"An illustrated directory of experimental, Dada and, in particular, Surrealist photography from 1918-1948, containing over 200 photographic images by some 50 revolutionary artists."--P. [4] of cover.

This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, (...) with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery's concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness. Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning. (shrink)

The art scene and print media eagerly soak up the trends it sets. Driving force behind this development is the Photography Program at the School of Art and Design Zürich, where experimental confrontations are pursued with a passion.

This paper discusses facets of 19th-century scientific photography as a visual culture. The example of spectral research and documentation is particularly well suited, because prismatically diffracted light from the sun or from luminous gases was one of the most frequently examined phenomena of that century. The results were significant not only for physics but also for analytical chemistry and astrophysics. The spectrum also served as an ideal test object for checking the effectiveness of a wide array of photochemically sensitizable (...) surfaces to the various color regions. Scientific photography became the most important experimental technique in the infrared and ultraviolet. H. A. Rowland's spectrum charts are discussed as an example of the transition from comprehensiveness in documentation to fetishism. The discussion of the Lippmann process, one of the first methods of color photography, addresses the associated training of the eye. Issues of authenticity and the much averred „mechanical objectivity” are raised with regard to retouching. The overriding theme of visual science cultures leads furthermore to unanticipated interdependencies with other scientific fields, such as geography, and draws the importance of practitioners into the foreground. (shrink)

Las trayectorias del arte caribeño, luego de la Segunda Guerra Mundial, experimentan profundas transforaciones en sus prácticas creativas y modos de com-prensión cultural. Las complejas realidades sociales y políticas en las islas del Caribe hispano condujeron a un punto de giro en los procesos regionales, una transformación del campo del arte y replanteamientos de los discursos periféricos desde las manifestaciones, los temas de interés y el rol del artista en la sociedad. La fotografía, y especialmente aquella procedente de espacios periféricos (...) en las lógicas internacionales del arte, aportaron los iconos más contestatarios del momento. Los símbolos culturales de una nueva voz, que responde a un pensamiento emancipatorio y descolonizador, se expresan en la construcción de un discurso visual de paradigmas éticos y libertarios. Los lenguajes más renovadores de la época apelan a una base fotográfica de trasfondo por la relación entre la inmediatez y la pregnancia de la imagen, o la inherente reproductibilidad que propicia una función comunicativa más efectiva. (shrink)

ABSTRACT In this article, I focus on Charles Sanders Peirce's viability for contemporary art history and criticism. I argue that in order to make sense of Peirce's published remarks on photographs they should be read in light of specific nineteenth-century uses of photography in experimental science. I argue that Peirce's comments on photography are consistent with a realist theory of science. It is only when these remarks are contextualized within a broader scientific project that we may begin (...) to mine Peirce for his art historical value. (shrink)

This article explores issues of what is seen and not seen, recorded and disregarded, as they relate to the author’s practical experimentations with alternate uses/forms of the camera. These alternates include the slit-scan camera and a little-known form called the cylinder pinhole camera, which was originally designed and tested by the photo historian Joel Snyder. What do these cameras tell us, the author asks, about the center and periphery of an image as it exists inside a camera before that image (...) is recorded on film? The prioritization of content at the center of an image, the article argues, is consistent with the West’s cultural bias toward making two-dimensional images on rectangular surfaces, such as drawings, paintings, and photographs. But we see something very different by looking into the black box of the camera, something not so rectangular. The figures included here, then, are meant to disrupt the center-periphery binary that has ruled photography in the West. These photos offer new insight into social expectations about the capacity of the camera, of panoramic images, and about strategies for analysis of art-making practices in general. (shrink)

This lavishly illustrated book establishes the towering influence of the scientist Victor Regnault in the earliest decades of photography, a period of experimentation ripe with artistic, commercial, and scientific possibility. Regnault has a double significance to the early history of photography, as the first leader of the Société Française de Photographie and as the maker of more than two hundred calotype portraits and landscapes. His photographic and scientific careers intersected a third field with his appointment in 1852 as (...) director of the Sèvres porcelain works. Readers are treated to Regnault's own beguiling pastoral, garden, and forest scenes; striking portraits of the scientists and artists in his circle of friends; quirky images of acoustic experiments; and an insider's view of the Sèvres porcelain works. Regnault's richly varied photographs also encompass perhaps the most extensive group of family portraits in early photography, and his romanticized landscapes reflect a moment when the rural outskirts of Paris were being aggressively suburbanized and industrialized. Occupying a unique and powerful position in the overlapping spheres of photography, science, industry, and art, Regnault was elected president of the newly formed S.F.P. in 1855. By examining his intertwined activities against the backdrop of French photography's nascent pursuit of institutional legitimacy, this book illuminates an important and overlooked body of images and the irregular cultural terrain of early photography. (shrink)

The canine photographs, videos, and photographic narratives of artist William Wegman frame questions of animal aesthetic agency. Over the past 30 years, Wegman's dog images shift in form and content in ways that reflect the artist's increasing anxiety over his control of the art-making process once he becomes identified, in his own words, as "the dog photographer". Wegman's dog images claim unique cultural prominence, appearing regularly in fine art museums as well as on broadcast television. But, as Wegman comes to (...) use these images to document his own transition from dog photographer to dog breeder, these texts also reflect increasing restrictions on what I term the "pack aesthetics," or collaborative production of art and artistic agency, that distinguish some of the early pieces. Accounting for the correlations between multiple and mongrel dogs in Wegman's experimental video work and exclusively Weimaraner-breed dogs with human bodies in his recent work in large-format Polaroid photography, this article explores how Wegman's work with his "video dog star," his first Weimaraner dog Man Ray, troubles the erasure of the animal in contemporary conceptions of artistic authority. (shrink)

This book is the first to consider the outpouring of photo-based art created in China since the mid-1990s. Ambitious in scale and experimental in nature, these works reflect the turn toward media-based art that characterizes the next generation of younger Chinese artists. In addition to fostering a new understanding of contemporary Chinese art, Between Past and Future also provokes fresh and timely insights into the dynamics of Chinese culture in the 21st century.

This paper deals with one of the first attempts to measure simple reactions in humans. The Swiss astronomer Adolph Hirsch investigated personal differences in the speed of sensory transmission in order to achieve accuracy in astronomy. His controversial results, however, started an intense debate among both physiologists and astronomers who disagreed on the nature of these differences. Were they due to different eyes or brains, or to differences in skill and education? Furthermore, they debated how to eliminate them. Some, for (...) example, wanted to eliminate the observer, and prescribed the use of new technologies like the electro-chronograph or photography, while others believed in discipline and education. By debating the nature of these differences, astronomers and physiologists sketched both different conceptions of ‘man’ and different paths to objectivity. These diverse conceptions, moreover, were tied to current nineteenth-century debates, such as the benefits or disadvantages of railroads, telegraphy and the standardization of time and longitudes. By focusing on the debates surrounding the speed of sensory transmission, this paper reevaluates the history of astronomy, physiology and experimental psychology. Furthermore, in investigating astronomy's relation to the human sciences, it uncovers profound connections in the traditionally separate histories of objectivity and the body.L'heure sera distribuée dans les maisons,comme l'eau ou le gaz.Adolph Hirsch. (shrink)

This article explores the afterlives of the photographic production by Ruy Duarte de Carvalho (1941-2010), a Portuguese-born Angolan anthropologist who amidst the country's long-lasting civil war (1975-2002) engaged with the Ovakuvale trans-humant shepherds dwelling in the semi-arid region of southern Angola. Through the 1990s, Carvalho used analogue photographic cameras to document his field-work among the Ovakuvale, and afterwards engaged in various experiments with the medium for ethnographic purposes. Departing from the current assemblage of Carvalho's personal archive that remains after he (...) passed away, I explore distinct photographic relations connected to public usages of his Ovakuvale images during his lifetime, to discuss the ways in which he articulated them through diverse expressive modes and ventures - such as watercolours, illustrated publications, temporary exhibitions and a theatre play. Offering the opportunity to surrender to a broad experimental practice that makes his overall Ovakuvale ethnography particularly revealing, I project through the current archival assemblage a comparative approach to the rationales guiding the presentation of his Ovakuvale field images, to discuss salient temporal relationships between his method to produce and later reuse these images in postcolonial times. (shrink)

We present four new change detection methods that create an automated change map from a probability map. In this case, the probability map was derived from a 3D model. The primary application of interest is aerial photographic applications, where the appearance, disappearance or change in position of small objects of a selectable class (e.g., cars) must be detected at a high success rate in spite of variations in magnification, lighting and background across the image. The methods rely on an earlier (...) derivation of a probability map. We describe the theory of the four methods, namely Bernoulli variables, Markov Random Fields, connected change, and relaxation-based segmentation, evaluate and compare their performance experimentally on a set probability maps derived from aerial photographs. (shrink)

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography (...) in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries. (shrink)

This paper addresses the visual culture of late-19th-century experimental physiology. Taking the case of Johann Nepomuk Czermak as a key example, it argues that images played a crucial role in acquiring experimental physiological skills. Czermak, Emil Du Bois-Reymond and other late-19th-century physiologists sought to present the achievements and perspective of their discipline by way of "immediate visual perception." However, the images they produced and presented for this purpose were strongly mediated. By means of specifically designed instruments, such as (...) the "cardioscope," the "contraction telegraph," and the "frog pistol," and of specifically constructed rooms, so-called "spectatoriums," physiologists trained and controlled the perception of their students before allowing them to conduct experiments on their own. Studying the material culture of physiological image production reveals that technological resources such as telegraphy, photography, and even railways contributed to making physiological facts anschaulich. At the same time, it shows that the more traditional image techniques of anatomy played an important role in physiological lecture halls, especially when it came to displaying the details of vivisection experiments to the public. Thus, the images of late 19th century physiology stood half-way between machines and organisms, between books and instruments. (shrink)

This article investigates the concept of the ground truth as both an epistemic and technical figure of knowledge that is central to discussions of machine vision and media techniques of visuality. While ground truth refers to a set of remote sensing practices, it has a longer history in operational photography, such as aerial reconnaissance. Building on a discussion of this history, this article argues that ground truth has shifted from a reference to the physical, geographical ground to the surface (...) of the images echoing earlier points raised by philosopher Jean-Luc Nancy that there is a ground of the image that is central to the task of analysis beyond representational practices. Furthermore, building on the practices of pattern recognition, composite imaging, and different interpretational techniques, we discuss contemporary practices of machine learning that mobilizes geographical earth observation datasets for experimental purposes, including tests such as “fake geography” as well as artistic practices, to show how ground truth is operationalized in such contexts of AI and visual arts. (shrink)

The experiments of the Austrian biologist Paul Kammerer to breed eyes in blind olms is probably one of the most notable manifestations of Lamarckian thinking and research at the beginning of the 20th century. If living in the environment of the dark caves in the Slovenian Kraijna for thousands of years has reduced the eyes of the olms until they nearly disappeared, then is it possible to influence the development in the other direction and speed it up? Will a transformed (...) milieux or media (in a Lamarckian sense) conduct olms to vision, to the mysteries of light? Kammerer's legendary skill in taking care of animals (especially amphibians), the highly modern research environment of an institution unique in whole Europe and America at that time (the Biologische Versuchsanstalt Wien), years of experimental crossings, and, finally, the convergence of biological media and technical media (for example media of development in photography), provided the opportunity for Kammerer to succeed. The olm experiments are part of an elaborate research program of the Viennese Versuchsanstalt and its facilities that assume the environment of animals to be the critical point in developmental, hereditary, and evolutionary research. Theoretically Kammerer's olms ask questions about vision in general and its organ, the eye. (shrink)

Twenty-first-century philosophy has been drawn into a false opposition between speculation and critique. Nathan Brown shows that the key to overcoming this antinomy is a re-engagement with the relation between rationalism and empiricism. If Kant’s transcendental philosophy attempted to displace the opposing priorities of those orientations, any speculative critique of Kant will have to re-open and consider anew the conflict and complementarity of reason and experience. Rationalist Empiricism shows that the capacity of reason and experience to extend and yet delimit (...) each other has always been at the core of philosophy and science. Coordinating their discrepant powers, Brown argues, is what enables speculation to move forward in concert with critique. Sweeping across ancient, modern, and contemporary philosophy, as well as political theory, science, and art, Brown engages with such major thinkers as Plato, Descartes, Hume, Hegel, Marx, Heidegger, Bachelard, Althusser, Badiou, and Meillassoux. He also shows how the concepts he develops illuminate recent projects in the science of measurement and experimental digital photography. With conceptual originality and argumentative precision, Rationalist Empiricism reconfigures the history and the future of philosophy, politics, and aesthetics. (shrink)

Periodicals of various sorts have long recognized the need to address certain topics on a regular basis. That’s why computer magazines routinely offer articles such as “Windows Tips and Tricks,” and “How to Protect Your Data.” Similarly, photography magazines return again and again to articles explaining how to get the most out of wide-angle lenses, how to shoot portraits in natural light, or how to photograph dramatic landscapes. It seems to me that JSE editorials might also need to recycle (...) certain topics from time to time, in part because readership changes, and in part because researchers in areas of frontier science can have conveniently short memories (like everyone else), perhaps especially when it comes to matters that are intellectually or professionally challenging or uncomfortable. The continuing debate over Daryl Bem’s recent precognition experiments (see Bem 2011, and the Editorial in JSE 25:1) and the similar controversy still dogging work on LENR or “cold fusion” suggests that perhaps it’s time to review certain salient facts about the nature of experimental replication in science. What follows is not new. Harry Collins has done outstanding work on this topic (Collins 1992), and I also addressed the issue at length (Braude 2002). For more recent commentary, see also Stefan Schmidt (2009). Apparently, however, what’s both obvious and commonsensical is very easy to overlook. (shrink)

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

In this article we introduce the concept of implied optical perspective in deep learning computer vision systems. Taking the BBC's experimental television programme “Made by Machine: When AI met the Archive” as a case study, we trace a conceptual and material link between the system used to automatically “watch” the television archive and a specific type of photographic practice. From a computational aesthetics perspective, we show how deep learning machine vision relies on photography, its technical regimes and epistemic (...) advantages, and we propose a novel way to identify the latent camera through which the BBC archive was seen by machine. (shrink)

Restrictive border protection policies directed toward managing the flow of refugees coming into neoliberal democracies (and out of failing nation-states) are a defining feature of contemporary politics. In this book, Verónica Tello analyses how contemporary artists-such as Tania Bruguera, Isaac Julien, Rosemary Laing, Dinh Q. Lé, Dierk Schmidt, Hito Steyerl, Lyndell Brown and Charles Green-negotiate their diverse subject positions while addressing and taking part in the production of images associated with refugee experiences and histories. Tello argues that their practices, which (...) manifest across a range of contexts including Cuba, the United States, Australia and Europe, represent an emergent, global paradigm of contemporary art, 'counter-memorial aesthetics'. Counter-Memorial Aesthetics, Tello argues, is characterized by its conjunction of heterogeneous signifiers and voices of many times and places, generating an experimental, non-teleological approach to the construction of contemporary history, which also takes into account the complex, disorienting spatial affects of globalization. Spanning performance art, experimental 'history painting', aftermath photography and video installation, counter-memorial aesthetics bring to the fore, Tello argues, how contemporary refugee flows and related traumatic events critically challenge and conflict with many existing, tired if not also stubborn notions of national identity, borders, history and memory. Building on the writings of such thinkers as Michel Foucault and Jacques Rancière, this book offers a useful concept of 'counter-memory' for the twenty-first century. It shows how counter-memorial aesthetics is not only central to the nexus of contemporary art and refugee histories but also how it can offer a way of being critically present with many other, often interrelated, global crises in the contemporary era. (shrink)

One of Chicago's great cultural achievements, the Institute of Design was among the most important schools of photography in twentieth-century America. It began as an outpost of experimental Bauhaus education and was home to an astonishing group of influential teachers and students, including Lázló Moholy-Nagy, Harry Callahan, and Aaron Siskind. To date, however, the ID's enormous contributions to the art and practice of photography have gone largely unexplored. Taken by Design is the first publication to examine thoroughly (...) this remarkable institution and its lasting impact. With nearly 300 illustrations, including many never-before published photographs, Taken by Design examines the changing nature of photography over this critical period in America's midcentury. It starts by documenting the experimental nature of Moholy's Bauhaus approach and photography's new and enhanced role in training the "complete designer." Next it traces the formal and abstract camera experiments under Harry Callahan and Aaron Siskind, which aimed at achieving a new kind of photographic subjectivity. Finally, it highlights the ID's focus on conscious references to the processes of the photographic medium itself. In addition to photographs by Moholy, Callahan, and Siskind, the book showcases works by Barbara Crane, Yasuhiro Ishimoto, Joseph Jachna, Kenneth Josephson, Gyorgy Kepes, Nathan Lerner, Ray K. Metzker, Richard Nickel, Arthur Siegel, Art Sinsabaugh, and many others. Major essays from experts in the field, biographies, a chronology, and reprints of critical essays are also included, making Taken by Design an essential work for anyone interested in the history of American photography. Contributors include: Keith Davis, Lloyd Engelbrecht, John Grimes, Nathan Lyons, Hattula Moholy-Nagy, Elizabeth Siegel, David Travis, Larry Viskochil, James N. Wood. (shrink)

Eugene 'Gene' Vernier worked as a fashion photographer for British Vogue from 1954 to 1967, during one of the most exciting periods in fashion history. Shooting of-the-moment looks from the likes of Christian Dior and Emilio Pucci and top models including Celia Hammond, Jean Shrimpton, and current Vogue creative director Grace Coddington, Vernier worked with some of the biggest names in the industry. Yet he was relatively unconcerned with celebrity. Interested only in bringing out the very best in each frame, (...) Vernier was a true craftsman in the fashion photography trade. Featuring more than one hundred of Vernier's own favorite photographs drawn from Vogue's extensive photo archive, this lavishly illustrated volume reveals remarkable innovation in the use of props, backdrops, and location. Whether he was photographing his subjects by the sea, with a canine companion, or perfectly positioned atop a pale pink convertible, Vernier's careful composition enhanced the essence of his subject. Vernier shot mostly in black-and-white, and his trademark “look” is one of classic femininity. He sought to capture models when they were relaxed, enjoying the clothing, and confident that their photographer would show both only at their best. Providing commentary on the photographs are fashion history expert Becky Conekin and Vogue historian Robin Muir. This is first book to focus on Vernier's work at Vogue and it allows readers a rare glimpse of his inimitable blend of technical excellence and an eye for experimentation. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, (...) split open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Louis Jacques Mandé Daguerre was a true nineteenth-century visionary—a painter, printmaker, set designer, entrepreneur, inventor, and pioneer of photography. Though he was widely celebrated beyond his own lifetime for his invention of the daguerreotype, it was his origins as a theatrical designer and purveyor of visual entertainment that paved the way for Daguerre's emergence as one of the world's most iconic imagemakers. In Speculating Daguerre, Stephen C. Pinson reinterprets the story of the man and his time, painting a vivid (...) picture of Daguerre as an innovative artist and savvy impresario whose eventual fame as a photographer eclipsed everything that had come before. Drawing upon previously unpublished correspondence and unplumbed archival sources, Pinson mixes biography with an incisive study of Daguerre's wide-ranging involvement in visual culture. From his work as a commercial lithographer to his coinvention of the Paris Diorama—a theater in the round in which Daguerre employed natural light and special effects to simulate time and movement in large-scale paintings—here we are given access to Daguerre the artist, whose tireless experimentation, entrepreneurial spirit, and exceptional talent for popular spectacle helped to usher in a new visual age. Filled with more than one hundred illustrations and including the first complete catalogue of Daguerre's paintings, works on paper, and daguerreotypes to appear in print, the publication of Speculating Daguerre will be a much-heralded event for anyone with even a passing interest in one of the most fascinating characters in the history of photography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rationalist Empiricism: A Theory of Speculative Critique by Nathan BrownGreg EllermannBrown, Nathan. Rationalist Empiricism: A Theory of Speculative Critique. Fordham University Press, 2021. 318pp.Nathan Brown's Rationalist Empiricism is, above all, a book about philosophical method. It is also a highly significant study of the conceptual architecture of Marxism, developed by way of a critical return to the lesson of Althusser. Drawing on a range of disparate materials–from the (...) works of Descartes, Hume, Hegel, Marx, Heidegger, and Meillassoux to contemporary experiments in digital photography and metrology–Brown demonstrates the necessity of "a mutual interruption of reason and experience" (31) for any theoretical or political practice that would avoid falling into ideological complacency.The book opens with an appraisal of "the speculative turn" (1) in 21st-century thought, a turn Brown characterizes as an intellectual dead-end. He remarks that the various new materialisms and object-oriented ontologies of the last decades were united by an inattention to method. Unconcerned to establish the necessity of their claims or with the relation between reasoning and reality, these philosophies made assertions instead of arguments; they mistook dogmatism for speculation.For Brown, it is the dialectic–specifically, the dialectic of reason and experience–that promises to renew the possibility of speculative thinking. Such renewal will entail refusing "the severance of speculation from critique" (2). It also requires thinking through a more basic problem: the relation between rationalism and empiricism. While rationalism "explore[s] what has to be thought according to the internal order and consistency of ideas," empiricism, as Brown has it, "claim[s] the genesis of ideas in experience" (3). Since Kant's first Critique, this binary and the effort to overcome it have set the terms of philosophical debate. Brown's striking contention is that the search for a synthesis or a hidden ground uniting these two positions (as, for instance, in Deleuze or Michel Henry) invariably leads us back to the transcendental–an improvement on the dogmatism of contemporary theory but a reduction of knowledge to "conditions of experience" [End Page 128] nonetheless (47). Brown therefore proposes another path: "a relational disjunction of rationalism and empiricism" animated by "the critical power of the tension between [them] to check one another's claims and to propel those claims further" (3). In other words, he develops a methodological dialectic whose two poles-the rationalist and the empiricist-alternately take on speculative and critical functions. There is no static alignment of the key categories in Brown's book. "Speculation and critique cannot be parceled out," he writes, "according to the division of reason and experience. Metaphysics, science, politics: each of these fields relies integrally upon the conflict and complementarity of reason and experience, their 'epistemological polarity'" (250). In Bachelard's terms, pivotal for the overall argument, reason and experience must be allowed to "transmute," "propel," and "say 'no' to one another" (8). It is their ungrounded dialectical relation that sustains true speculative thought.This methodological position has profound ontological implications. Looking to Althusser, Brown finds the beginnings of a theory of rationalist empiricism in the structural Marxist notion of the "concrete-in-thought" (15-16): the self-critical and experimentally verified knowledge of a science. Crucially, for Althusser there can be no concrete-in-thought without a "concrete-real," external to theory itself (15). Developing to the fullest this underappreciated point, Brown shows that rationalist empiricism must be a realism. Thus, the book's second, third, and fourth chapters elaborate a continuous argument concerning "the primacy of being over thought" (59), and the relationship between speculative and scientific knowledge. The central question is how speculation might extend or "extrapolate from the exteriorizing force of science, without being reducible to its forms of experience" (261). Refracting Hegel's Logic through the thought of Heidegger and Meillassoux, Brown ultimately offers a new account of the ontological difference–between being and beings, between speculative truth and "ontic," scientific knowledge–that privileges neither side and insists on their coordination. Once again, he declines to seek a synthesis, arguing that "true critique" (as Hegel characterized his speculative method) depends on "the ontological primacy of becoming" (91), on an absolute time bound up with... (shrink)

Quelles sont les formes modernes de la croyance en l'image et de quelle manière le cinéma, la photographie, l'art-vidéo, travaillent sur les frontières de l'expérimentation et des mutations théoriques de l'image ?

Dans les analyses sociologiques et philosophiques qu'à suscitées récemment le « phénomène du téléphone portable », les promesses de l'innovation sont souvent tenues à tort pour la réalité des usages. Une enquête fondée sur l'observation des pratiques concrètes autour du portable nous a permis de montrer sous quelle forme les possibilités ouvertes par l'innovation interviennent dans l'expérience de l'outil: comment la promesse de joignabilité est déjouée par les stratégies de chacun, comment, à partir d'un agrégat de fonctions, les utilisateurs réinventent (...) un objet métamorphique doté d'une unité forte, ou encore comment les représentations que se font les utilisateurs des possibles techniques les amènent à dénier la réalité de l'outil, dans le cas de la photographie sur portable par exemple...Le cinéma expérimental mobile, ainsi que les films de fiction exploitent cet écart entre les possibles de l'outil et la réalité des pratiques, qui est caractéristique de la relation à cet objet.In sociological and philosophical raised recently as the "phenomenon of the mobile phone," the promise of innovation are often held mistaken for the actual practice. A survey based on the observation of actual practices around the notebook has allowed us to show what form the opportunities offered by innovation involved in the experience of the tool: how the promise of reachability is thwarted by the strategies of each how, from an aggregate function, users metamorphic reinvent an object with a strong unit, or how the representations that are users of possible techniques lead to denying the reality of the tool in the case of photography such as portable ... Experimental cinema mobile, as well as films exploit this potential gap between the tool and the actual practices, which is characteristic of the relationship to the object. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

This sharp, witty study of a book never written, a sequel to Walter Benjamin's Arcades Project, is dedicated to New York City, capital of the twentieth century. A sui generis work of experimental scholarship or fictional philosophy, it analyzes an imaginary manuscript composed by a ghost. Part sprawling literary montage, part fragmentary theory of modernity, part implosive manifesto on the urban revolution, The Manhattan Project offers readers New York as a landscape built of sheer life. It initiates them into (...) a world of secret affinities between photography and graffiti, pragmatism and minimalism, Andy Warhol and Robert Moses, Hannah Arendt and Jane Jacobs, the flâneur and the homeless person, the collector and the hoarder, the glass-covered arcade and the bare, concrete street. These and many other threads can all be spooled back into one realization: for far too long, we have busied ourselves with thinking about ways to change the city; it is about time we let the city change the way we think. (shrink)

This essay will strive to provide the reader with various entry points into the project of François Laruelle's non-standard philosophy and its relation to non-aesthetics, via its relation to philosophy as rigorous fiction. It is a new genre, what Laruelle also calls a philo-fiction. Via Laruelle's preoccupation with photography as a new kind of thought, we will follow his trajectory of applying non-philosophy to photography. From his concept of non-photography and continued in Photo-Fiction, a Non-Standard Aesthetics, Laruelle's (...) practice of striving to create a genre of thinking that would be akin to science fiction and use philosophy as material shows itself in the form of experimental, theoretical applications of his philo-fiction to the photo. In their performative thrust, one can begin to see the components or what he calls aspects of philosophy and quantum physics, including the use of superposition and the imaginary number, as well as conceptual personae and generic humanity. Laruelle's work has at its base a highly poetic, fictional strain that in striving to superpose philosophy and art (fiction) also has at its core a place for reducing the violence of decision and actions attempting to work within a space of radical immanence and radical passivity. A performation-withoutperformance. Laruelle will call the photo a ?weak insurrection.? This particle of Laruelle strives merely for such a poetic attempt. (shrink)

An important topic in evolutionary art is the development of systems that can mimic the aesthetics decisions made by human begins, e.g., fitness evaluations made by humans using interactive evolution in generative art. This paper focuses on the analysis of several datasets used for aesthetic prediction based on ratings from photography websites and psychological experiments. Since these datasets present problems, we proposed a new dataset that is a subset of DPChallenge.com. Subsequently, three different evaluation methods were considered, one derived (...) from the ratings available at DPChallenge.com and two obtained under experimental conditions related to the aesthetics and quality of images. We observed different criteria in the DPChallenge.com ratings, which had more to do with the photographic quality than with the aesthetic value. Finally, we explored learning systems other than state-of-the-art ones, in order to predict these three values. The obtained results were similar to those using state-of-the-art procedures. (shrink)

This paper addresses the visual culture of late-19th-century experimental physiology. Taking the case of Johann Nepomuk Czermak (1828-1873) as a key example, it argues that images played a crucial role in acquiring experimental physiological skills. Czermak, Emil Du Bois-Reymond (1818-1896) and other late-19th-century physiologists sought to present the achievements and perspective of their discipline by way of "immediate visual perception (unmittelbare Anschauung)." However, the images they produced and presented for this purpose were strongly mediated. By means of specifically (...) designed instruments, such as the "cardioscope," the "contraction telegraph," and the "frog pistol," and of specifically constructed rooms, so-called "spectatoriums," physiologists trained and controlled the perception of their students before allowing them to conduct experiments on their own. Studying the material culture of physiological image production reveals that technological resources such as telegraphy, photography, and even railways contributed to making physiological facts anschaulich. At the same time, it shows that the more traditional image techniques of anatomy played an important role in physiological lecture halls, especially when it came to displaying the details of vivisection experiments to the public. Thus, the images of late 19th century physiology stood half-way between machines and organisms, between books and instruments. (shrink)

This volume explores the roles and uses of abstraction in scientific and artistic practice. Conceived as an interdisciplinary dialogue between experts across histories and philosophies of art and science, this collection of essays draws on the shared premise that abstraction is a rich and generative process, not reducible to the mere omission of details in a representation. When scientists attempt to make sense of complex natural phenomena, they often produce highly abstract models of them. In the history and philosophy of (...) art, there is a long tradition of debate on the function of abstraction, and - more recently - its relation with theories of depiction. Adopting a process-oriented perspective, the chapters in this volume explore the epistemic potential of a diversity of practices of abstracting. The systematic analysis of a wide range of historical cases, from early twentieth-century abstractionist painting to contemporary abstract photography, and from nineteenth-century physics to recent research in biology and neurosciences, invites the reader to reflect on the material lives of abstraction through concrete artefacts, experimental practices and theoretical and aesthetic achievements. Abstraction in Science and Art: Philosophical Perspectives will be of interest to scholars and advanced students working in aesthetics, philosophy of science, and epistemology, as well as to historians of science and art, and to practicing artists and scientists interested in exploring foundational questions at the heart of the creative practice of abstracting. (shrink)

In the data collection phase, the digital images are captured using sensors that often contaminated by noise (undesired random signal). In digital image processing task, enhancing the image quality and reducing the noise is a central process. Image denoising effectively preserves the image edges to a higher extend in the flat regions. Several adaptive filters (median filter, Gaussian filter, fuzzy filter, etc.) have been utilized to improve the smoothness of digital image, but these filters failed to preserve the image edges (...) while removing noise. In this paper, a modified fuzzy set filter has been proposed to eliminate noise for restoring the digital image. Usually in fuzzy set filter, sixteen fuzzy rules are generated to find the noisy pixels in the digital image. In modified fuzzy set filter, a set of twenty-four fuzzy rules are generated with additional four pixel locations for determining the noisy pixels in the digital image. The additional eight fuzzy rules ease the process of finding the image pixels,whether it required averaging or not. In this scenario, the input digital images were collected from the underwater photography fish dataset. The efficiency of the modified fuzzy set filter was evaluated by varying degrees of Gaussian noise (0.01, 0.03, and 0.1 levels of Gaussian noise). For performance evaluation, Structural Similarity (SSIM), Mean Structural Similarity (MSSIM), Mean Square Error (MSE), Normalized Mean Square Error (NMSE), Universal Image Quality Index (UIQI), Peak Signal to Noise Ratio (PSNR), and Visual Information Fidelity (VIF) were used. The experimental results showed that the modified fuzzy set filter improved PSNR value up to 2-3 dB, MSSIM up to 0.12-0.03, and NMSE value up to 0.38-0.1 compared to the traditional filtering techniques. (shrink)

For a person to squeeze his fingers is legal. For a person to face towards another person is legal. For a person to sight down the barrel of a gun is legal. Yet, for that same person to do all three of these things at once is very illegal. Although Google Street View, or GSV for short, and similar services may be comprised of previously accepted functions---operation of an automobile, photography, internet publishing, mapmaking, advertising, etc.---the whole of a thing (...) is far different from the constituent pieces with which it is comprised. The context, accessibility, and ease of manipulation pertaining to the data presented by Google are radically altered by the organization that is fundamental to the product. Google Street View must be evaluated as an experimental and almost completely unprecedented foray into a still developing area of technology. (shrink)

ETH-Bibliothek, the main library at the Swiss Federal Institute of Technology Zurich's, is holding in its Image Archive vast collections of photographs. Among them is the complete, and so far only little examined, collection of ETH Zurich's own Photographic Institute throughout its existence as an independent service and research unit between 1886 and 1979. The new, third volume in the series Pictorial Worlds. Photographs from the Image Archive, ETH-Bibliothek documents both main aspects of scientific photography: servicing research in many (...) disciplines and being subject of basic research itself. A rich selection of images is presented, ranging from astronomical and micro photography to laboratory situations and carefully illuminated experimental installations. The introductory essay investigates the interplay between photography and the world of science and tells the story and changing role over the decades of ETH Zurich's Photographic Institute. (shrink)

This title offers an illustrated overview of the evolution of two very different strains of modern Japanese photography. In the 1930s, Japanese photography evolved in two very directions: one toward a documentary style, the other favouring an experimental, or avant-garde, approach strongly influence by Western Surrealism. This book explores these two divergent paths through the work of two remarkable figures: Hiroshi Hamaya and Kansuke Yamamoto. Hiroshi Hamaya was born and raised in Tokyo and, after an initial period (...) of creative experimentation, turned his attention to recording traditional life and culture. He went on to record cultural changes in China, political protests in Japan, and landscapes around the world. Kansuke Yamamoto became fascinated by the innovative approaches in art and literature exemplified by Western artists such as Man Ray and Magritte. 0Exhibition: Getty Museum, Los Angeles, USA. --. (shrink)

How is technology changing the way people remember? This book explores the interplay of memory stored in the brain and outside of the brain, providing a thorough interdisciplinary review of the current literature, including relevant theoretical frameworks from across a variety of disciplines in the sciences, arts, and humanities. It also presents the findings of a rich and novel empirical data set, based on a comprehensive survey on the shifting interplay of internal and external memory in the 21st century. Results (...) reveal a growing symbiosis between the two forms of memory in our everyday lives. The book presents a new theoretical framework for understanding the interplay of internal and external memory, and their complementary strengths. It concludes with a guide to important dimensions, questions, and methods for future research. Memory and Technology will be of interest to researchers, professors, and students across the disciplines of psychology, philosophy, library and information science, human factors, media and cultural studies, anthropology and archaeology, photography, and cognitive rehabilitation, as well as anyone interested in how technology is affecting human memory. _____ "This is a novel book, with interesting and valuable data on an important, meaningful topic, as well as a gathering of multidisciplinary and interdisciplinary ideas...The research is accurately represented and inclusive. As a teaching tool, I can envision graduate seminars in different disciplines drawing on the material as the basis for teaching and discussions." Dr. Linda A. Henkel, Fairfield University "This book documents the achievements of a vibrant scientific project – you feel the enthusiasm of the authors for their research. The organization of the manuscript introduces the reader into a comparatively new field the same way as pioneering authors have approached it." Prof. Dr. Wolfgang Schönpflug, Freie Universität Berlin. (shrink)

Sociologists, philosophers and historians of science are gradually recognizing the importance of visual representation. This is part of a more general movement away from a theory-centric view of science and towards an interest in practical aspects of observation and experimentation. Rather than treating science as a matter of demonstrating the logical connection between theoretical and empirical statements, an increasing number of investigations are examining how scientists compose and use diagrams, graphs, photographs, micrographs, maps, charts, and related visual displays. This paper (...) focuses on diagrams in biology, and tries to demonstrate how diagrams are an integral part of the production of scientific knowledge. In order to disclose some of the distinctive practical and analytical uses of diagrams, the paper contrasts the way diagrams and photographs are used in biological texts. Both diagrams and photographs are shown to be “constructions” that separately and together mediate the investigation of scientific phenoman. (shrink)

A deeply personal reckoning with family, mental illness, and suicide, Dana Trusso captures the meaning of Nietzsche's armor fati--to love one's fate--through her surreal imagery and longing to heal intergenerational wounds. Lines are drawn from Lars von Trier's Melancholia, Sonic Youth's Experimental Jet Set, Trash and No Star, and lines she read from her aunt's journals as a child. -/- The photo is a sculpture of an earth goddess by Jean-Philippe Richard located in the botanical gardens of Èze, France. (...) Nearby is Le Chemin de Nietzsche, a steep hike from the seaside to mountainous ruins that is said to have inspired Thus Spoke Zarathustra. (shrink)

Publication Zero Point shows the results of a four-years inquiry into the concept of 'measurability'. The book encompasses thirty-eight pictureworks and a philosophical thought experiment. It invites the reader to contemplate and compile their personal 'zero point' as a portrait of God. -/- Measurability appears to be a problematic concept. The boundaries between fixed and fluid; between sharp and vague; between coloured and non-coloured; between love and hate. When does one state of affairs turn into the other? When is something (...) still measurable? And: is it essential for something to be measurable at all? -/- A single drinking glass was the starting point for transformational processes of photographic images into multi-layered pictureworks. Pictorial spaces that are variable and subject to chance in an experimental, unconscious method of choice, chance, inspiration, and demolition. The results of split, remodel, and repeat invite you to explore and contemplate the notions of space and time as a dimension, in which meaning remains something definitely unfinished, but in which measurability is crucial. After all, when there is nothing to hold on to, you have to choose a point of departure from which you can reorganise your life. -/- There are several ways to leaf through the book and engage in its content. Each of the thirty-eight pictureworks is accompanied by a philosophical caption. These captions are part of a larger philosophical deliberation of three countenances which together make a portrait of God. Each caption can be read separately next to the picturework. Each picturework can be enjoyed next to a specific caption. Another way to work with the captions is to read them within their larger con text: unfold the last page of the book, reflect, and search for cross-references next to any particular picturework. (shrink)

This article examines the work of three artists – Harun Farocki, Hito Steyerl and Rabih Mroué – who in different ways mobilize the cinematic device of ‘shot/countershot’ in two distinct post-cinematic contexts (the moving image installation and the performance lecture) as a tool for scrutinizing images of war and violence from divergent historical, socio-economic, geopolitical and ethical perspectives. In returning to and reworking this classical cinematic device as an experimental and essayistic mode of montage and critical reflection, all three (...) artists, as I argue, variously seek to counter the ideological naturalization and interpretive framing of representations of war and violence under conditions of digitalization and globalization, as well as to interrogate the interconnections between forms of direct, symbolic and systemic violence. (shrink)

The image plates that Aby Warburg produced during the closing years of his life and his complex use of photographic reproductions were a completely new, experimental medium in art-history research. The essay deals with the visual rhetoric of this medium, with its both polyphonic and multifocal argumentation structure. Warburg’s plates are arranged into compositions whose distinct syntax does not follow any linguistic models and in many of the plates Warburg’s notion of polarity in art history is expressed through utterly (...) conflicting, inversive perspectives on the pictorial material. They document how deeply devoted the art historian was to pictures in which humanity had sought to exorcise inexplicable and hence threatening phenomena, the emotions of the inner and the demons (‘monstra’) of the outer world. The specific impact of his series of pictures and exhibitions shows that Warburg developed a demonstration procedure that was highly performative. (shrink)