This paper intents to analyze the influence of John Dewey’s ideas in the movement that defended the educationl renovation in Brazil at the end of the 1920s and in the 1930s. For this, it explains two trends of that movement: the first is described by the metaphor of industrial or mechanical efficiency, whose emphasis was in the power derived from the disciplinary idea of progress, which was embedded in the process of rationalization of the social relations submitted by a factory (...) model; the second, developed by influence of Dewey, is characterized by a project of democratization of society and school that prevented the individual massification and the adoption of the rationalizing model inspired by the factory without any criticism. When Dewey was put in the center of the debate on political, pedagogical and social goals of the Brazilian New School, he was called to introduce a series of concepts that helped to find the balance between the respect for individuality and the observation of the social needs. (shrink)

Na dinâmica do campo religioso brasileiro, novas formas de crer surgem, algumas religiões têm maior expansão - como algumas correntes evangélicas - e religiões tradicionais - como o catolicismo - vão-se “desencantando”. Este artigo pretende, a partir dos dados sobre religião da Pesquisa de Orçamentos Familiares (POF/IBGE, 2009), publicados em estudo da Fundação Getúlio Vargas - FGV (NERI, 2011), discutir a composição deste novo mapa religioso. Em relação às igrejas cristãs, o estudo da FGV mostrou, em termos quantitativos, a diminuição (...) do número de católicos, a estabilização do percentual de evangélicos pentecostais e o crescimento dos evangélicos não-pentecostais. Partindo da evolução histórica dos dados estatísticos sobre religião no Brasil, analisar-se-á, inicialmente, o declínio numérico do catolicismo, suas implicações e perspectivas. Em seguida buscar-se-á, através de uma análise crítica das conclusões do estudo da FGV sobre o campo protestante brasileiro, interpretar as possibilidades e os limites do uso dos dados da pesquisa para a compreensão da dinâmica do campo religioso brasileiro. Nesta via, o panorama religioso brasileiro deve ser interpretado além dos dados estatísticos. Palavras-chave: Pluralidade Religiosa. Campo Religioso Brasileiro. Catolicismo. Pentecostalismo. Demografia das Religiões.The article shows that within the Brazilian religious field new ways of believe have emerged. In this way, it also shows that some religions are in expansion – as some evangelical movements and traditional religions while some traditional religions – like Catholicism – are in a process of disenchantment. This article aims, from the 2009 Household Budget Survey – Pesquisa de Orçamentos Familiares (POF/IBGE, 2009) – data on religion published in a recent study elaborated by Fundação Getúlio Vargas (NERI, 2011), discuss the composition of this new religious map. Regarding the Christian churches, the FGV` study showed, in quantitative terms, the decrease in the number of Catholics, the stabilization of Pentecostal evangelicals’ percentage and the growth of non-Pentecostal evangelicals. Initially, based on the historical development of statistics on religion in Brazil, the numerical decline of Catholicism, its implications and perspectives will be analyzed. Basing on a critical analysis of the FGV’s study conclusions about the Brazilian protestant field numbers, the article will interpret the possibilities and limitations of using survey data for understanding the Brazilian religious field dynamics. In this way, the Brazilian religious landscape should be interpreted beyond the statistics Keywords: Religious Plurality. Brazilian Religious Field. Catholicism. Pentecostalism. Demography of Religions. (shrink)

This anthology of philosophical essays explores the interpersonal and political contexts in and against which the films of ten major postwar filmmakers were made.

Shares articles and interviews from the influential French film magazine about the New Wave, American cinema and the future of film making.

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded (...) upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. (shrink)

Review of Canhada, J. M. (2023). Le discours et l’histoire: la philosophie au Brésil au dix-neuvième siècle. (F. Brandi, Trans.). Paris: Harmattan.

I offer a new Heideggerian reading of Terrence Malick’s 2005 film, The New World, in the style of film-philosophy, alongside a contrasting Cinematic Humanist encounter. I consider if the former is a theory-involving example of philosophy of film, and whether a positive answer to this question entails the latter must be also. I argue that whilst both engagements with the film use the work of other philosophers as part of their appreciation, Cinematic Humanism nonetheless remains one of many possible ways (...) of doing philosophy of film without theory. Having compared these two methods, I suggest reasons why there is nonetheless a potentially valuable relation to be had between philosophy of film with and philosophy of film without theory. Close attention is paid to the film throughout. (shrink)

Brazilian society has frequently been described as polarized during the country’s recent political and economic crisis. In 2018, a wave of opposition to the centre-left Workers’ Party culminated in the election of Jair Bolsonaro, a right-wing populist who portrays the political left as a malevolent force in Brazilian society. In this paper I explore this polarization through drawing on ethnographic research with the Homeless Workers’ Movement (Movimento de Trablhadores Sem-Teto, MTST), a large urban social movement that develops settlements (...) on underutilized land in the city, and a prominent civil society opponent of Bolsonaro. More specifically, I examine a key site of socio-spatial tension in São Paulo, Paulista Avenue, as a new political right came to predominate on the city’s main thoroughfare during the campaign to impeach the Workers’ Party President, Dilma Rousseff. I show how the perceived intolerance of the mobilized right helped to establish new normative codes that regulated the political symbolism which could be displayed in public spaces. Lastly, I consider how the vilification of the MTST in particular and the political left in general by the new right is embedded in broader structures of stigmatization. (shrink)

How does Cahiers du cinéma react to the emergence of the French New Wave? What are the strategies implemented by the magazine when confronted to the risk that the politique des auteurs could end up as a politique de l’amitié? While other magazines –such as Positif or Présence du cinéma– focus themselves to attack the new cineastes, Éric Rohmer strengthens his preference for clacisism and avoids to make references to modern films. His refusal to any engagement with contemporaneity creates a (...) source of friction within the magazine and, in the end, Rohmer would be replaced by Jacques Rivette. A new cicle begins: the new chief editor believes that modern cinema demands modern forms of criticism and that it is not a question of extracting meaning from films anymore but, instead, now it is all about suspending it. From the perpective of historical criticism, this article tries to reconstruct the different stages of that conflictive transitional moment. My intention is to show that a certain notion of modern cinema and a new conception of the image emerge as a result of that controversy. (shrink)

Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be interpreted. (...) And many of these are more complicated to study, precisely because technology is at the root of the experiences. One interesting subset of technologies is media technologies, also called digital media, which intertwines the device and the content to mediate together in the world (Irwin in Digital media: human-technology connection. Lexington Books, Lanham, 2016). Visual media technologies and media content, together, through what is called moving image technologies, create virtual role-playing, virtual and augmented reality, video games, and social media focused worlds that have become central experiences in contemporary culture. Just as image-based scientific instruments read the world in different ways, so to do these visual mediated experiences. How might this comingled “reading” of technology explain the digital film language and experience? I contend that understanding the existential “early” film experience helps understand the new age of cinema, with implications for digital media, digital representation of the visual, and technoscience and technoculture studies. The material hermeneutics perspective called postphenomenology is one way to study these visually focused human–technology–world perceptual and interpretive experiences. Don Ihde’s methodological framework (1990, 1993, 1996, 2002, 2010, 2012, 2016, 2019) is both an idea from technoscience studies and a set of nuanced vocabulary that helps to explore and reveal variations, patterns, and trajectories of the whole-body experience of technology. This use case will first explore traditional cinema and then the “new age” term “moving image”, to learn more about this complicated and radically transforming technological experience. Work by Don Ihde and Vivian Sobchack is considered. (shrink)

_Film Studies: An International Review_ Issue 1, Spring 1999 ISBN 1900755288.

Reading Cinema: The Dream that Kicks by Michael Chanan, London: Routledge & Kegan Paul, 1980, pp 353, £12.50 Stars by Richard Dyer, London: British Film Institute, 1979, pp 204, £2.25 Women's Pictures by Annette Kuhn, London: Routledge & Kegan Paul, 1982, pp xiv + 226, E4.95 Cultures on Celluloid by Keith Reader, London: Quartet Books, 1981, pp 216 £11.50 The Celluloid Closet by Vito Russo, New York: Harper & Row, 1981, pp xil + 276, £15.

Shard cinema tells an expansive story of how moving images have changed in the last three decades, and how they have changed us along with them, rewiring the ways we watch, fight, and navigate an unsteady world. In a set of interrelated essays that range from the writings of early factory workers to the distributed sight of contemporary surveillance, Williams argues for deep links between the images we see and the hidden labors frozen into them, exploring how even the (...) apparently trivial or spectacular carries unique opportunities to detect and process the social frictions of their making. Spanning film, video games, radical history, architecture, visual effects, and war, the book crosses the twentieth century into our present to confront a new order of seeing and making that slowly took shape: the composite image, where no clean distinction can be made between production and post-production, filmed and animated, material and digital. Giving equal ground to costly blockbusters, shaky riot footage, disaster photography, and early cinema, Williams leads us from computer-generated 'shards' of particles and debris to the broken phone screens on which we watch these digital storms, looking for the unexpected histories lived in the interval between"--Page 4 of cover. (shrink)

Se constructions designate a set of polysemous constructions along a transitivity continuum marked by the clitic se that perform various functions: reflexive/reciprocal, middle, anticausative, passive, and impersonal. A counterpart of these constructions without the clitic – the null se construction – is also attested. Based on an extensive usage-feature and profile-based analysis, and using multivariate statistical methods, we analyze, considering Cognitive Grammar, the conceptual, structural, and lectal factors that determine the choice between overt and null se constructions. The results of (...) the study show that the null constructions are far more frequent in Brazilian (BP) than in European Portuguese (EP). In BP, the focus on the moment of change is a crucial factor for the overt/null variation in reflexive/reciprocal, middle, anticausative, and impersonal constructions. If the moment of the change of state is profiled, the overt se construction is usually produced. If the moment of change is not profiled, the null se construction is preferred. External factors also play a role in the variation. Register is an important predictor for the observed variation of the anticausative construction, and the only predictor for the overt/null variation in the case of the passive construction. In EP, the null se variant is mainly limited to anticausative constructions. In all cases of null constructions, there is a shift to an absolute construal, which has an impact on the way that the transitivity continuum is conceptualized. (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made (...) variable and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

Cinema has a long history of engaging with the theme of sacrifice. Given its capacity to stimulate the imagination and resonate across a wide spectrum of human experiences, sacrifice has always attracted filmmakers. It is on screen that the new grand narratives are sketched, the new myths rehearsed, and the old ones recycled. Sacrifice can provide stories of loss and mourning, betrayal and redemption, death and renewal, destruction and re-creation, apocalypses and the birth of new worlds. The contributors to (...) this volume are not just scholars of film but also students of religion and literature, philosophers, ethicists, and political scientists, thus offering a comprehensive and interdisciplinary approach to the relationship between cinema and sacrifice. They explore how cinema engages with sacrifice in its many forms and under different guises, and examine how the filmic constructions, reconstructions and misconstructions of sacrifice affect society, including its sacrificial practices. This book was originally published as a special issue of Angelaki: journal of the theoretical humanities. (shrink)

Film theory and its emphasis on political and ideological readings of films dominated much of cinema studies in the '70s and '80s. Since then, in response to what some view as the shortcomings of theoretical approaches, a variety of other methods have emerged or reemerged. In many ways, as Nico Baumbach argues, "Anti-Grand Theory" has won the day but its victory is, in part, based on misreadings or simplifications of '70s film theory. In particular, Baumbach views contemporary critical approaches (...) to film as abandoning the crucial and productive ways in which theory understands the relationship between cinema, politics, and art. Baumbach does not advocate a return to the orthodoxies of the seventies but rather reads the work of Ranciere, Badiou, and Agamben as providing new ways of thinking about the history of film theory and how film creates its own way of thinking about politics. Moreover, at a time when digital technologies are asking us to think of film and the film image in new ways, the work of these thinkers once again asks, "What is Cinema?" but in a more expansive sense that can help us account for transformations in how moving images are produced, distributed, and exhibited in the twenty-first century. (shrink)

Cinema and Agamben brings together a group of established scholars of film and visual culture to explore the nexus between the moving image and the influential work of Italian philosopher Giorgio Agamben. Including two original texts by Agamben himself, published here for the first time in English translation, these essays facilitate a unique multidisciplinary conversation that fundamentally rethinks the theory and praxis of cinema. In their resourceful analyses of the work of artists such as David Claerbout, Jean-Luc Godard, (...) Philippe Grandrieux, Michael Haneke, Jean Rouch, and others, the authors put to use a range of key concepts from Agamben's rich body of work, like biopolitics, de-creation, gesture, potentiality and profanation. Sustaining the eminently interdisciplinary scope of Agamben's writing, the essays all bespeak the importance of Agamben's thought for forging new beginnings in film theory and for remedying the elegiac proclamations of the death of cinema so characteristic of the current moment. (shrink)

Cinema can be considered a particularly relevant and instructive example of a discourse and practice that refer back to each of the three great domains of imagination identified by Ricœur—discourse, articulation between a theoretical level and a practical level, and the social imaginary. While the aim of this article is to focus on the third level, a more comprehensive approach to the ideas of cinematic narrative and social imagination, drawn from Ricœur, requires us to go through the other two (...) levels again. It is particularly necessary to find the terms of a Ricœurian philosophy of imagination in the articulation between emplotment and representation, operative since Time and Narrative, and a later approach to the notion of cinematic narrative. A critical relationship to the social and political imaginary can eventually be found through cinema. But, it is a matter of understanding a transition from a critical stance inherited from the philosophical tradition to a critical movement internal to cinematic practices: while taking into account the notion of narrative, this critical movement can bring to the fore, in a new way, the notion of image, contributing to its reappraisal within a philosophy of imagination. The last section of the article is particularly interested in the special relationship between cinema and historicity. (shrink)

PurposeThe purpose of this paper selected by ICIL 2019 committee in Rome is to demonstrate the current importance of the internet in the protection of democracy in developting countries.Design/methodology/approachIt is intended to make a comparison with the growing and current phenomenon of Brazilian disinformation with other contemporary phenomena related to new technologies through literature review methodology.FindingsThe Brazilian elections in 2018 represent an authentic model in a post-Cambridge Analytical phase where the myth of the sanctity of data has been (...) broken. The big influence of the algorithmic revolution on democracies in Latin America has never been more evident. The misuse of algorithms created an artificial environment that does not put us in contact with different realities; the consequences of this conjuncture have the deepest impacts, especially in countries that rely on a deficient educational system.Social implicationsBesides that, the broad use of zero-rating on the internet delivery in developing countries is also considered a factor of fake news dissemination. The information bubbles promote political polarization to the detriment of diversity – and the diversity is par excellence one of the pillars of democracy.Originality/valueThe research about the impact that the phenomenon of disinformation has on underdeveloped countries, it is essential to analyze the new role of the legislator in the elaboration of hypercomplex laws with multi-stakeholder interests that respect the essential core of digital human rights as the freedom of expression online. (shrink)

Focusing with special intensity on scenes that feature still photographs in the Italian films Blow-Up, Three Brothers, and The One Hundred Steps, this paper traces a progressive return to the neorealist call for a cinema of truth-telling on the threshold on the new millennium.

This article proposes to analyse some aspects of the appropriation of New School thinking in Brazil, particularly Deweyan pragmatism, in the 1950s and 1960s. The analysis is based on the assumption that the developmentalist ideology that punctuated the debate on the economic, political and social restructuring of the country in these two decades constituted fertile ground for the return and expansion of pragmatist thinking amongst Brazilian educators, articulating itself, sometimes in contradictory ways, with this ideology. The focus of the (...) analysis will be on the writings of the group of educators which circulated around the figure of Anísio Teixeira, at the time director of the National Institute for Pedagogic Studies, an organ linked to the Ministry of Education and Culture, which set itself the task of producing research that would support public policy in the field of education, as well as constituting itself as a center for teacher education and the stimulus and development of innovative experiences in the public school system. The appropriation of Deweyan pragmatism, in this context, had a triple perspective: pragmatism as scientific method, implying a specific conception of science, particularly the social sciences, with emphasis on the application of scientific knowledge in the solution of practical problems; as a way of democratic life; and as a synonym for experimentalism, in the sphere of schooling. (shrink)

Jonathan Rosenbaum _Essential Cinema: On the Necessity of Film Canons_ Baltimore and London: The Johns Hopkins University Press, 2004 ISBN 0-8018-7840-3 hb xxi + 445 pp. _Movie Mutations: The Changing Face of World Cinephilia_ Edited by Jonathan Rosenbaum and Adrian Martin London: British Film Institute, 2003 ISBN 0851709834 hb; 0851709842 pb 224 pp. Jonathan Rosenbaum _Movie Wars: How Hollywood and the Media Limit What Films We Can See_ London: Wallflower Press, 2002 ISBN 1-903364-23-X pb 192 pp.

This article offers the results of emergy analysis used to evaluate four different soybean production systems in Brazil that were divided into two main categories: biological models (organic and ecological farms) and industrial models (green-revolution chemical farms and herbicide with no-tillage farms). The biological models show better environmental, economical, and social performance indicators; however, at the national level, discussion of transgenic soybean seed release considers only industrial models without any mention of biological models. Classic emergy analysis shows biological options are (...) the better alternatives but does not explain why decisions taken by farmers and government in Brazil were in opposition to these options. New research is proposed to identify and quantify the external forces that strongly interfere in the definition of public policy for soybean production. New parameters are proposed to enrich emergy methodology: Renewability of each input was considered in emergy calculations and negative externalities were included as additional services. (shrink)

Abstract:In recent years, Brazilian AIDS activists have faced a growing economic and political crisis that threatens sustainability of the movement and the country's response to the epidemic. Drawing on Michel Foucault's concepts of governmentality and biopolitics, this article offers a multi-stranded genealogy of the Brazilian response to HIV/AIDS to explain the structural fragilities underlying this crisis. Specifically, it traces how a tense constellation of actors, including healthcare reformers, AIDS and sexual rights activists, Brazilian state reformers and the (...) World Bank, came together around a model that has relied heavily on the construction of public-private partnerships and larger policy networks. While these actors' larger visions were often in conflict, their projects partially overlapped around the principles of civil society participation and decentralized administration. Underlying tensions, however, are currently experiencing new pressures, with changes in the regulatory and economic environment and the growing political influence of conservative evangelical sectors. That these shifts are imperiling a model of AIDS prevention long touted as a model for the global South suggests larger implications for AIDS policy and sexual rights activism beyond Brazil. (shrink)

Cinema and the automatic sweetheart. The work of art as an automatic sweetheart. Automatic sweethearts without names: the place of films in the world of art -- Cinema and new realism. Realism and trasparency in film. What is new in realism? Cinema, philosophy and the rediscovery of reality -- Cinema and documediality. The movie theatre of Babel. Toward a new ontology of film. The digital secret of the moving image -- Cinema and the ontology of (...) the cell phone. Double signature. An ontology for mobile movies. Film me, stupid. On Eco on mobile phones and stupidity -- Cinema and animality. Humans, animals, machines. Anthropocentrism and science fiction cinema. (shrink)

The problem of the construction of memory that faces the Afro-Brazilian population presents itself as more than a simple need for an identity connected to an original past, but in addition as essential, because for historical reasons their social reality has not yet reached the end of its struggle. The African composition of Brazilian culture is based on several sources of many origins peculiar to different African peoples. The memory people have of Africa is vague, generic, indefinite. Though (...) the lost ancestral past is multi-ethnic, multicultural Africa, the retrievable past is the one Brazil has succeeded in integrating into the construction of a new civilization: a past that can only be re-invented, a re-created memory. (shrink)

An increasing sensitivity towards films and other forms of visual experience has become apparent in social theory. Recent explorations of new media of communication and entertainment have criticized the emphasis on the hegemonic or manipulative power of cultural industries and popular forms of leisure. Films, like many other discursive and visual forms, have been considered as signifying practices and investigated as processes of production, exhibition and reception. This article takes these recent contributions as its point of departure and investigates two (...) Brazilian films, made in the 1950s and 1990s, based on a play that retells the Greek legend of Orpheus in Brazilian social and cultural settings. This article considers the different historical contexts, explores discursive and visual forms of representation, struggles for power within the narratives, unconscious systems of signification, and makes some considerations about the aesthetic dimension present in each film. (shrink)

Limit Cinema explores how contemporary global cinema represents the relationship between humans and nature. During the 21st century this relationship has become increasingly fraught due to proliferating social and environmental crises; recent films from Lars von Trier's Melancholia (2011) to Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010) address these problems by reflecting or renegotiating the terms of our engagement with the natural world. In this spirit, this book proposes a new film philosophy for the (...) Anthropocene. It argues that certain contemporary films attempt to transgress the limits of human experience, and that such 'limit cinema' has the potential to help us rethink our relationship with nature. Posing a new and timely alternative to the process philosophies that have become orthodox in the fields of film philosophy and ecocriticism, Limit Cinema revitalizes the philosophy of Georges Bataille and puts forward a new reading of his notion of transgression in the context of our current environmental crisis. To that end, Limit Cinema brings Bataille into conversation with more recent discussions in the humanities that seek less anthropocentric modes of thought, including posthumanism, speculative realism, and other theories associated with the nonhuman turn. The problems at stake are global in scale, and the book therefore engages with cinema from a range of national and cultural contexts. From Ben Wheatley's psychological thrillers to Nettie Wild's eco-documentaries, limit cinema pushes against the boundaries of thought and encourages an ethical engagement with perspectives beyond the human. (shrink)

Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. The book theorises machine vision through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf. -/- At its heart, Cinema and (...) Machine Vision is an invitation for film and media scholars to critically engage with AI at a technical level, a prompt for scientists and engineers working with images and cultural data to critically reflect on where their assumptions about vision come from, and a joint recognition of the fruitful problems of working together to understand the algorithmic governance of the visual. (shrink)