the right anterior insula. The patient underwent intracranial EEG which indicated the right anterior insular as seizure onset zone. Eventually LITT rendered the patient seizure free. Retrospective analysis of ESI and MSI clustered dipoles found a mean distance of dipoles from the ablated volume ranging from 10 to 25 mm. Our findings highlight the importance of recent technological advances in the presurgical evaluation and surgical treatment of children with DRE, and the underutilization of epilepsy surgery in children with DRE. (shrink)

_A artigo apresenta os estudos da cultura visual religiosa como linguagem religiosa, tanto como linguagem das ciências da religião na perspectiva de linguagens e narrativas sagradas como da teologia no sentido de símbolos visíveis e impactantes. Em formato de retrospectiva apresenta os movimentos da elaboração na área de uma teoria da religião ainda pouco considerada na areia e mapeia, pontualmente, suas epistemologias subjacentes e possíveis aplicações nos campos religiosos brasileiros. _.

Este artigo se dedica ao aparecimento do tema da vulnerabilidade, a partir do século 18, em xilogravuras cuja narrativa visual se refere ao processo de envelhecimento das pessoas em analogia com o motivo da escada ou dos degraus da vida. A ausência da consideração da deficiência como um possível atravessamento do ciclo da vida disparou o problema investigativo: Como se dá o aparecimento do tema da vulnerabilidade em xilogravuras cuja narrativa visual se refere ao motivo da escada ou dos degraus (...) da vida, acompanhada por uma narrativa religiosa? Apresenta os resultados de uma pesquisa documental exploratória, realizada nos acervos do Museu da Imagem na cidade de Epinal, França, do Museu das Culturas, na cidade de Basileia, Suíça e da Igreja Estadual de Estugarda, Alemanha, no mês de julho de 2017. Argumenta, como primeiro resultado, comparando as narrativas visuais educacionais e religiosas, que há uma modificação da narrativa visual do motivo da escada da vida e que seu aparecimento antecipa, na área da educação, mas não na área da teologia, a consideração do respeito à vulnerabilidade como condição antropológica. Como segundo resultado, mostra-se a importância da cultura visual como narrativa própria e fonte essencial para as ciências humanas, em especial, para educação e as ciências da religião, neste caso a ressignificação da vulnerabilidade humana no campo da educação inclusiva que exige um novo olhar para a condição humana. (shrink)

O artigo aqui apresentado faz parte de uma elaboração sistemática de estilos iconográficos e suas respectivas mensagens iconológicas da cultura visual cristã, com foco na arte religiosa devocional. A obra em questão é um interessante exemplo flamengo da linguagem visual católica em uso cem anos depois da reforma protestante e criada, provavelmente, entre a Trégua dos Doze Anos e o início da[s] Guerra[s] dos Trinta Anos. É estudo a gravura Homo moriens de Hieronymus Wierix do ano [1609/1619]. Formalmente, trata-se de (...) um emblema clássico composto por uma Inscriptio, Pictura e Subscriptio. A obra é lida por meio do método iconológico de Erwin Panofsky. Conclua-se que se o tom da narrativa visual não é polêmico ou controverso, mas, pastoral e especialmente sensíveis à necessidade religiosa de pessoas que se encontram no leito da morte. Trata-se de um discurso visual “interno” da igreja, que dá jus às ênfases soteriológicas estabelecidas pelo Concílio de Trento em uma perspectiva de cuidado, construindo certezas, para poder enfrentar a inevitável agonia. (shrink)

In nonstandard measure theory the standard part map is very useful to represent standard measures by Loeb measures. We give here a different method of representing measures using the concept of a σ -homomorphism. As an application a measure extension theorem is derived. Finally a nonstandard proof of a result of Pták is given showing that his assumption of nonmeasurable cardinality is redundant.

Resenha do livro WULF, Christoph. Homo pictor : imaginação, ritual e aprendizado mimético no mundo globalizado: São Paulo: Hedra, 2013. ISBN: 978-85-7715-304-6. A resenha explora a contribuição dessa obra da área dos estudos antropológicos para o estudo das linguagens da religião, pela sua exploração das relações entre o ver e a imaginação, a imaginação e a memesis , e a imaginação os ritos e os gestos. Conclui-se que as perspectivas propostas pode ser aplicadas nos estudos da religião não somente no (...) estudos de fenômenos ou formas arcaicas da religião, mas, também de formas contemporâneas, tanto do âmbito. (shrink)