At the most mundane level, CCTV observes bodies, and as such attaches great importance to the specific features of the human body. At the same time, however, bodies tend to disappear, as they are represented electronically by the camera monitors and, in the case of image recording, by the computer systems processing data. The roles of bodies(either as targets of surveillance or as translations into flows of disembodied information), however, are not unimportant or inconsequential, but may in fact give (...) rise to a number of tangible ethical dilemmas. Firstly, the virtual representation of the embodied actor is not a neutral, unproblematic process. Body representation techniques such as CCTV produce constructions of the subject that involve judgmental, discriminatory processes of categorisation and are based on asymmetrical relations between observers and observed. Secondly, the `data doubles' are not inconsequential: the representations of the body produced by CCTV can have palpable consequences for the embodied self and its life chances. The widespread use of CCTV could therefore give rise to individual as well as social issues, and possibly in a different manner than previous surveillance technologies. This fact signals the need for(re-)conceptualisations of moral values (such as privacy) applicable to the case of CCTV which take into account the importance of bodily protections. (shrink)

Purpose This paper aims to uncover the assumptions and concerns driving public debates about Google Glass and police body cameras. In doing so, it shows how debates about wearable cameras reflect broader cultural tensions surrounding race and privilege. Design/methodology/approach The paper employs a form of critical discourse analysis to discover patterns in journalistic coverage of these two technologies. Findings Public response to Glass has been overwhelmingly negative, while response to body cameras has been positive. Analysis (...) indicates that this contrasting response reflects a consistent public concern about the dynamics of power and privilege in the digital economy. While this concern is well-founded, news coverage indicates that technologists, policy makers and citizens each hold assumptions about the inevitability and unvarnished beneficence of technology. Research limitations/implications Since this qualitative approach seeks to discern broad emergent patterns, it does not employ a quantifiable and reproducible coding schema. Practical implications The article concludes by arguing that grassroots action, appropriate regulatory policy and revitalized systems of professional journalism are indispensable as the struggle for social justice unfolds in the emerging digital economy. Social implications These debates represent a struggle over what and how people see. Yet public discourse often glosses over the disadvantages of technological change, which impacts who is able to amass social power. Originality/value This comparative approach yields unique conceptual insight into debates about technologies that augment ways of seeing. (shrink)

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

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

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

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

We investigate two issues about the subjective experience of one's body: first, is the experience of owning a full-body fundamentally different from the experience of owning a body-part?Second, when I experience a bodily sensation, does it guarantee that I cannot be wrong about whether it is me who feels it? To address these issues, we conducted a series of experiments that combined the rubber hand illusion (RHI) and the “body swap illusion.” The subject wore a head (...) mounted display (HMD) connected with a stereo camera set on the experimenter's head. Sitting face to face, they used their right hand holding a paintbrush to brush each other's left hand. Through the HMD, the subject adopted the experimenter's first-person perspective (1PP) as if it was his/her own 1PP: the subject watched either the experimenter's hand from the adopted 1PP, and/or the subject's own hand from the adopted third-person perspective (3PP) in the opposite direction (180°), or the subject's full body from the adopted 3PP (180°, with or without face). The synchronous full-body conditions generate a “self-touching illusion”: many participants felt that “I was brushing my own hand!” We found that (1) the sense of body-part ownership and the sense of full-body ownership are not fundamentally different from each other; and (2) our data present a strong case against the mainstream philosophical view called the immunity principle (IEM). We argue that it is possible for misrepresentation to occur in the subject's sense of “experiential ownership” (the sense that I am the one who is having this bodily experience). We discuss these findings and conclude that not only the sense of body ownership but also the sense of experiential ownership call for further interdisciplinary studies. (shrink)

This article focuses on how the human body and body parts such as the legs, abdomen, and torso are conceptualized in Spanish director Pedro Almodóvar's films. The comparative analysis follows a qualitative methodology in which instances of the use of body parts are analyzed within their multimodal, sociocultural, and cinematic contexts. Through camera work and mise-en-scène, the actors' bodies and bodily functions are mapped onto complex cultural, social, and filmic targets within the narrative structure. Ultimately, the author (...) shows how artistic creativity is an activity whose purpose is a reembodiment of the emotion by visual and physical alteration. The new body is an environment onto which traditional views of the body based on folk theories are mapped, and body parts and functions are metonymically highlighted. (shrink)

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

Serious attempts to build thinking machines began after the second world war. One line of research, called Cybernetics, used electronic circuitry imitating nervous systems to make machines that learned to recognize simple patterns, and turtle-like robots that found their way to recharging plugs. A different approach, named Artificial Intelligence, harnessed the arithmetic power of post-war computers to abstract reasoning, and by the 1960s made computers prove theorems in logic and geometry, solve calculus problems and play good games of checkers. At (...) the end of the 1960s, research groups at MIT and Stanford attached television cameras and robot arms to their computers, so "thinking" programs could begin to collect information directly from the real world. (shrink)

This article focuses on the aesthetics of the psychedelic experience. Aldous Huxley’s Doors of Perception remains one of the few studies that investigates the aesthetic dimension of the psychedelic experience as profoundly meaningful as such, because it gives direct attention to the nonhuman otherness of the universe that is hard to describe in words, but that can be felt and sensed. Similarly, Deleuze and Guattari have investigated psychedelics as a perceptual, aesthetic, phenomenon. They argue that psychedelic aesthetics offers an experience (...) at the limits of perception to the point of ultimate abstraction of geometric figures and grains. Drawing upon the works of two experimental filmmakers from two different generations and backgrounds, Philippe Garrel’s enigmatic Le Révélateur ( The Revealer, 1968 ) and Morgan Quaintance’s thought-provoking Surviving You, Always (2021), the borders of the perceptual field by cinematographic means will be investigated. These works are exemplary of how the nonhuman perception of the camera, its ‘bodies without organs’, and its affective intensity evoke a psychedelic, mind-revealing, experience and an ethics of – in Deleuze’s words – ‘becoming not unworthy of the event’. (shrink)

Barbara Maria Stafford's Body Criticism is analyzed for its reliance upon monstrous bodies as the source of an alternative to the art history of the Enlightenment. A counterculture of the flesh caught in its own vision of skin diseases, bumps, and medical pathologies is painstakingly reproduced as the official opposition to reason's body. The art establishment is required to admit engravers, cartoonists, kaleidoscopists, and phrenologists. Critical questions are raised regarding Stafford's use of iconology and genealogy, as well as (...) a critical difference over the question of the revolutionary status of the postmodern aesthetic traced from the camera obscura to virtual reality perception. (shrink)

ABSTRACT In Frank Capra’s Mr. Deeds Goes to Town, Stanley Cavell says, the film camera, a “somatogram,” reads fits and fidgets as a post-Cartesian cogito of embodied thinking. Giorgio Agamben sees the cameras of motion studies at Salpêtrière in the 1880s as dehumanizing normalizers of gesture, but Georges Didi-Huberman claims that what they recorded as hysteria was solicited by them and sometimes refused. Which is it? Does the camera humanize, normalize, or solicit gesture? I consider the question with Anna (...) Rose Holmer’s The Fits. Like Mr. Deeds, The Fits foregrounds non-sovereign body movements, but its protagonist, Toni, agonistically engages the camera’s gaze, extracting from it the respect she deserves. I argue that Toni may be seen as responding to Salpêtrière, and also to Thomas Eakins, in whose attic, in the 1880s, a young Black girl was photographed naked, on a couch. Is her stare a refusal of the white gaze or a coerced pose? Toni’s own stare suggests she avenges such historic wrongs in acts of cinematic agonism. In The Fits, the camera that might have been Toni’s reader/partner, betrayer, or groomer becomes a mystical mechanism of remediation and Toni, the ghost in its machine. (shrink)

Self-location—the sense of where I am in space—provides an experiential anchor for one's interaction with the environment. In the studies of full-body illusions, many researchers have defined self-location solely in terms of body-location—the subjective feeling of where my body is. Although this view is useful, there is an issue regarding whether it can fully accommodate the role of 1PP-location—the sense of where my first-person perspective is located in space. In this study, we investigate self-location by comparing (...) class='Hi'>body-location and 1PP-location: using a head-mounted display (HMD) and a stereo camera, the subjects watched their own body standing in front of them and received tactile stimulations. We manipulated their senses of body-location and 1PP-location in three different conditions: the participants standing still (Basic condition), asking them to move forward (Walking condition), and swiftly moving the stereo camera away from their body (Visual condition). In the Walking condition, the participants watched their body moving away from their 1PP. In the Visual condition, the scene seen via the HMD was systematically receding. Our data show that, under different manipulations of movement, the spatial unity between 1PP-location and body-location can be temporarily interrupted. Interestingly, we also observed a “double-body effect.” We further suggest that it is better to consider body-location and 1PP-location as interrelated but distinct factors that jointly support the sense of self-location. (shrink)

Film viewers make sense of films first of all at a precognitive level, triggered by their bodi­ly responses. The key notion here is movement: the movements of screen characters, the movements simulated by the viewers who perceive these characters, and the camera move­ments that mediate between the two. This review essay evaluates two monographs: Maarten Coëgnarts’ Embodied Cinema, which expands conceptual metaphor theo­ry to account for film’s unique affordances to communicate embodied meaning; and Vit­torio Gallese's and Michele Guerra’s The Empathic (...) Screen, which buttresses embod­ied simulation by film viewers experimentally by demonstrating the workings of “mirror neurons.” The review ends by discussing how these two books tie in with other develop­ments in the study of gene-culture coevolution. (shrink)

The association of colour, sensation and the body, which is noted by Jacqueline Lichtenstein and Merleau-Ponty through their insights on colour as the disturbing of structure and form, offers a way in which to foreground a series of questions about embodiment and the discourse of vision. An analysis of the chromatics of Red Road, which features a female protagonist who works as a surveillance officer in a CCTV control room, offers a way to echo and disrupt the ‘mechanisms and (...) techniques of reality-control’ and to challenge what constitutes socially acceptable bodies and the cinematic institution of the image of woman. In Red Road the legible architecture of the film image emerges through the myriad colours of light reflected by a camera lens and the effacement of details in areas affected by shadow and variations in focus. The camera is almost always in motion and responsive to the gestures of the protagonist's body, signalling the potential of the chromatics of Red Road to trouble the structures of seeing familiar to cinematic representation. Colour and perception remain open to contingency and change, fostering alternative subject positions that trace the interrelations of the body — its senses and sensations — and the discourse of vision. The unsettling of perception refigures the encounter between the self and others through the imaginary or fictional worlds that remind us of the uncertainties and vulnerability of such interactions. (shrink)

From George Floyd to Breonna Taylor, the brutal deaths of Black citizens at the hands of law enforcement have brought race and policing to the forefront of national debate in the United States. In The Ethics of Policing, Ben Jones and Eduardo Mendieta bring together an interdisciplinary group of scholars across the social sciences and humanities to reevaluate the role of the police and the ethical principles that guide their work. With contributors such as Tracey Meares, Michael Walzer, and Franklin (...) Zimring, this volume covers timely topics including race and policing, the use of aggressive tactics and deadly force, police abolitionism, and the use of new technologies like drones, body cameras, and predictive analytics, providing different perspectives on the past, present, and future of policing, with particular attention to discriminatory practices that have historically targeted Black and Brown communities. This volume offers cutting-edge insight into the ethical challenges facing the police and the institutions that oversee them. As high-profile cases of police brutality spark protests around the country, The Ethics of Policing raises questions about the proper role of law enforcement in a democratic society. (shrink)

In this paper we introduce a paradigm of experiment which, we believe, is of interest both in psychology and philosophy. There the subject wears an HMD (head-mount display), and a camera is set up at the upper corner of the room, in which the subject is. As a result, the subject observes his own body through the HMD. We will mainly focus on the philosophical relevance of this experiment, especially to the thesis of so-called 'immunity to error through misidentification (...) relative to the first-person pronoun'. We will argue that one experiment conducted in this setting, which we call the bodily illusion experiment, provides a counterexample to that thesis. (shrink)

This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, (...) and camera movements cultivate a spectator’s receptivity to these “nobjects” and participate in acts of sphere formation. This provides a framework for thinking about how cinema itself might function as a “nobject”: a connective medium or sphere that supports and augments a subject, providing a field of protection and attention. However, the film’s presentation of breathlessness also signals a blocked receptivity, an inability to take in, introducing friction and resistance to the discourse of immediacy and exchange that characterises philosophical reflections on breath. Breathlessness has implications for thinking about bodily autonomy and forms of freedom that speak to the queer politics of Sauvage, as well as questions about movement and stillness, animation and lifelessness, that reflect back on the medium of film itself. (shrink)

This study compared whole body kinematics of the clean movement when lifting three different loads, implementing two data analysis approaches based on principal component analysis. Nine weightlifters were equipped with 39 markers and their motion captured with 8 Vicon cameras at 100 Hz. Lifts of 60, 85, and 95% of the one repetition maximum were analyzed. The first PCA analyzed variance among time-normed waveforms compiled from subjects and trials; the second PCA analyzed postural positions compiled over time, subjects (...) and trials. Load effects were identified through repeated measures ANOVAs with Bonferroni-corrected post-hocs and through Cousineau-Morey confidence intervals. PCAtrial scores differed in the first and fifth principal component, suggesting that increased barbell load produced higher initial elevation, lower squat position, wider feet position after squatting, and less inclined arms. PCAposture revealed significant timing differences in all components. We conclude, first, barbell load affects specific aspects of the movement pattern of the clean; second, the PCAtrial approach is better suited for detecting deviations from a mean motion trajectory and its results are easier to interpret; the PCAposture approach reveals coordination patterns and facilitates comparisons of postural speeds and accelerations. (shrink)

In this important new book, Jacques Derrida talks with Bernard Stiegler about the effect of teletechnologies on our philosophical and political moment. Improvising before a camera, the two philosophers are confronted by the very technologies they discuss and so are forced to address all the more directly the urgent questions that they raise. What does it mean to speak of the present in a situation of "live" recording? How can we respond, responsibly, to a question when we know that the (...) so-called "natural" conditions of expression, discussion, reflection, and deliberation have been breached? As Derrida and Stiegler discuss the role of teletechnologies in modern society, the political implications of Derrida's thought become apparent. Drawing on recent events in Europe, Derrida and Stiegler explore the impact of television and the internet on our understanding of the state, its borders and citizenship. Their discussion examines the relationship between the juridical and the technical, and it shows how new technologies for manipulating and transmitting images have influenced our notions of democracy, history and the body. The book opens with a shorter interview with Derrida on the news media, and closes with a provocative essay by Stiegler on the epistemology of digital photography. In Echographies of Television, Derrida and Stiegler open up questions that are of key social and political importance. Their book will be of great interest to all those already familiar with Derrida's work, as well as to students and scholars of philosophy, literature, sociology and media studies. (shrink)

The scientific and practical fields—especially high-performance sports—increasingly request a stronger focus be placed on individual athletes in human movement science research. Machine learning methods have shown efficacy in this context by identifying the unique movement patterns of individuals and distinguishing their intra-individual changes over time. The objective of this investigation is to analyze biomechanically described movement patterns during the fatigue-related accumulation process within a single training session of a high number of repeated executions of a ballistic sports movement—specifically, the frontal (...) foot kick (mae-geri) in karate—in expert athletes. The two leading research questions presented for consideration are (1) Can characteristics of individual movement patterns be observed throughout the entire training session despite continuous changes, i.e., even as fatigue-related processes increase? and (2) How do intra-individual movement patterns change as fatigue-related processes increase throughout a training session? Sixteen expert karatekas performed 606 frontal foot kicks directed toward an imaginary target. The kicks were performed in nine sets at 80% (K-80) of the self-experienced maximal intensity. In addition, six kicks at maximal intensity (K-100) were performed after each of the nine sets. Between the sets, the participants took a 90-s break. Three-dimensional full-body kinematic data of all kicks were recorded with 10 infrared cameras. The normalized waveforms of nine upper- and lower-body joint angles were classified using a supervised machine learning method (support vector machine). The results of the classification revealed a disjunct distinction between the kinematic movement patterns of individual athletes. The identification of unique movement patterns of individual athletes was independent of the intensity and the degree of fatigue-related processes. In other words, even with the accumulation of fatigue-related processes, the unique movement patterns of an individual athlete can be clearly identified. During the training session, changes in intra-individual movement patterns could also be detected, indicating the occurrence of adaptations in individual movement patterns throughout the fatigue-related accumulation process. The results suggest that these adaptations can be modeled in terms of changes in patterns rather than increasing variance. Practical consequences are critically discussed. (shrink)

We become aware of our bodies interoceptively, by processing signals arising from within the body, and exteroceptively, by processing signals arising on or outside the body. Recent research highlights the importance of the interaction of exteroceptive and interoceptive signals in modulating bodily self-consciousness. The current study investigated the effect of social self-focus, manipulated via a video camera that was facing the participants and that was either switched on or off, on interoceptive sensitivity and on tactile perception ). The (...) results indicated a significant effect of self-focus on SSDT performance, but not on interoception. SSDT performance was not moderated by interoceptive sensitivity, although interoceptive sensitivity scores were positively correlated with false alarms, independently of self-focus. Together with previous research, our results suggest that self-focus may exert different effects on body perception depending on its mode . While interoception has been previously shown to be enhanced by private self-focus, the current study failed to find an effect of social self-focus on interoceptive sensitivity, instead demonstrating that social self-focus improves exteroceptive somatosensory processing. (shrink)

ArgumentThis essay considers the work of projection and the hand of the projectionist as important components of the social space of the cinema as it comes into being in the nineteenth century and the early decades of the twentieth. I bring the concept of Maurice Merleau-Ponty on the place of the body as an entity that applies itself to the world “like a hand to an instrument” into a discussion of the pre-cinematic projector as an instrument that we can (...) interpret as evidence of the experience of the work of the projectionist in the spirit of film theory and media archaeology, moving work on instrumentation in a different direction from the analysis of the work of the black box in laboratory studies. Projection is described as a psychological as well as a mechanical process. It is suggested that we interpret the projector not simply in its activity as it projects films, but in its movement from site to site and in the workings of the hand of its operator behind the scenes. This account suggests a different perspective on the cinematic turn of the nineteenth century, a concept typically approached through the study of the image, the look, the camera, and the screen. (shrink)

The central thesis of this article is that film is directing and directed kinaesthesis understood as an opening of world beyond the relation of “subjective” and “objective”. Thus the analysis does not focus on the recipients of a movie but on the origins filming finds in specific ways of experiencing, that is, in the living bodies of the persons who decide on the perspective of a take by using the camera’s body. Moved by its filmmakers, the body of (...) the camera is directed as the product of its authors, and is directing insofar as it establishes a world by its own means. The article explains basic forms of opening world by kinaesthetic processes in general, and applies this investigation to the corpus of film. Finally, the results of these analyses will be put in concrete terms by relating them to basic film features and a few samples of movies. (shrink)

With the aid of new technologies, science has found creative ways to investigate nature. Through the use of a highly sensitive, low-noise, cooled camera, previously applied to exploring dark sky, scientific laboratories around the world have been looking at the weak emission of light from cells in a living organism. Biophoton emission, as so-called by Fritz Albert Popp, was introduced to science in the 1920s by the Russian embryologist Alexander Gurwitsh, receiving the name of mitogenetic rays. Since 1974, systematic research (...) carried out by Fritz Albert Popp and his colleagues in many parts of the world has been focused on conducting experiments and working towards a biophoton theory to inform us about its properties. One of the main hypotheses is that biophoton plays an important biological function and due to evidence of coherence of its light, i.e. a high degree of order with an extremely stable intensity (Bischof 2005), biophoton is supposed to operate as a biological laser, able to manage a network of information in the organism as well as to form electromagnetic field patterns. Interactive art based on digital technologies uses numerical data to produce interactions between our body and lit pixels on the screen. Maybe, with the correct tools and equations, data from subtle fields of energy in living systems could be used to connect different systems of information, conjugating micro and macro levels of energy. This paper intends to examine biophoton research as a possible model to interactive art and consider the way it could lead to new forms for perception and consciousness. (shrink)

This article addresses issues of body and sexuality exposed by documentary films about orthodox Jewish women in Israel and traditional Islamic women in Iran, directed by Anat Yuta Zuria and Ziba Mir-Hosseini, respectively. These two groups of religious women are faced with some similar circumstances. The directors of these films use their cameras to expose not only the male gaze, but sometimes they also turn their cameras back on the men who perpetuate and benefit from religious legal (...) systems that subjugate these women. The camera thus is not merely a documentary tool but also a political tool revealing what is hidden in the inner sanctum and redeeming it from the “private sphere.” This comparison highlights the potential of Jewish feminism in Israel; it challenges it to work in alliance with Islamic women who live either as citizens in Israel or as non-citizens in the occupied territories. (shrink)

This excerpt from Kenneth Kings essay, The Dancing Philosopher, traces its genesis from Nietzsches Thus Spoke Zarathustra that, in tandem with the emerging technology of the writing machine, camera and kinetoscope, conjoined the kinetropic and lexigraphemic to inaugurate the kinetic cogito. Maurice Merleau-Pontys phenomenological exposition of corporeality further amplified the reflexive potential of movement and the philosophical understanding of kinesthesia, and King cites as well the technosophic synergy of John Cages and Merce Cunninghams long artistic collaboration that furthered the frontier (...) of a mind-body epistemic. (shrink)

This paper examines masculinity in relation to the modern tracking shot in Daren Aronofsky's The Wrestler and Derek Cianfrance's The Place Beyond the Pines. These films make prominent use of a particular tracking shot in which the camera floats behind a male character, his head neatly centred in the frame. The camera in these ‘follow-shots’ seems unmistakably but loosely tethered to the character's body. This paper attempts to ascertain the phenomenological nature and critical significance of that relationship, which in (...) recent films expresses the intimate distance and dissonance between mobile cameras, masculinity and the male body in the twenty-first century. (shrink)

BackgroundGait Analysis of healthy people, imitating pathological conditions while walking, has increased our understanding of biomechanical factors. The influence of the pelvis as a biomechanical constraint during gait is not specifically studied. How could mimicking a pelvic attitude influence the dynamic mechanical interaction of the body segments? We proposed an investigation of the pelvic attitude role on the gait pattern of typically developed people when they mimicked pelvic anteversion and posteroversion.Materials and methodsSeventeen healthy volunteers were enrolled in this study. (...) They simulated a pelvic anteversion and posteroversion during walking, exaggerating these postures as much as possible. 3D gait analysis was conducted using an optoelectronic system with eight cameras and two force plates. The kinematic, kinetic, and spatio-temporal parameters were compared between the three walking conditions.ResultsIn Pelvic Anteversion gait we found: increased hip flexion, increased knee flexion during stance, and reduction of ankle flexion-extension Range of Motion compared with Pelvic Normal gait. In Pelvic Posteroversion gait compared with PN, we found: decreased hip flexion-extension RoM with a tendency to hip extension, decreased knee maximum extension in stance, and increased ankle maximum dorsiflexion in stance.ConclusionThe configuration of PA contains gait similarities and differences when compared with pathologic gait where there is an anteversion as seen in children with Cerebral Palsy or Duchenne Muscular Dystrophy. Similarly, attitudes of PP have been described in patients with Charcot-Marie-Tooth Syndrome or patients who have undergone Pelvic Osteotomy. Understanding the dynamic biomechanical constraints is essential to the assessment of pathological behavior. The central nervous system adapts motor behavior in interaction with body constraints and available resources. (shrink)

The challenge I address in this chapter is a fear of repetition, as I turn to a performance by an artist whose work has already provoked my own thought and writing—the Chinese-born artist based in Germany, Yingmei Duan. At a performance in a London gallery, in spite of my personal acquaintance with the artist and despite my own fears, misgivings, and hesitancy, I found space-time-matter transformed by her presence. Or perhaps it is because of this hesitancy and the unanticipated power (...) of the gesture that I was prompted to respond in kind, mouthing manacled words to camera in the making of a video piece that attempted to link on to that gesture. The art is in the gesture, not the artist or the work, and it is the presence of the remainder that is the concern of this chapter. In what follows, I attempt to evoke the complexity of the gesture, which resists and rejects expected articulations, prompting a transference of affect. Accepted forms of communication are broken down and the codified body dismembered, as Lyotard writes: “The body doesn’t belong to you.”. (shrink)

This paper develops computational models to monitor patients with hip replacement surgery. The Kinect camera is used to capture the movements of patients who are performing rehabilitation exercises with both lower limbs, specifically, ‘side step’ and ‘knee lift’ with each leg. The information is measured at 25 body points with their respective coordinates. Features selection algorithms are applied to the 75 attributes of the initial and final position vector of each rehab exercise. Different classification techniques have been tested and (...) Bayesian networks, supervised classifier system and genetic algorithm with neural network have been selected and jointly applied to identify the correct and incorrect movements during the execution of the rehabilitation exercises. Besides, prediction models of the evolution of a patient are developed based on the average values of some motion related variables. These models can help to fasten the recovery of these patients. (shrink)

DRACO.WOLFANDDOTCOM.INFO is an interactive proto-videogame installation that immerses users, personified as abstract dragons in a cathartic, stochastic, full-body immersive videogame experience, in cyberspace. The work attempts to playfully shift user consciousness towards non-human embodiment, by real-time 3D meshing the data from the human body into a mirrored abstract, ill-defined dragonic 3D shape. It gifts humans with special virtual powers, such as flying and cusping fireballs, as they fight for their progression in the game-space and facing annihilation, through invisible, (...) interactional camera-based technologies which will be exposed in this paper. Inside the piece’s virtual world, users play as endangered dragons in the XXIst century populated by companies, websites and humanoids eager to stop the mythological beasts. The dragons progress in the game-space by inflicting damage upon the city’s landscape. The stochastic game-space ascends in difficulty as the levels progress, slowly changing the joystick’s response into faster speeds and generating larger city-scapes, inducing the game’s ultimate goal of a cathartic ilinxian state of disruption and otherness in human perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 2. © 2021 by Feminist Studies, Inc. 279 A Report on Underage Prostitutes Zhai Yongming Translated by Petrus Liu and Lisa Rofel An underage prostitute has been called a pretty babe again She wears a scanty, floral-patterned lace dress Her long legs titillate Her mother is even more beautiful (than she) They appear like sisters, “one looks like an antelope...” All the men like babes (...) like her Babes like facing the camera But the underage prostitute I saw was not like this She was only 12, skinny, and she wore filthy clothes You could fit a whole world in her eyes But they had no room for a single tear Her father is a peasant, still young But his hair already white For three months her father Searched everywhere for her His lost baby The underage prostitute’s three months Nearly one hundred days Three hundred men Not a simple number She doesn’t understand why So many old, ugly, filthy men 280 Zhai Yongming Want to climb on top of her belly She doesn’t understand how these things come about The only thing she knows is that her body becomes light and empty Certain things taken from it She is seen as a beauty without a brain She probably doesn’t know anything She counts only during the night Her count reaches over three hundred Figures with no names no surnames no addresses Together they are called customers The numbers like ancient symbols inside a tomb Disappeared before the sun comes up Reading the newspaper I think: I cannot write a poem about this I cannot change poetry into that I cannot chew the poem into a straightforward cackling, boom bang sound I cannot hammer the words into pieces the teeth gnaw on Those illnesses those operations Those numbers added to her age, twelve years old Poetry, bandage, photograph, memory Damaged my eyeballs (The zone in the retina where light and obscurity make contact/meet) Makes all too clear: it’s no use Injuries no one cares about Just some numbers you see every day; but they are Creating a lifetime of misery for some Only a part of her is in the news photo A twelve-year-old standing together with other girls You can’t tell she’s missing an ovary It’s only a news item Each day our eyes process numerous pieces of information They control our delights as consumers They skim news stories like this without much thought Information overload, hotlines, and the international media An enormous sackcloth erasing one person’s humble wounds from view Zhai Yongming 281 We just gaze It gets rolled and stuffed into a black iron trash can... (shrink)

During a showing of the video Some Everybodies, which observes tourist behaviour at a non-tourist site in Bath, the work will be discussed as evolving through non-dualist processes of film-making (enabled through new technology), whilst also attempting to create a non-dualist filmic experience for the spectator. Shot with a fixed-frame camera at a corner scene (which is the site of a minor accident), the film does not possess a traditional narrative structure or design, and has been described as a moving (...) painting. There is no central character (people are viewed more as moving bodies), and the momentum (rather than linear progression of scenes) has been made entirely in the editing suite, rather than on-site through a directorial eye. Dialogue from the site has been included as a multivalent communal poem that scrolls as subtitles beneath the images. Here the traditional understanding of subtitles is, once again, questioned, and they no longer exist as semiotic colonizers of othered national experiences, but evolve as asides from the passers-by themselves. Time-as-intervention will be discussed through the bleached colouration of the pictorial image, reminiscent of old postcards. This visual sense of well-worn familiarity is juxtaposed against a soundtrack that has been slowed down, creating primal groans and utterances. The significance of still-images within film-making will be explored, as the narrative freezes whilst the tourists themselves freeze, or snap, their own narratives. These mementos are also included on postcards and posters as part of a larger installation. The walk-through, yet high-walled cross design of the installation creates corners (said to be the places where people meet), and optimal viewing points a tourist leit-motif. The site is designed to illustrate the dislocation of time and place, where images of the video site (as posters and postcards) are seen before the video itself. Reference will be made to film-maker Joseph Robakowski, artist Barbara Kruger, the scientist Dirk Helbing (with particular reference to dynamical flow and pilgrim crowd behaviour at Mecca) and film theorist and film-maker Professor Laura Mulvey. (shrink)

In this important new book, Jacques Derrida talks with Bernard Stiegler about the effect of teletechnologies on our philosophical and political moment. Improvising before a camera, the two philosophers are confronted by the very technologies they discuss and so are forced to address all the more directly the urgent questions that they raise. What does it mean to speak of the present in a situation of "live" recording? How can we respond, responsibly, to a question when we know that the (...) so-called "natural" conditions of expression, discussion, reflection, and deliberation have been breached? As Derrida and Stiegler discuss the role of teletechnologies in modern society, the political implications of Derrida's thought become apparent. Drawing on recent events in Europe, Derrida and Stiegler explore the impact of television and the internet on our understanding of the state, its borders and citizenship. Their discussion examines the relationship between the juridical and the technical, and it shows how new technologies for manipulating and transmitting images have influenced our notions of democracy, history and the body. The book opens with a shorter interview with Derrida on the news media, and closes with a provocative essay by Stiegler on the epistemology of digital photography. In Echographies of Television, Derrida and Stiegler open up questions that are of key social and political importance. Their book will be of great interest to all those already familiar with Derrida's work, as well as to students and scholars of philosophy, literature, sociology and media studies. (shrink)

Easy-to-understand techniques for getting the most from your Canon EOS 5D Mark II DSLR At nearly $3,000 for the body only, the Canon 5D Mark II DSLR is for amateurs and semi-professionals who are serious about taking great photos-and this go-anywhere guide shares insight for doing just that. Authors Charlotte Lowrie and Brian McLernon walk you step by step through each function on the Canon EOS 5D Mark II, going into more depth and scope than the standard manual that (...) accompanies the camera.Portable and easy to understand, the book shows you how to get the exact show you want, when you want them, and is packed with more than 200 beautiful color photos. Includes step-by-step techniques and professional tips on taking exceptional photos with your Canon EOS 5D Mark II Reviews how to better understand the various functions and potential of your Canon EOS 5D Mark II Features samples of inspirational photos taken by the author With so much helpful advice for getting the most out of your Canon EOS 5D Mark II, you'll be referencing this guide again and again. (shrink)

According to proponents of the sensorimotor contingency theory of perception (Hurley & Noë 2003, Noë 2004, O’Regan 2011), active control of camera movement is necessary for the emergence of distal attribution in tactile-visual sensory substitution (TVSS) because it enables the subject to acquire knowledge of the way stimulation in the substituting modality varies as a function of self-initiated, bodily action. This chapter, by contrast, approaches distal attribution as a solution to a causal inference problem faced by the subject’s perceptual systems. (...) Given all of the available endogenous and exogenous evidence available to those systems, what is the most probable source of stimulation in the substituting modality? From this perspective, active control over the camera’s movements matters for rather different reasons. Most importantly, it generates proprioceptive and efference-copy based information about the camera’s body-relative position necessary to make use of the spatial cues present in the stimulation that the subject receives for purposes of egocentric object localization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Care of the terminal patient:Are we on the same page?Lauren WancataIn surgical training a “service” or care team consists of sick patients admitted to the hospital and the medical team caring for the patient. Each service consists of an attending physician, a chief resident, a senior resident and junior residents structured as a hierarchy. The chief was gone for the week. As a senior trainee I would be the (...) acting chief—a role I had assumed many times before this month. To prepare for the week of his absence, I read through each patient’s chart, and the chief and I discussed each patient—diagnosis, procedures, and plans.One was a 41–year–old male with cancer—he was young, but a patient like him was not uncommon at my institution. He originally came in through the emergency department with abdominal pain and difficulty with urination. His admitting medical team started the work–up for his symptoms—blood tests, a CAT scan, and consults to other physician services with specialized knowledge. He eventually underwent endoscopy with biopsies of his stomach and placement of stents into his ureter and kidney for his urinary issues. With return of the biopsies, he had a diagnosis—cancer. He required additional procedures, including the placement of stents into his bile ducts, as they, like his ureter, had become affected by the cancer. The next step was staging the cancer to determine his treatment options. Our surgical service was consulted for a diagnostic laparoscopy with washing—we would take a look inside his abdomen with a camera and obtain a fluid sample to be sent to the pathologist for review, the standard of care for this type of cancer. When the camera was placed nodules were seen—a sample of the nodules and the fluid were sent to a pathologist and determined to be positive for cancer: metastatic disease, stage IV. A special feeding tube was placed into his small intestine to aid in nutritional support, as he had already lost a significant amount of weight, and improving his nutrition would be imperative for any further treatments. Following this operation, oversight of his day–to–day care was taken on by our surgical service, and he had been under our care for a period of time before I rotated onto the service for the month.What was the plan for his care in the hospital, and what was his–long–term plan? His cancer could not be surgically removed due to the extent of its spread within his body. He had recently undergone another CAT scan due to an elevation in his white blood cell count (this elevation was a sign of possible infection) and a thoracentesis, a procedure to remove some of the fluid that was collecting around his lungs. Nephrologists (kidney specialist) had been consulted due to his declining kidney function. Throughout the days, his tube feeds, his source of nutrition, would often be turned off due to bloating and feeling full.Each morning, I rounded with our team, and we would see how he was doing. We would discuss how his night went, and make a plan for the day. He was a man of few words, but his wife was always at his bedside, to support him, listen to updates and keep tract of his progress. She had worked at the hospital and had seen a wide range of patients. She would ask about his kidney function, his tube feeds, and his labs. But, she never asked about his prognosis. I would leave his room each day with the unnerving feeling that the patient, family members and care team were not on the same page. Yes, we all wanted him to get better and to leave the hospital. [End Page 28] But, was he really going to get better? What defined better? Did the patient and his family really know the extent of his disease and his prognosis?Towards the end of my week as chief, I started to ask if they had any other questions. It had been a few weeks since his operation. Was there anything that they wanted to discuss or ask me about? At the... (shrink)

Since antiquity, ideas regarding true beauty have been usurped by the purview of mathematics. From the aesthetic “logic” of Aristotle to the instrumentalized brutality of the Final Solution and its methodical anthropometric measurements, we see how the symmetry of numbers has been used to quantify the bodily politic according to an empirical prescript for centuries. The cultural mores of new media have served to elevate this phenomenon of cosmetic nomenclature to new and alarming levels, engineering an insidious mathematical visuality for (...) the world like never before. Whether it be the way a digital camera transforms the human body into a matrix of numerical codes or the way various items of technological fetish both imitate and influence our visual preferences for people, all things deemed attractive and unattractive are now part of a new mathematical milieu: an aesthetic calculus that ensures our bodies and our machines share a single unified ornamentation. (shrink)

I point out that, though animal bodies and their parts are not sufficiently similar to the products of conscious design to warrant an inference to a supernatural designer of the former things, the proponent of the design argument would be on firmer ground were he to base his inference on the more specific resemblance of well-functioning human eyes and brains to well-functioning cameras and computers. Though I argue that Darwin has not refuted the design argument, I conclude that the (...) design arguer needs to show that there is a first cause in the enormously lengthy causal sequences which have culminated in human eyes and brains. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

The article aims to map the contemporary techno-social networks, together with delineation of the algorithmic governmentality, computational unconscious, the epistemic structure of the Eurocentric matrix of power haunted by its own repetition of the constant abyss of horrors, only to search for gestures of resistance. Gestures of resistance, contrary to the false conviction of capitalist realism, can be found everywhere, including in Jordan Peele's Nope (2022). Through a variety of motifs, themes, and cultural and cinematic references, Peele creates a resistance (...) image, i.e., an image that resists the historical trajectory of the violence of the digital colonial matrix of knowledge. In particular with Nope, in which the history of racial violence is disentangled by evoking the relation between the entanglement of capital and epistemic violence embodied in an all-devouring predator UFO. But Nope is also about visualizing silenced histories. Indeed, to strive to capture UFO with the camera is to break away from modernity as a totalizing onto-epistemology and in this register generating a false universal subject of a Man. (shrink)

Master Nikon's first mirrorless camera with this full-color guide The Nikon 1 is a revolutionary new pocket-size camera line that packs the power of a digital SLR into a smaller body. This easy-to-follow guide covers both the J1 and V1 models, showing you all the modes and capabilities of each and how to use them. Illustrated with full-color images to show what you can achieve, it explores all the controls, different lenses, auto and video shooting modes, and how you (...) can take creative control of your photos. It also teaches you which format to use, how to organize and manage your images, and how to get super shots of people, landscapes, action, and more. This guide by leading photography instructor Julie Adair King provides a complete introduction to using the new Nikon 1 J1 and V1 models Covers all the camera controls and how to use them, lenses, auto and video modes, and how to take control of exposure, color, and lighting Explains how to get images from the camera to the computer, manage your photo files, and make basic edits Full-color illustrations show the great effects you can achieve Nikon 1 J1/V1 For Dummieshelps you get the most from Nikon's new mirrorless camera. (shrink)

Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his face, as a (...) means of attaining a pure intensity or Entity abstracted from all spatio-temporal coordinates, a condition of exhaustion/saturation that Deleuze and Guattari call, ‘non-human becoming’. Beckett's film is predicated on Bishop Berkeley's fundamental philosophical principle, esse est percipi (to be is to be perceived) and, using Keaton as its protagonist, raises the question of whether it is possible to escape perception, not only by a third party, but also by oneself. The latter is ‘played’ by the camera itself, which ‘stalks’ Keaton from behind, taking great pains not to exceed a 45-degree ‘angle of immunity’ (lest Buster experience percipi or the anguish of perceivedness) until the film's final close-up when he comes face to face with his own self-perception and affective annihilation. Film's denouement thus deconstructs the very nature of conventional cinematic language, whereby filmic suture – the enfolding of character, camera and spectatorial ‘viewing-views’ into a unified field of vision – gives way to a perspective where, at the very moment that the perceptive/affective body dies, the work of filmic art gives birth to itself as a being of pure sensation, exceeding lived experience. (shrink)

Computer technologies are riding a golden trend in terms of innovation. New computer devices are emerging and they directly aim to extend the subject’s living body beyond the natural limits of its mere flesh. Some of these devices can be used to recreate perceptual organs in other places of the world. Of special interest are teledildonic devices, remotely controlled dildos, which provide tactual sensations that simulate part of a subject’s body as being relocated in another place, enabling a (...) subject to “connect” and to “play” with a second subject as if they were actually in the same place at the same time; in other words, to engage in remote sexual activity. Thanks to internet connectivity, it is now possible to have control of the actions of a distant dildo and to have, at the same time, tactual and visual feedback by way of sensors and 360-degree cameras mounted on the device. This technology has the potential to re-shape our living body and, in so doing, re-shape our affections as well as our perception of the world. Phenomenological and post-phenomenological analysis makes it possible to study the social, psychological, and phenomenological effects of such technologies. (shrink)

Photography has always been associated with the physical activity of the human body: capturing, editing and viewing photos are all activities that involve the user’s spatial interaction with the technology used. With conventional photography, one aspect of spatial relation with technology is the viewer’s ability to recognize the camera’s location in the photographic scene through visual indications, such as the relative location of objects in the frame to the camera’s point of view, combined with a basic familiarity with the (...) functionality of conventional cameras, relating to the notions of ‘in-front’ and ‘behind’ the camera. Some instances of interactive photography, such as 360-degree imagery and three-dimensional photogrammetry, challenge the spatial connection between the photographer (represented by the camera location) and the viewer due to unique usability and innovative interactions, such as the viewer’s ability to ‘move’ freely in all directions of the three-dimensional, photographic space. The technological affordances of interactive photography create a distinct corporeal experience that challenges the traditional associations between the photographer, the viewer and the photographic imagery, evoking with the viewers the notion of technological uncanniness and, consequently, questioning some of the traditional preconceptions regarding the prime characteristics of the photographic medium. (shrink)

The efficient coding hypothesis posits that sensory systems are tuned to the regularities of their natural input. The statistics of natural image databases have been the topic of many studies, which have revealed biases in the distribution of orientations that are related to neural representations as well as behavior in psychophysical tasks. However, commonly used natural image databases contain images taken with a camera with a planar image sensor and limited field of view. Thus, these images do not incorporate the (...) physical properties of the visual system and its active use reflecting body and eye movements. Here, we investigate quantitatively, whether the active use of the visual system influences image statistics across the visual field by simulating visual behaviors in an avatar in a naturalistic virtual environment. Images with a field of view of 120° were generated during exploration of a virtual forest environment both for a human and cat avatar. The physical properties of the visual system were taken into account by projecting the images onto idealized retinas according to models of the eyes' geometrical optics. Crucially, different active gaze behaviors were simulated to obtain image ensembles that allow investigating the consequences of active visual behaviors on the statistics of the input to the visual system. In the central visual field, the statistics of the virtual images matched photographic images regarding their power spectra and a bias in edge orientations toward cardinal directions. At larger eccentricities, the cardinal bias was superimposed with a gradually increasing radial bias. The strength of this effect depends on the active visual behavior and the physical properties of the eye. There were also significant differences between the upper and lower visual field, which became stronger depending on how the environment was actively sampled. Taken together, the results show that quantitatively relating natural image statistics to neural representations and psychophysical behavior requires not only to take the structure of the environment into account, but also the physical properties of the visual system, and its active use in behavior. (shrink)