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

ABSTRACT Based on the statements that the word in interaction manifests itself as an ideological sign, oriented to a precise social audience, circumscribed in a given historical time; that race is a language and that geographic displacement involves a clash between different systems of meaning, I interpret data from the cultural translation process for the term black [negro, in Portuguese], based on the enunciations of two Portuguese language learners in a course for immigrant mothers held in Southern Brazil. The data (...) presented were generated as part of an ongoing ethnographic investigation.1 The discussion points to controlling images that persist in the social imaginary from effacement procedures, discursive whitening and hypersexualization of the term negro [black]. Data also reveals that the processes of attributing meanings around race are in full dispute in the current socio-historical context. RESUMO Partindo das premissas de que a palavra em interação manifesta-se enquanto signo ideológico orientado a um auditório social preciso, circunscrito a um dado tempo histórico; de que raça é uma linguagem e de que o deslocamento geográfico envolve um choque entre diferentes sistemas de significação, interpreto dados do processo de tradução cultural para o termo negro, a partir de enunciações de duas aprendizes de língua portuguesa de um curso para mães imigrantes realizado no sul do Brasil. Os dados apresentados foram gerados no âmbito de uma investigação etnográfica em curso1. A discussão aponta para imagens de controle que persistem no imaginário social, a partir de procedimentos de apagamento, de branqueamento discursivo e de hipersexualização do termo negro. Os dados revelam, ainda, que os processos de atribuição de sentidos em torno de raça encontram-se em plena disputa no contexto sócio-histórico atual. (shrink)

Since the introduction of ultrasound technology in the 1960s as a tool to visibly articulate the interiors of the pregnant body, feminist scholars across disciplines have provided extensive critique regarding the visual culture of fetal imagery. Central to this discourse is the position that fetal images occupy- as products of a visualizing technology that at once penetrates and severs pregnant and fetal bodies. This visual excision, feminist scholars describe, has led not only to an erasure of the female body from (...) fetal images but also to an erasure of the pregnant body in social, political, and biomedical discourses. Vital to feminist scholarship is, thereby, an engagement with fetal images in ways that reinscribe the pregnant body onto fetal images and into political discourses pertaining to reproductive rights. In this paper, similar to the feminist aim, I am interested in engaging with fetal images as way to gain agency for pregnant women and their bodies. The critical question that I ask is: Can we conceive of medical technology in an embodied way -one that interacts organically, dynamically, and through multisensory dimensions with pregnant bodies? In attempting to answer this question, I turn to Bruno Latour and Gilles Deleuze’s articulations of how bodies and machines interact to produce visual fact. (shrink)

In this interdisciplinary anthology, essays study the relationship between the imagination and images both material and mental.

Le mythe participe à la fois du vécu et du réel transcendés par le symbole, qui fait appel autant au visible qu’à l’immatériel. Exprimant une fiction selon certains, ou des vérités profondes pour d’autres, il traduit des croyances sur la cosmogenèse et l’anthropogenèse. Il a pour objet de dévoiler un mystère, et l’événement fondateur du cosmos et de l’humain.Le symbole, dans sa moitié signifiante, est toujours lié au concret, c’est-à-dire au matériel, au visible et au fini. Selon Paul Ricœur, un (...) symbole possède trois dimensions concrètes : cosmique, onirique et poétique. L’autre moitié du symbole exprime la part d’invisible et d’immatériel qui a sa logique propre. Mêlant la perception sensorielle à l’immatériel et au mystère, les mythes canaques précoloniaux traduisent aussi bien la réalité descriptive du monde visible, que la création de mondes imaginaires. Nous analyserons dans l’oralité canaque ces deux notions et leurs applications dans les domaines de la nature, de l’humain et du sociétal. Nous verrons comment s’articulent le visible et l’invisible dans le mythe canaque, quelle est la place respective du réel et de l’imaginaire impliqués dans chaque mythe, et leurs fonctions respectives. Sont-ils oppositionnels comme l’indique leur définition, ou bien forment-ils un ensemble de termes indissociables et complémentaires? Nous déterminerons in fine quelles sont l’interférence et la corrélation du réel et de l’imaginaire dans les fonctionnalités qui confèrent leur originalité aux mythes canaques. A myth is involved in both the living and real transcended by the symbol that appeals as much to the visible than the intangible. Expressing fiction for some, or deep truths for other, myth reflects beliefs about cosmogenesis and anthropogenesis. It aims to unveil a mystery, and the founding event of the cosmos and the human.The symbol, in its signifying half, is always linked to the concrete, i.e. the material, visible and finish. According to Paul Ricœur a concrete symbol has three dimensions: cosmic, oneiric and poetic. The other half of the symbol expresses the invisible hand and intangible that has its own logic. Combining sensory perception to the immaterial and mystery, precolonial Kanak myths reflect both the descriptive reality of the visible world, and the creation of imaginary worlds. We will analyze in Kanak orality these two concepts and their applications in the fields of nature, human and societal. We’ll see how articulate the visible and invisible in the Kanak myth, what is the respective role of the real and the imaginary involved in each myth, and their respective functions. Are they oppositional as indicated by their definition, or do they form a set of interrelated and complementary terms? We shall determine in fine which are the interference and the correlation of the reality and the imagination in the features which confer their originality on the Kanak myths. (shrink)

One of the most predictable implications of photography consists of the ability to fix some images returning them in a variable timeframe for the observation. In all the major world cities, it is common to incur in some book where recent photos are compared to old ones searching the same point of view in order to make the comparison more accurate and stimulate the critical ability of the observer. An exercise that sometimes stimulates a sort of regret for the past, (...) pointing out a diffused excess of nostalgia for times gone by. Nevertheless, the reality and meaning of modern city images are not always so prosaic. What happens when photographs are evocative of a reality that is completely lost in the collective imaginary even though it still exists and functions, despite being forgotten and buried in the depths of the city? This is the case of very few pictures capable of telling the story of a city, Milan, and its only “real” river, the Olona, whose waters, humiliated and rejected, continue to flow in total amnesia. It is a different story when photography does not have the role of nourishing nostalgia, but the power to make visible and explain the variation of a presence and its progressive obliteration. Some pictures testify to the passage from the bucolic amenity of the river and its banks in a pre-urban context to a muscular urban infrastructure. A rigid channelized river, shown with confidence, is trying to keep its presence, until the moment of its inevitable decline and disappearance. It is in these images that the possibility of reconsidering the Olona as a part of the new project for the city lies. (shrink)

The essays in Invisibility in Visual and Material Culture contribute pioneering and revelatory insights into the phenomenon of invisibility, forging new and multi-disciplinary approaches at the intersection of aesthetics, technology, representation and politics. Importantly, they acknowledge the complex interaction between invisibility and its opposite, visibility, arguing that the one cannot be fully grasped without the other. Considering these entanglements across different media forms, the chapters reveal that the invisible affects many cultural domains, from digital communication and operative images to (...) the activism of social movements, as well as to identity, race, gender and class issues. Whether the subject is comic books, photographic provocations, biometric and brainwave sensing technologies, letters, or a cinematic diary, the analyses in this book engage critically and theoretically with the topic of invisibility and thus represent the first scholarly study to identify its importance for the field of visual culture. (shrink)

Violence has always accompanied human societies, and appeared in various forms of artworks such as movie, painting, and even cave art, but Persian painting by showing the utopian calm images surprisingly kept itself away from representing the violence, even in the scenes of war and slaughter. This paper aims to study the Persian painting –with focus on the early Safavid dynasty as the age of glory of Iranian art- on the basis of Žižek’s theory, to show that invisible violence (...) floated in Persian painting regardless of its extreme calm beauty and its different context from contemporary philosophy. Žižek categorizes the violence into three modes: visible subjective, and two modes of objective violence -Symbolic and Systematic - which are invisible and flow in latter layers. By going to deeper level of creation and content of Persian images which were illustrated in the court and on the command of rulers of the time, it is concluded that some elements of invisible violence such as strict law, visual symbols like “Qizilbash Hat”, the issue of the language, neighbor, fear of error, repetition of historical characters, extremism and nonviolent situation can be analyzed in the content or illustration of Persian Painting. (shrink)

This paper is positioned within broader scholarly debates about ritual‐religious and psychological elements underlying the phenomenon of altered states of mind in Egyptian Muslim contexts. This research examines the intricate relationships between ritual, consciousness, and the unseen/unknowable world reflected in the imagination and practices of urban and rural communities belonging administratively to the city of Tanta in Egypt. This comparative study proposes that the image of the embodied invisible Other, in both benevolent and malevolent forms, impacts the state (...) of consciousness of persons participating in two different rituals, the zikr (remembrance of God) and the zār (the exorcism of spirits). This inquiry concentrates on the transformation of the states of people's consciousness, namely the majzūb (those mystically attracted to God) and the malbūs (those possessed by spirits), through embodied engagement with the invisible Other that is made visible through participation in the ritual performances of the zikr and/or the zār. Rituals performed by Egyptians, particularly those who experience altered states of consciousness, display both a psychic (emotional) experience and an encounter with the invisible Other that may be depicted as divine or otherwise non‐divine. Each case of the zikr ritual and zār cult relates to its participants' perception of reality. (shrink)

The ArgumentThe text analyzes the related semantics of bacteriology and politics in imperial Germany. The rapid success of bacteriology in the 1880s and 1890s was due not least to the fact that scientific concepts of bacteria as “the smallest but most dangerous enemies of mankind” resonated with contemporary ideas about political enemies. Bacteriological hygiene was expected to provide answers to social and political problems. At the same time metaphors borrowed from bacteriological terminology were incorporated into the political language of the (...) time. While the “high command of our doctors” fought diseases, some contemporaries were identified with members of the evil species of “bacillus communis odii.”Both imperialistic politics and bacteriological science relied on images of inferior and invisible but potent enemies. Both were able to increase their prestige via a mutual interchange of their vocabularies. (shrink)

Few studies in the business ethics literature explore marginalized populations, such as the racially minoritized entrepreneur. This absence is an ethical issue for the business academy as it limits the advancement of racial epistemologies. This study explores how this exclusionary space emerges within the academy by identifying white solipsistic behavior, an ‘othering’ of minoritized populations. Using a multi-method approach, we find the business literature homogenizes the racially minoritized business owner regardless of race/ethnic origin and categorizes them as lacking in comparison (...) to White entrepreneurs. A critical discourse analysis of university entrepreneurship website language and images reveals that the racially minoritized are presented as the outgroup. The language used to describe entrepreneurs was found to be predominantly agentic, building a hegemonic categorization of White men dominating entrepreneurship. Troublingly, but consistent with the literature review, when racialized minorities were present in images, we found them to be marginalized. Employing an experimental design to mock-up four websites featuring student entrepreneurs differing by race and gender, we ask ‘what if we make these under-represented entrepreneurs visible?’ Results show that women, and specifically racially minoritized women, have a greater impact on the entrepreneurial interests of university students compared to men. Overall, the results provide empirical evidence for white solipsism in the business academy. We call for self-reflexivity to transparentize the ‘invisible’ racially minoritized entrepreneur and fill the ‘white space’ by changing the framing and context of business research to be more inclusive. (shrink)

This contribution discusses the expression ‘Image of the Father’ as a case in point to Aquinas's approach of naming Christ: Christology and Trinitarian theology, as well as the discussion of analogical naming in divinis, need to be taken together. ‘Image’ and ‘Father’ are predicated differently of Christ and God the Father than of human beings. Moreover, God is ‘Father’ in a different way towards the Son than regarding human beings. Christ is the unique image of the Father: (...) the invisible image of the invisible Father. (shrink)

Adam Smith's metaphor of the "invisible hand" and its analogue in classical physics are investigated in detail. Smith's analogue was the mechanics of the solar system. What makes the analogy fail are not the idealisations in the caricature-like model of the rational economic man . The main problem rather is that the metaphor does not employ the correct analogue, which belongs to thermodynamics and statistics. In the simplest macro-economic model, the business cycle has the same formal structure as the (...) heat flow between two heat reservoirs and a business cycle of growing efficiency works like a refrigerator: it pumps money from the poor to the rich. More complicated models do not give a friendlier image. Due to technological push, an economic system behaves like a thermodynamic system far from the equilibrium, showing chaotic behaviour and developing into unpredictable states. (shrink)

Images are objects of work in the laboratory. On its face, this work is achieved through talk Yet the talk attached to these images makes reference to other images, which are drawn from varcous environments. In this article, four such environments are identified: the domain of laboratory practice; the context of invisible physical reactions; the future image as it will appear in publication; and the domain of case precedents and reference scenarios from the field. The work of (...) class='Hi'>image analysis brings the outside of the image into it and takes the inside out. Thus it can be seen that images are not just taken, they are designed and made. (shrink)

How does music ‐ or any cultural artefact ‐ assume significance for those who encounter it? Why does one sound or image come to matter, while others are overlooked or forgotten? The answer is not to be found in the sounds alone, but in the context and conditions in which they are heard. This article explores this argument by considering the case of The Anthology of American Folk Music, a set of recordings from the 1920s and 1930s, which has (...) exercised an extraordinary power over popular music since its release in 1952. Using the arguments expounded by Robert Cantwell and Greil Marcus, and pointing to the uses of music in establishing national identities and mobilising social movements, the article argues for an understanding of music's significance that links social experience, aesthetic pleasure and political values. (shrink)

:Visual culture – art, film, entertainment, advertising – are saturated with images of normative heterosexual masculinity. They form visual narratives that project a largely coherent kind of masculinity where heterosexual men are shown to be creative and powerful; they initiate heroic action, take the moral high ground and preserve traditional roles and the status quo. This widely extensive visual field, peopled with normative images of masculinity, also affects and infiltrates the domain of art exemplified by Jackson Pollock and abstract expressionism (...) which, to the present day, continues to project masculinity as the originator and pioneer of aesthetic value. This essay reviews feminist and queer artists’ image making that appropriates the myth of homogeneous masculinity and turns it into a medium for a variety of creative and hybrid explorations. I argue that Deleuzoguattarian concepts such as becoming-woman and becoming-imperceptible help us to understand this molecularisation of masculinity. And importantly in the other direction, these feminist and queer image makers allow us to understand and explore more fully these concepts. (shrink)

A VISUAL GUIDE TO THE WORKS OF THE ULRICH DE BALBIAN FINE ART FOUNDATION au natural I am/was hardly known in my life time, apart from a few thousand on Linkedin, my 2 blogs, Facebook, Instagram - because I live as a hermit, removed from all social life, so that I can just paint, paint and paint - and reflect and write (philosophy and sociology of life, existence, culture, art). I create, as I live, as if there is no human (...) being who interferes, intervenes, creates (paints) - as if every- thing just happens, ‘just is’ - like water flows, the ocean, a tree grows (or dies) in the forest, like light creates colours, gravity and other natural forces. Like Zen Buddhists, Christian and other mystics, Jains, Sufis - we just leave everything as we find it. This is what all arts have ever attempted to do. But, especially and more specifically so-called modern, contemporary and (post-) post-modern art, Critical Theory, (post) deconstruction attempt to, and all philosophy tried to depict by means of reflection on first order existence - as if, it merely mirrors and reflects what it comes across. Nowadays many artist are aware of this, previously few reflected on this. All creatives are/were aware of this attitude, the state of mind, this style of conscious awareness, this way of 'just being', all mystics knew that - realizing the Buddha mind, being oned with Eckhart's Godhead, the one real self of Vedan- ta, the Father of Jesus, etc, etc. The human mind treats smaller paintings as if it is looking AT an object or a thing such as a table or chair , but larger works are experienced (like installations) as if one is part of them and participate in them. Now that you know this please do not treat these images as if they are just more objects or things you look AT, but experience and participate in them. (shrink)

Introduction: image ethics -- Harnessing the visual: from illustration to ekphrasis -- From visible to invisible: Spenser's Aprill and messianic ethics -- Looking for ethics in Spenser's Faerie queene -- "To look, but with another's eyes": translating vision in A midsummer night's dream -- The ethics of temporality in Measure for measure -- "Ocular proof" and the dangers of the perceptual faith -- "Disliken the truth of your own seeming": visual and ethical truth in The winter's tale.

Focused on manifestation, semiotics has nevertheless constantly considered its surroundings, the imaginary that makes the image and gives it meaning. The article tries to problematize this relationship. It separates the picture from its imaginary share, the image, and seeks to support its general propositions on plastic analyzes, a painting by Francis Bacon, an installation by Abdelkader Benchamma and another installation by Adrien M and Claire B. It focuses on reductions and the tipping points of the picture, where the (...) “opening” occurs, striving for a structuring of its proposals. It thus instructs both sides of the enunciation, an enunciation centered on the visible and an invisible enunciation still premeditated by the enunciation. (shrink)

Since the Vietnam War, graphic novels about war have shifted from simply representing it to portraying avenues for survivors to establish psychological wellness in their lives following traumatic events. While modern diagnostic medicine often looks to science, technology, and medications to treat the psychosomatic damage produced by trauma, my article examines the therapeutic potential of the comics medium with close attention to war comics. Graphic novels draw trauma in a different light: because of the medium’s particular combination of words and (...) images in sequence, war comics represent that which is typically unrepresentable, and these books serve as useful tools to promote healing among the psychologically wounded. Graphic narratives, both fictional and non-fictional, illuminate the ways that the unseen wounds of traumatic experience affect public health by compromising the ability of communities, individuals, and survivors to create and maintain meaningful relationships with others. (shrink)

Challenging the image of physics as dry and dusty, The Beautiful Invisible shows that this highly abstract science is in fact teeming with beautiful concepts, ...

Nanotechnologies produce many different types of images but are characterized by the ones that allow us to ‘see the atoms’ despite the fact that objects at the nanoscale are smaller than the wavelength of light and hence are ‘invisible’. Images from scanning probe microscopy (SPM), like ‘The Beginning’, have played an emblematic role in the constitution of the field and are also more likely to be used in communication outside the scientific field. These images are made, selected, modified and (...) evaluated with respect to the information that they communicate. The ‘life cycle’ of these images implies the transduction of this information. Outside of the scientific field, however, they are no longer defined by this information, nor according to technical and scientific criteria, but by their aesthetic power, and they become associated with other images from other fields (art, advertisement, entertainment). This process creates a psycho-social ‘halo’ about ‘nano’ in the public perception, and raises ethical issues about nanotechnological communication via images. We will analyze the halo of the nano in this respect and propose a strategy for a reflexive ‘accommodation’ to the images at the nanoscale. (shrink)

Herculaneum papyri found during the discovery of the Villa dei Papiri in the XVIII century are our only knowledge about Greek philosophical schools. Unfortunately, the original manuscripts are in a precarious state of conservation and the currently available editions of them have largely been made obsolete by the latest technological progress. The aim of the Advanced Grant ERC project ‘Greekschools’ is to provide a new protocol based on optical methods to increase the text reading and thus allow for a new (...) critical edition of the whole treatise of Philodemus’ "Arrangement of the Philosophers". A multi-disciplinary approach is adopted and non-invasive techniques to Herculaneum papyri investigations such as Macro X-Ray Fluorescence Imaging (MA-XRF), Shortwave-Infrared Hyperspectral Imaging (SWIR), high resolution digital microscopy and Technical Photography were applied to read the text hidden on the verso, detect, classify, and replace overlapping layers and read the text concealed inside them. In this work some first preliminary results will be reported. (shrink)

In this article, I focus on two problematic aspects of British health-promotion campaigns regarding feeding children, particularly regarding breastfeeding and obesity. The first of these is that health-promotion campaigns around “lifestyle” issues dehumanize mothers with their imagery or text, stemming from the ongoing undervaluing and objectification of mothers and women. Public health-promotion instrumentalizes mothers as necessary components in achieving its aims, while at the same time undermining their agency as persons and interlocutors by tying “mother” to particular images. This has (...) a double effect: first, it excludes mothers who do not fit the campaign picture of a mother; second, it encloses those who do fit the picture into an objectified image of motherhood that is defined by and subject to the dominant white, heteropatriarchal gaze. The second problem is that campaigns place unjustified demands on mothers, which stem from a misinterpretation of the maternal duty to benefit. I argue that nutrition-related health concerns regarding children are improperly framed as individual failures of maternal duty, rather than as failures of a system to function correctly. These arguments ultimately support shifting the focus of responsibility for issues around childhood nutrition away from mothers and back toward policymakers. (shrink)

The barest awareness of the ubiquity and influence of the media today provides proof enough that our fate is in the hands of the image. But when and how was this fate sealed? _Image, Icon, Economy_ considers this question and recounts an essential thread in the conceptualization of visual images within the Western tradition. This book argues that the extraordinary force of the image in contemporary life—the contemporary imaginary—can be traced back to the Byzantine iconoclastic controversy of the (...) eighth and ninth centuries. It was during this period that the church was compelled to produce an account of the theological status of the religious image that would nevertheless not be open to even the slightest suspicion of idolatry. The solution arrived at was the dual doctrine of the _image_, _invisible_ and the _icon_, _visible_, and thus perfectly fitted to be placed at the center of a pedagogical and political strategy serving the temporal power of the church. The foundations of this immense philosophical enterprise were laid in no less than the multifarious, interwoven strands of the divine _economy_, God's overall plan for the salvation of humanity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSafaa Fathy Click for larger view View full resolution (2) Click for larger view View full resolutionDerrida, Jean-François Mabire, Martial Barrault (director of photography), Safaa Fathy, Almeria, Spain, 1999 (23) Click for larger view View full resolutionDerrida and Martial Barrault, Almeria, Spain, February 1999 (44) Click for larger view View full resolutionDerrida, Toledo, February 1999 (63) Click for larger view View full resolutionDerrida and Safaa Fathy, Toledo, 1999 (83) (...) Click for larger view View full resolution (114) Click for larger view View full resolution (133) Click for larger view View full resolutionDerrida and Jean-François Mabire (sound engineer), Spain, February 1999 (153) Click for larger view View full resolution (172)ImagesSafaa Fathy was born in Egypt, where she obtained her first degree, at the University of Minia. In 1981, she moved to France, where she obtained a diploma in dramatic arts followed by a PhD in theatre studies from the Sorbonne University in Paris.While preparing her dissertation, she participated in and founded theatre groups in order to stage work by contemporary French and British authors.In 1991 she coauthored her first film. Recent films include the documentaries Derrida’s Elsewhere and Dardasha Socotra. She has also started to make film-poems, the latest of which is Hidden Valley.Safaa Fathy writes mainly in Arabic and in French, and occasionally in English. She published her first book of poetry in 1993. Recent books include A Name to the Sea (poetry), Tourner les mots, with Jacques Derrida (theory and narrative) and Ordalie/ Terreur (drama). Her most recent essay is “Khôra, Light and Black Desert,” Estudios Visuales, Spain.Other than Egypt and France, she has lived in Germany, Mexico, and the United States.StatementWriting and writing the image engage the whole body. The living body of the author moves through states of wakefulness—active or meditative; of sleep—dreams or nightmares, in a constant process of selection, inclusion and exclusion of the possible. Cameras supplement the hand and the eye, while recording the image becomes the outcome of a conscious/unconscious process. A process of composing a defined time-space by interrupting its flow through framing. A process that permits the seen to be presented to perception as a scene, written or filmed.I am engaged in the process of inscription through ideograms identified formally by the frame, and intrinsically by composition. The urge to inscribe is dictated. It pulsates as part of the living process through which components of the spiritual, the sensual, the perceptive, and the conceptual fuse in the very gesture of signature.This occurs in a relationship with the world in which the other organically reshapes my self-definition and positioning. The social scene of recognition, publishing and broadcasting, albeit important, is nevertheless secondary. Politically, this means dealing with oppression, repressions, exclusion, discrimination on the basis of their possible transfer through sublimation and transcendence in creating and reinventing a poetic time-space in which all these flaws are neutralized.While writing or recording the seen, I am also concerned with the unseen, or the invisible, whose effect shapes the addressee’s reaction to the piece. The time-space is thus free, open, giving, and its energy is sustained by the vital double bind between the self and the other. [End Page 200]Copyright © 2009 The Johns Hopkins University Press... (shrink)

The use of super‐resolution imaging techniques in cell biology has yielded a wealth of information regarding cellular elements and processes that were invisible to conventional imaging. Focusing on images obtained by stimulated emission depletion (STED) microscopy, we discuss how the new high‐resolution data influence the ways in which we use and interpret images in cell biology. Super‐resolution images have lent support to some of our current hypotheses. But, more significantly, they have revealed unexpectedly complex processes that cannot be accounted (...) for by the simpler models based on diffraction‐limited imaging. The super‐resolution imaging data challenge cell biologists to change their theoretical framework, by including, for instance, interpretations that describe multiple functions, functional errors or lack of function for cellular elements. In this context, we argue that descriptive research using super‐resolution microscopy is now as necessary as hypothesis‐driven research. (shrink)

Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception (...) 2.0 : multiple screens as affective weapons -- Conclusion : the neuro-image : brain-screens from the future. (shrink)

The invisible hand image is at the centre of contemporary debates about capacities of markets, on which discussion of many other topics in business ethics rests. However, its meaning in Adam Smith’s writings remains obscure, particularly the religious associations that were obvious to early readers. He drew on Isaac Newton’s theories of divine action and providence, mediated through the moderate Calvinism of the eighteenth century Scottish circles in which he moved. I argue within the context of Smith’s general (...) providential account of markets, the invisible hand operates restrain inequality and capital flight, thereby stabilizing the market system. Such an understanding of the invisible hand raises questions for contemporary religious and secular discussions of the capacities of markets in the wake of the global financial crisis. (shrink)

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

Relying on Husserl as well as on the reflections by Merleau-Ponty on Cézanne, Henry on Kandinsky and Deleuze on Bacon, this essay sketches some basic problems that arise in a phenomenological account of non-figurative painting. An investigation of the distinction between phenomenological and pictorial perception, of the transposition of the painter’s mode of perception into a painted image, and of the expressive force of paintings inevitably confronts one with the enigma of the appearing of something invisible. The essay (...) proceeds in three steps. The first step describes pictorial perception in terms of a ‘seeing according to’. Such a mode of perception pays attention to visual ambiguities, to the ‘gaze of things’ and to the conditions of visibility that are ordinarily overlooked. The second step moves on to the issue of the transposition of a pictorial perception in a painted image. Deleuze’s account of “manipulated chance” proves to be very helpful here. In the final step, Henry’s and Deleuze’s emphasis on the painting’s expression of totally invisible ‘forces’ is discussed. (shrink)

The invisible hand image is at the centre of contemporary debates about capacities of markets, on which discussion of many other topics in business ethics rests. However, its meaning in Adam Smith's writings remains obscure, particularly the religious associations that were obvious to early readers. He drew on Isaac Newton's theories of divine action and providence, mediated through the moderate Calvinism of the eighteenth century Scottish circles in which he moved. I argue within the context of Smith's general (...) providential account of markets, the invisible hand operates restrain inequality and capital flight, thereby stabilizing the market system. Such an understanding of the invisible hand raises questions for contemporary religious and secular discussions of the capacities of markets in the wake of the global financial crisis. (shrink)

Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious artworks (...) that represent the contemporary religious aesthetics. The black Rothko’s paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) no-thing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. Thus, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church. (shrink)

How can we, in our times, understand the biblical concept that human beings have been created in the image of an invisible God? This is a perennial but increasingly pressing question that lies at the heart of theological anthropology. Humanity in God's Image: An Interdisciplinary Exploration clarifies the meaning of this concept, traces different Jewish and Christian interpretations of 'humanity in God's image', and re-considers the significance of the imago Dei in a post-Holocaust context.

Augustin est le seul penseur antique à avoir rédigé un traité sur le concept d’image, la Question 74, où il démontre la possibilité d’une image (invisible) de l’invisible. Cette conception éclaire la réticence des Libri Carolini envers la théologie de l’icône, développée par le concile de Nicée II. La doctrine augustinienne de l’image mentale, associée au texte déchiffré, permet de comprendre la théorie médiévale de la méditation, et l’inflexion qu’elle subit en devenant « représentation » (...) (Aelred de Reivaulx). Elle permet enfin de justifier la doctrine de la vision face à face, contre l’invisibilité de Dieu dans l’au-delà, définie par Denys et Jean Scot, qui sera condamnée en 1241. (shrink)

Contemporary medical imaging technologies produce images on the level of human cells. As a result of such images, egg and sperm cells have become well-known artefacts of popular culture. Medical imaging technology has transformed these gametes from invisible matter integrated in biological processes within the body to identifiable objects. The visualisation of egg and sperm cells has literally lifted the process of human reproduction out of the female body and made the gametes appear as protagonists in the story of (...) human reproduction. The article argues that visualisation of the gametes and the central role they play in contemporary imaginations of reproduction may offer vital contributions to the rather rapid acceptance and normalisation of assisted reproduction. (shrink)

Early in the course of undertaking empirical research on the sexual diversity of the judiciary I had to address a particular challenge. Sexuality, I was repeatedly told, is not and ought not to be a difference that is taken into account. At best it ought to be disregarded or taken out of consideration. This generated a number of challenges for my research. How do you research and make sense of sexuality as a difference that key informants assert is absent or (...) seek to make invisible and irrelevant? How do you research the operation and effects of that which is not to be spoken about? How do you research the sexual norm when its existence and operation is denied? This article explores one response. It is a project that may for some be surprising and unexpected. It is a study of judicial portraits. Drawing on the insights of queer theory and art historical scholarship on portraits I undertake a textual analysis of these images, focusing upon the aesthetic and artistic traditions used to make them. A small case study of portraits of the Chief Justices of the Supreme Court of New South Wales is used to explore how, if at all, sexuality figured in these portraits. (shrink)

The paper aims at tracing a collective portrait and the trajectories of a group of about forty women active in the communist movement after Poland had regained independence, and after the Second World War. I explore the relations between gender, communist activity, and the changing circumstances of the communist movement. I argue that interwar activities shaped women communists as radical, uncompromising, and questioning traditional femininity political agents, accepted as comrades at every organisational level. This image and identity, though, contributed (...) to the creation of the gender division of political work after the war, when women were assigned specific roles as guardians of revolutionary past. The post-war situation of state socialism with the communist party as the ruling party assigned women mainly to invisible, secondary positions. (shrink)

Jean-Luc Nancy considers art to be of a great importance in his project of a deconstruction of Christianity. This article focuses on his analysis of the monotheist provenance of the notions of image and representation. According to Nancy, art and monotheism can be thought of as cooriginary. Art, or the image, gives monotheism invisibility as a negative and yet paradoxically sensible modality of the withdrawal of God. In turn, monotheism gives art the internal opening towards indefinite sense that (...) results from such withdrawal. Nancy suggests that the notion of representation can be understood as an effect of the radical absence of God, and that the notion of image can be understood as conditioned by the Christian idea of incarnation. The article traces the way Nancy interprets this idea and shows its effects on a Western comprehension of art. (shrink)

Contemporary art was born out of the radicalization of a crisis begun by modern art , concerning the twofold sensible identity of art, which involves both its image-form and its aesthetic-form. This crisis led Matisse and Duchamp to « undo the image » inasmuch as it is defined by Form, in a kind of phenomenology of the visible and the invisible . Matisse responds to this with a vitalist energeticism which brings about an expansive constructivism of color-forces (...) which replaces aesthetics with an aesthesis. Duchamp enacts a constructivism of the signifier, in which nominalism and bachelor machinism abolish all effects of being of the sign-image and thus all aesthetic sign-making of the world. (shrink)

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

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

The present work aims at discussing the ways in which the literature, especially in Criminology, refers to criminal women. As attested by feminist scholars interested in the topic, female crimes have been theorized from a male standpoint. In other words, no efforts have been constantly made to understand the specificities of crimes perpetrated by women. Thus, from both the analysis of the existent literature and data resulting from an empirical study conducted with female drug traffickers in Rio de Janeiro, Brazil, (...) the goal is to provide elements to further understand the image usually associated to female criminals, as well as the reasons for the invisibility of women in specialized literature.El presente trabajo objetiva discutir las maneras por las cuales la literatura, especialmente la de Criminología, se refiere a mujeres criminosas. Como atestan las pensadoras feministas interesadas en el tema, los crímenes femeninos se han teorizado des de un punto de vista masculino. En otras palabras, los esfuerzos para comprender las especificidades de los crímenes perpetrados por mujeres, no han sido constantes. Así, desde el análisis de la literatura existente y el análisis de los datos resultantes de un estudio empírico con mujeres traficantes de drogas en Río de Janeiro, Brasil, el objetivo es aportar elementos para el entendimiento de la imagen usualmente asociada a las mujeres criminales, así como entender las razones de la invisibilidad femenina en la literatura especializada. (shrink)