图像本体

Q3 Arts and Humanities
E. Leslie
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引用次数: 0

摘要

生命始于细胞。这是每本关于生物学的书的第一章。生命就是细胞。生命在细胞之前是不存在的。也就是说,它是这样的:“细胞是所有生物结构和功能的基本单元,细胞中的结构顺序构成了生命特性的基础,包括与环境的相互作用、运动、能量处理、生长、繁殖和进化。”,直到它以某种更具技术性的方式表现出来,更不用说严格意义上的摄影,而是数字理解。最近,我看到了一个人体细胞,里面的东西闪烁着紫色、粉色、绿色、黄色和蓝色。我看到的是生物医学动画师Evan Ingersoll与生物化学家、科学可视化研究员和艺术家Gael McGill联合制作的“细胞图像”。它的侧视图显示了细胞的内部片段:可感知的是细胞壁、高尔基体、线粒体、内质网以及数百种蛋白质结构和膜结合细胞器。它是一种真核细胞,存在于人类、动物、真菌和植物中。细胞的呈现——可以点击、放大、操纵、突出显示其方面、描绘其途径和运动——是为了概括在信号转导、蛋白质合成、内吞作用、囊泡运输、细胞间粘附、细胞凋亡和其他此类生物过程中动员的无数途径。如果我们参与到这个图像中,我们可以看到自己在工作,或者感知我们内心正在进行的工作和过程,在我们最小的部分,生命的最低点——或者,如果细胞不是我们,当然,这个细胞不是直接的,那么我们看到的是以前从未见过的东西,在所有的复杂性中,我们应该感觉到与它的某种亲密关系,如果只是因为它为取悦我们付出了太多努力。我们看到牢房了吗?我们看到像牢房一样的东西了吗?细胞是图像吗?或者我们看到的是某种生活的图表,一个被画出来的模特,以某种方式穿着?这就是呈现给我们的东西吗:一种本身已知的东西,已经转化为我们已知的东西?没有一个细胞以这种方式具有这些颜色。这些狂野的色彩,这些闪闪发光的效果。像花朵和金色的意象形态
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Ontology of an Image
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
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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