苦恼
发表于 2025-3-25 06:38:25
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chronicle
发表于 2025-3-25 09:57:52
Literary Device: Invisible Light and a Photo of Photography,osed to the dominant epistemology of the time. His recourse to a literary form of invisibility was an attempt to reconcile the incommensurability of invisible light with the prevailing episteme structured around tropes of visible light and the eye.
折磨
发表于 2025-3-25 13:20:08
Neurointerfaces, Mental Imagery and Sensory Translation in Art and Science in the Digital Age,contemporary image science and critical neuroscience, the chapter shows how artistic scenarios help to both localize and expand our understanding of mental imagery and to offer an alternative to the existing correlations-based approach.
闪光东本
发表于 2025-3-25 19:27:21
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confederacy
发表于 2025-3-25 22:32:20
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反应
发表于 2025-3-26 02:06:47
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interference
发表于 2025-3-26 04:20:20
Invisibility Matters,in subsequent chapters. Guided by an understanding of invisibility as a designation for “unmarked and unmapped relationships,” the chapter notes how the phenomenon is largely inseparable from the concepts of representation, aesthetics technology and politics. With reference to Maurice Merleau-Ponty’
等待
发表于 2025-3-26 10:16:43
Archaeologists of the Off-Screen: Harun Farocki and Trevor Paglen, called .. In spite of the show’s title, the theme that most potently aligns their respective arcs of artistic research is a persistent concern with invisibility, ranging from the clandestine infrastructure of military and intelligence programs to the invisible operations conducted by automated imag
crutch
发表于 2025-3-26 16:31:42
Literary Device: Invisible Light and a Photo of Photography,ph of a bookshelf with a seemingly unrelated passage of text. Here, Talbot speculates about a fantastical voyeuristic scenario involving a proto-night vision device and its literary possibilities. In this chapter, it is shown that the vexing nature of “A Scene in a Library,” particularly Talbot’s pa
Charade
发表于 2025-3-26 17:11:32
,Tomas van Houtryve’s , and the Culture of Surveillance,ip on the topic, which tends to see a transformation from ‘surveillance state’ to ‘surveillance culture’ (David Lyon), inviting a reconsideration of what constitutes surveillor and surveilled. Two conceptual nodes are particularly significant in unpacking this development: Harun Farocki’s influentia