In her opening chapter on Marx, Kofman provides a reading of inversion as necessary to the ideological process. She then explores the metaphor of the camera obscura in Freud's description of the unconscious.

Artykuł zawiera prezentację najstarszych zachowanych świadectw w starożytnej Grecji zawierających opis camera obscura. Terminu używa się zamiennie na określenie zarówno zjawiska, jak i urządzenia optycznego wykorzystujacego wspomniany fenomen. Schemat działania jest prosty: promienie światła biegnące od przedmiotu i przechodzące przez niewielki otwór, padają na powierzchnię w zaciemnionej przestrzeni tworząc odwrócony obraz przedmiotu. Pierwsze opisy fenomenu camera obscura pojawiają się w starożytnych Chinach i Grecji. W kulturze greckiej i zarazem tradycji europejskiej, chronologicznie pierwszym zapisem jest tekst zawarty (...) w dziele pt. Zagadnienia przyrodnicze, w Księdze XV, rozdziale 11, a dopełnienie w Księdze XV, rozdziale 6. Wspomniane dzieło zostało napisane przez nieznanego nam bliżej autora lub autorów, ale wywodzącego się z tradycji dociekań przyrodniczych Liceum Arystotelesa. (shrink)

In his Paralipomena Johannes Kepler reported an experimentum that he had seen in the Dresden Kunstkammer. In one of the rooms there, which had been turned in its entirety into a camera obscura, he had witnessed the images formed by a lens. I discuss the role of this experiment in the development and foundation of his new theory of optical imagery, which made a distinction between two concepts of image, pictura and imago. My focus is on how Kepler (...) used his report of the experiment inside the camera obscura to criticize the account of image formation given in Giovanbattista Della Porta's Magia naturalis . I argue that this experiment allowed Kepler to sort out the confusion between images 'in the air'—referring to the geometrical locus of images in the perspectivist tradition of optics—and the experimentally produced 'projected images', which were empirically familiar but conceptually alien to perspectivist optics. (shrink)

In his Paralipomena Johannes Kepler reported an experimentum that he had seen in the Dresden Kunstkammer. In one of the rooms there, which had been turned in its entirety into a camera obscura, he had witnessed the images formed by a lens. I discuss the role of this experiment in the development and foundation of his new theory of optical imagery, which made a distinction between two concepts of image, pictura and imago. My focus is on how Kepler (...) used his report of the experiment inside the camera obscura to criticize the account of image formation given in Giovanbattista Della Porta's Magia naturalis. I argue that this experiment allowed Kepler to sort out the confusion between images 'in the air'—referring to the geometrical locus of images in the perspectivist tradition of optics—and the experimentally produced 'projected images', which were empirically familiar but conceptually alien to perspectivist optics. (shrink)

The following study examines the critical interplay between ideology, mediated reality, and the role that individuals’ perceptions, beliefs, and actions play in this process. In doing so, the study delves into the examination of the way power structures and dominant narratives proceed into influencing cultural expression and, consequently, impact social action. It is thus argued that in contemporary society, the Situationist notion of “the spectacle” has replaced any understanding of reality and created a reified social world dominated by commodities that (...) reinforce dominant ideologies and determine subjective perceptions. Furthermore, the paper addresses the impact of this mediated reality on personal subjectivity and agency. Drawing on Marx’s metaphor of the “camera obscura” as ideology, it argues for a transformative “reversal of perspective” that changes how individuals view and engage with their environment. Ultimately, this study underscores the profound impact of “the spectacle” on social relations, ideology, and perception. It argues for a transformative and creative approach that challenges individuals to resist the grasp of the spectacle, reclaim their agency, and develop new perspectives for interacting with the world. The extensions of the gaze subtly refer to the basis of economy manifested as “false consciousness” reflected by the camera obscura as an inverted image but readjusted with the tools of spectacles and mirrors within the reflective apparatus. (shrink)

Critics of the proposal that the Dutch painter Johannes Vermeer used the camera obscura extensively in making his pictures of domestic scenes have argued that this cannot be the case, since his compositions are not 'photographic snapshots' but are very finely judged and balanced; his subject matter draws on the traditional motifs of Dutch genre painting; and the pictures are filled with complex allegorical and symbolic meaning. In this paper it is argued that all these are indeed characteristics (...) of Vermeer's oeuvre, but that the artist produced them through the transcription of optical images of tableaux, set up by arranging real furniture and other 'props' with extreme care, in an actual room in his mother-in-law's house. (shrink)

This article opens with a distinction between David Hockney's strong and weak theses. According to the strong thesis, in the period 1430-1860, optical tools were used in the production of paintings; according to the weak thesis, mirrors and lenses merely inspired their naturalistic look. It will be argued that while for the fifteenth and sixteenth centuries, there is little evidence in favor of the strong thesis, the case is different for the seventeenth century, for which the use of optical instruments (...) by painters is a documented fact. In this article, an early case is examined. The extant preparatory drawings of Gaspare Vanvitelli suggest that this cityscape painter relied on a camera obscura. But even here, the strong thesis must be tempered. The fact that several stages of artistic transformation separate the camera obscura projection from the finished painting undermines Hockney's analogy between optically assisted painting and 'naturalistic' photography. (shrink)

This article examines the concept of “perspective” as an embodied metaphor with ontological and epistemological implications for the modeling of historical understanding of contested pasts. The metaphors employed in modeling past reality shape how we make sense of the controversial past. In particular, I explore how perspectival metaphorical models conjure the notions of presence/proximity/engagement and absence/distance/detachment. To open this up, the paper juxtaposes two distinct models of seeing and knowing as sources of embodied metaphor: 1) static and distancing optical metaphors (...) of cognition, and 2) a “post-cognitive” process of interaction. I argue that the shift towards the affective, experiential and immersive forms of engagement in historical representation is indicative of the growing importance of dynamic, embodied and interactive features in mediated models of the past. The paper concludes by discussing the implications of virtual reality as an emergent medium that offers a new way of modeling the past. Despite its novelty, however, virtual reality raises age-old questions about the dynamics of engagement and detachment in historical understanding. (shrink)

RESUMEN Este artículo explora si hay algún fundamento sólido para atribuir a Leonardo da Vinci prioridad en la formulación del símil que lleva a concebir el ojo como una cámara obscura. Aquí, se defiende una posición pesimista. No obstante, el artículo resalta algunos aportes del pintor renacentista que pueden considerarse contribuciones a la consolidación del símil. ABSTRACT The article explores whether there is any solid basis for attributing to Leonardo da Vinci the priority in formulating the simile that leads (...) to conceiving the eye as a camera obscura. Here, a pessimistic position is defended, however, the article highlights some of Leonardo's contributions to the consolidation of the simile. (shrink)

A relatively unknown woman named Maria Theresa Short opened a popular observatory in 1835 in Ed inburgh - a time and place where men of science and property had long failed to make a viable space for astronomy. She exhibited scientific instruments to a general public, along with a great telescope and a walk-in camera obscura that projected live views of the city and continues to delight audiences to this day. To better understand Short's accomplishments, achieved as scientific (...) and public life became increasingly closed to women, this study explores her largely untold story, and maps some of the places of science around it. Finding local contingencies, multiple sites and practices by diverse groups, it proposes that tensions within the connections between science and spectacle and the use of popularization to promote its professionalization produced gaps that even a marginal figure like Maria Short could inhabit and exploit. (shrink)

In this paper I endeavour to bridge the gap between the history of material culture and the history of ideas. I do this by focussing on the intersection between metaphysics and technology—what I call ‘applied metaphysics’—in the oeuvre of the Jesuit scholar Athanasius Kircher. By scrutinising the interplay between texts, objects and images in Kircher’s work, it becomes possible to describe the multiplicity of meanings related to his artefacts. I unearth as yet overlooked metaphysical and religious meanings of the (...) class='Hi'>camera obscura, for instance, as well as of various other optical and magnetic devices. Today, instruments and artefacts are almost exclusively seen in the light of a narrow economic and technical concept. Historically, the ‘use’ of artefacts is much more diverse, however, and I argue that it is time to historicize the concept of ‘utility’.Keywords: Jesuit science; Utility; Material culture; History of ideas; Magnetic theology; Light metaphysics; Camera obscura; Technological expressionism; Philosophy of artefacts. (shrink)

Sem pretender esgotar o tema, este trabalho visa refletir sobre o conceito de Modernidade aqui entendida como a construção de uma perspectiva ou projeto de futuro. O ponto de partida são as reflexões teóricas de Jurgen Habermas e nesse sentido pretende ser uma contribuição para a elaboração de uma noção emancipatória de Modernidade podendo também servir como contribuição para o debate entorno dos rumos de uma reconstrução do país também emancipadora.

O objetivo deste trabalho é o de examinar processos de exclusão e expulsão que vem se ampliando nos diversos aspectos da vida sob as condições atuais do neoliberalismo e como se manifesta na ocupação/desocupação do território, no papel da informação nesse processo e como as alterações das condições tanto da ocupação da terra quanto de produção e uso da informação impostas podem resultar na expulsão de moradores e na exclusão de usuários. Este trabalho também aponta possibilidades de surgimento de condições (...) alternativas por meio da construção de contraracionalidades na constituição de uma esfera pública política e democrática. Elaborei 7 Notas. (shrink)

In cognitive science, there is a tacit norm that phenomena such as cultural variation or synaesthesia are worthy examples of cognitive diversity that contribute to a better understanding of cognition, but that other forms of cognitive diversity (e.g., autism, attention deficit hyperactivity disorder/ADHD, and dyslexia) are primarily interesting only as examples of deficit, dysfunction, or impairment. This status quo is dehumanizing and holds back much-needed research. In contrast, the neurodiversity paradigm argues that such experiences are not necessarily deficits but rather (...) are natural reflections of biodiversity. Here, we propose that neurodiversity is an important topic for future research in cognitive science. We discuss why cognitive science has thus far failed to engage with neurodiversity, why this gap presents both ethical and scientific challenges for the field, and, crucially, why cognitive science will produce better theories of human cognition if the field engages with neurodiversity in the same way that it values other forms of cognitive diversity. Doing so will not only empower marginalized researchers but will also present an opportunity for cognitive science to benefit from the unique contributions of neurodivergent researchers and communities. (shrink)

One of us coined the notion of an “epistemology engine.” The idea is that some particular technology in its workings and use is seen suggestively as a metaphor for the human subject and often for the production of knowledge itself. In this essay, we further develop the conceptand claim that Merleau-Ponty’s phenomenological commitments, although suggestive, did not lead him to appreciate the epistemological value of materiality. We also take steps towards establishing how an understanding of this topic can provide the (...) basis for reinterpreting the history of phenomenology. (shrink)

첨예하고 중대한 사안으로 떠오른 디지털 성범죄 사진 · 영상파일의 불법적 생산과 유포 · 무한공유 시스템은 현실세계의 여성들의 일상 속 시공간을 얽어매고 재구축하는 조건으로 강력히 작동하고 있다. 필자는 이러한 디지털성범죄 시스템을 남성 시선-주체의 특권적 인식 좌표계의 창출로 분석해내고자 하며 이 시스템의 메커니즘을 떠받히고 있는 형이상학적 기반들을 분쇄하고자 한다. 필자는 여성의 위치와 이동반경, 일거수일투족을 파악, 포착해내는 이러한 인식지표 틀의 초월성을 다음과 같은 두가지 측면에서 분석해내고자 한다. 첫째, 수직적 초월성(transcendent)의 측면에서 여성의 몸이 구획되고 차등적으로 배치되는 기원을 데카르트의 『성찰』을 통해 고찰할 것이다. 둘째, 칸트적 (...) 의미에서의 초월론적(transcendental) 측면에 입각하여 여기저기 파인 남근 다발체들의 시선-구멍이 일으키는 시공간의 왜곡과 변형에 대해 논의하겠다. 더 나아가 필자는 환상의 일상화된 무대로서 기능하게 된 현실에 대한 분석으로서 판타지가 작동하는 방식에 대한 지젝의 논의를 분석할 것이다. 판타지의 재현물들이 어떠한 방식으로 위계적으로 욕망의 대상들을 배치하고 있으며 현실 속으로 난입하고 있는지를 고찰할 것이다. (shrink)

A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a (...) reference to the work of Christian Metz. . . . The first book to be written in this field, [ Film Language ] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."--Stephen Heath, Screen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Out of an Old Toy ChestMarina Warner (bio)The Soul of the ToyIn Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from floor (...) to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy.The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life.That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn... (shrink)

Within the framework of this study, the transformation of anthropomorphic images in Medieval and Renaissance painting is analyzed. The visual art of this period is considered as a specific space of "conversation about man", which existed in parallel with discourses about God-man and Man-god. As a means of communication between man and God, the icon, using anthropomorphism in the image of the archetype, represented to the medieval man a certain path and a guide to his own salvation. Along with individual (...) anthropomorphic and naturalistic features, areal ones were also used in iconography, for example, reverse perspective, halo, "twisting of figures" and a number of others that set the symbolic content of the religious image. В В According to the author, the transformation of the icon into a painting in the XIII-XIV centuries was associated not only with the technical development of fine art (the widespread use of direct perspective, the use of camera obscura and oil paints), but also with significant changes that occurred in the intellectual space of Europe. The narcissistic turn in Renaissance art, expressed in the dissolution of the boundaries between the human and the divine, the maximum naturalization of religious content, as well as in the development of self-portraits, is, first of all, a turn from the discourse about God-man to the discourse about Man-God. Relying on philosophical sources, two independent positions (Ficino and da Vinci) on the nature of metamorphosis and the place of pictorial images in the description and definition of man are considered. (shrink)

In developing a new theory of vision in Ad Vitellionem paralipomena Kepler introduced a new optical concept, pictura, which is an image projected on to a screen by a camera obscura. He distinguished this pictura from an imago, the traditional image of medieval optics that existed only in the imagination. By the 1670s a new theory of optical imagery had been developed, and Kepler's pictura and imago became real and virtual images, two aspects of a unified concept of (...) image. The new concept of image developed out of a synthesis of Kepler's determination of the geometrical location of a pictura as the limit, or focus, of refracted pencils of rays and the triangulation used by a single eye to determine the perceived location of an imago. The distinction between real and imaginary images was largely developed by Gilles Personne de Roberval and the Jesuits Francesco Eschinardi and Claude François Milliet Dechales. (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;Metaphor and analogy are the scaffolding of science. Kepler's theory of the retinal picture could not have been built without the analogy between an eye and a camera obscura, and, two hundred and fifty years later, Charles Darwin devoted most of the first chapter of The origin of Species to discussion of pigeon fanciers. Unlike Darwin, Kepler was bewitched by his own imagination and was led to (...) wonder "how this image or picture is joined to the visual faculty, which is situated in the retina and in the nerve, and whether it is placed within the hollows of the brain, before the soul or tribunal of the visual faculty, or whether the visual faculty, like a magistrate sent by the soul from the administrative chamber of the brain, descends into the optic nerve or retina to meet this image, as though to a lower court" . ;The theory of the retinal image answered the crucial question of medieval optics: the scaffolding had served its purpose and should have been dismantled. Instead, Kepler mistook it for a part of the building: what he construed as a scientific problem was nothing more than the extension of a metaphor. As a result, and in spite of his remarkable achievement, he left the theory of vision in a state of confusion. ;I intend to show that Descartes revolutionized visual theory by manipulating the pair of analogies which had dominated visual theory since its inception and by advancing a theory of depiction which has since become orthodox. Advocates of the first analogy suggest that seeing the world is rather like seeing pictures of it; Kepler's analogy between the eye and a camera obscura, which was anticipated by Leonardo de Vinci, was a variation on this theme. Advocates of the second analogy compare vision to the use of a walking-stick: the air transmits an impression of a visible object to the eye rather as a walking-stick enables us to find our way around in the dark by transmitting pressures to the hand. As I shall show, Descartes' rejection of the pictorial analogy in favour of the walking-stick analogy and his theory of depiction were designed to salvage Kepler's theory of the retinal picture, a pearl of great price, from its murky setting. ;Descartes aimed to show that whilst Kepler's theory of the retinal picture correctly described the optics of the eye, the pictorial analogy was misleading and stood in the way of a mechanistic theory of perception. ;Current visual theory is Cartesian in some respects and un-Cartesian in others. The walking-stick analogy is no longer used, but the explanatory pattern that it served to illustrate is adhered to closely where the perception of brightness and colour are concerned, and the causal theory of depiction commands widespread support. At the same time, the pictorial analogy has not lost its appeal. (shrink)

Brain imaging technologies are increasingly used to find networks and brain regions that are specific to the functional realization of particular aspects of the self. In this paper, we aim to show how neuroscientific research and techniques could be used in the context of self-formation without treating them as representations of an inner realm. To do so, we show first how a Cartesian framework underlies the interpretation and usage of brain imaging technologies as functional evidence. To illustrate how material-technological inventions (...) and developments can have a significant and lasting impact on views of the self, we show how this framework was influenced by another technology: the camera obscura. Subsequently, we show that brain imaging technologies challenge the idea that privileged access to the self can be obtained merely through introspection, indicating a strong discontinuity between the Cartesian and the current neuroscientific framework. Building on these insights, we reframe the self in terms of self-formation. This view neither regards the brain as an independent realizer of aspects of the self, nor assumes that self-knowledge can be obtained through introspection. From this perspective, self-formation is realized throughcritical self-identification: instead of offering representational knowledge of an ‘inner self,’ the potential use of brain imaging technologies within this framework lies in their capacity to offer what we call ‘extrospective knowledge’ that pragmatically can contribute to self-formation. Brain imaging technologies contribute to this process because they foreground our neurophysiology, which helps to critically integrate biological aspects into self-formation. (shrink)

La théorie lockienne de la perception a été lue tantôt comme une forme de représentationnalisme, tantôt comme relevant d'un réalisme direct n'impliquant pas d'entité intermédiaire entre l'esprit et les choses. Cet article entreprend de clarifier cette question à partir des analyses de l'Essai sur la distinction et la confusion des idées. Celles-ci interrogent à la fois la nature de l'idée comme image et le fait qu'elle n'est déterminée que lorsque l'esprit lui donne un nom. Pour faire comprendre ce dernier point, (...) Locke utilise la métaphore de l'anamorphose en peinture, et plus particulièrement de l'anamorphose cylindrique. En reliant cette métaphore aux théories de la perspective du XVIIe siècle, à la camera obscura de l'esprit, et enfin à l'optique du XVIIe siècle, l'article parvient à plusieurs conclusions. Faire de l'idée une image ne conduit jamais Locke à voir en elle un objet qui s'interpose entre l'esprit et les choses. Une idée comme celle de sense data est étrangère à sa pensée. Si Locke ne met jamais en doute la réalité du monde extérieur, c'est que pour lui l'idée nous donne d'emblée accès à une extériorité, qu'il s'agit de déterminer. Enfin, la perception lockienne ne relève pas d'un modèle sémantique dont l'origine serait à trouver dans Descartes et qui préparerait celui de l'empirisme du XVIIIe siècle, faisant de l'idée un signe. Elle se rapprocherait plutôt, paradoxalement, de l'idée austinienne du silence des sens. (shrink)

La théorie lockienne de la perception a été lue tantôt comme une forme de représentationnalisme, tantôt comme relevant d'un réalisme direct n'impliquant pas d'entité intermédiaire entre l'esprit et les choses. Cet article entreprend de clarifier cette question à partir des analyses de l'Essai sur la distinction et la confusion des idées. Celles-ci interrogent à la fois la nature de l'idée comme image et le fait qu'elle n'est déterminée que lorsque l'esprit lui donne un nom. Pour faire comprendre ce dernier point, (...) Locke utilise la métaphore de l'anamorphose en peinture, et plus particulièrement de l'anamorphose cylindrique. En reliant cette métaphore aux théories de la perspective du XVIIe siècle, à la camera obscura de l'esprit, et enfin à l'optique du XVIIe siècle, l'article parvient à plusieurs conclusions. Faire de l'idée une image ne conduit jamais Locke à voir en elle un objet qui s'interpose entre l'esprit et les choses. Une idée comme celle de sense data est étrangère à sa pensée. Si Locke ne met jamais en doute la réalité du monde extérieur, c'est que pour lui l'idée nous donne d'emblée accès à une extériorité, qu'il s'agit de déterminer. Enfin, la perception lockienne ne relève pas d'un modèle sémantique dont l'origine serait à trouver dans Descartes et qui préparerait celui de l'empirisme du XVIIIe siècle, faisant de l'idée un signe. Elle se rapprocherait plutôt, paradoxalement, de l'idée austinienne du silence des sens. (shrink)

Though photography reaches as far back as the sixteenth-century’s camera obscura projects, it wasn’t until the British colonial period that amateur photographers introduced their technology to the Indian subcontinent. By the end of the nineteenth century, however, India was at the center of a representational revolution. Was photography in India simply a void, waiting to be filled by pre-existing cultural and historical practice? Or was it disruptive, throwing up new opportunities, prophesying new social formations, and bringing anxieties about (...) formerly secluded events and practices into a newly visible sphere? The Coming of Photography in India transcends traditional cultural and technological narratives in order to present a subtle and compelling account of the limits, possibilities, and consequences of photography. Examining technology in order to explain the dynamic incarnation of photographic practice as cure, poison, and prophecy, Christopher Pinney presents a bold account that will reward anyone with an interest in India, photography, or the history of the book. Accompanied by beautiful illustrations and a large number of previously unpublished images, this volume presents a sophisticated account of the “disturbance” that photography has brought to all of our lives. (shrink)

In 2003 Japanese folk horror game Fatal Frame II: Crimson Butterfly directed by Makoto Shibata, the protagonist bears witness to an ancient tradition of a community linked to the ritual sacrifice of twins, which results in the female victim becoming a malevolent spirit. Gradually the player, as Mio, equipped with the Camera Obscura, transitions from observer to participant in the cycle of events that results in sacrificing their own twin sister. This article focuses on establishing the game within (...) the folk horror subgenre, before examining three female characters: Mio, the protagonist, who shifts from witness/voyeur to participant; Mayu, their twin, who transitions from unwilling to willing sacrifice; and Sae, the victim of the original ritual and antagonist. In Fatal Frame II, the Camera Obscura, which captures the supernatural world, is the lens through which past and present blur as the player is confronted by the twisted beliefs of the village. Through analysis of the game’s narrative, ludic elements, and visual aesthetics, I examine how these roles fit within the context of folk horror, gender and Japanese folklore. (shrink)