DOCSLIB.ORG

Animate Biology: Data, Visualization, and Life's Moving Image Adam J. Nocek a Dissertation Submitted in Partial Fulfillment Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Animate Biology: Data, Visualization, and Life's Moving Image Adam J. Nocek a Dissertation Submitted in Partial Fulfillment Of Animate Biology: Data, Visualization, and Life’s Moving Image Adam J. Nocek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Phillip Thurtle, Chair James Tweedie Robert Mitchell Program Authorized to Offer Degree: Comparative Literature ©Copyright 2015 Adam J. Nocek University of Washington Abstract Animate Biology: Data, Visualization, and Life’s Moving Image Adam J. Nocek Chair of the Supervisory Committee: Associate Professor Phillip Thurtle Animate Biology: Data, Visualization, and Life’s Moving Image examines how biologists are using 3D animation technologies developed by the entertainment industry (Pixar and DreamWorks) to visualize biological data sets. Over the course of four chapters, the project develops a concept of scientific aesthetics in order to counter the neoliberalization of these visualization practices. The first chapter, “Molecular Control,” shows how there is significant controversy among scientists regarding the scientific value of molecular animations, since it is unclear whether they faithfully depict biological data. Drawing on Lorraine Daston and Peter Galison’s scholarship on the history of scientific visualization, the dissertation intervenes in this debate by clarifying what the criteria are for determining the scientific value of images. The study demonstrates that representation, instead of objectivity, is the epistemic norm that determines the scientific value of images, and that the norm of representation is fully operative in 3D molecular animations. I argue that what is often missed in debates over scientific imaging is that representation has undergone many transformations in the history of scientific epistemology, and that it now obeys the logic of flexibility and competition that exemplifies neoliberal market values. In short, the project contends that (1) molecular animations have “scientific value” inasmuch as they adhere to the norm of representation in the age of neoliberalized technoscience, and that (2) representation does not exhaust the meaning of today’s molecular animations. Using the genealogical methods that were first introduced by Michel Foucault, and that have proven so influential for media and science studies scholars, the remaining three chapters of the dissertation forge a genealogy for scientific visualization that does not rely on the values of representation; it then uses this as a framework for promoting non-representational values in scientific animation. Chapter Two, “The Micro and the Nano: New Scales of Representation,” investigates how early twentieth-century microcinematography and late-twentieth and early twenty-first-century nanoimaging appear to undermine representational values by promoting aesthetic ones. The chapter contends, however, that neither micro nor nano imaging thwart representation as the premiere value in scientific imaging, and that each practice upholds representation by finding ways to incorporate aesthetics into its logic. The third and fourth chapters of the dissertation inquire into whether there are instances of visual aesthetics in science that cannot be incorporated into representational values. To this end, Chapter Three, “The Scientific Avant-Garde,” considers work from a scientific filmmaker who has always been on the fringes of scientific acceptability: Jean Painlevé. The study traces the development of Surrealist and Dadaist techniques in his scientific cinema, and argues that they enable his work to express that “Nature” is always in excess of the categories used to represent it. Chapter Four, “A Case for Cinematic Beauty,” then situates Painlevé’s work within a history of aesthetic philosophy that draws from Deleuze’s Kantian-inspired aesthetics. In particular, the chapter examines how Deleuze reverses the privilege given to Kant’s notion of “sublime” over the “beautiful” in Continental aesthetics, and then contends that the beautiful is the basis for Deleuze’s own aesthetic ontology, in which there is always an excess of sensibility over a priori concepts. The chapter concludes by arguing that Painlevé’s cinema expresses a similar aesthetic vision. The conclusion of the dissertation, “Molecular Aesthetics,” argues that Painlevé’s work can help cultivate non-representational values in molecular animation. What goes unnoticed about molecular animation, I contend, is that it “de-familiarizes” biological data for scientists: it gives spatial and temporal dimensions to what have none. Drawing connections to Painlevé’s work, the project argues that molecular animations generate aesthetic experiences of data without conceptual correlates, and then demonstrates how they are transformed into what can produce neoliberal value. The dissertation ultimately contends that the seeds for aesthetic resistance to neoliberalized technoscience are already implicit in molecular animation. Overall, the project makes a significant intervention into the visual culture of science and technology by forging a genealogy for “old” and “new” uses of visual media in science that challenges the neoliberalization of value production. In doing so, the project also brings the importance of computer animation for the critical study of science and technology, media, and Continental philosophy into full view. Acknowledgments The idea for this dissertation emerged out of series of intellectual exchanges I have had with colleagues and mentors over the past seven years. This project would not have been possible without the guidance and friendship of Phillip Thurtle, who encouraged me, from start to finish, to understand biology not simply as discipline, but as a way of thinking about and within life. It is under these auspices, that he first introduced me to animation as a way of orienting oneself within life. I also could not have completed this project without mentorship from my friends within the Deleuze community: Gregory Flaxman and Gregg Lambert. From them, I learned how the real challenge is to think with Deleuze and not about him. And most of all, I want to thank my wife, Stacey Moran Nocek. She challenges and transforms my thinking every day. Because of her, I’m a thinker. She is feminist, poet, and philosopher, and I owe every bit of creativity in this work to her. And finally, this work would not have been possible without the unabiding love, laugher, and joy of the two greatest gifts in my life: my daughters, Fiona and Ivy. Contents Introduction: Tracing New Media Histories ................................................................................... 1 Chapter 1: Molecular Control ....................................................................................................... 16 1.1 Visualizing the Invisible ........................................................................................................................... 16 1.2 Digital Capital .............................................................................................................................................. 32 1.3 Life and Time Under the Control of Cybernetic Machines .......................................................... 37 1.4 Bad Films ....................................................................................................................................................... 43 1.5 Where Does This Leave Us? ................................................................................................................... 64 Chapter 2: The Micro and the Nano: New Scales of Representation ........................................... 71 2.1. Minor Histories ........................................................................................................................................... 71 2.2 The Micro ...................................................................................................................................................... 76 2.3. The Nano ...................................................................................................................................................... 97 Chapter 3: The Scientific Avant-Garde ...................................................................................... 118 3.1 Two False Starts, or A New Research Trajectory? ........................................................................ 118 3.2 Jean Painlevé: Scientist, Artist, Philosopher .................................................................................... 122 3.3 Research Methods ..................................................................................................................................... 129 3.4 The Surreal, the Fragmented, and the Ideal ...................................................................................... 142 Chapter 4: A Case for Cinematic Beauty .................................................................................... 160 4.1. Deleuze on Kant on Beauty .................................................................................................................. 162 4.2. Bio(im)political Aesthetics ................................................................................................................... 178 Conclusion: Molecular Aesthetics .............................................................................................. 195 Bibliography ............................................................................................................................... 207 Filmography ...............................................................................................................................
Load more

Recommended publications
  • The Return of Vitalism: Canguilhem and French Biophilosophy in the 1960S
    The Return of Vitalism: Canguilhem and French Biophilosophy in the 1960s Charles T. Wolfe Unit for History and Philosophy of Science University of Sydney [email protected] Abstract The eminent French biologist and historian of biology, François Jacob, once notoriously declared ―On n‘interroge plus la vie dans les laboratoires‖1: laboratory research no longer inquires into the notion of ‗Life‘. Nowadays, as David Hull puts it, ―both scientists and philosophers take ontological reduction for granted… Organisms are ‗nothing but‘ atoms, and that is that.‖2 In the mid-twentieth century, from the immediate post-war period to the late 1960s, French philosophers of science such as Georges Canguilhem, Raymond Ruyer and Gilbert Simondon returned to Jacob‘s statement with an odd kind of pathos: they were determined to reverse course. Not by imposing a different kind of research program in laboratories, but by an unusual combination of historical and philosophical inquiry into the foundations of the life sciences (particularly medicine, physiology and the cluster of activities that were termed ‗biology‘ in the early 1800s). Even in as straightforwardly scholarly a work as La formation du concept de réflexe aux XVIIe et XVIIIe siècles (1955), Canguilhem speaks oddly of ―defending vitalist biology,‖ and declares that Life cannot be grasped by logic (or at least, ―la vie déconcerte la logique‖). Was all this historical and philosophical work merely a reassertion of ‗mysterian‘, magical vitalism? In order to answer this question we need to achieve some perspective on Canguilhem‘s ‗vitalism‘, notably with respect to its philosophical influences such as Kurt Goldstein.
    [Show full text]
  • Birthdays Susan Cole
    Volume 29 Number 4 Issue 346 September 2016 A WORD FROM THE EDITOR Kimber Groman (graphic artist) and others August was Worldcon in Kansas City. MidAmericon 2 $25 for 3 days pre con, $30 at the door had a lot going on. There were two Hugo Ceremonies. There spacecoastcomiccon.com were a lot of exhibits and of course 5,000 items on the program. I did a lot of work pre-con and got to see aKansas City at the Animate! Florida same time. The con was great and I need to start working on my September 16-19 report. Port St Lucie Civic Center This month I may checkout some local events. I may try 9221 SE Civiv Center Place to squeeze in a review. Port St Lucie FL As always I am willing to take submissions. Guests: Tony Oliver (Rick Hunter, Robotech) See you next month. Julie Dolan (Star Wars: Rebels) Erica Mendez (Ryoka Matoi, Kill La Kill) Events and many more $55 for 3 days pre con Comic Book Connection animateflorida.com/ September 3-4 Holiday Inn Treasure Comic Con 2300 SR 16 September 16-19 ST Augustine, FL 32084 Greater Fort Lauderdale Convention Center $5 at the door 1950 Eisenhower Blvd, thecomicbookconnection.com Fort Lauderdale, FL 33316 Guests: Space Coast Comic Con Billy West (Phil Fry, Futurama) September 9-11 Kristin Bauer (Maleficient, Once Upon a Space Coast Convention Center Time) 301 Tucker Ln Beverly Elliot(Granny, Once Upon a Time) Cocoa, FL 32926 and many more Guests: Terance Baker (comic artist) $35 for 3 days pre con, $40 at the door Jake Estrada (comic artist) www.treasurecoastcomiccon.com Fusion Con II September 17 Birthdays New Port Richey Recreation & Aquatic Center 6630 Van Buren St Susan Cole - Sept.
    [Show full text]
  • The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • Tvorba Interaktivního Animovaného Příběhu
    Středoškolská technika 2014 Setkání a prezentace prací středoškolských studentů na ČVUT Tvorba interaktivního animovaného příběhu Sami Salama Střední průmyslová škola na Proseku Novoborská 2, 190 00 Praha 9 1 Obsah 1 Obsah .................................................................................................................. 1 2 2D grafika (základní pojmy) ................................................................................. 3 2.1 Základní vysvětlení pojmu (počítačová) 2D grafika ....................................... 3 2.2 Rozdíl - 2D vs. 3D grafika .............................................................................. 3 2.3 Vektorová grafika ........................................................................................... 4 2.4 Rastrová grafika ............................................................................................ 6 2.5 Výhody a nevýhody rastrové grafiky .............................................................. 7 2.6 Rozlišení ........................................................................................................ 7 2.7 Barevná hloubka............................................................................................ 8 2.8 Základní grafické formáty .............................................................................. 8 2.9 Druhy komprese dat ...................................................................................... 9 2.10 Barevný model ..........................................................................................
    [Show full text]
  • Panel Proposal: the Necessity of Critique II Organizer: Darryl Cressman, Maastricht University
    Panel Proposal: The Necessity of Critique II Organizer: Darryl Cressman, Maastricht University Functionalization and the World – Causality, Culture, and Planetary Technology Jochem Zweer University of Twente My contribution focusses on Feenberg’s recent rearticulation of his widely discussed instrumentalization theory, in which the pairing of primary and secondary instrumentalization is addressed in terms of causal and cultural functionalization. First, I show how this conceptualization of functionalization aligns with existing approaches in contemporary philosophy of technology and STS inasmuch as it departs from technological artefacts, but contrasts with such approaches inasmuch as it attends to how such artefacts reveal a world, which is to say a political world of formal biases, operational autonomy, and democratic potential. Secondly, in following Feenberg’s explicit association of philosophy of technology and environmental thought, I inquire after his understanding of the technological world as an outcome of social conditions. Via a phenomenological interpretation of the Anthropocene and associated planetary functionalization, I argue that Feenberg’s treatment of causal functionalization tends to reduce to cultural functionalization. While the resulting critical constructivist account of is both urgent and worthwhile in light of today’s ecological emergency, I suggest that it does not exhaust the implications of the advent of the Anthropocene. I therefore conclude by discussing causal functionalization in light of the analysis of causality that Heidegger develops in the Question concerning Technology, thereby drawing attention to the ontological conditioning of functionalization. I suggest that attending to such ontological conditioning must have a place in the critical constructivist project of uncovering the biases of contemporary functional rationality.
    [Show full text]
  • Print This Article
    Gilbert Simondon and the Philosophy of Information An Interview with Jean-Hugues Barthélémy Jean-Hugues Barthélémy Andrew Iliadis Journal of French and Francophone Philosophy - Revue de la philosophie française et de langue française, Vol XXIII, No 1 (2015) pp 102-112. Vol XXIII, No 1 (2015) ISSN 1936-6280 (print) ISSN 2155-1162 (online) DOI 10.5195/jffp.2015.679 www.jffp.org This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. This journal is operated by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program, and is co-sponsored by the UniversityJournal of Pittsburgh of French and Press Francophone Philosophy | Revue de la philosophie française et de langue française Vol XXIII, No 1 (2015) | www.jffp.org | DOI 10.5195/jffp.2015.679 Gilbert Simondon and the Philosophy of Information An Interview with Jean-Hugues Barthélémy Jean-Hugues Barthélémy Centre international des études simondoniennes Andrew Iliadis Purdue University Jean-Hugues Barthélémy is a French philosopher and a leading authority on the philosophy of Gilbert Simondon (1924-1989). Barthélémy is Director of the Centre international des études simondoniennes (CIDES – MSH Paris-Nord), Professor of philosophy, Doctor in epistemology of the University Paris VII – Denis Diderot, Editor and Director of Cahiers Simondon, and Research Associate at the University Paris Ouest – Nanterre La Défense. He is the author of Penser l’individuation. Simondon et la philosophie de la nature (Paris: L’Harmattan, 2005), Penser la connaissance et la technique après Simondon (Paris: L’Harmattan, 2005), Simondon ou l’encyclopédisme génétique (Paris: P.U.F., 2008), and Simondon (Paris: Les Belles Lettres, 2014 – translation forthcoming: Bloomsbury, 2016).
    [Show full text]
  • On Cosmotechnics: for a Renewed Relation Between Technology And
    Techné: Research in Philosophy and Technology ISSN: 1091-8264 21:2–3 (2017): 1–23 DOI: 10.5840/techne201711876 On Cosmotechnics: For a Renewed Relaton between Technology and Nature in the Anthropocene Yuk Hui Abstract: This article aims to bring forward a critical refection on a renewed relation between nature and technology in the Anthropocene, by contextualizing the question around the recent debates on the “ontological turn” in Anthropology, which attempts to go beyond the nature and culture dualism analysed as the crisis of modernity. The “politics of ontologies” associated with this movement in anthropology opens up the question of participation of non-humans. This article contrasts this anthropological attempt with the work of the philosopher Gilbert Simondon, who wants to overcome the antagonism between culture and technics. According to Simondon, this antago- nism results from the technological rupture of modernity at the end of the eighteenth century. This paper analyses the differences of the oppositions presenting their work: culture vs. nature, culture vs. technics, to show that a dialogue between anthropology of nature (illustrated through the work of Philippe Descola) and philosophy of tech- nology (illustrated through the work of Simondon) will be fruitful to conceptualize a renewed relation between nature and technology. One way to initiate such a conversa- tion as well as to think about the reconciliation between nature and technology, this article tries to show, is to develop the concept of cosmotechnics as the denominator of these two trends of thinking. Key words: ontological turn, Gilbert Simondon, Philippe Descola, cosmotechnics, modernity Introducton It is scarcely deniable that the Anthropocene, beyond its obvious signifcation as a new geological era, also represents a crisis that is the culmination of two- Yuk Hui, Institut für Kultur und Ästhetik Digitaler Medien, Leuphana University, Scharnhorststraße 1, 21335, Lüneburg, Germany; [email protected].
    [Show full text]
  • Simondon: Investigating the Pre-Organizational
    Fichier auteur. Une version ultérieure est parue : Letiche Hugo & Moriceau Jean-Luc, 2017, "Simondon. Investigating the pre-organizational", Culture and Organization, Vol. 23, n°1, pp.1-13; Doi: 10.1080/14759551.2016.1240358. Simondon: Investigating the Pre-Organizational 1 2 Hugo Letiche & Jean-Luc Moriceau 1 The University of Leicester School of Business, Leicester UK; 2 Institut Mines-Télécom / Télécom Ecole de Management, France. Gilbert Simondon (1924-1989) was a radical process thinker; forms of relatedness and not objects were his focus. This is all the more remarkable as he was not a vitalist prioritizing Gaia or autopoesis. He based his thought on analyses of technology / technics and communication / cybernetics, and in both cases rejected the perspective of the machine or message as in-itself objectifiable. Life objects, machines and societies, according to Simondon, individuate; that is, they are self-evolving, self-generating, and self-differentiating in what he calls processes of ‘transduction’. Simondon, in fact, is more a thinker of transindividuation than of individuation. His is a theory of how the pre-individual leads to the transindividual, without the individual ever really playing much of a role. The motor of change and activity is 'transduction' – or a force of form taking that operates on the pre- individual level. Transduction is, thus, the life-force of Simondon’s becoming. It is the energy that propels action, change, event and occurrence. No one in particular is the subject of transduction; transduction is the pre-individual manifestation of an all-encompassing process of genesis. Simondon attends to the genesis of the person, society, information, collective, technology, organization, whatever.
    [Show full text]
  • {PDF EPUB} Hetalia Axis Powers Vol. 2 by Hidekaz Himaruya Lillypadgraphics :The Art and Writings of Rachel Brazeale
    Read Ebook {PDF EPUB} Hetalia Axis Powers Vol. 2 by Hidekaz Himaruya LillyPadGraphics :the art and writings of Rachel Brazeale. Hetalia, Axis Powers volume two ranked 1 st place in the New York Time’s Best Selling mangas. “Okay,” you say to me, “But what’s Hetalia?” (Or maybe you’re a long standing fan and are gushing in your seat as you read.) Hetalia, Axis Powers (also known as “Axis Powers Hetalia,” “APH,” or simply “Hetalia”) is a webcomic turned manga/television series. Its creator, Hidekaz Himaruya, has captured the hearts of millions all over the world from his home in Japan. Himaruya continues to make new characters and draw up new short or long comic strips on his blog (which is written in Japanese, though often one can find translations on LiveJournal.) Currently, two manga books of the series have been released in America, and three have been released in Japan. The television series (anime) is currently 52 episodes long, 2 seasons running (each season running for 26 episodes) and a 3ed season has been confirmed. “Okaaaaaay,” my in-the-dark readers are saying to me, “But what is it? What’s it about, if it’s so good?” Well, now that I have confused your brain with numbers, I will tell you. As the more history savvy readers are aware of already, the title has already told you that this is a story about World War II. “Axis Powers” were the countries who opposed the Allies during WWII. The two sides were mostly remembered for looking like this: Axis Powers: Germany, Italy, Japan, etc.
    [Show full text]
  • This Document Was Updated April 18, 2020. for Reference Only and Not for Purposes of Publication
    This document was updated April 18, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. ___________________________________________________________________________________ Yoo Geun-Taek (b. 1965 Asan, South Chungcheong Province, Korea) Currently teaches at Oriental Painting Department of Sungshin University, Seoul, Korea Education 1997 / M.F.A. in Oriental Painting at Hongik University, Seoul, Korea 1988 / B.F.A. in Oriental Painting at Hongik University, Seoul, Korea Selected Solo Exhibitions 2017 / Stroll: Visual Realities, Gallery Hyundai, Seoul, Korea 2017 / The Whole Gravity of Painting, Summoned, Tama Art University Museum, Tokyo, Japan 2017 / Breath of Life, The Korea Society Gallery, New York, USA 2016 / Life on the Corner, Shinsegae Gallery, Busan, Korea 2015 / Everlasting Tomorrow, Force Gallery, Beijing, China 2015 / A Passage – The Scenery outside the Window, Bongsan Cultural Center, Daegu, Korea 2014 / Everlasting Tomorrow, OCI Museum of Art, Seoul, Korea 2013 / Landscape, Gallery Dugahun, Seoul, Korea 2012 / The One Day, Gallery Hyundai, Seoul, Korea 2010 / Yoo Geun-Taek, Gallery Bundo, Daegu, Korea 2010 / Depiction of the Universe, Artside Gallery, Beijing, China 2009 / Depiction of the Universe, Savina Museum of Contemporary Art, Seoul, Korea 2009 / Yoo Geun-Taek, LA Artcore Gallery, Los Angeles, USA 2008 / Yoo Geun-Taek, 21+Yo Gallery, Tokyo, Japan 2007 / Skin of Life – Drawings on the Diagonal Lines that Sustain Me, Dongsanbang Gallery, Seoul, Korea 2005 / Yoo
    [Show full text]
  • Surface Or Essence: Beyond the Coded Character Set Model
    Surface or Essence: Beyond the Coded Character Set Model. Shigeki Moro1) Abstract For almost all users, the coded character set model is the only way to use characters with their computers. Although there have been frequent arguments about the many problems of coded character sets, until now, there was almost nothing on the philosophical consideration on a character in the field of Computer science. In this paper, the similarity between the coded character set model and Aristotle’s Essentialism and the consequent problems derived from it, is discussed. Then the importance of the surface of the character is pointed out using the ´ecrituretheory of Jacques Derrida. Lastly, the Chaon model of the CHISE project is introduced as one of the solutions to this problem. Keywords: Unicode, Aristotle’s Essentialism, Derrida’s Theory of ´ecriture,Chaon model “Depth must be hidden. Where? On the surface.” other local and super character code sets are still —Hugo von Hofmannsthal (1874-1929) being developed, and the repertoires of the existing character sets are increasing even now. What users 1 Introduction. can only do is to choose and follow these character sets. Writing, is not only considered as one of the most The main reason for this is that there are both fundamental mediums of intellectual activities, but sides: Writing is not only dependent on a context, also a frequently used one, which is not restricted but that it is transmitted exceeding the context (it to the use of computers alone. Needless to say that is contrastive with oral language being indivisible the coded character set model (abbreviation being from a context).
    [Show full text]