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Academic literature on the topic 'Objet enterré'
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Books on the topic "Objet enterré"
1
Elsaesser, Thomas. Film History as Media Archaeology. Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789462980570.
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Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the 'death of cinema' debate, Film History as Media Archaeology presents a robust argument for the cinema's current status as a new epistemological object, of interest to philosophers, while also examining the presence of moving images in the museum and art spaces as a challenge for art history. The current study is the fruit of some twenty years of research and writing at the interface of film history, media theory and media archaeology by one of the acknowledged pioneers of the 'new film history' and 'media archaeology'. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction, as we experience them today.
2
and, Bruno. Object Perception and Recognition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198725022.003.0004.
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Perceived objects are unitary entities that enter our consciousness as organized wholes distinct from other entities and from empty parts of the environment, that are amenable to bodily interactions, and that possess several features such as a three-dimensional structure, a location in space, a colour, a texture, a weight, a degree of rigidity, an odour, and so on. In this chapter, we will discuss perceptual processes responsible for forming such units within and between sensory channels, typically for the purpose of recognition. Our discussion of multisensory interactions in object perception will provide a useful domain for illustrating the key notion of optimal multisensory integration and for introducing Bayesian models of perception. These models provide important novel ways of addressing classical problems in the philosophy of perception, in influential historical approaches such as the Gestalt theory of perception, and in applications to rehabilitation based on sensory substitution.
3
How and when "Heaven's Gate" (the door to the physical kingdom level above human) may be entered: An anthology. Right to Know Enterprises, 1997.
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4
Ganeri, Jonardon. The Disunity of Mind. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198757405.003.0009.
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The term ‘mind’ (mano) is used in a confused range of different and contradictory senses in the early Pāli canon. Buddhaghosa will impose order by distinguishing distinct cognitive modules, each with its proper domain of cognitive work. Early perception, the subliminal orienting, and initial reception of a stimulus into the perceptual process, is the function of ‘mind-element’ (mano-dhātu), a low-level cognitive system. Late perception and working memory is the function of a high-level cognitive system, ‘mind-discrimination-element’ (mano-viññāṇa-dhātu). In deference to ancient Buddhist tradition, Buddhaghosa refers to six sense-modalities, the sixth being called ‘mind’ (mano). Just as each of the five types of sensory datum enters perceptual processing though a proprietary sense-door, so the objects of mind enter through a ‘mind-door’. However, this is not a sixth channel, a window onto a proprietary sort of mental object, but is nothing other than the door gating projection into short-term working memory.
5
Hogh-Olesen, Henrik. The Woman in Red and the Man with the Chrome-Plated Wheels. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190927929.003.0005.
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Chapter 4 looks at how key stimuli and brain programming affect our own species’ aesthetics and determine which shapes, colors, and landscapes humans are attracted to and consider beautiful. Like other animals, people are predisposed to respond to certain key stimuli, which have been associated with an expectation of functionality, fitness, and increased well-being. In other words, the perception of beauty represents a strong internal indicator, which it pays to be guided by in order to gain various benefits. In this investigation, the chapter enters the micro-processes of artistic creation. It looks at the aesthetic effects that make up an artwork and at the understanding of why something captivates and fascinates people. The right embellishment can transform a trivial everyday object into an overwhelming power object—a kind of fetish that means the world to us and costs a fortune. How does something like this happen?
6
Kersten, Rikki. Japan. Edited by R. J. B. Bosworth. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199594788.013.0029.
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Japanese in Meiji Japan (1868–1912) came to realize that socio-political and economic change occurred as an interactive exercise with culture. Indeed, from the late Meiji onwards culture became the object of a defensive attempt to ‘protect’ Japaneseness from Western emasculation. This became an important aspect of the fascist transformation that occurred in inter-war Japan. It was in an atmosphere of anti-Western, pro-Japanese feeling that fascism entered the socio-political lexicon of modern Japan. This article holds that asking whether Japan is fascist is a conceptual quagmire. It also discusses Japan between wars, Maruyama Masao's conceptualization of Japanese fascism, Japanese writing on Japanese fascism, and restoration fascism.
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Bogdan, Henrik. Initiations and Transitions. Edited by Michael Stausberg and Steven Engler. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198729570.013.41.
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This chapter discusses initiations and transitions, two phenomena that can be found in all known cultures, both historically and geographically. Initiations and transitions are interlinked types of ritualized behavior, which share the basic common object of marking an event that leads to a new social and psychological state. Thus, when ritualized, they can be studied as rites of passage. Furthermore, the ritualized use of secrecy is frequently encountered in this type of ritual, especially in those that are connected to closed or secret societies, as shown in the case study of the chapter, the Entered Apprentice ritual of Freemasonry. Finally, the notion that the experience of undergoing a ritual of initiation is non-communicable, and how this is related to the use of secrecy, is discussed.
8
Ross, Fentem. Part VI Remedies, 18 Remedies. Oxford University Press, 2014. http://dx.doi.org/10.1093/law/9780198705956.003.0018.
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This chapter considers the law on remedies for investor losses. It explains how the advice, recommendation, information, or opinion tendered by the financial adviser must be considered from three perspectives: that of the specific person, who is the object of the adviser's retainer; in respect of the specific purpose for which the advice was sought; and in reference to the specific transaction into which the individual enters in reliance on the advice given. It then discusses damages under the Financial Services and Markets Act 2000; compensation for specific produces, including protection policies, pension products, mortgage products, and investment products; incidental heads of claim; regulatory remedies; judicial review of decisions of the FCA, the FSCS manager, and the FSO.
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Beeston, Alix. Coda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0006.
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Building on new work that acknowledges the abstract and self-reflexive elements of Walker Evans’s photography, as well as his contributions to avant-garde art practice in the 1930s, this chapter analyzes select images from his 1938 photographic sequence, American Photographs. Evans’s photobook represents the modern United States as a vast machine for constituting subjectivities—but a machine that might be recalibrated or reverse engineered. It therefore emblematizes the subversive power of the woman-in-series in composite modernist writing: a figure who upsets the subject–object relations of this writing, bidding us to enter into the “shared hallucination” that is initiated, for Roland Barthes, by photography.
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Levin, Frank S. The Nature of Light. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198808275.003.0003.
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Chapter 2 reviews answers to the question of what is light, starting with the ancient Greeks and ending in 1900 with the wave concept of Maxwell’s electrodynamics. For some ancient Greeks, light consisted of atoms emitted from surface of the object, whereas for others it was fire that either entered into or was emitted by eyes, although the latter possibility was effectively eliminated around the year 1000. Competing proposals well after then were that light is either a wave phenomenon or consists of particles, with Isaac Newton’s corpuscular (particle) theory prevailing by the end of the 1600s over the wave concept championed by Christiaan Huygens, who published the first estimate of the speed of light. In the early 1800s, Thomas Young’s two-slit experiment proved that light was a wave, a concept codified and firmly grounded through Maxwell’s theory of electromagnetic waves.