Nordic Journal of Aesthetics最新文献

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A Lesser Being. From Louis Marin to Simondon and Back 一个较小的存在。从Louis Marin到Simondon和Back
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127841
Emmanuel Alloa
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引用次数: 0
Image Agents 形象代理
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127889
A. Hoel
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引用次数: 1
From Copilia to Anywhen 从Copilia到Anywhen
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127856
I. Blom
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引用次数: 0
How Technológos "Responds" to What Used to Be Called "Images" Technológos如何“回应”过去所谓的“图像”
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127863
W. Ernst
{"title":"How Technológos \"Responds\" to What Used to Be Called \"Images\"","authors":"W. Ernst","doi":"10.7146/nja.v30i61-62.127863","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127863","url":null,"abstract":"LIBERATING THE IMAGE FROM ITS ANTHROPOCENTRIC DEFINITION “Traditionally we think of images as [...] delimited phenomena that in one way or the other appear to the human mind and apparatus of perception” (Questionnaire). The choice of words in the Questionnaire is indicative already. When optical physiology and cognitive image sensation—from the “analogue” camera obscura-like eye to the almost “digital” signal-computing brain— is observed closely,1 image processing within the human turns out as, indeed, a function of an “apparatus.” Sigmund Freud’s nonmetaphorical concept of the psychic “Apparat” in chapter VII of his Interpretation of Dreams2 explicitly compares the preliminary stages of imaging to the microscope, or to photography.3 The mechanistic approach reemerged in protocybernetic research into the electrical circuit simulation of neural image perception.4 The human “mind and apparatus of perception” (Questionnaire) literally became a nonhuman machinery in Rosenblatt’s computational Perceptron, liberating the “image” from its physiological anthropocentrism.5 Machine vision, so far, stayed profoundly different from human image cognition. But technical images as outputs from Artificial Neuronal Nets start to challenge, and to emulate, the human imaginative potential, once they are not only trained by human tagging, but (in a more complex way) by rivalling machines among themselves which are fed with big data derived from “social media.” Just like Gottfried Ephraim Lessing, in his 1766 treatise Laokoon, had almost identified the aesthetic properties of the visual arts as parallel perception (aisthesis, in the Aristotelean sense) of coexistent units in space, today, it is no coincidence that “deep” machine learning takes place in parallel graphics processing units (GPUs) that were originally developed for image processing in computers. Artificial Intelligence does not simply mimick human image perception (even if Van Gogh-like paintings HOW TECHNOLÓGOS “RESPONDS” TO WHAT USED TO BE CALLED “IMAGES.” A MEDIA-ARCHAEOLOGICAL RESPONSE TO THE “QUESTIONNAIRE ON THE CHANGING ONTOLOGY OF THE 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":"43616824","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
Necropolitical Screens: Digital Image, Propriety, Racialization 死灵政治屏幕:数字图像、礼仪、种族化
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127885
Marina Gržinić
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引用次数: 0
Ambient Images 环境图像
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127861
S. Cubitt, Celia Lury, S. McQuire, N. Papastergiadis, Daniel Palmer, J. Pfefferkorn, Emilie K. Sunde
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引用次数: 1
Forever Inside Images Forever Inside Images
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127895
M. B. Rasmussen
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引用次数: 0
The Culling of Photographic Images 摄影图像的筛选
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127864
O. Goriunova
{"title":"The Culling of Photographic Images","authors":"O. Goriunova","doi":"10.7146/nja.v30i61-62.127864","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127864","url":null,"abstract":"A cull of images is coming, an automated decimation, which will transform the ontology of the image once again. Google announced that from June 1, 2021, they will stop the free back up of compressed “high” quality photos. The significance of this development is hard to overestimate. At this point, any connection of smartphone photographs to the original medium of photography and associated practices will finally be fully severed. In the recent decade, substantial discussions about networked images accounted for some of the core principles of image operations today1:","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":"49013098","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
The Diagrams of AI (Image) AI图表(图像)
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127893
J. Parikka
{"title":"The Diagrams of AI (Image)","authors":"J. Parikka","doi":"10.7146/nja.v30i61-62.127893","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127893","url":null,"abstract":"A history of images about images is as mesmerising in its own right as images themselves are. This is not merely a history of the copy—the attempt to reproduce an image through an image— but also of the various guides and diagrams that tell a story of production of images. This is also the entry point for my argument about the changing ontology of the image. This argument about ontology concerns then not merely what an image is in its essence, but how images function as as operative ontologies1: described, drawn, pictured, instructed, guided, and diagrammed into existence. Such diagrams are an educational arm of knowledge about images, but obviously they are also images already in themselves. Diagrams occupy a central role as a modern form of knowledge about images. Diagrams that describe the operations and insights of image geometry are a special case in point, where the linear perspective in (and since) the Renaissance period has given rise to a long line of commentary, in the arthistorical way of tracking the changing ontologies of the image. How to calculate image surfaces, lines, and ratios becomes instrumentalised into a productive machinery and subsequently into an analytical machinery, as is the case in the various techniques of reading the geometric data packed into an image. From Johan Heinrich Lambert’s Die freye Perspective, oder Anweisung Jeden Perspektivischen Aufriß Von Freyen Stücken Und Ohne Grundriß Zu Verfertigen (1759) to Colonel Aimé Laussedat’s works on photogrammetry (or “metrophotography”) toward the latter part of the 19th century, the work of descriptive geometry becomes crucial to the diagram of the technical image and image as data.2 They are manuals of “this is how that operates” and take on a second order quality themselves: a cultural technique that recursively images an image. One can also observe a similarity with the function of the metapicture, as per WJT Mitchell’s term that refers to such images that “might be capable of reflection on themselves, capable of providing a second-order discourse that tells us—or at least shows us—something about pictures.”3 In terms of the contemporary image, the shift from questions on the ontology of digital images (do they capture reality? Do THE DIAGRAMS OF AI (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":"41675705","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: 1
The Algorithmic Apparatus of Neo-Colonialism: Or, Can We Hold "Operational Images" to Account? 新殖民主义的算法装置:或者,我们能追究“操作图像”的责任吗?
Nordic Journal of Aesthetics Pub Date : 2021-07-02 DOI: 10.7146/nja.v30i61-62.127862
A. Downey
{"title":"The Algorithmic Apparatus of Neo-Colonialism: Or, Can We Hold \"Operational Images\" to Account?","authors":"A. Downey","doi":"10.7146/nja.v30i61-62.127862","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127862","url":null,"abstract":"Images made by machines for machines are void of an aesthetic context. They are part of a machine-based operative logic and do not, in the words of Harun Farocki, “portray a process but are themselves part of a process.”1 Defined by the operation in question rather than their referential logic, and following Farocki’s formulation, such images are commonly referred to as “operational images.” Structurally, they are not propagandistic (they do not try to convince), nor are they instructive (they are not interested in directing our attention). They are not, moreover, content-based, inasmuch as they exist as abstract binary code rather than pictograms. Void of anthropological or aesthetic intention, the practical process-based functionality of “operational images” effectively anticipates the obsolescence of “perception” as a human-defined activity. Although “operational images” would seem to be largely understood in negative terms (based as they are on insular and closed procedures), they have a purposiveness that is revealed in their real world impact—the way they are used, for example, in surveillance technologies and in the establishment of autonomous models of warfare. This recursive and yet purposive functioning of “operational images” foreshadows the opaque architecture of “black box” technologies and the artificial intelligence (AI) systems that underwrite contemporary structures of data gathering and aerialbound forms of warfare. Needless to say, the technologies that commandeer and exploit airspace are demonstrably detrimental to those who are subject to their autonomous apparatuses, which raises a crucial question: how do we conceptualize the threat associated with both the opacity of “black box” assemblies and the all-too-real impact of air-bound technologies that, to a large extent, remain beyond the purview and control of the vast majority of the world’s population? THE ALGORITHMIC APPARATUS OF NEO-COLONIALISM: OR, CAN WE HOLD “OPERATIONAL IMAGES” TO ACCOUNT?","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":"49365578","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: 2
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