921,540 research outputs found
L’instantané cinématographique : relire Étienne-Jules Marey
No full textLes travaux d’Étienne-Jules Marey sont essentiels pour la compréhension du « cinéma » au stade chronophotographique et permettent d’observer au plus près comment le cinéma se « dégage » de la photographie. En s’appropriant la technique de l’instantané photographique, Marey en vient à concevoir une forme de « cinéma » déterminée par les présupposés conceptuels et méthodologiques de sa démarche scientifique. On appréhende en général le photogramme comme une image fixe, que l’on oppose à l’image en mouvement reconstituée et définitoire du cinéma. Mais en relisant Marey, il apparaît que ce qui fondamentalement distingue le cinéma de la photographie n’est pas simplement l’illusion du mouvement. Le statut même de la photographie, de l’image fixe, se voit transformé par le dispositif cinématographique : le photogramme est une photographie instantanée de nature paradoxale. L’analyse passe par la redéfinition de la notion d’instant, associée à la technique de l’instantané, et déterminée par le temps de pose. En construisant les concepts associés à l’instant de l’éclairement dans divers travaux de synthèse de Marey, en les faisant apparaître dans un système de relations, dans diverses propositions scientifiques — liées à l’instantané photographique, à la chronophotographie sur plaque fixe, puis à la pellicule —, cet article entend montrer que l’on peut penser un instant qui dure. C’est ce que le bergsonisme écartera, séparant radicalement l’instant du passage du temps.Étienne-Jules Mary’s work is essential to an understanding of “cinema” at the chronophotgraphic stage and enables us to observe from closer range how cinema “broke free” of photography. By adopting the technique of the photographic snapshot, Marey conceived a kind of “cinema” determined by the conceptual and methodological suppositions of his scientific project. Generally speaking, we perceive the photogram as a fixed image, in contrast with the moving image that makes up and defines cinema. In rereading Marey, however, it appears that what distinguishes cinema from photography is not simply the illusion of movement. The very status of the photograph, the still image, is transformed by the cinematic apparatus: the photogram is a paradoxical photographic snapshot. The author’s discussion moves from a redefinition of the concept of the instant, associated with the snapshot (the “instantané” in French) and determined by the length of the subject’s pose. By reconstructing the concepts related to the instant of illumination in Marey’s various synthetic works and by placing them in a system of relationships in various scientific propositions around photographic instantaneousness, chronophotography on a fixed plate and, later, celluloid, this article seeks to demonstrate that one can conceive of an instant that endures. This is what Bergsonism ruled out when it radically separated the instant from passing time
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
The Motivational Significance of Happiness in Kant's Ethics: Some Thoughts on Faviola Rivera Castro's Virtud, felicidad y religión en la filosofía moral de Kant
No full textEn este estudio crítico, analizo la obra de Rivera Castro Virtud, felicidad y religión en la filosofía moral de Kant, obra en la que se resalta la importancia de la felicidad en la ética de Kant y se busca establecer su relación con la virtud. Mis objeciones conceptuales y metodológicas se orientan eminentemente a cuestionar su tesis básica sobre el alcance y especificidad del rol motivacional de la felicidad en tanto que componente del bien supremo.In this critical essay, I analyse Rivera Castro’s Virtud, felicidad y religión en la filosofía moral de Kant. In this work, the author highlights the significance of happiness in Kant’s Ethics, aiming at establishing its relation to virtue. My conceptual and methodological objections are intended to question her fundamental thesis on the scope and specificity of the motivational role happiness plays as component element of the highest good.Fil: Marey, Macarena. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin
Kant's popular sovereignty and cosmopolitanism
No full textIn this article I present a reading of Kant's concept of sovereignty and of its relation to international and cosmopolitan ambits of law and rights. In section 2, I offer a reconstruction of Kant's justification of popular sovereignty as grounded in the idea of omnilaterality and critically different from state power assertion, as well as a new argument concerning the coactive character of right, with the aim of showing that there is no tension between sovereignty and the juridification of realms of interaction beyond borders. In section 3 I elaborate more on this latter point by sustaining that the three realms of right share the same normative grounding, i.e., the normative connection between the critical ideas of a possession in common of the earth and of the omnilateral will.Fil: Marey, Macarena. Centro de Investigaciones Filosóficas; Argentina. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin
L'œuvre d'Etienne-Jules Marey et sa contribution à l'émergence de la phonétique dans les sciences du langage
No full textThe scientific and cultural communities national commemorated in 2004 centenaire of the disappearance of Etienne Jules Marey (1830-1904). This almost forgotten name is however that of an immense scientist of which research and especially the methods deeply marked modern science. Marey was impassioned during all its existence for the motion study of the things and the beings and the fundamental demonstrations of the life. Its most outstanding work concerned the physiology of the locomotion of which it was the universally recognized celebrity of the beginning of last century. The work of Marey is remarkable as well for its importance as for its variety but its most original contribution is in the "graphic method" which it developed and instruments that it realized to implement it. Their effectiveness attracted very early in its laboratory, a great number of contemporary scientists so that beyond physiology, its own discipline, Marey a great influence in good of other scientific and technological fields had. In addition, the community of the visual arts partly asserts the work of Marey for the aesthetic originality of its motion-analyses, its diagrams or its models. Marey is thus not only a one large scientist, but he is also a large engineer and an artist.In 1874, the very young Society of Linguistics of Paris, under the determining impulse of its secretary Louis Havet, comes to consult Marey with an aim "of applying the graphic method to the so complex movements and if varied which occur in the word", not only for their comprehension, but to keep objective traces of the dialectologic variations of the language. It is the beginning of the interest of Marey for Phonetics. It charges one of his collaborators, Charles Rosapelly studied the problems of nasality posed by Louis Havet. This collaboration marks the beginnings of experimental phonetics. It will extend later with the motion-analysis of the speaking face and especially with the most completed adaptation graphic method to the production of the word by the Rousselot abbot.Les communautés scientifiques et culturelles nationales ont commémoré en 2004 le centenaire de la disparition d' Etienne Jules Marey (1830-1904). Ce nom presque oublié est pourtant celui d'un immense savant dont les recherches et surtout les méthodes ont profondément marqué la science moderne. Marey s'est passionné pendant toute son existence pour l'étude du mouvement des choses et des êtres et les manifestations fondamentales de la vie. Ses travaux les plus marquants ont porté sur la physiologie de la locomotion dont il a été la sommité universellement reconnue du début du siècle dernier. L'œuvre de Marey est remarquable tant pour son importance que pour sa variété mais son apport le plus original se situe dans la « méthode graphique » qu'il a développée et les instruments qu'il a réalisés pour la mettre en oeuvre. Leur efficacité a attiré très tôt dans son laboratoire, un grand nombre de savants contemporains si bien qu'au delà de la physiologie, sa propre discipline, Marey a eu une grande influence dans bien d'autres domaines scientifiques et technologiques. De surcroît, la communauté des arts plastiques revendique en partie l'œuvre de Marey pour l'originalité esthétique de ses chronophotographies, ses épures ou ses modèles. Marey n'est donc pas uniquement un grand scientifique, mais il est également un grand ingénieur et un artiste.En 1875, la toute jeune Société de Linguistique de Paris, sous l'impulsion déterminante de Louis Havet, vient consulter Marey dans le but « d'appliquer la méthode graphique aux mouvements si complexes et si variés qui se produisent dans la parole », non seulement pour leur compréhension, mais pour garder des traces objectives des variations dialectologiques de la langue. C'est le début de la collaboration de Marey avec Charles de Rosapelly et Louis Havet qui marque les débuts de la phonétique expérimentale. Elle se développera ensuite avec la chronophotographie du visage parlant et surtout avec l'adaptation la plus achevée de la méthode graphique à la production de la parole par l'abbé Rousselot.<BR /
Thomas Cole, Winifred Harris, Marey Marshall, and Maurice Pitts Page at a Banquet, 1988
No full textThomas Cole stands at the podium at a Clark College banquet at the Onmi Hotel. Winifred Harris, Marey Marshall, and Maurice Pitts Page sit on either side.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the Council on Library and Information Resources (CLIR) in supporting the processing and digitization of a number of historic collections as part of the project: Our Story: Digitizing Publications and Photographs of the Historically Black Atlanta University Center Institutions.</em
Thomas Cole, Winifred Harris, Marey Marshall, and Maurice Pitts Page at a Banquet, 1988
No full textThomas Cole stands at the podium at a Clark College banquet at the Onmi Hotel. Winifred Harris, Marey Marshall, and Maurice Pitts Page sit on either side.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the Council on Library and Information Resources (CLIR) in supporting the processing and digitization of a number of historic collections as part of the project: Our Story: Digitizing Publications and Photographs of the Historically Black Atlanta University Center Institutions.</em
¿Era Kant un terrorista moral, defensor de la guerra justa?
No full textTomando la interpretación de Richard Tuck como un ejemplo paradigmático de las (hiper)críticas realistas al pensamiento kantiano, en este artículo presento cuatro grupos de razones por las cuales resulta que la lectura que Tuck realiza de la filosofía política kantiana del derecho de gentes es errónea.In this article I put forward four series of reasons to rebut Richard Tuck’s construction of Kant’s political philosophy of the law of peoples. Tuck’s interpretation is taken here as a paradigmatic model of the realistic (hyper)criticism against Kant’s thought.Fil: Marey, Macarena. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin
¿Era Kant un terrorista moral, defensor de la guerra justa?
No full textTomando la interpretación de Richard Tuck como un ejemplo paradigmático de las (hiper)críticas realistas al pensamiento kantiano, en este artículo presento cuatro grupos de razones por las cuales resulta que la lectura que Tuck realiza de la filosofía política kantiana del derecho de gentes es errónea.In this article I put forward four series of reasons to rebut Richard Tuck’s construction of Kant’s political philosophy of the law of peoples. Tuck’s interpretation is taken here as a paradigmatic model of the realistic (hyper)criticism against Kant’s thought.Fil: Marey, Macarena. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin
Appropriate Similarity Measures for Author Cocitation Analysis
No full textWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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