Nordic Journal of Aesthetics最新文献

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Sensitive Content 敏感内容
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127859
C. Fontaine
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引用次数: 2
The General's Stork 将军的鹳
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127842
Heba Y. Amin
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引用次数: 1
The Plant and the Person 植物和人
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127888
Ayesha Hameed
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引用次数: 0
Inhabiting the Hyper-Aesthetic Image 栖居的超审美形象
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127901
Eyal Weizman (in conversation with Jacob Lund)
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引用次数: 0
Screening Absence 筛查缺席
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127887
A. Grønstad
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引用次数: 0
The Event-Shaped Hole, and the Photographic Image 事件形洞与摄影图像
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127894
Raqs Media Collective
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引用次数: 0
Ontology of an Image 图像本体
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127890
E. Leslie
{"title":"Ontology of an Image","authors":"E. Leslie","doi":"10.7146/nja.v30i61-62.127890","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127890","url":null,"abstract":"Life begins with cells. That is the first chapter of every book on biology. Life is cells. Life has no existence before the cell. That is to say, it goes something like this: “Cells are basic units of structure and function for all living organisms and the structural order in cells forms the basis for properties of life including interaction with environment, movement, energy processing, growth, reproduction and evolution.” The cell appeared as image, as diagram, until it became represented in some more technological manner, which is, not to say photographed, strictly, but digitally apprehended. Recently, I have seen a human cell and its contents shimmering in purple, pink, green and yellow, and blue. What I have seen is “an image of a cell” made by a biomedical animator, Evan Ingersoll, in association with biological chemist, scientific visualization researcher and artist, Gael McGill. Its lateral view shows the internal segments of a cell: perceptible are the cell wall, Golgi apparatus, mitochondria, endoplasmic reticulum, and hundreds of protein structures and membrane-bound organelles. It is a Eukaryotic cell, which is found in humans, animals, fungi, and plants. The rendering of the cell—which can be clicked on, enlarged, manipulated, its aspects highlighted, its pathways and movements delineated—is an effort to recapitulate the myriad pathways that are mobilised in signal transduction, protein synthesis, endocytosis, vesicular transport, cell-cell adhesion, apoptosis, and other such biological processes. If we engage with this image, we can see ourselves at work, or perceive work and process underway inside ourselves in our smallest parts, the minimum point of life—or, if the cell is not us, and this one is not, of course, directly, then what we see is something that has not been seen before, in all its intricacy, and we should feel some intimate relation to it, if only because it has made so much effort to please us. Do we see the cell? Do we see something that is like the cell? Is the cell an image? Or do we see instead a diagram come to some sort of life, a model painted, dressed in some way? Is this what is presented to us: something known in itself that has been converted into something to be known by us? There is no cell that has these colours in this way. These wild colours, these sparkling effects. Like blossoms and golden ONTOLOGY OF AN IMAGE","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48408845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Questionnaire on the Changing Ontology of the Image 关于图像本体变化的问卷调查
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127840
J. Lund
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引用次数: 2
White Seeing-Space 白色Seeing-Space
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127892
Nicholas Mirzoeff
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引用次数: 0
Towards a General Iconomy 走向一般经济
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127899
Peter Szendy
{"title":"Towards a General Iconomy","authors":"Peter Szendy","doi":"10.7146/nja.v30i61-62.127899","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127899","url":null,"abstract":"What is “iconomy” (a portmanteau of “icon” and “economy”)? And how does this concept capture (if it does) a “changing ontology of the image” that the questionnaire for this issue of The Nordic Journal of Aesthetics invites us to consider? In The Supermarket of the Visible, I developed a concept of iconomy as an explicit response to what we could call a relational ontology of the image. An image, I wrote, “is always more or less than an image”: “An image has value only in relation to other images.”1 Such a statement about the relational value of the image could easily be misunderstood. One could think that it holds only for filmic images that are meant to be unreeled in succession (“the value of an image,” Robert Bresson said, “must be, above all, an exchange value”).2 Or one could think that it holds only for the images that circulate today on social media, where they are constantly displaced and replaced, according to an exacerbated logic of “exhibition value” (Walter Benjamin’s “iconomic” translation of Marx’s “exchange value”).3 My contention, though, was not simply that images have become relational or differential entities within a worldwide system of exchanges. It was rather that, with the hypercirculation of contemporary images, what comes to the fore is the heterochronic tension that is inherent to any image as such. In other words: images have always consisted in their exchangeability with others or with other versions (formats) of themselves, but the speed of their exchanges was slow enough to make them seem completely stable and self-contained, whereas it now tends to accelerate to the point where it overshadows the image itself. In The Supermarket of the Visible, I offered Brian De Palma’s 1976 film Obsession as an example of “a masterful staging of different speeds in the exchange between images”: while a close-up of the paddle wheel of a boat evokes a slide carousel rotating with extreme velocity, the fresco that appears underneath another fresco when it flakes off because of humidity is the result of a long-term transformation. This is what led me to conclude that, “whether they change places every millisecond or have to wait several centuries,” images can never be considered as definitely individualized entities: “from the point of view of TOWARDS A GENERAL ICONOMY","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45039343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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