Ontology is one strategy for promoting interoperability of heterogeneous data through consistent tagging. An ontology is a controlled structured vocabulary consisting of general terms (such as “cell” or “image” or “tissue” or “microscope”) that form the basis for such tagging. These terms are designed to represent the types of entities in the domain of reality that the ontology has been devised to capture; the terms are provided with logical defi nitions thereby also supporting reasoning over the (...) tagged data. Aim: This paper provides a survey of the biomedical imaging ontologies that have been developed thus far. It outlines the challenges, particularly faced by ontologies in the fields of histopathological imaging and image analysis, and suggests a strategy for addressing these challenges in the example domain of quantitative histopathology imaging. The ultimate goal is to support the multiscale understanding of disease that comes from using interoperable ontologies to integrate imaging data with clinical and genomics data. (shrink)

Interoperability across data sets is a key challenge for quantitative histopathological imaging. There is a need for an ontology that can support effective merging of pathological image data with associated clinical and demographic data. To foster organized, cross-disciplinary, information-driven collaborations in the pathological imaging field, we propose to develop an ontology to represent imaging data and methods used in pathological imaging and analysis, and call it Quantitative Histopathological Imaging Ontology – QHIO. We apply QHIO to breast (...) cancer hot-spot detection with the goal of enhancing reliability of detection by promoting the sharing of data between image analysts. (shrink)

We would first of all like to thank Thor Grünbaum and Andrea Raballo for their thoughtful and lively commentary on our work. We would also like to thank Daniel Rubin for taking this opportunity to describe in detail some of the research carried out in this domain since our paper was first written. Although their commentaries may seem to fall on opposite ends of the critical scale, so to speak, taken together they provide an opportunity to take stock of the (...) progress that has been made in this endeavor as well as some of the challenges that remain to be overcome. In this short response, we focus primarily on what we believe to be the most serious of Grünbaum and Raballo's criticisms to our work, arguing that our .. (shrink)

Sellars claims completeness for both the “manifest” and the “scientific images” in a way that tempts one to assume that they are independent of each other, while, in fact, they must share at least one common element: the language of individual and community intentions. I argue that this significantly muddies the waters concerning his claim of ontological primacy for the scientific image, though not in favor of the ontological primacy of the manifest image. The lesson I draw is (...) that we need to reassess the aims of ontology. (shrink)

Ontologies of Rock Art is the first publication exploring a wide range of ontological approaches to rock art interpretation, constituting the basis for ground-breaking studies on Indigenous knowledges, relational metaphysics, and rock imageries. The book contributes to the growing body of research on the ontology of images by focusing on five main topics: ontology as a theoretical framework; the development of new concepts and methods for an ontological approach to rock art; the examination of the relationships between (...) class='Hi'>ontology, images and Indigenous knowledges; the development of relational models for the analysis of rock images; and the impact of ontological approaches on different rock art traditions across the world. Generating new avenues of research in ontological theory, political ontology and rock art research, this collection will be relevant to archaeologists, anthropologists, and philosophers. In the context of an increasing interest in Indigenous ontologies, the volume will also be of interest to scholars in Indigenous Studies. (shrink)

Sellars claims completeness for both the “manifest” and the “scientific images” in a way that tempts one to assume that they are independent of each other, while, in fact, they must share at least one common element: the language of individual and community intentions. I argue that this significantly muddies the waters concerning his claim of ontological primacy for the scientific image, though not in favor of the ontological primacy of the manifest image. The lesson I draw is (...) that we need to re-assess the aims of ontology. (shrink)

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and (...) of what we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

In the Timaeus, Plato’s Timaeus offers an account of the sensible world in terms of “images” of forms. Often, images are taken to be particulars: either objects or particular property instances (tropes). Contrary to this trend, I argue that images are general characteristics which are immanent in the receptacle, or bundles of such characteristics. Thus, the entire sensible world can be analysed in terms of immanent general characteristics, the receptacle, and forms. Hence, for Timaeus, fundamentally, there are no sensible particulars. (...) I end by arguing that my interpretation is compatible with Timaeus’ construction of sensible entities from triangles. (shrink)

Nancy's writing on the image may be understood as a critical engagement with the traditions of modern aesthetics and classical theories of art. However, the starting point for his approach to the image indicates that his writing on this topic has much wider ambitions than the treatment of a regional aesthetic topic. Nancy defines the image as a mode of access to sense. Nancy attempts an ontological rehabilitation of the image, which reiterates the precepts of his (...) conception of being as ‘co-presence’. I will argue here that a careful study of the implications of this rehabilitation of the image can be used to clarify the significance of the tacit references that Nancy's ontology makes regarding politics. (shrink)

Ontography is intended to represent the epistemological counterpart to the ancestral ontology as well as the genuine functioning of certain media technologies. Using the media technology of digital imaging and processing as an example, the paper discusses the problem of a simple distinction between ontological and ontographic procedures.

이 글은 4차 산업혁명의 이미지 시대에서 메를로-퐁티의 살-존재론적 입장에서 세계 속 ‘신체 주체의 살’과 ‘세계의 살’ 및 이미지의 본질적 특성을 밝히고, 그의 살-존재론을 토대로 4차 산업혁명 사회 속 이미지의 성질과 중요성을 고찰하며, 회화이미지·사진이미지·영화이미지의 특성과 가치 및 효용성을 밝히는 것을 목적으로 한다. 이런 밝힘으로 4차 산업혁명 사회에서 사람 존재의 참된 의미와 우리의 미래지향적 길을 드러낼 것이다. 신체 주체와 세계의 교차에서, 신체 주체는 세계에 대한 살을 가지고, 동시에 세계는 신체 주체에 대한 살을 가진다. 가역성과 가시성으로서의 살, 즉 교차적 살은 모든 존재자의 특성과 (...) 존재를 밝힌다. 이것은 신체 주체의 이미지와 대상의 이미지의 관계적 특성을 드러낸다. 4차 산업혁명 시대에 살-존재론적 살을 토대로 사물인터넷, 3D 프린팅, 로봇, 합성생물학의 사회의 특성을 고찰하면서 디지털 이미지의 가치와 효용성을 밝히며, 더불어 회화, 사진, 영화의 세계에서 회화이미지, 사진이미지, 영화이미지의 특성을 고찰하면서 예술적 이미지의 가치와 변용성을 밝힌다. 궁극적으로 모든 존재자의 이미지와 산업 혁명적 기술 및 사람의 존재에 대한 바른 이해를 통해 4차 산업혁명 시대에 경제적 부 이미지, 자유이미지, 평등이미지, 건강이미지, 행복이미지 등에 대해 항상 마음씀-이미지를 다해야 할 것이다. (shrink)

Genealogy and ontology (paradigms) -- The image in photography and cinema and its digital future.

The distinction between body image and body schema has been incredibly influential in cognitive neuroscience. Recently, researchers have begun to speculate about the relationship between these representations (Gadsby, 2017, 2018; Pitron & de Vignemont, 2017; Pitron et al., 2018). Within this emerging literature, Pitron et al. (2018) proposed that the long-term body image and long-term body schema co-construct one another, through a process of reciprocal interaction. In proposing this model, they make two assumptions: that the long-term body (...) class='Hi'>image incorporates the spatial characteristics of tools, and that it is distorted in the case of Alice in wonderland syndrome. Here, I challenge these assumptions, with a closer examination of what the term “long-term body image” refers to. In doing so, I draw out some important taxonomic principles for research into body representation. -/- . (shrink)

This book is a rehabilitation sensibility. It defines what we call sensibility or sensible life by defining the ontological status of images. It shows that images have an intermediate ontological status and exist in an autonomous sphere. It also explores our interactions with images in dream, fashion and language.

The sociocultural landscape of contemporaneity can be represented as a porous inhomogeneous space consisting of border zones. These zones, understood by P. Galison as “local coordination of beliefs and actions,” can be deployed due to already existing conditions, for example, a project may arise at a university. However, such zones do not create sustainable social configurations and infrastructures associated with new areas of knowledge. In this article, we expand the concept of trading zones and call them zones requiring local ontologies (...) that arise on the border between different knowledge and imagination systems and, in turn, require their own infrastructure. This approach supports the view on humanities not as “pre-packaged” knowledge, but as special “technique” forming local ontologies. For a humanities-as-technique to emerge, it is necessary that two or more systems of knowledge coincide in time and form an intermediate zone, on the basis of which some local ontology can unfold. Thus, for example, when combining contemporary philosophy and contemporary mathematics, new images of knowledge emerge. Humanities-as-technique are considered as the basis for the establishment of trading zones, which are understood as local ontologies. We also propose a system of concepts that can be used to describe and construct these trading zones on the territory of the humanities in a techno-oriented cultural environment. (shrink)

This paper explores the question whether an adequate account of the facts about imagination and mental imagery must construe mental images as objects. Much of the paper is a study of Alastair Hannay's defense of an affirmative answer in his wide?ranging study, Mental Images ? A Defence. The paper first sets out and evaluates Hannay's case. The second part develops an alternative account of mental images, including non?visual images, which Hannay does not treat in detail. The alternative account is analogous (...) to the adverbial theory of perception; and it is suggested how this account, without construing mental images as objects, might accommodate the data from which Hannay argues for their objecthood. (shrink)

이 논문은 영상커뮤니케이션 세계 속에서 소통되고 있는 사진 영상이미지들과 동영상 이미지들의 현상학적, 살-존재론적 특성, 즉 교차로서의 살을 통한 영상이미지들의 특성을 메를로-퐁티의 현상학과 살-존재론을 토대로 밝히는 것을 목적으로 한다. 아울러 이런 밝힘은 사진 영상이미지와 동영상이미지와 상호작용하는 소통자들로 하여금 존재 의미를 인식하게 할 것이다. 영상이미지들의 현상학적인 살-존재론적 특성은 크리에이터의 영상이미지 제작에 활용될 것이다.BR 차이장을 지평으로 한 차이들이 일어나고 있는 사진 영상이미지는 사진 속 형태와 형태, 색깔과 색깔, 형태와 색채, 부분이미지와 전체이미지 간의 차이와 상호적 교차로서의 살을 통해 사진 영상이미지의 사태 자체를 드러내는 현상학적, (...) 살-존재론적 특성을 가진다. 사진영상이미지와 사용자는 접속에서 서로 교차의 살을 가지고, 더욱이 사용자는 그 사진 영상이미지에 대해 공감의 살을 가지고 자기 존재 의미를 느끼고 의식할 수 있으며, 동시에 사진 영상이미지는 그 공감에 대한 살을 가진다.BR ‘소확행 동영상이미지, 브이로그 먹방 동영상이미지, 1인 방송 동영상이미지’와 ‘크리에이터와 사용자’ 간에는 즐거움, 감미로움, 재미, 소확행 느낌 등의 살이 작용하고 있고, 감각적 느낌논리가 있다. 크리에이터와 사용자는 동영상이미지를 통해서 소확행의 삶과 존재의미 및 어떤 가치를 느낄 수 있다. (shrink)

A review of Tristan Garcia's The Life Intense: A Modern Obsession (2018) unravelling Garcia's process philosophy qua intensity.

Plato's dialogues stand at a transition from orality to literacy. They are living contradictions-partly oral and partly literary. This relationship between orality and writing is one of the most vexed issues in the history of Platonic interpretation and has particular relevance for the progressive erosion of literacy in favour of digitalisation today. This book argues that the relationship between the oral and the written in Plato's dialogues is not a straightforward opposition, but is instead grounded in ontological analysis and exemplified (...) by the ontology of the image, which appears throughout the Platonic canon. (shrink)

이 글은 세계 속 신체-주체와 지각 대상의 접속에 의한 지각 현상의 특성을 밝히고, 이를 바탕으로 영화 속 영화이미지의 현상학적 특성과 현상학적인 존재론적 살로서의 영화 이미지의 특성 및 영화이미지의 존재 의미를 밝히는 것을 목적으로 한다. 이런 밝힘으로 말미암아 현상학적인 존재론적 살로서의 영화이미지의 가치가 드러날 것이다. 현상학적 지각 현상은 차이장 속 차이의 지각 현상이 되고 차이 존재를 토대로 지각 현 상 자체를 나타내는 차이존재론적 지각 현상이 된다. 지각 현상은 운동적인 지각지평-차 이장 속 역동적인 차이들이 시공적으로 생산되고 있는 총체적 시스템의 지각 현상이다. 시간적 (...) 게슈탈트로서의 영화란 단순히 이미지들을 모아놓은 집합이 아니라, 이다. 영화이미지는 가상이면서도 현실이고 현실이면서도 가상이 되고 있으며, 차이장 속 가상과 현실을 맞물리게 하는 맞물림의 시뮬라크르 가 되고 있다. 영화이미지들의 관계적인 접속적 상황에서 영화적 현재는 영화적 과거와 영화적 미래 에 대한 시간적 살을 가진다. 영화이미지들은 서로에 대한 대립과 대립적 살을 가지고, 갈등, 권력, 사랑의 관계적인 영화이미지들은 각각 서로에 대하여 갈등과 갈등적 살, 권력과 권력적 살, 사랑과 사랑의 살을 가진다. 영화이미지들의 교차는 살적인 새로운 생성 의미 와 그 영화이미지들의 존재 의미를 드러내고, 관객은 영화이미지들의 살을 통해서 영화이 미지의 의미와 존재 의미 및 자신의 존재 의미를 느끼고 의식한다. 영화 속 영화이미지들은 항상 컨텍스트-영화이미지들로서 작동한다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image by Mariangela EspositoDoug Al-MainiESPOSITO, Mariangela. The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image. Boston: Brill, 2023. xiv + 173 pp. Cloth, $143.00This manuscript grew out of the author’s original interest in Platonic aesthetics, itself developing into a more particularized examination of Plato’s account of (...) beauty. Plato’s interest in the arts is famously bound up in a broad criticism of their imitative nature; the relation between the original and the imitation, or the eidos and the eidolon, is the core topic of this book. When this binary nature of mimesis is emphasized, it is difficult not to see the two poles as opposed to each other, and indeed there are several passages in the Platonic corpus that tell us directly to value the eidos over the eidolon. “The critique of the arts, in general terms, is based on the assumption that they produce multiple, false, sensorial images (eidola ) that are far removed from the truth, while the truth is a process through which multiplicities are gathered together into an intellectual unity (eidos).” While this duality shows up in the dialogues in numerous ways, Esposito seeks to show a method that transcends it, a method that depends on the experience of [End Page 347] beauty. Beauty is the entity that allows for a transition from the sensual to the intellectual, a point Plato makes in both the Symposium and the Phaedrus, and thereby supports the view that the binary pair of image and original are not so discrete as we might originally believe.Esposito’s analysis of the relation between image and original is made concrete through its application to writing and speech. The book is divided into an introduction, three chapters, and a conclusion that track the progress of our ascent to the eidos, with the first chapter devoted to Plato’s critique of writing, the second to the critique of speech, and the third to an analysis of how beauty facilitates going beyond their opposition. The main sources for the critique of writing are the Phaedrus and the Seventh Letter; Socrates in the Phaedrus explicitly declares writing to be an imitation of speech and the Seventh Letter supports this position. Esposito follows Derrida’s famous essay, Plato’s Pharmacy, stating, “In Derrida’s account of the Phaedrus, this is the main charge against the written word: first, it imitates the original, and then—its second crime—substitutes itself for the original.” The ability of the copy to substitute itself for the original shows a sensitivity on Derrida’s part to the kind of project that Esposito wants to engage in, and indeed a major theme of Derrida’s work was his use of the concept of the pharmakon as something that transgressed a boundary between seemingly discrete opposites; the term pharmakon could refer to either a poison or a cure. But Esposito claims that focusing on the opposition between speech and writing ensures that it will never be overcome, and so this criticism of writing (as an imitation) must be demoted in importance. Esposito therefore ultimately distances herself from Derrida and also spends time taking on the importance of the so-called Unwritten Doctrines, especially as outlined by the Tübingen School. The Tübingen School straightforwardly accepts the criticism of writing in comparison to speech and so develops a theory of unwritten doctrines that Plato would only transfer orally. Given her project of synthesizing the tension between writing and speech, it is unsurprising that Esposito would be hostile to the project of the Tübingen School, “which this work does not consider sustainable.”In the second chapter Esposito moves on to the critique of speech. Here the core of her analysis is given to the Sophist, which provides us with “the best ontological expression of the criticism of image making.” The wider criticism of the Sophist is centered on the observation that appearances are bound up with nonbeing itself; “the biggest challenge posed by the sophist and the main danger of the mimetic mechanism is revealed: both allow the pseudos... (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

The book is a translation of the Sophist with a running commentary. Three main points are argued: the dialogue does not present positive doctrine but has the structure of a reductio ad absurdum, Plato's point is to criticize the metaphysics of Parmenides. By failing to account for resemblance, Eleaticism implies an inadequate theory of relations, which makes impossible any understanding of "essence." Consequently, Eleaticism can be taken as the philosophical underpinning for the antithesis of philosophy, lending legitimacy to sophistry, the (...) criticism constitutes an indirect argument for the theory of forms. ;The method of division employed in the Sophist does not proceed "along natural joints" as called for in the Phaedrus, nor can it, since the Eleatic logic that underlies the method used in the Sophist allows for no intermediate in the strict opposition of 'being' and 'not-being.' The only definitions that can be made on this basis are negative definitions. This leads to an inability to account for images on Eleatic terms, providing a refuge for the sophist--he cannot be a maker of deceptive images if there are no images and no falsity. However, the modification of the Eleatic rejection of not-being is incomplete and insufficient. ;The arguments allow only for relations of identity and difference or whole and part, excluding any account of resemblance, the basis for any theory of participation. On these grounds, not-being is defined in terms of difference, affording an incomplete explanation of false statement, while abandoning the initial problem of images. Moreover, the concluding argument directly implies the reduction of 'being' to the newly introduced definition of 'not-being.' The ending turns back to the beginning: the sophist has an art that is no art, and definitions can only be definitions in terms of difference, negative definitions allowing no adequate account of images and no essences. The dialogue ends in a subtle aporia pointing to the failure to acknowledge that to say images both are and are not indicates an order of ontological dependence. (shrink)

The Plant Ontology (PO) is a community resource consisting of standardized terms, definitions, and logical relations describing plant structures and development stages, augmented by a large database of annotations from genomic and phenomic studies. This paper describes the structure of the ontology and the design principles we used in constructing PO terms for plant development stages. It also provides details of the methodology and rationale behind our revision and expansion of the PO to cover development stages for all (...) plants, particularly the land plants (bryophytes through angiosperms). As a case study to illustrate the general approach, we examine variation in gene expression across embryo development stages in Arabidopsis and maize, demonstrating how the PO can be used to compare patterns of expression across stages and in developmentally different species. Although many genes appear to be active throughout embryo development, we identified a small set of uniquely expressed genes for each stage of embryo development and also between the two species. Evaluating the different sets of genes expressed during embryo development in Arabidopsis or maize may inform future studies of the divergent developmental pathways observed in monocotyledonous versus dicotyledonous species. The PO and its annotation databasemake plant data for any species more discoverable and accessible through common formats, thus providing support for applications in plant pathology, image analysis, and comparative development and evolution. (shrink)

Primitive ontology is a program which seeks to make explicit the ontological commitments of physical theories in terms of a distribution of matter in ordinary space-time. This program targets wave-function realism, which interprets the high-dimensional configuration space on which wave-functions are defined as our fundamental physical space. Wave-function realism allegedly fails to account for a correspondence between the ontology it postulates and the ‘manifest image’ of the world in which experimental tests of the theory are performed, and (...) therefore the wave-function must be completed with an additional structure which describes what fundamentally exists in ordinary space-time: the ‘primitive ontology’. However primitive ontologies face some difficulties, in particular concerning the ontological status of the wave-function. In this paper, I defend a realist interpretation of the wave-function as describing objects in ordinary space-time, which does not require supplementing the theory with additional structure. The main difference between this proposal and other primitive ontology proposals is that the fundamental constituents of reality are not conceived of as localised objects, but as primitive relations. This interpretation purports to share the advantages of both wave-function realism and primitive ontologies without facing the same difficulties. I argue that the need for an additional structure stems from a commitment to the locality of the fundamental constituents of reality, and that such commitment is unnecessary for recovering the manifest image of the world. (shrink)

The interpretation of functional imaging experiments is complicated by the pluripotency of brain regions. As there is a many-to-one mapping between cognitive functions and their neural substrates, region-based analyses of imaging data provide only weak support for cognitive theories. Price and Friston argue that we need a ‘cognitive ontology’ that abstractly categorizes the function of regions. I argue that abstract characterizations are unlikely to be cognitively interesting. I argue instead that we should attribute functions to regions in a context-sensitive (...) manner. I review recent meta-analyses that approach fMRI data in this light and argue that they have revisionary potential. (shrink)

Purpose. Based on the study of philosophical anthropological concepts, to highlight the project of personality in different historical periods, to reveal the meaning of humanistic issues in the postmodern epoch, to identify the essential features of the image of human of the second half of the XX the beginning of the XXI century. Theoretical basis. The methodological basis of the article is the principles of historicism, integrity, objectivity regarding the mastery of the issue of person’s image in postmodernism. (...) The research applied comparative-historical, culturological, analytical, axiological approaches to reveal the problem of individuality in the second half of the XX the beginning of the XXI century. The theoretical basis of the article consists of scientific works in the field of philosophical anthropology, history, cultural studies, and aesthetics. Originality. The author revealed the peculiarities of transformation of the personality model from antiquity to postmodernism, specified the image of man of the second half of the XX the beginning of the XXI century. Conclusions. The analysis of anthropological ideas of Western philosophy of different ages shows the variety of views about understanding the nature of the person, its complexity and ambiguity. In the epoch of postmodernism humanistic issues are of particular relevance, which is connected with social and political uncertainty, domination of mass consciousness, loss of national and cultural identity. The image of a person of this period is deprived of a solid foundation, it is blurred and relative. The destruction of faith in the absolute in the context of the second half of the twentieth century contributed to the formation of confidence in the interdependence of all things, raised the problem of the personality image to a new ontological level. Orientation in the achievements of European civilization, perception of its anthropological experience, intercultural dialogue contribute to the productive use of the achievements of mankind in order to understand the modern person and to form its adequate image. In its essence, postmodernism does not set the goal to realize a retrospection of subject type. However, separating from the cultural memory the excerpts of ideas about a person, by certain styles and directions, it builds on their formations its own eclectic image of the individual. (shrink)

The article offers a new approach for the exploration of media and television studies by extracting the television-philosophy implicit in Samuel Beckett’s television play … but the clouds …. The reading focuses on the immanent logic of the play seen as a televisual and an intermedial whole, instead of constructing it as an intertextual tapestry of references. The article argues against a popular interpretation of Beckett as the artist of failure. The reading of …but the clouds… as illustrating the failure (...) of memory and as a comment on the televisual loss of pro-filmic referentiality is subsequently also contested. On the contrary, it is argued that the play in a self-reflexive positive gesture explores both the ontology of the television-image and the ontology of memory as a process of conjuration by presenting a successful emergence of the televisual Image-in-itself. (shrink)

Motivated by discourses that link early child development and health, nurses engage in seemingly benign surveillance of children. These practices are based on knowledge claims and technologies of developmental science, which remain anchored in assumptions of the child body as an incomplete form with a universal developmental trajectory and inherent potentiality. This paper engages in a critical discursive analysis, drawing on Donna Haraway's conceptualizations of technoscience and figuration. Using a contemporary developmental screening tool from nursing practice, this analysis traces the (...) effects of this tool through production, transformation, distribution, and consumption. It reveals how the techniques of imaging, abstraction, and measurement collide to fix the open, transformative child body in a figuration of the developing child. This analysis also demonstrates how technobiopower infuses nurses' understandings of children and structures developmentally appropriate expectations for children, parents, and nurses. Furthermore, it describes how practices that claim to facilitate healthy child development may inversely deprive children of agency and foster the production of normal or ideal children. An alternative ontological perspective is offered as a challenge to the individualism of developmental models and other dominant ideologies of development, as well as practices associated with these ideologies. In summary, this analysis argues that nurses must pay closer attention to how technobiopower infuses practices that monitor and promote child development. Fostering a critical understanding of the harmful implications of these practices is warranted and offers the space to conceive of human development in alternate and exciting ways. (shrink)

A considerable group of contemporary philosophers and theologians—including those engaged in the science-theology dialogue, such as Barbour, Clayton, Davies, and Peacocke—supports panentheism, i.e., a theistic position which assumes that the world is in God, who is yet greater than everything he created. They see it as a balanced middle ground between the positions of classical theism and pantheism. In this article, I offer a presentation and a critical evaluation of the most fundamental principles of panentheism from the point of view (...) of classical theism. First, I list six main species of panentheism and the motivations of those who support it. In the second part, I analyze the three main difficulties concerning its ontological and theological principles, i.e., (1) the meaning of the preposition ‘in’ (_en_) in ‘pan_en_theism’; (2) the accuracy of panentheistic definition of divine immanence, and (3) the question of whether panentheism is successful in protecting God’s transcendence. I conclude that panentheism fails as a Christian theistic position. Nevertheless, it might still be valuable and play an important role in addressing the cognitive drama of the modern human beings, often seduced by secular (scientific) or spiritual naturalism, or pantheism. (shrink)

The world is a unification of matter, energy and information. Subjectivity information is such information that subject receives, deals with and expresses. Subjectivity information can be classified to two categories by form: image and symbol. On the basis of ontology of ‘matter, energy and information——triunity’, this paper presents the definitions of symbol and image, points out the origin of them and brings forward the mechanism that men cognize symbols. Also, the paper classifies symbols in two ways: In (...) one way, according to essence, origin and function, symbols can be classified to three categories: image symbols, appellation symbols and digit symbols. In the other way, symbols can be classified to two categories: static symbols and dynamic symbols, according to the carriers. Moreover, the author discussed the respective advantages and characteristics of image and symbol, especially presented four important characteristics of symbols: 1) be derived from definitions; 2) rely on manifold brain activities; 3) discretization; 4) meaning congruence. In the end, the author pointed out the epoch-making significance of symbols in the process that animals evolved into men. (shrink)

How do we find what is clinically significant in the swarms of data being generated by today’s diagnostic technologies? As electronic records become ever more prevalent – and digital imaging and genomic, proteomic, salivaomics, metabalomics, pharmacogenomics, phenomics and transcriptomics techniques become commonplace – fdifferent clinical and biological disciplines are facing up to the need to put their data houses in order to avoid the consequences of an uncontrolled explosion of different ways of describing information. We describe a new strategy to (...) advance the consistency of data in the dental research community. The strategy is based on the idea that existing systems for data collection in dental research will continue to be used, but proposes a methodology in which past, present and future data will be described using a consensus-based controlled structured vocabulary called the Ontology for Dental Research (ODR). (shrink)

The eastern Islamic concept of the imaginal realm, which explains how supra-sensory realities present themselves to imaginative perception, can enrich the imagination of film-philosophy. The imaginal realm, in Arabic ‘alam al-mithal, world of images, or ‘alam al-khayal, imaginative world, is part of a triadic ontology of sensible, imaginal, and intelligible realms. Diverging from roots shared with Western thought in the concept of the imaginative faculty, the Islamic imaginal realm is supra-individual and more real than matter. The imaginal realm is (...) a radically pro-image concept, affirming the importance of poetry, art, and images in motion. As developed by the Persian philosopher Sadr al-Dîn Muhammad al-Shîrâzî, known as Mullâ Sadrâ, the imaginal realm flows and intensifies, in a process philosophy we may fruitfully compare with Spinoza, Leibniz, and Whitehead. I sketch the genealogy of the imaginal realm and compare it to contemporary Western film-philosophy. I suggest how this transcendental concept can be made immanent. Finally, I draw from contemporary Muslim thinkers, such as Mohammed Arkoun, who ground a visionary collective politics in the imaginal realm. My central example, the documentary The Lebanese Rocket Society by Joana Hadjithomas and Khalil Joriege, exemplifies film's imaginal powers. (shrink)