The article examines two digital phenomena linked to money and finance, which are the bitcoin and high-frequency trading, through the lens of Vilém Flusser’s concept of technical image. Flusser’s theory highlights three aspects of technical images: they are engendered by the act of organizing particles, are produced by people who operate devices through keys, and are mediated by code, which is linear and pertains to the era of written text, which Flusser conflates with the notion of history. (...) In this article, the argument focuses on the aspects of high-frequency trading and the blockchain that relate to the idea of images. The sections investigate how money has historically operated in the logic of Flusser’s description of symbol manipulation in relation to consciousness and temporality: from the circular time of magical consciousness to the linear time of historical consciousness, and more recently, to the non-dimensional time of post-historical consciousness. The article argues that there are two levels, or layers, in the images involved in cryptocurrencies or algorithmic trading, but only one of them is visible to the human operator or viewer, in the form of a price. The other, which indeed represents the operations in the system, is only accessible to the machines themselves. The questions raised concern the role of these recent digital financial and monetary forms in the development of a reality dominated by apparatuses and technical images. (shrink)

The article discusses the technical image, a central concept in Vilém Flusser’s later main work Into the Universe of Technical Images (1985a). After identifying its various dimensions, the analysis frames the concept as an amalgamation of disciplines, theories, and artistic practices the cultural philosopher Flusser explored during the 1960s and especially the 1970s. In particular, the field of information aesthetics developed by Max Bense and Abraham A. Moles, among others, as well as artistic video practices in France (...) and the United States played an important role in both Flusser’s biography and the formation of his technical image concept. At the same time, in Flusser’s cultural philosophy the technical image is the condition and result of a new kind of human imagination, which in this paper is specified as ‘projective imagination’. (shrink)

This paper argues that intrinsically metaphorical leaps are required to interpret and utilize information acquired at the atomic scale. Accordingly, what we ‘see’ with our instruments in nanospace is both fundamentally like, and fundamentally unlike, nanospace itself; it involves both direct translation and also what Goodman termed “calculated category mistakes.” Similarly, and again necessarily, what we ‘do’ in nanospace can be treated as only metaphorically akin to what we do in our comfortable mesoworld. These conclusions indicate that future developments in (...) nanotechnology will rely, in part, on the creation of more sophisticated metaphorical codes linking our world to nanospace, and I propose some initial possibilities along these lines. (shrink)

The discussion of cultural pluralities causes difficulties in cultural philosophy, as well as philosophical anthropology, because the ontological status of plurality eludes the explaining and understanding examination. In such case, the criticism remains comprehensible. The positive interpretation will be considered accomplished, if concentrate on the boundaries of cultural pluralities. Explication of the phenomenon of boundary in the space of cultural pluralities is associated with understanding of interrelation between the sacral and technical spaces. They are subject to examination in the (...) post-historical horizon, which change the ontological status of their boundary if compared to the classical culture. The two given by Aristotle fundamental definitions of boundary transform the connection between the technique and sacral into the hybrid unity. The scientific novelty consists in the attempt of a positive review of the cultural pluralities, formed by the intersection of sacral and technical spaces within modern culture. Such original spaces require the determination of a specific scale of their analysis. As the scale and simultaneously mechanism of the analysis, the author uses the concept of boundary. The work provides the description of a number of phenomenological signs of the boundary between the sacral and technical. (shrink)

This paper argues that intrinsically metaphorical leaps are required to interpret and utilize information acquired at the atomic scale. Accordingly, what we ‘see’ with our instruments in nanospace is both fundamentally like, and fundamentally unlike, nanospace itself; it involves both direct translation and also what Goodman termed “calculated category mistakes.” Similarly, and again necessarily, what we ‘do’ in nanospace can be treated as only metaphorically akin to what we do in our comfortable mesoworld. These conclusions indicate that future developments in (...) nanotechnology will rely, in part, on the creation of more sophisticated metaphorical codes linking our world to nanospace, and I propose some initial possibilities along these lines. (shrink)

Consider the notion that the Internet leads to consensus. The so called echo chamber theory suggests that like-minded individuals join each other’s social networks online and thus are receptive to only beliefs and opinions they already maintain. Online tools, the theory claims, such as the Facebook like button and Twitter’s heart-shaped like reinforce preestablished online behaviors of agreement. Paul Adams, Facebook’s former head of brand design, calls this process social proof. “We copy other people’s behavior,” he writes, “especially people like (...) us”. Social proof is the adjusting of online behavior based on a perceived group think, behavior, or shared communication... (shrink)

The article aims to approach the concept of moistmedia and the role of art practices in contemporary culture by combining ideas about perception, technology and art, through different authors like media theorist Marshall McLuhan, philosophers Maurice Merleau-Ponty, Martin Heidegger and Vilém Flusser, and anthopologists such as Constance Classen and David Howes. Thus, if we can understand perception as the genesis of sense and meaning (Merleau-Ponty), which is also culturally shaped (Classen, Howes), understanding the very nature of technology demands an understanding (...) of the modes of perception from which it has emerged. Being able to develop art propositions which may be relevant to our moistmedia times demands an understanding of the power artworks may still have for challenging technologically shaped cultural patterns of perception, in such a way as to foster new modes of consciousness, living at risk in a world of ever-present instability. (shrink)

A paper that explores the extent to which images remain resistant to their assimilation by the linguistic and technical systems that society has developed. It uses Damisch´s theory of /cloud/ to comment upon and refract Flusser´s notion of the technical image, proposing a productive incompleteness that the image continually feeds into our relationship to the world. With the image, laterality is as significant as linearity. Its form does not presuppose how it should be approached or (...) understood; the provisionality heralded by /cloud/ and by the nature of the image can problematise, confound, or even offer an antidote to a systematising drive in the mediated world we inhabit. (shrink)

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...) “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography. (shrink)

Continuing medico-technical progress has led toan increasing medicalisation of pregnancy andchildbirth. One of the most common technologiesin this context is ultrasound. Based on someidentified `pro-technology feminist theories',notably the postmodernist feminist discourse,the technology of ultrasound is analysedfocusing mainly on social and political ratherthan clinical issues. As empirical researchsuggests, ultrasound is welcomed by themajority of women. The analysis, however, showsthat attitudes and decisions of women areinfluenced by broader social aspects. Furthermore, it demonstrates how the visualtechnology of ultrasound, in addition to otherreproductive (...) technology in maternity care, islinked to the `personification' of the foetusand has therefore contributed to a new image ofthe foetus. The exploration of these issueschallenges some arguments of feministdiscourse. It draws attention to possibleadverse implications of the technology forwomen's reproductive freedom and indicates theimportance of the topic for politicaldiscussions. (shrink)

Acoustic Technics, aware that digital and computer embedded technologies produce data that today can be transformed into acoustic images, notes the transformations these phenomena imply for a diverse set of practices, such as music, communication, medical diagnosis, and scientific knowledge.

Advances in technology might seem to help to temper belief in the supernatural, but it turned out that they served, for example, to prove the existence of the otherworldly. The appearance of photography was perceived by spiritualists as a possible way to demonstrate the existence of spirits. The reusing of stacked plates, the duration of the exposure, illumination, etc. often added details to the new photograph, so unintentionally additional images fell into the photograph, causing confusion. The article considers cases of (...) falsification of collisions of people with supernatural forces, imprinted on photos of XIX, XX and XXI centuries. as well as videos from the 20th and 21st centuries. Only 37% of the photos and 63% of the videos were falsified intentionally – exposure, editing, counterfeiting, scenery or acting actors, while 53% of the photos and 29% of the videos were unintentionally. It was an accident, a game of light and shadow, spoiled photo/video. Presented as supernatural can have a resemblance to a human figure, or be a spot, a shadow. Most of the evidence of encounters is unintentional, in the daytime, outside. The article examines the progress of technologies through which you can create fake pictures. Especially in modern times, the development of digital technologies had reached a level where it was impossible to distinguish between real and edited images. (shrink)

Suppose there comes a day when Homo sapiens has evolved into or been overtaken by techno sapiens. Will it then still make sense to speak of human beings as created in the image of God? What is the relevance of asking such a question today? I offer a sketch of the present state of development and discussion in artificial intelligence (AI) and artificial life (AL) and discuss some implications for the human condition. Taking into account both reality and fiction (...) in AI and AL, I hold that, regardless of the degree of realization, issues related to technological evolution inform the cultural agenda—at least the European–American one. I comment on antireductionist arguments and on arguments from philosophy and (history of) culture. I argue in favor of a consonance between neurotechnology and the Christian gospel in terms of realizing the marks of messianic life. However, issues of justice, reason versus nature, and perfection and finitude versus imperfection and immortality call for further illumination. Even though no principal opposition seems to exist between technological evolution and possible interpretations of the concept of the image of God (imago dei), a number of significant dissimilarities need to be addressed, such as the differences between technical improvement and forgiveness or transformation and between immortality and resurrection. The role of irregularity, disturbance, and error for creative processes in nature and culture is an exciting topic in science and technology as well as in theology. (shrink)

Molecular interactions are at the origin of life. How molecules get at different locations in the cell and how they locate their partners is a major and partially unresolved question in biology that is paramount to signaling. Spatio‐temporal correlations of fluctuating fluorescently tagged molecules reveal how they move, interact, and bind in the different cellular compartments. Methods based on fluctuations represent a remarkable technical advancement in biological imaging. Here we discuss image analysis methods based on spatial and temporal (...) correlation of fluctuations, raster image correlation spectroscopy, number and brightness, and spatial cross‐correlations that give us information about how individual molecules move in cells and interact with partners at the single molecule level. These methods can be implemented with a standard laser scanning microscope and produce a cellular level spatio‐temporal map of molecular interactions. (shrink)

Fluorescence microscopy is the primary tool for studying complex processes inside individual living cells. Technical advances in both molecular biology and microscopy have made it possible to image cells from many genetic and environmental backgrounds. These images contain a vast amount of information, which is often hidden behind various sources of noise, convoluted with other information and stochastic in nature. Accessing the desired biological information therefore requires new tools of computational image analysis and modeling. Here, we review (...) some of the recent advances in computational analysis of images obtained from fluorescence microscopy, focusing on bacterial systems. We emphasize techniques that are readily available to molecular and cell biologists but also point out examples where problem‐specific image analyses are necessary. Thus, image analysis is not only a toolkit to be applied to new images but also an integral part of the design and implementation of a microscopy experiment. (shrink)

The article aims to advance our understanding of what the early Heidegger had in mind when he spoke about technics. Taking GA 18, Grundbegriffe der aristotelischen Philosophie, as a guiding text, Heidegger's “destructive” reading of the two notions most directly associated with Aristotle's presentation of technics—τεχνη and εξις—will be examined, especially with reference to the portrayal of technics in the Nicomachean Ethics. It will be argued that Aristotle already exaggerated the distinction between virtue and skill and that, instead of insisting (...) on their similarities (as will be argued to be desirable), Heidegger drove the two notions even further apart. This enabled him to form a warped picture of technical life, which he exploited as a counter image to develop an unrealistically non-technical notion of πρα;ξις, which Heidegger implicitly advocates. (shrink)

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

Digital imaging has provided scientists with new opportunities to acquire and manipulate data using techniques that were difficult or impossible to employ in the past. Because digital images are easier to manipulate than film images, new problems have emerged. One growing concern in the scientific community is that digital images are not being handled with sufficient care. The problem is twofold: (1) the very small, yet troubling, number of intentional falsifications that have been identified, and (2) the more common unintentional, (...) inappropriate manipulation of images for publication. Journals and professional societies have begun to address the issue with specific digital imaging guidelines. Unfortunately, the guidelines provided often do not come with instructions to explain their importance. Thus they deal with what should or should not be done, but not the associated ‘why’ that is required for understanding the rules. This article proposes 12 guidelines for scientific digital image manipulation and discusses the technical reasons behind these guidelines. These guidelines can be incorporated into lab meetings and graduate student training in order to provoke discussion and begin to bring an end to the culture of data beautification. (shrink)

This article examines the technical apparatus of the Warburg Haus in Hamburg and its relationship with Aby Warburg’s art historical methodology. A link is made to an exhibition in 1941 by Saxl and Wittkower entitled English Art and the Mediterranean that was published in 1948 and again in 1969 as British Art and the Mediterranean. In turn, the manner in which this exhibition and publication was image led, the text serving to annotate the images, links to broadcast media, (...) namely, Clark’s Civilisation (1969) and Berger’s Ways of Seeing (1972), as a strong example of a working practice. (shrink)

This article examines the technical apparatus of the Warburg Haus in Hamburg and its relationship with Aby Warburg’s art historical methodology. A link is made to an exhibition in 1941 by Saxl and Wittkower entitled English Art and the Mediterranean that was published in 1948 and again in 1969 as British Art and the Mediterranean. In turn, the manner in which this exhibition and publication was image led, the text serving to annotate the images, links to broadcast media, (...) namely, Clark’s Civilisation and Berger’s Ways of Seeing, as a strong example of a working practice. (shrink)

Generative AI has gained a lot of attention in society, business, and science. This trend has increased since 2018, and the big breakthrough came in 2022. In particular, AI-based text and image generators are now widely used. This raises a variety of ethical issues. The present paper first gives an introduction to generative AI and then to applied ethics in this context. Three specific image generators are presented: DALL-E 2, Stable Diffusion, and Midjourney. The author goes into (...) class='Hi'>technical details and basic principles, and compares their similarities and differences. This is followed by an ethical discussion. The paper addresses not only risks, but opportunities for generative AI. A summary with an outlook rounds off the article. (shrink)

Ghost Image is made up of sixty-three short essays—meditations, memories, fantasies, and stories bordering on prose poems—and not a single image. Hervé Guibert’s brief, literary rumination on photography was written in response to Roland Barthes’s Camera Lucida, but its deeply personal contents go far beyond that canonical text. Some essays talk of Guibert’s parents and friends, some describe old family photographs and films, and spinning through them all are reflections on remembrance, narcissism, seduction, deception, death, and the phantom (...) images that have been missed. Both a memoir and an exploration of the artistic process, Ghost Image not only reveals Guibert’s particular experience as a gay artist captivated by the transience and physicality of his media and his life, but also his thoughts on the more technical aspects of his vocation. In one essay, Guibert searches through a cardboard box of family portraits for clues—answers, or even questions—about the lives of his parents and more distant relatives. Rifling through vacation snapshots and the autographed images of long-forgotten film stars, Guibert muses, “I don’t even recognize the faces, except occasionally that of an aunt or great-aunt, or the thin, fair face of my mother as a young girl.” In other essays, he explains how he composes his photographs, and how—in writing—he seeks to escape and correct the inherent limits of his technique, to preserve those images lost to his technical failings as a photographer. With strains of Jean Genet and recurring themes that speak to the work of contemporary artists across a range of media, Guibert’s Ghost Image is a beautifully written, melancholic ode to existence and art forms both fleeting and powerful—a unique memoir at the nexus of family, memory, desire, and photography. (shrink)

This essay will examine what it takes to be two foundational aspects of traditional metaphysics—the “concepts” of nothingness and nature—to offer a critical reading of how they enframe our understanding of “life.” It asserts that these two concepts are the limit point for metaphysical thought: the tangle that emerges when trying to overcome or reimagine them is an impasse encountered in pressing humanist concerns like ecological collapse, nihilism, alienation, and extinction. Readers of this journal may value a detailed, technical (...) attempt at such an untangling; this article will suggest that a heightened sense of technics can be productive of a new image of thought, one that might escape the anthropocentric basis of these concerns. 1 In doing so, the argument will insist on the flaw within certain metaphysical schematisms’ desire to appropriate, to form and hold sense into static and reproducible properties—a desire notably critiqued in Bernard Stiegler’s reading of technics. This flaw, it suggests, is constitutive of a sense of nature and nothingness based on property, one Stiegler notes is how we enframe being(s). It will then discuss Gilles Deleuze’s notable critiques of such “proper” enframing’s impossible limits and, following Deleuze, will turn to Marcel Proust’s writing as suggestive of a new image of thought—one that, focused on imagining (or enframing) nothingness through writing, inscribes an indelible remainder as that very imagination, suggesting that it is nothingness “it”self that will always remain. (shrink)

Objective communication—the principal aim of languages of any kind—meets with its greatest measure of success in science and art, which can both be precise, and therefore immune to misunderstanding born of vagueness or ambiguity, by giving specific expression to ideas. But, paradoxically, in order to reach specificity science and art must be developed along two opposite directions: in the first technical terminology replaces imagery-bearing words, in the second images are cultivated to the utmost. The scientist's procedure is entirely justified. (...) For it is undeniable that words are often misleading. because they are clouded with different images in the minds of different people. (shrink)

This article addresses the question of the relevance of brain imaging to legal criteria that are behavioral, that is, that require evaluation of a defendant's actions or mental states. It begins with the legal standard for the admissibility of scientific and technical evidence. Then it considers the relevance of imaging to behavioral legal criteria. The problem is translating mechanistic neuroscience data into the law's folk psychological standards. It uses examples from the criminal law, but the analysis generalizes to behavioral (...) criteria in the civil law. The central question is, “How, precisely, does the proffered scan or data based on scanning answer the specific legal question it supposedly helps answer?” I conclude that, at present, brain imaging has little relevance to behavioral legal criteria. The final section takes note of a rampant disorder, brain overclaim syndrome, and offers a remedy, cognitive jurotherapy. (shrink)

Kant’s distinction between intuitions and concepts attracts perennial interpretive interest. To the extent that they discuss the imagination at all, most Kant scholars maintain that the imagination’s primary role is to generate intuitions. This dissertation argues that “image” (Bild, Einbildung) is an overlooked technical term in Kant’s work and that images—and not intuitions—are products of the imagination. The project explains how, for Kant, the imagination (as image-maker) and the senses (as intuition-maker) make distinct but essential contributions to (...) cognition and perception. I begin by showing that “image” is a terminologically marked notion in Kant, and that the imagination is responsible for generating images (chapter 1). I call these claims the Image Thesis. I then show that for Kant, intuitions are representations that depend only on the senses for their essential features (chapter 2). I call this the Strong Independence Thesis. -/- How should we understand Kant’s ubiquitous references to the imagination, then? I argue that we should understand the imagination’s activities as image-producing activities (chapter 3). I argue that images and intuitions are fundamentally distinct representations, which I label the Distinctness Thesis. Though intuitions and images are had by both rational and non-rational beings, the capacity for consciousness or apperception found in rational beings makes a difference in the structure of images but not the structure of intuitions (chapter 4). I call this the penetration view of the imagination. With this account of images in hand, I indicate why images are a necessary ingredient in theoretical cognition for Kant (chapter 5). I call this the Image-Centric Cognition Thesis. The result is a novel account of sensibility—the counterpart of the understanding—that recognizes Kant’s systematic discussion of mental imagery. (shrink)

From at least 1925 to the present, science and technology have been depicted largely negatively in popular films of all genres. The images of science and technology in films reflect consistent public anxiety over the linkage between science, technology, and corporate power; the complacency of government agen cies and scientists toward new knowledge and artifacts; the insensitivity of scientists toward the moral implications of their research and its applications; and the co-option of technical knowledge by vested corporate and government (...) interests. Public conservatism is reflected in the suspicion toward new knowledge and new artifacts and in questioning whether science and technology truly improve the human condition. (shrink)

The recent 2014 Nobel Prize in chemistry honored an era of discoveries and technical advancements in the field of super‐resolution microscopy. However, the applications of diffraction‐unlimited imaging in biology have a long road ahead and persistently engage scientists with new challenges. Some of the bottlenecks that restrain the dissemination of super‐resolution techniques are tangible, and include the limited performance of affinity probes and the yet not capillary diffusion of imaging setups. Likewise, super‐resolution microscopy has introduced new paradigms in the (...) design of projects that require imaging with nanometer‐resolution and in the interpretation of biological images. Besides structural or morphological characterization, super‐resolution imaging is quickly expanding towards interaction mapping, multiple target detection and live imaging. Here we review the recent progress of biologists employing super‐resolution imaging, some pitfalls, implications and new trends, with the purpose of animating the field and spurring future developments. (shrink)

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

Emotion recognition, and in particular acial emotion recognition (FER), is among the most controversial applications of machine learning, not least because of its ethical implications for human subjects. In this article, we address the controversial conjecture that machines can read emotions from our facial expressions by asking whether this task can be performed reliably. This means, rather than considering the potential harms or scientific soundness of facial emotion recognition systems, focusing on the reliability of the ground truths used to develop (...) emotion recognition systems, assessing how well different human observers agree on the emotions they detect in subjects’ faces. Additionally, we discuss the extent to which sharing context can help observers agree on the emotions they perceive on subjects’ faces. Briefly, we demonstrate that when large and heterogeneous samples of observers are involved, the task of emotion detection from static images crumbles into inconsistency. We thus reveal that any endeavour to understand human behaviour from large sets of labelled patterns is over-ambitious, even if it were technically feasible. We conclude that we cannot speak of actual accuracy for facial emotion recognition systems for any practical purposes. (shrink)

Richard Shusterman’s Pragmatist Aesthetics : Living Beauty, Rethinking Art was published in China in 2002. In the preface of the Chinese edition, the author claimed that his tentative idea of soma esthetics was encouraged by Chinese philosophy and other ancient Asian philosophy. Shusterman’s background in pragmatist philosophy greatly constrains his understanding of the body in classical Chinese aesthetics in that he only pays attention to the technical aspects of physical training while neglecting the philosophical basis of this training. In (...) Chinese philosophy the orientation of the body, the relationship between the body and the universe, the body characteristic of the beauty of nature and the beauty of art, etc., is a theoretical response to Shusterman’s oriental misreading. (shrink)

Stanley Rosen's book is the first full-length study of the Sophist in English and one of the most complete in any language. He follows the stages of the dialogue in sequence and offers an exhaustive analysis of the philosophical questions that come to light as Theaetetus and the Eleatic Stranger pursue the sophist through philosophical debate. Rosen finds the central problem of the dialogue in the relation between original and image; he shows how this distinction underlies all subsequent (...) class='Hi'>technical themes and analyzes in detail such problems as non-being or negation and false statement. Arguing that the dialogue must be treated as a dramatic unity, he pays careful attention throughout to the setting, the events, the language used, and the relations between the natures of the speakers and the topics under discussion. (shrink)

Neuroscientists have long sought to study the dynamic activity of the human brain—what's happening in the brain, that is, while people are thinking, feeling, and acting. Ideally, an inside look at brain function would simultaneously and continuously measure the biochemical state of every cell in the central nervous system. While such a miraculous method is science fiction, a century of progress in neuroimaging technologies has made such simultaneous and continuous measurement a plausible fiction. Despite this progress, practitioners of modern neuroimaging (...) struggle with two kinds of limitations: those that attend the particular neuroimaging methods we have today and those that would limit any method of imaging neural activity, no matter how powerful.In this essay, I consider the liabilities and potential of techniques that measure human brain activity. I am concerned here only with methods that measure relevant physiologic states of the central nervous system and relate those measures to particular mental states. I will consider in particular the preeminent method of functional neuroimaging: BOLD fMRI. While there are several practical limits on the biological information that current technologies can measure, these limits—as important as they are—are minor in comparison to the fundamental logical restraints on the conclusions that can be drawn from brain imaging studies. (shrink)

Modern embryology increasingly relies on descriptive and functional three dimensional (3D) and four dimensional (4D) analysis of physically, optically, or virtually sectioned specimens. To cope with the technical requirements, new methods for high detailed in vivo imaging, as well as the generation of high resolution digital volume data sets for the accurate visualisation of transgene activity and gene product presence, in the context of embryo morphology, were recently developed and are under construction. These methods profoundly change the scientific applicability, (...) appearance and style of modern embryo representations. In this paper, we present an overview of the emerging techniques to create, visualise and administrate embryo representations (databases, digital data sets, 3-4D embryo reconstructions, models, etc.), and discuss the implications of these new methods on the work of modern embryologists, including, research, teaching, the selection of specific model organisms, and potential collaborators. (shrink)

This paper uses an improved deep learning algorithm to judge the rationality of the design of landscape image feature recognition. The preprocessing of the image is proposed to enhance the data. The deficiencies in landscape feature extraction are further addressed based on the new model. Then, the two-stage training method of the model is used to solve the problems of long training time and convergence difficulties in deep learning. Innovative methods for zoning and segmentation training of landscape pattern (...) features are proposed, which makes model training faster and generates more creative landscape patterns. Because of the impact of too many types of landscape elements in landscape images, traditional convolutional neural networks can no longer effectively solve this problem. On this basis, a fully convolutional neural network model is designed to perform semantic segmentation of landscape elements in landscape images. Through the method of deconvolution, the pixel-level semantic segmentation is realized. Compared with the 65% accuracy rate of the convolutional neural network, the fully convolutional neural network has an accuracy rate of 90.3% for the recognition of landscape elements. The method is effective, accurate, and intelligent for the classification of landscape element design, which better improves the accuracy of classification, greatly reduces the cost of landscape element design classification, and ensures that the technical method is feasible. This paper classifies landscape behavior based on this model for full convolutional neural network landscape images and demonstrates the effectiveness of using the model. In terms of landscape image processing, the image evaluation provides a certain basis. (shrink)

More and more schools begin to design simulation technology based on virtual imaging technology and virtual reality in their course contents. In particular, among these technical courses, there is a need to first strengthen the Film and Television Production education in higher institutions. This article aims to study the impact of VRT, VR, and Internet of things technology on FTP courses and audience psychology in higher institutions under the era of intelligent multimedia. How to use emerging VR technology to (...) promote the psychological wellbeing of students or patients has become a new research direction, the exploration of which has a far-reaching significance for the applications of the related technologies. First, the principle and applications of VR and IoT technology are described. Thereon, the deep learning -based training model is used to analyze the postproduction of VR-based Sand Table game, and the function and effect of the designed game model are discussed. Subsequently, VR-based Sand Play Therapy is applied to mentally ill patients to obtain its therapeutic effect. The results show that the designed VR-based Sand Table game model can be used to treat mentally ill patients and alleviate their negative psychological states. Meanwhile, the Test Anxiety Scale scores prove the significant therapeutic effect of the designed game model on the mental problems of patients. Therefore, VR-based psychological SPT can be applied in the stress relief of students and the treatment of mentally ill patients, as well as alleviate their mental health problems. This research provides a new direction and some theoretical support for the application field of VR technology. (shrink)

Taking the Face of Sydney – which is a digital composite image – as its point of departure this article begins an investigation into the relation between August Sander’s Weimar facial typologies and the digital Face of Sydney. This leads on to a reflection on the nature of the photographic image in relation to knowledge, technology and time. The conclusion proposed is that the photographic image has to be understood as an entity that is quite distinct from (...) the forms of technicity that allow it to appear. Indeed, in following Roland Barthes, I argue that the photographic image, like the image in general, is uncoded and thus unnamed. The question raised in light of this is: what is the nature of the human in the context of such an approach to the image? (shrink)

In many critical investigations of machine vision, the focus lies almost exclusively on dataset bias and on fixing datasets by introducing more and more diverse sets of images. We propose that machine vision systems are inherently biased not only because they rely on biased datasets but also because theirperceptual topology, their specific way of representing the visual world, gives rise to a new class of bias that we callperceptual bias. Concretely, we define perceptual topology as the set of those inductive (...) biases in machine vision systems that determine its capability to represent the visual world. Perceptual bias, then, describes the difference between the assumed “ways of seeing” of a machine vision system, our reasonable expectations regarding its way of representing the visual world, and its actual perceptual topology. We show how perceptual bias affects the interpretability of machine vision systems in particular, by means of a close reading of a visualization technique called “feature visualization”. We conclude that dataset bias and perceptual bias both need to be considered in the critical analysis of machine vision systems and propose to understand critical machine vision as an important transdisciplinary challenge, situated at the interface of computer science and visual studies/Bildwissenschaft. (shrink)

How do the organization and presentation of large-scale social media images recondition the process by which visual knowledge, value, and meaning are made in contemporary conditions? Analyzing fundamental elements in the changing syntax of existing visual software ontology—the ways current social media platforms and aggregators organize and categorize social media images—this article relates how visual materials created within social media platforms manifest distinct modes of knowledge production and acquisition. First, I analyze the structure of social media images within data streams (...) as opposed to previous information organization in a structured database. While the database has no pre-defined notions of time and thus challenges traditional linear forms, the data stream re-emphasizes the linearity of a particular data sequence and activates a set of new relations to contemporary temporalities. Next, I show how these visual arrangements and temporal principles are manifested and discussed in three artworks: “Untitled” by Felix Gonzalez-Torres, The Clock by Christian Marclay, and Last Clock by Jussi Ängeslevä and Ross Cooper. By emphasizing the technical and poetic ways in which social media situate the present as a “thick” historical unit that embodies multiple and synchronous temporalities, this article illuminates some of the conditions, challenges, and tensions between former visual structures and current ones, and unfolds the cultural significations of contemporary big visual data. (shrink)

Digital images of cultural heritage (CH) contain rich semantic information. However, today’s semantic representations of CH images fail to fully reveal the content entities and context within these vital surrogates. This paper draws on the fields of image research and digital humanities to propose a systematic methodology and a technical route for semantic enrichment of CH digital images. This new methodology systematically applies a series of procedures including: semantic annotation, entity-based enrichment, establishing internal relations, event-centric enrichment, defining hierarchy (...) relations between properties text annotation, and finally, named entity recognition in order to ultimately provide fine-grained contextual semantic content disclosure. The feasibility and advantages of the proposed semantic enrichment methods for semantic representation are demonstrated via a visual display platform for digital images of CH built to represent the Wutai Mountain Map, a typical Dunhuang mural. This study proves that semantic enrichment offers a promising new model for exposing content at a fine-grained level, and establishing a rich semantic network centered on the content of digital images of CH. (shrink)

A central question in neuroscience and psychology is how the mammalian brain represents the outside world and enables interaction with it. Significant progress on this question has been made in the domain of spatial cognition, where a consistent network of brain regions that represent external space has been identified in both humans and rodents. In rodents, much of the work to date has been done in situations where the animal is free to move about naturally. By contrast, the majority of (...) work carried out to date in humans is static, due to limitations imposed by traditional laboratory based imaging techniques. In recent years, significant progress has been made in bridging the gap between animal and human work by employing Virtual Reality (VR) technology to simulate aspects of real-world navigation. Despite this progress, the VR studies often fail to fully simulate important aspects of real-world navigation, where information derived from self-motion is integrated with representations of environmental features and task goals. In the current review, we provide a brief overview of animal and human imaging work to date, focusing on commonalties and differences in findings across species. Following on from this we discuss VR studies of spatial cognition, outlining limitations and developments, before introducing mobile brain imaging techniques and describe technical challenges and solutions for real-world recording. Finally, we discuss how these advances in mobile brain imaging technology, provide an unprecedented opportunity to illuminate how the brain represents complex multifaceted information during naturalistic navigation. (shrink)

It is our intention to re-investigate only a few of the innumerable epistemological problems concerning Paley's argumentation for the existence of God. Nowadays this argumentation is commonly considered as invalid. Modern philosophers believe that the Humean Dialogs on Natural Religion and the Darwinian theory of evolution deprived Paley's reasoning of any cognitive validity. This judgment seems to us unjustified. We shall try to demonstrate that the very meaning and the logical structure of Paley's argumentation are continuously misunderstood, and that critics (...) have attacked rather a false image of Paley's cognitive pathway. Furthermore, we will show that Paley actually argues for the existence of a single agent producing biological organs. Indeed Paley demonstrates, that a biological organ is a kind of objective whole, and by necessity one produced by a single agent. However, Paley's form of argumentation is not sufficient to indicate whether this agent might be identified with a divine Creator, or Aristotelian "soul" building and commanding biological organs, or the recently discovered, described and deciphered deoxynucleotide polymer present in the reproductive biological cell. (shrink)

Research in the field of computer graphics and vision strives to precisely synthesize any possible human face in a way that it is perceived as a real face and to parametrically describe or analyze any existing human face. This article provides an overview of the theoretical and technical steps taken to get a model of human faces that satisfied two demands for face stimuli for experimental research: full control over the information in faces enabling precise manipulations on the one (...) hand, and high ecological validity of the stimuli, i.e. the ability to generate face stimuli that look very natural, on the other. It presents a new technology that fulfills both conditions. An important advance in the development of computer-generated face stimuli is initiated by the proposal of a theoretical face-space framework for the encoding of faces. (shrink)

The motive for late eighteenth-century proto-technics of photography and cinema was never quite mimetic representation: it was generating autonomous impressions of natural phenomena within the tradition ofNaturphilosophie. The article analyses a series of connections between ‘natural hieroglyphs’ (von Lichtenberg), Jacques-Alexandre-César Charles’s ‘megascope’, Wedgwood’s pre-photography, Lavater’s silhouettes and antecedents of Marey’s ‘graphic method’. The goal is to document precursor ideas, devices, setups and frameworks of photoimaging medias to show that the genealogy of photography and cinema intersected through many polymath transverses within (...) the ambit of natural philosophy (and the context of slavery). (shrink)

It is our intention to re-investigate only a few of the innumerable epistemological problems concerning Paley's argumentation for the existence of God. Nowadays this argumentation is commonly considered as invalid. Modern philosophers believe that the Humean Dialogs on Natural Religion and the Darwinian theory of evolution deprived Paley's reasoning of any cognitive validity. This judgment seems to us unjustified. We shall try to demonstrate that the very meaning and the logical structure of Paley's argumentation are continuously misunderstood, and that critics (...) have attacked rather a false image of Paley's cognitive pathway. Furthermore, we will show that Paley actually argues for the existence of a single agent producing biological organs. Indeed Paley demonstrates, that a biological organ is a kind of objective whole, and by necessity one produced by a single agent. However, Paley's form of argumentation is not sufficient to indicate whether this agent might be identified with a divine Creator, or Aristotelian "soul" building and commanding biological organs, or the recently discovered, described and deciphered deoxynucleotide polymer present in the reproductive biological cell. (shrink)

Plato's great attempt to define the nature of the sophist -- the false image of the philosopher -- has perplexed readers from classical times to the present. The dialogue has been central in the ongoing debate about the theory of forms, and it remains a crucial text for Plato scholars in both the analytical and the phenomenological traditions. Stanley Rosen's book is the first full-length study of the Sophist in English and one of the most complete in any language. (...) He follows the stages of the dialogue in sequence and offers an exhaustive analysis of the philosophical questions that come to light as Theaetetus and the Eleatic Stranger pursue the sophist through philosophical debate. Rosen finds the central problem of the dialogue in the relation between original and image; he shows how this distinction underlies all subsequent technical themes and analyzes in detail such problems as non-being or negation and false statement. Arguing that the dialogue must be treated as a dramatic unity, he pays careful attention throughout to the setting, the events, the language used, and the relations between the natures of the speakers and the topics under discussion. Rosen's new approach to the technical issues in the dialogue will be of interest to Plato scholars of all schools, and his analysis of the sophistical dimension of the world will engage all who have puzzled over what it means to be a philosopher. (shrink)

The article examines epistemological and ontological underpinnings of reasearch performed by means of magnetic resonance imaging and functional magnetic resonance imaging. It takes as its guiding line the important distinction between instruments and apparatuses drawn by Rom Harré. According to Harré, instruments such as barometers or thermometers do not cause the states they measure into existence. Apparatuses, in contradistinction, cause material states into existence to begin with, whereby theses states are subsequently processed according to suitable methods. Thus, when the objects (...) of examination are subjected to 2 or more Tesla in fMRI, a strength of magnetic field never occuring in earthly nature, technical means literally create the states to be examined. Close examination of the functioning of MRI and fMRI indicates that brain states, e.g., are not simply read, or perceived as degrees of temperature are read on scale. Hence, one does not see any mental funtion when looking at fMRI outputs, for the visible output has been semantically processed on the basis of invisible quantum mechanical processes that have undergone translations into digital data caused by the fMRI device itself. (shrink)

Holography, the technology of three-dimensional imaging, has repeatedly been reconceptualised by new communities. Conceived in 1947 as a means of improving electron microscopy, holography was revitalized in the early 1960s by engineer-scientists at classified laboratories. The invention promoted the transformation of a would-be discipline (optical engineering) and spawned limited artist-scientist collaborations. However, a separate artisanal community promoted a distinct countercultural form of holography via a revolutionary technology: the sandbox optical table. Their tools, sponsorship, products, literature and engagement with wider culture (...) differentiated the communities, which instituted a limited ‘technological trade’. The subject strikingly illustrates the co-evolution of new technology along with highly dissimilar user groups, neither of which fostered the secure establishment of a profession or discipline. The case generalises the concept of 'research-technologists' and 'peripheral science', and extends the ideas of Langdon Winner by demonstrating how the political dimensions of a technology can be important but evanescent in the growth of technical communities. (shrink)

In an era before the invention of photography, fine art prints based on famous paintings dominated the eighteenth-century art market, inviting a common comparison between engravers and translators. At a time when writers and scholars placed much value on the closeness of translations to their original texts, such comparisons reflected a subordination of the skills of technical engravers to the assumed genius of painters. However, careful examination of the copy-prints reveals that loyalty to originals was not the primary interest (...) of these visual translators. Instead, these translators saw themselves as active mediators. This essay reconsiders acts of eighteenth-century visual translation to reframe the practice of engraving during the period and to establish a new understanding of the movement from one visual artistic language to another. The case study of Nicolas de Launay, one the most successful engravers in eighteenth-century France, is selected for scrutiny and contextualized within historical debates around translation. The final aim is to illuminate important tensions between the disciplines of painting and engraving, as well as the complex process by which engravers strove to remain simultaneously loyal to the painters, to their audience, and to their own artistic identity. (shrink)