Moving Image

Bu makale, yapay zekâ tabanlı hareketli imge üretim tekniklerini ve bu alandaki dönüşümleri kapsamlı bir şekilde incelemektedir.
Çalışmada, metin, görsel, video ve 3D model tabanlı üretim teknikleri karşılaştırılmış, özellikle üretici çekişmeli ağlar (GAN), difüzyon
modelleri ve transformatör tabanlı yapay zekâ sistemlerinin hareketli imge üretiminde nasıl bir evrim yarattığı analiz edilmiştir. Gaussian
Splat ve Neural Radiance Fields (NeRF) tekniklerinin zaman ve hareket ekseninde tutarlılığı nasıl sağladığı ele alınmış, yapay zekanın bu
modelleri nasıl geliştirdiği vaka çalışmaları ve uzman görüşleri temelinde değerlendirilmiştir. Bununla birlikte, eş zamanlı tahmin ve tarama
sistemleriyle artırılmış ve sanal gerçeklik odaklı dijital ikiz çözümlerinin geliştirilme süreci incelenmiştir. Bu çerçevede, yapay zekâ destekli
görsel üretim süreçlerinin, etkileşim unsurlarını nasıl dönüştürdüğü ve hareketli imge tasarımında yeni nesil UX/UI anlayışına nasıl yön
verdiği tartışılmıştır. Özellikle kullanıcı deneyimi açısından yapay zekanın hareketli imgelerde dinamik, kişiselleştirilmiş ve gerçek zamanlı
içerik üretme kapasitesi incelenmiş, bu gelişmelerin medya, oyun ve tasarım alanlarındaki potansiyel etkileri değerlendirilmiştir. Çalışmada,
vaka çalışmaları ve uzman görüşleri analiz edilerek, yapay zekâ destekli hareketli imge teknolojilerinin mevcut kullanım alanları ve
gelecekteki etkileri ortaya konmuştur. Sonuçlar, bu teknolojilerin gelecekte yapay zekâ araştırmalarında çok daha baskın bir çalışma alanı
haline geleceğini göstermektedir. Özellikle tasarımcılar, geliştiriciler ve içerik üreticiler için yeni fırsatlar sunduğu vurgulanarak, bu alana
yönelik daha fazla akademik ve endüstriyel ilgi gösterilmesi önerilmektedir.

In an architectural context, the term "vernacular" typically designates the constructed works of those who exercise their design skills as builders, carpenters, or masons rather than academically trained architects. The houses of Sisteron, a village in the Southern French region of Provence, result from the labor of these vernacular figures.1 In his 1918-20 painting titled Sisteron, Amédée Ozenfant depicts interlocking hillside houses and the Porte du Dauphiné, one of the gates of the village's citadel.2 Aside from these recognizable motifs, the painting is more informative of Ozenfant's creative agenda than of the architectural actuality of Sisteron at the time of his visit. The artist visibly departs from naturalism by rendering Sisteron's beige facades in shades of burnt orange and deep crimson. Most importantly, Ozenfant does not represent doors, windows, or shutters that punctuate these facades, thus depicting these vernacular buildings as abstract geometrical volumes more akin to Platonic solids than lived-in dwellings. When represented in this abstracted manner, the architecture of the village is hardly distinguishable from the rocky hill on which it stands. While pyramidal volumes may be interpreted as slanted roofs, the cubic masses at the center of the composition cannot be strictly identified as either natural or architectural. In his autobiography, Ozenfant recalls appreciating Sisteron for its geometry: "I saw Provence for the first time in Sisteron, where I stopped for two days [in 1914] to draw because I was in awe of the admirable alliance between the strongly calculated architecture of the star-shaped citadel à la Vauban and the natural architecture of the rock, which appealed to my spirit's geometrical taste."3 In his painting, Ozenfant emphasized the features of Sisteron that he appreciated the most, geometry in nature and architecture, thus proposing an idealized and fundamentally subjective depiction of the Provençal village. Like Ozenfant, several other key figures of the European avant-garde-including Raoul Hausmann, Georges Braque (pp. 54-55), and Le Corbusier-expressed their deep interest in Mediterranean vernacular architecture and its geometrical predisposition.4 Sisteron is an essential instance within this extended history of creative interaction between modern art and Mediterranean vernacular architecture.

The archive, in its variables of collecting private or public documents, relating to a person, family, municipality or state, is configured as a circumscribed place, with limited access or reserved for specific users. Its historical connection -especially the archive as institution -with power and various forms of long-standing hegemony, while it has contributed to arousing its fascination and a certain aura of mystery in recent decades, has been paralleled with a profound questioning and recognition of its problematic "neutral technology" (Azoulay, 2019). To consider that a collection of written texts, visual works, volumes, and photographs, and moving images composes a corpus can lead us back to the etymology of the Latin term, which takes on this meaning much later. Before, it referred to a body, individual, person, or living being, as well as a corpse, inanimate body, matter, organism, and structure. If we then maintain the polysemy of the corpus to diversify the archives in which they live, we will suddenly find ourselves faced with a variety of typologies that expand the very notion of the archive, push it out of protective walls, dirty it, contaminate it and regenerate it, making it

The article analyzes the tendency of Russian directors to turn to the stylistics and dramaturgic techniques of early cinema. In the 1980s and 1990s, there was a need to move away from the artistic principles of Soviet cinema, there was a search for new expressive forms, the basis for which was found, among other things, in the samples of the "great silent". In the conducted research, two main approaches to understanding the past of cinema art were identified. The first one assumed a deep stylization of a film and even mimicry for newsreal materials dating back to the period before the First World War. The second one turned to the use of individual elements of the" archaic " film language, which made it possible to most clearly express the attitude of witnesses of a turning point in the life of the country to the events of national history and the role of cinema in culture. / В статье анализируется тенденция обращения отечественных режиссеров к стилистике и драматургическим приемам раннего кинематографа. В 1980-1990-е годы возникла потребность ухода от художественных принципов советского кино, шел поиск новых выразительных форм, основа для которых была найдена в том числе в образцах «великого немого». В рамках проведенного исследования было выделено два основных подхода в осмыслении прошлого киноискусства. Первый предполагал глубокую стилизацию фильма и даже мимикрию под документальные киноматериалы, относящие к периоду до Первой мировой войны. Второй – обращался к использованию отдельных элементов «архаичного» киноязыка, чтобы выразить отношение свидетелей перелома в жизни страны к событиям отечественной истории и роли кинематографа в культуре.

The subject of this article is the transformation of traditional poetics in cinema in the second half of the twentieth century. The process begins back during the thaw, with the emergence of the so-called poetic cinema, in which the traditional orientation towards action is weakened and a breakthrough occurs in the narrative of the lyrical beginning, which is often referred to as "auteur" cinema. However, a poetic film is only the initial stage of the unfolding process. The meaning of this process is expressed in cinematic structures which line up according to the principle of a dream (Tarkovsky, Abdrashitov, German, etc.).
The weakening of action in films of the late Soviet period leads to the emergence of a new image of the hero. Instead of the acting hero, there appears a meditating and contemplating one. The form of a dream allows to organize what is happening on the screen in such a way that the present, past and future become indistinguishable. Such a structure turns out to be favorable for the expression of the unconscious levels of the psyche, which leads to the erosion of historical time and its replacement with mythological time.
The new forms of cinematic thinking lead to the worldview shifts. The inactive heroes, who in the previous period were perceived as absolutely negative, come to reveal new ambivalent meanings. The reasons for their lack of will and action are transferred from the characters to society. It is experiencing what can be designated not only as the extinction of another form of empire, which is familiar to Russian history, but also as a breakdown of the entire civilization. / Предмет данной статьи – трансформация в кино второй половины ХХ века традиционной поэтики. Этот процесс начинается с возникновения еще в период оттепели так называемого поэтического кино, в котором традиционная ориентация на действие ослабляется и происходит прорыв в повествование лирического начала, что нередко обозначается как «авторское» кино. Однако поэтический фильм – лишь начальный этап развертывающегося процесса. Смысл этого процесса получает выражение в кинематографических структурах, выстаивающихся по принципу сновидения (Тарковский, Абдрашитов, Герман и др.).
Ослабление действия в фильмах позднесоветского периода приводит к новому образу героя. Вместо героя действующего появляется герой размышляющий и созерцающий. Форма сновидения позволяет так организовать происходящее на экране, что настоящее, прошлое и будущее оказываются неразличимы. Такая структура оказывается благоприятной для выражения бессознательных уровней психики, что приводит к размыванию исторического времени и замене его временем мифологическим.
Новые формы кинематографического мышления приводят к мировоззренческим сдвигам. В бездействующих героях, которые в предшествующий период воспринимались решительно отрицательными, начинают проявляться новые амбивалентные смыслы, а причины их бездействия, безволия и пассивности переносятся с характеров на общество. Оно переживает то, что можно обозначить не только как угасание привычной для российской истории очередной формы империи, но как надлом целой цивилизации.

The mixed assessment by critics and theorists of the deus ex machina artistic device common in popular cinema requires a more thorough study of its dramatic and narrative functions in science fiction films. It is in the construction of film images of the future that this technique is combined with a fantastic assumption, expressing the narrator's attitude towards artistic narration and becoming an argument in dialogue with the viewer. The study reveals, based on the analysis of empirical material, the multifunctionality of deus ex machina using the example of the development of the theme of technological singularity in cinema. The analysis of films significant for the development of the science fiction (Sci-Fi) genre and the most popular television series among science fiction fans today demonstrates the evolution of the deus ex machina technique. In addition to the trivial function of arbitrary resolution of peripeteia, it acquires various dramatic functions (accelerating or slowing down the rhythm of action, connecting parts of the plot in a large form), obtains the properties of scaling and fragmentation, synchrony and asynchrony with a fantastic assumption, adding complex narrative functions to the toolkit of expressive means, through which the narrator reveals or, on the contrary, conceals his attitude to artistic reality, involving the viewer into the game of probable meanings. The authors of the article come to the conclusion that the theme of technological singularity has been penetrating cinema since its appearance in the work of L. Lumiere and determines, depending on the narrator's attitude to the topic, the vector of techno-skepticism or techno-optimism in the eschatological dilemma that characterizes the cosmogony of traditional religions. The article is of interest to researchers and film lovers and contributes to the study of artistic and scientific communication.

2015至2025年之間台灣XR場景的一些觀察 撰文-王柏偉 2024年台北市立美術館推出「北美館開放網絡計畫(TFAM Net.Open)」，其線下計畫「共域」之三，由在地實驗ETAT推出「VR 圖書室」計畫，呈現國內外10件VR與XR作品，包括許家維〈一位來自金三角的演員〉、郭文泰《遺留》等，並舉辦專題講座。 (圖版提供：台北市立美術館) 李亦凡〈不好意思…請問一下這個怎麼打開〉影像截圖 (圖版提供：李亦凡) 陶亞倫 幻滅No.5 2015 AR擴增實境、3D數位影像、Unity互動程式、平板電腦、燈、鋁架 尺寸依場地而定 2015年於伊通公園「幻滅中的幻滅─陶亞倫個展」展場一景(圖版提供：陶亞倫) 右． ．陶亞倫VR作品〈國美館No. 1〉於2018年國立臺灣美術館「定製真實：數位藝術之魅」展場一景(圖版提供：國立臺灣美術館)

Artigo inédito Este artigo pretende pensar a indissociabilidade entre representação da catástrofe e catástrofe da representação. Para tanto, serão observadas tentativas de fi gurar diferentes eventos catastrófi cos por meio da imagem em movimento, ao longo da história. Na videoinstalação Los durmientes (2014), realizada pelo artista chileno Enrique Ramirez e exposta em 2015 no Museo de la Memoria y los Derechos Humanos de Santiago, a água que preenche todo o quadro tem qualidade sólida e opaca, funcionando como obstáculo à visão do espectador, o que reitera a "invisibilidade constitutiva" das tentativas de representação da catástrofe. Enquanto afi rmação da inacessibilidade da verdade sobre os presos torturados, assassinados e desaparecidos sob a ditadura militar chilena, pode esta imagem em movimento ser entendida como imagem-apagamento? This articles aims to think the alliance between representation of catastrophe and catastrophe of representation. It will observe some historical essays of fi guring catastrophic events through moving image. In the video-installation Los durmientes (2014), by Chilean artist Enrique Ramirez, exhibited at Museo de la Memoria y los Derechos Humanos in Santiago in 2015, the water fi lling the entire frame acquires a solid and opaque quality, functioning as an obstacle to spectator's vision, reinforcing the "constitutive invisibility" which characterizes the representation of catastrophe. By affi rming the inaccessibility of the truth about prisoners, tortured, murdered and disappeared under Chilean military dictatorship, can this moving-image be understood as a deletion-image? palavras-chave: imagem em movimento; catástrofe; memória; ditadura

artísticos impulsó el reconocimiento de las identidades estético-artísticas del cine y la fotografía, formuladas, a pesar de compartir la misma base tecnológica y ontológica, a partir de las cualidades móvil y narrativa del cine y la estática y silente de la fotografía. Pero esta escisión queda relativizada por toda una serie de contaminaciones mutuas. En el texto se repasan, de un lado, las reflexiones y prácticas sobre la dimensión narrativa de la fotografía, desde la época de las vanguardias hasta los años setenta del siglo pasado con la hibridación de diversos medios. Del otro, se abordan los experimentos cinematográficos de la ralentización e inmovilización de la narración fílmica que permitieron abrir un espacio de reflexión filosófica y estética en la película, cuestionando el vector temporal del film. Por último, el artículo plantea las consecuencias de la llegada de la tecnología digital como punto de inflexión que abre nuevas y más complejas perspectivas en la polaridad de las relaciones entre cine y fotografía.

Ningwasum is a powerful poetic
manifesto of resilience, memory,
and shared struggles. “Ningwasum''
loosely means “memory” in the
Yakthung language. The film follows a
conversation between two characters
from a future Indigenous nation:
Mingsoma and Miksam. Miksam is
a symbol of the future, but carries
with her objects and symbols of the
past as she wanders into an unknown
present. Right from the opening
scene, Yakthung artist Subash Thebe
Limbu brings us into the inner world of
Miksam, unveiling her memories in a
nonlinear space-time.The film’s narrative
voice-over is in Yakthungpan (Limbu
language), a Tibeto-Burman language
spoken by Yakthung communities in
Nepal, India, and parts of Bhutan. The
film is shot mainly in the traditional
homeland of the Sharwa (Sherpa)
Nation, Newa-Tamsaling Nation
(Kathmandu valley) and Wasanglung
region, the shamanic home of the
Yakthung people in eastern Nepal.
The film leaves us to wonder: what
languages do we preserve from the past
and what languages carry us into the
future?

В данной статье рассматривается период рубежа веков как время, когда интермедиальные процессы-то есть процессы, которые формируют эстетическое выражение на пересечении различных медиумов-начинают играть существенную роль в создании культурных артефактов. Эпоха исследуется сквозь призму интермедиальности, проявившейся как ценный инструмент в развитии искусства и медиа, особенно после появления фотографии и кинематографа. Эти интермедиальные процессы способствовали экспериментам с творческими средствами, основанными на медиа, которые впоследствии вылились в модернистские и постмодернистские движения. Роль интермедиальности на рубеже веков, особенно с учётом синкретических процессов, ей присущих, рассматривается как последствие бурных событий того времени, которые послужили стимулом для появления новой эстетики. В статье делается вывод, что турбулентность этой эпохи, а также распространение новых художественных и философских движений повлияли на развитие смешанных (интермедиальных) искусств, стимулировали их рост и активировали исследование интермедиальных форм и жанров во всех видах искусства. Это-эпоха массового книгоиздания и роста уровня грамотности, эпоха, заложившая основу будущих теорий интертекстуальности и представления о произведении искусства как инклюзивном «холсте», в котором все медиумы находят своё место.

The article is devoted to the application of F. Aries’s concept of death perception to the analysis of contemporary Russian cinema. From the authors’ point of view, in Russian society a certain form of attitude towards mortality – the “inverted death” model – prevails. Using the example of N. Merkulova and A. Chupov’s film “The Man Who Surprised Everyone” (2018), they show how the concept of Aries’s “inverted” death contributes to the understanding of the poetics of the film demonstrating this attitude.

This study addresses the ongoing competition in the field of artificial intelligence (AI) on a global scale, particularly the struggle between the U.S.-based ChatGPT and the Chinese-based DeepSeek. As one of the biggest technological revolutions of the 21st century, artificial intelligence is radically changing the global economy, politics and security paradigms. While the U.S. and China are investing heavily to take the lead in this field, the European Union continues its efforts to develop ethical standards and regulatory frameworks. ChatGPT, developed by the U.S. company OpenAI, was launched in 2022 and attracted great interest worldwide. China, on the other hand, stands out in this competition with its artificial intelligence company called DeepSeek. DeepSeek specialises in big data analysis, natural language processing (NLP) and developing artificial intelligence-based solutions. Similar to ChatGPT, DeepSeek Chat can respond to users' questions, create texts and perform various tasks. In this research, it is stated that the artificial intelligence wars taking place in global technology are not only a race for technological progress but also play a critical role in terms of economic power, ethical responsibilities and global stability. In the research, it is emphasised that the future of artificial intelligence will be shaped by the cooperation between countries and the determination of common standards; competition should focus not only on technological superiority, but also on issues such as ethics, security and human rights.

Media" Thomas Elsaesser situates industrial films within a broader research agenda concerned with non-fiction film and provides a series of theoretical handles that may prove useful in future research. In "Record, Rhetoric, Rationalization: Industrial Organization and Film" Vinzenz Hediger and Patrick Vonderau propose a framework of analysis that differentiates between the film medium's specific organizational functions. And finally, in "Vernacular Archiving," a conversation with Patrick Vonderau, Rick Prelinger discusses some of the issues involved in the archiving of industrial and other "ephemeral" films, as he proposes to call them. Section II, "Visuality and Efficiency," brings together a series of case studies that discuss issues of knowledge, visuality, and efficient industrial organization, with most of the six contributions focusing on early cinema and paracinematic visual practices such as the slide show. In "Early Industrial Moving Pictures in Germany," film historian Martin Loiperdinger provides a survey of the representation of industrial production in early German cinema. In "Layers of Cheese: Generic Overlap in Early Non-Fiction Films on Production Processes," Frank Kessler and Eef Masson discuss process films in terms of their strategies of address and visual representation, demonstrating the extent to which the visual vernacular of the industrial film was formed outside organizational discourse in popular film forms, only to be imported into the rhetoric of industrial organization later on. Scott Curtis proposes a new perspective on the workstudy films of Frank Gilbreth in "Images of Efficiency," highlighting their formal strategies as part of the discourses of contemporary management theory rather than taking the films and their claims of improved efficiency at face value. In " 'What Hollywood Is to America, the Corporate Film Is to Switzerland': Remarks on Industrial Film as Utility Film," Yvonne Zimmermann proposes a post-auteurist approach to industrial films, arguing from the wealth of such material in Swiss film archives. Gérard Leblanc discusses the complex web of relationships that condition the work of the industrial filmmaker in "Poussières: Writing the Real vs. the Documentary Real," taking a film by Georges Franju on the prevention of health hazards in postwar France as his example. In "Thermodynamic Kitsch: Visuality, Computing, and Industrial Organization in German Industrial Films, /," Vinzenz Hediger discusses the introduction of computing technology in German industrial production and its representation in industrial films, arguing that computing technologies induce a specific crisis of visibility in the representational strategies of industrial films. Section III, "Films and Factories," comprises case studies of the use of film in specific corporations. In "Touring as a Cultural Technique: Visitor Films and Autostadt Wolfsburg," Patrick Vonderau discusses film and the visual strategies of the guided tour of Volkswagen's main factory in Wolfsburg, Germany, and proposes an analysis of the factory visit as a specifically modern "cultural 14 Vinzenz Hediger and Patrick Vonderau media use, from telephone to film, were intricately intertwined in this model city built in the Moravian countryside in the s. In "A Modern Medium for a Modern Message: Norsk Jernverk, -, Through the Camera Lens," Bjørn Sørenssen discusses the Norwegian mining and steel town Mo i Rana, a key example of state planning in the postwar era and a prestige project whose changing fortunes can be traced through the film work devoted to the project. And finally, in "Harbor, Architecture, Film: Rotterdam, -," a study of an early case of city branding, Floris Paalman shows how film played a major role in providing the port city of Rotterdam with a modernist self-image and implementation of the relevant architectural policies. Concluding the volume, the last section of our book combines an essay by historian and archivist Ralf Stremmel on potential future avenues of industrial film research with an annotated international bibliography of industrial film scholarship by Anna Heymer and Patrick Vonderau. Finally, one omission in this volume needs to be addressed: The collection does not include an essay on Sovjet industrial films or from a socialist country. Being at the stage that it is, this area has as yet to be addressed in industrial film research. While we purposely wanted to avoid an auteurist approach to industrial rhetoric in classical Sovjet cinema, few if any scholars at this point have developed a sustained interest in the archival holdings of industrial films in the former Sovjet republics and former socialist countries of central Europe beyond the auteurist canon. At least judging from the case of the National Film Archive in Prague, these holdings are considerable and promise to be rewarding for future research. For the English translations and revisions of the manuscript, our gratitude goes to David Hendrickson and especially to Steve Wilder for his many helpful suggestions. Translations were made possible through a generous grant from the Alfried Krupp von Bohlen und Halbach foundation. . Quoted in Mancur Olson, The Rise and Decline of Nations: Economic Growth, Stagflation, and Social Rigidities (New Haven and London: Yale University Press, ), p. . . But how exciting such scholarship can be. See, for instance, Edward Dimendberg's detailed analysis of Alain Resnais' Le chant du styrène, which, for reasons of space, could not be reprinted here but should be consulted by the interested reader. Edward Dimendberg, "'These Are Not Exercises in Style': Le Chant du Styrène," October,  (Spring ), pp. -. ment uses of the cinematic apparatus over the past hundred years. The Amsterdam project has been inventorying some of these non-entertainment histories of the moving image under what I have called the three S/M practices of the cinematic machine: surveillance and military applications, surgery and medicine, and sensoring and monitoring. I recently edited a book on Harun Farocki, where notably the first S/M practice, i.e., surveillance and military uses, is being extensively thematized.  Farocki, an increasingly well-known German media artist and theorist, hasin addition to his recent installations relating to the notion of surveillance (Ich glaubte, Gefangene zu sehen, Die Schöpfer der Einkaufswelten)a long and exemplary filmography dealing with industrial films, training films, procedurals, test films, and aerial reconnaissance photography.  A colleague of mine, Jose van Dijck, has written on surgery and medicine, in a study called The Transparent Body ().  Together with Lev Manovich I am also working on a project dealing with Augmented Space and Intelligent Surfaces, which will look at embedded information in our built urban and domestic environment, that is, the increasing presence of sensors and interactive devices which passively register our presence or provide information when actively accessed.  Although none of these media archaeologies or S/M practices is specifically focused on the industrial film, I see our endeavor in this direction to offer potentially interesting insights and fruitful cross-referencing with scholars and archivists working on the industrial film. Another line of inquiry that has already obliged me to engage with the industrial film proper comes out of a four-year funded doctoral research project I set up for some  Ph.D. candidates, called Cinema Europe. Of the various subprojects, at least three are directly relevant to our topic. One is concerned with Architecture, Urbanism and Cinematic City in Europe. Floris Paalman's doctoral thesis is centered on the mediatization of Rotterdam over the past  to  years. Here, hitherto barely identified and virtually anonymous creators of the photographic and cinematic iconography of the city such as Andor von Barsy are given their due, e.g., for industrial films featuring the harbor, bridges across the Maas, and other public works. However, the point is not to unearth forgotten "auteurs" of the art of cinema, but to make a city the central reference point, indeed the veritable "auteur" of a body of work that crosses the media (film, photography, audio records) and genres (documentary, fiction, training, industrial, advertising), while providing something like a living memory and neural network for a major European city's changing self-image and media self-presen-20

В теории кино, в том герметично-академичном виде, в котором она
сформировалась к настоящему времени, царит квазипримиренческая кон-
венциональность, согласно которой любой кинотекст находит свое «за-
конное» место в каталоге типов, жанров, течений, исторических и куль-
турных контекстов. В духе постмодерна, как его описывал Жан-Франсуа
Лиотар, массовое кино является уже не антитезой киноискусству, но разно-
видностью кино и т. д. Это позволяет говорить о кино как о пусть и разно-
мастной, но всё же объединенной неким общим принципом тотальности.
На примере подходов к конструированию и осмыслению кинообраза Сер-
гея Эйзенштейна и Андрея Тарковского в настоящей статье автор показы-
вает, что возможно говорить о различных кинематографах – о явлениях, раз-
нящихся не просто на драматургическом или эстетическом, но на онтоло-
гическом уровне. В качестве лекала, посредством которого кинематографы
указанных выше кинорежиссеров оцениваются, автор использует тему ие-
роглифа и Востока, к которой каждый из режиссеров обращается в своих
теоретических трудах, понимая ее совершенно по-разному. Различия, про-
являющиеся на уровне толкования иероглифа, позволяют, в свою очередь,
вывести фундаментальные различия, присущие не только конкретным упо-
мянутым теоретикам и практикам кино. Их анализ позволяет обрисовать
две по сути противоречащие друг другу традиции кино, одна из которых,
как представляется на данный момент, подавила и вытеснила другую.

Despite numerous statements in the narrations of Shi'ite Imams (peace be upon them) which strongly deny socially institutionalized discriminations against girls, making quests for the son by his parents is recommended in Shi'ite jurisprudence. The validity of this rule in jurisprudential texts has not been examined by methodic meticulousness. Although there is no valid traditional reason for the child to be a son, requesting for son has been repeated in most jurisprudential texts. This inconsistency has been critically investigated in the present article by answering two questions: the question of how the word 'son' has been entered into these texts from the book Al-Nehayah by Sheikh Tusi, and the question of why this rule has not been examined by methodic meticulousness. Analyzing the narrations and jurisprudential texts, it becomes clear that this rule has penetrated into the jurisprudential texts since the time of Sheikh Tusi without any clear reason and has continued to exist until the time of Yazdi and afterwards. Finally, this issue has been examined by proposing three possible explanations, among which the effect of jurists' subjective presuppositions during the study of narrations has been evaluated as a more appropriate explanation.

En este estudio se indaga la potencialidad contestataria de lo grotesco carnavalesco (Bajtin, 1974) desde las figuras del “relajo” y el “pelado”, dos conceptos fundamentales del imaginario cinematográfico mexicano. Para esto, se analiza la película del cineasta Luis Estrada Un mundo maravilloso (2006), que junto a La ley de Herodes (1999), El infierno (2010) y La dictadura perfecta (2014) pueden considerarse una tetralogía sobre la situación sociopolítica actual de México, comparten temáticas, perspectiva crítica y satírica para retratar la historia social y política reciente de México, denunciando las turbias relaciones entre la corrupción política, el crimen organizado, las grandes corporaciones económicas y los medios de comunicación. Se comprueba finalmente cómo mediante el humor grotesco mexicano, la ambivalencia de la risa, la parodia, y la inversión carnavalesca, se delatan los mecanismos de opresión en el establecimiento y  mantenimiento de la desigualdad entre las clases sociales y la distribución de la riqueza.

Film-cultural processes of change in today’s network society, especially that of relocation, draw attention to an increasingly personalized and active film experience. Against this background, a transdisciplinary, application-oriented film-psychological approach is proposed here that is situational, processual–dynamic, and affective–integrative. It is oriented toward the aesthetic experience of recipients of audiovisual artworks. Based on movement and vitality, affective–integrative film psychology investigates the intertwining of the affect dramaturgy, dynamic affectivity, and performance of the recipients. The so-called film-psychological experience matrix is presented as an original field of research.

In design, sensual experience, where the sense of touch is coupled with vision, plays an important role in building designers’ internal knowledge. Therefore, many design schools put emphasis on perceptually grounded experience, especially in the first year curriculum. Foundation of perceptually ground experience as formal educational concept goes back to Bauhaus, which is one of the most important teachings of Bauhaus that still influences today's design education. However, in contemporary practice, especially with the use of the computers, perceptual grounded experience in design studios highly decimated and mostly limited with visual experience. Moreover, tactile experience has often been neglected in comparison to visual experience both in design practice and research. With this regard, this study analyses tactile experience in design based on the teachings of Moholy-Nagy. Educational approach of Moholy-Nagy on tactility will be elaborated within the perspective of grounded and embodied cognition. This paper aims to contribute to the understanding of tactile experience in design within the frame of embodied perspective. Keywords: embodied cognition, tactile experience, design education, Bauhaus, Moholy-Nagy.

The moving image production process has a structure that depends on the universal rules of physical science, is sensitive to technological innovations and focuses on the viewer experience. Digitalisation processes in the fields of series and films open the doors to many innovations, directing production companies to the field and aiming to bring the viewing experience to the highest level. Virtual production technology is also recognised as one of the groundbreaking innovations in moving image production. The concept of virtual production is used to encompass innovative production models such as the creation of virtual universes for the realisation of productions, the use of backgrounds consisting of LED screens, and the possibility of real-time rendering. Virtual production technology offers real-time rendering with the inclusion of game engines such as Unity and Unreal Engine in the moving image production process, blurring the boundaries between the production and post-production stages. In addition to the global developments in virtual production technology, production companies in Turkey are also making pioneering initiatives by focusing on this issue. In this study, the development process of virtual production in the world is explained, and the Prince TV series, which is one of the first productions in Turkey using this technology, is analysed technically by using the content analysis method. It has been concluded that the virtual production technology used in the series makes significant contributions to the production process in terms of actor management, image management, art management, removes time and space dependency, and maximises the actor experience. It is predicted that this technology will become accessible to independent producers in time and can be integrated into all stages of moving image production.
Keywords: Virtual Production, Moving Image, Real-Time Render, Prince Series

and others used the "distancing effect" in their works. Notebly, Brecht theorized his concept in the twentieth century, yet many of the buildings discussed in this research belong to an earlier historical period. This indicates that many architects have (un)consciously used this concept in their works as they want to invite individuals to think, explore, be active, interpret, and be aware of what they are observing. Ultimately, it can be articulated that the work of architecture plays a more significant role, it is not merely a space to provoke our sensations, but also a universe for deep contemplation and thought.

Since the mid-20th century, artificial intelligence technologies, which have their roots in neuroscience and the discovery of neural networks, have created a rapidly growing competitive field on a global scale. Systems based on artificial intelligence technology are used today in important areas affecting individuals and society such as health, finance, trade, education, media, industrial production, energy, cyber security. Artificial intelligence companies receive significant funding from the world's leading corporations and governments. At the same time, machine learning based on big data is gaining increasing importance. The ethical issues associated with the negative uses of artificial intelligence, alongside its benefits, remain a topic of debate. However, the transformative potential of these technologies calls for a collective consensus rather than distancing from the field. The research aims to discuss the potential of artificial intelligence in moving image production by considering this reality. In humanity's artificial intelligence adventure, which started with the question 'Can machines think?', this research focuses on the question 'Can artificial intelligence produce professional, hyper-realistic scenes?' and analyses the outputs of three platforms operating in the field. Within the scope of the research, Runway, Luma Dream Machine, Imagine Art platforms were asked to produce moving images including two realistic and futuristic scenarios. The moving images produced were subjected to content analysis and analysed under the categories and subcategories determined. Despite certain errors, it has been observed that artificial intelligence technologies are poised to reshape the expertise-driven process of moving image production in a short time. Key areas of expertise in the industry are likely to be replaced by AI-based technologies. It is concluded that in the near future, artificial intelligence technologies can be used as an alternative to conventional production mechanisms such as script writing, scene design, visual effects, which require great cost, and will play an important role in moving image production.

In the past period of development, the genre of audiovisual arts, in its evolution of transmission and interpretation of auditory images and landscapes, has overcome a huge distance from silent sound space to the most complex phonographic concepts of contemporary composition and sound engineering practices. At the same time, paradoxically, the phenomenon of silence as a powerful conceptual instrumentum of artistic influence has once again become relevant on the horizons of consideration. However, the image of silence, silence, in modern audiovisual art, acquires com-pletely different, new facets. The peculiarity of the approach to formulating a theoretical basis for analyzing the phenomenon of silence as a tool of phonographic art is that none of the existing def-initions of silence properly reflects the essence of this phenomenon. The absence of internal mean-ing makes the phenomenon of silence a vessel for the projection of content, reflecting our own in-terpretation of it, in which we are guided by the contextual (static time point of the form) and con-tinual (developing, changing over time) principles. At the same time, the perception of silence itself can be interpreted into a system of independent meanings that are not tied to the nature of the text of the audiovisual opus. It is precisely the fact that silence carries meaning without specific refer-ence to semantic symbols or objects that makes it a most complex tool that characterizes the nega-tive aspect of phonographic symbolism.

This thesis identifies approaches to film-making which stimulate a
relationship of active involvement between the cinematic image and the
viewer through the evocation of tactility and embodied memory, thus
inviting the viewer’s whole body into the experiencing of the moving image.
I do this specifically by defining and exploring, in theory and practice, the
concept of tangible territory which, I propose, emerges from the encounter
between the viewer’s embodied self and the moving image work.

Background: Meeting with health care gets short before and after the operation. The difficulty at the day surgery is that preparation and information take place in close proximity to the operation. Health professionals must not only take care of the child during the medical visit, but also of the accompanying parent, too. Parents' participation in the perioperative care, sometimes unable to attend. Aim: This study aims to investigate how parental involvement in the perioperative a process can be facilitated. Method: A qualitative design based on observations and interviews with semi structured questions with open answers. Results: The results conveyed involvement in the child's perioperative process in diverse ways and to a different depth. This is highlighted in the theme Allowed with the under themes Security and Being accepted. However, the theme Exclusion with the under-theme Rejection revealed a non-caring approach where no caring relation could be established. Quotes from the transcribed material are used to highlight the results. Conclusion: The study's findings confirm earlier studies in the perspective that information is of central importance in enabling parents to be involved in the perioperative process. The results showed that parents' involvement in the perioperative process is a prerequisite for creating safety in the child and reducing concerns in connection with the operation. Parental involvement may be hindered by a conventional approach that does not include the child's perspective.

The Moody Institute of Science (MIS) was founded in 1945 by the Moody Bible Institute and Irwin A. Moon as an evangelical group that used science demonstrations to preach to the masses. A California pastor who had been using science experiments in his sermons since the early 1930s, Moon believed that the marvels of science provided visible evidence of a divine plan of creation. In the late 1940s, MIS-with Moon as their director-began producing a series of technologically innovative, often riveting, and always religiously motivated science and social studies films. As James Gilbert in Redeeming Culture and Heather Hendershot in Shaking the World for Jesus demonstrate, these films provided a religious interpretation for science, offering their viewers-in the church as well as in the American military, the public school system, and industry-a glimpse of a natural world so complex that it could only be explained, according to the films' narrators, through the existence of a higher power or an intelligent designer. 1 In fact, MIS's first films-like The God of Creation (1946) and God of the Atom (1947)-were conceived of precisely as "Sermons from Science," a concept Moon developed in the late 1930s while conducting live scientific-evangelical demonstrations, the most famous of which included running a million volts of electricity through his body. 2 Although Gilbert and Hendershot both offer compelling and useful histories of MIS and of Moon's career as a technologically savvy Christian filmmaker, much of the MIS film catalog remains unexplored and the nature of MIS's infiltration of the midcentury secular classroom has been especially obfuscated. 3 The Moody Bible Institute still circulates some of Moon's films in video format, largely for use in home-schooling environments, and it is these films that have been the primary focus of previous scholarship, largely, we suspect, due to the difficulty, until recently, of accessing reference copies of the vast majority of MIS's educational films that were marketed to mainstream educators in the 1950s and beyond. 4 Although their specific impact on recent ideological and litigious battles over the teaching of evolution and the introduction of intelligent design into the classroom may be difficult to surmise, evidence certainly attests to the staggeringly wide circulation of MIS films in the postwar era of across-the-board escalation in classroom film usage. 5 Gilbert notes that MIS records for 1947 and 1948 indicate an audience of 2.5 million for its three circulating films. 6 In 1950 Ken Hughes, writing for The Chaplain, comments that "here and abroad, almost a million people during one short year crowded into high schools, universities, and military bases as well as churches to glimpse the [MIS] films," and Hendershot claims that "by 1956, MIS films were used in 389 school systems in 46 states." 7

The Moody Institute of Science (MIS) was founded in 1945 by the Moody Bible Institute and Irwin A. Moon as an evangelical group that used science demonstrations to preach to the masses. A California pastor who had been using science experiments in his sermons since the early 1930s, Moon believed that the marvels of science provided visible evidence of a divine plan of creation. In the late 1940s, MIS-with Moon as their director-began producing a series of technologically innovative, often riveting, and always religiously motivated science and social studies films. As James Gilbert in Redeeming Culture and Heather Hendershot in Shaking the World for Jesus demonstrate, these films provided a religious interpretation for science, offering their viewers-in the church as well as in the American military, the public school system, and industry-a glimpse of a natural world so complex that it could only be explained, according to the films' narrators, through the existence of a higher power or an intelligent designer. 1 In fact, MIS's first films-like The God of Creation (1946) and God of the Atom (1947)-were conceived of precisely as "Sermons from Science," a concept Moon developed in the late 1930s while conducting live scientific-evangelical demonstrations, the most famous of which included running a million volts of electricity through his body. 2 Although Gilbert and Hendershot both offer compelling and useful histories of MIS and of Moon's career as a technologically savvy Christian filmmaker, much of the MIS film catalog remains unexplored and the nature of MIS's infiltration of the midcentury secular classroom has been especially obfuscated. 3 The Moody Bible Institute still circulates some of Moon's films in video format, largely for use in home-schooling environments, and it is these films that have been the primary focus of previous scholarship, largely, we suspect, due to the difficulty, until recently, of accessing reference copies of the vast majority of MIS's educational films that were marketed to mainstream educators in the 1950s and beyond. 4 Although their specific impact on recent ideological and litigious battles over the teaching of evolution and the introduction of intelligent design into the classroom may be difficult to surmise, evidence certainly attests to the staggeringly wide circulation of MIS films in the postwar era of across-the-board escalation in classroom film usage. 5 Gilbert notes that MIS records for 1947 and 1948 indicate an audience of 2.5 million for its three circulating films. 6 In 1950 Ken Hughes, writing for The Chaplain, comments that "here and abroad, almost a million people during one short year crowded into high schools, universities, and military bases as well as churches to glimpse the [MIS] films," and Hendershot claims that "by 1956, MIS films were used in 389 school systems in 46 states." 7

Where does knowledge begin? Let's take the example of a mountain. For a subarctic Norwegian, what could be a more mundane view than that of a mountain that you see every day. Still, steady, seemingly unmoving. Can a local, not famous, mountain top, not very tall, hold the key to a major ecological insight in an "age of unreason"? Can it hold the key to an understanding of the embodied situatedness and technological formation of knowledge, and how these factors are co-constitutive? In our time, as fictions are built upon fictions. theory upon theory, there is a need to touch ground again. As the editors state in this issue's questionnaire, there is a need to re-address "the fundamental question of access to knowledge and our ability to know." As an artist researcher who uses the camera as means to think, a mountain is the perfect object. It is an object of stillness and motion, of different time scales, an entanglement of materials and meaning. 1 A mountain may have significant meaning for those who live in the area-emotional, symbolic-yet it has a materiality that stretches back millions of years in time. It is a popular motif for amateur photographers, and thoroughly mapped by cartography, satellites, and the like. Mountains are technologically mediated at the same time as having persisted throughout all human history as familiar features. A mountain is an excellent example of Karen Barad's point that matter and meaning "are inextricably fused together," and that "no event can tear them apart." 2 This is the case with Klotinden, The Claw Peak, an old, ragged mountain peak in the north of Norway, a local landmark, 671 m tall, which resembles an animal claw, a point of orientation for nearby villages, which has persisted though time, at least seemingly so for generations of humans residing at its foot.

The aim of this research is to establish a dialogue between moving image devices, considered as precursors of cinema, and the representation of space in order to evaluate the physical orientations of inventors who transformed their spatial searches into cinematic organisation. This study examines the experimental environment created by cinema art for space through moving image devices. It is focused on two research questions: 'The integration of space representation in pre-cinema moving image devices' and 'The effect of space representation on visual narrative in pre-cinema moving image devices'. The study employed a qualitative research design and the literature review method to answer the research questions. The research data was analysed using descriptive content analysis. Based on the analysis, it can be inferred that pre-cinema moving image devices invented between 1558-1834 utilised figurative representations in visual narratives. The representation of space was first introduced in the visual narratives of the Stereoscope, invented by Wheatstone in 1838. Moving image devices invented between 1880-1895 established a strong relationship with the representation of space. However, the fact that the research was collected from fourteen different moving image devices invented in 1558 and later is considered to be one of the major methodological limitations of this study. The limited sample size weakens the possibility of generalising the findings and negatively affects the external validity of the research. In order to overcome the problem of low external validity and to ensure that the data obtained from the study can represent the study population, it is recommended that new studies be planned that include different pre-cinema moving image devices.

Queen (1951). 4 Film reviewers praised Latuko for its authentic, color footage and synchronous sound, claiming it represented "a novel African document" 5 and a "dizzying antidote to most ordinary film fare." 6 AMNH officials were optimistic and hoped profits from Latuko would help offset their annual budget deficit. 7 However, full frontal male nudity in the film led to a commercial ban of the film in several East Coast states (New York, Virginia, Maryland, and Massachusetts) and contributed to a nationwide debate over film censorship during the early 1950s.

Released in 1995, Telephones was the precursor to a lot of Christian Marclay's video collages, such as Video Quartet (2002), Crossfire (2007),
The Clock (2010), 48 War Movies (2019), Subtitled (2019) and Doors (2022). Scenes were sampled from movies rented at video stores in VHS format and edited into a seven-minute-long montage. The structure of the video is simple; the cut-up scenes follow the course of a phone conversation from beginning to end. This reveals a clash of technologies, behavioural patterns, sound effects and cultural references associated with audio and visual communication, expressed through various dramatic genres that characterise our collective memory of cinema.

Oddly enough, almost thirty years later, its relevance seems to have grown rather than diminished, largely because it emerged at the very moment that cell phones made their initial appearance into popular consumerist culture and digital technology was overtaking analogue film. In collaboration with Ivorypress, Marclay wanted to see how such a moving image work
could be translated into a book format. The fragmentary and chance quality, which is at the heart of any collage process, is exemplified here by allowing the reader to mix and match images. The present publication emerged out of a conversation between Marclay and Yuval Etgar, held during the 2020 lockdown — befittingly, over the phone.

igital platforms, through artificial intelligence, challenge the categories person' and 'self-determination' in the virtual reality. The state abdicates in favour of sovereigns with a silicon crown. Against this backdrop lies the classic theme of the relationship between power and authority, between constitutionalism and digital sovereignism. The human being abandons the habeas corpus that classical constitutionalism wants to preserve because he surrenders himself to digital platforms. Digital platforms manifest themselves as new and unprecedented centres of power that national and European regulation attempts to curb with difficulty. Summary 1. he new era in the silicon universe from Artificial Intelligence to Metaverse.-2. he theoretical aspect.-3. he legal aspect.-. Conclusion Keywords digital platforms-artificial intelligence-constitutionalism-digital sovereignism. * L'articolo è stato sottoposto, in conformità al regolamento della Rivista, a referaggio "a doppio cieco".

The question of when the postmodern era in the art of music ended and whether it ended at all remains extremely controversial and ambiguous. However, the flashes and glow of a certain new system for the artistic interpretation of reality, a form of interaction with the so-called «objective reality», what philosophers and art historians have carefully and accurately tried to formulate and explore in the last decade, is increasingly manifested in the works of contemporary authors, covering the horizon for events with a shaky and sometimes not always transparent curtain of new, often paradoxical creative hypotheses. And this new system, which a number of researchers call the term «metamodern», in forms and manifestations previously unknown to the academic tradition, is implemented by an extraordinary instrumentarium, which is based on the priorities of the ideas of simulating everything and everyone. In the process of its formulation, this system establishes the foundations for the virtual reality paradigm as the nuclear force for the functioning and generation of meaning for a whole range of new, electronic arts, the locomotive of which an art of multimedia has become, as a certain cumulative symbol for the method of artistic expression. Virtual phenomenology is updated into a new model of the artistic act, where its ability to act as a semiotic subsystem for the model being built is realized. The latter becomes part of an unusual, mixed (modified, augmented, expanded) artistic reality, blurring the boundaries of the modalities for perception of reality, thereby creating a kind of continuous virtual-real continuum in which it is impossible to draw a line between the components of this dichotomy. And it is within the framework of such a paradigm that the creative instrumentarium for the new system claim the level of total transcendence, as a sphere of absolute potentiality, defining new range for connections between musical and extra-musical events, uniting together many modalities of perception of the so-called. objective and virtual reality, establishing the status for a new, hypertextual symbolism.

Esta versão apresenta imagens em negativo das notas da "Boîte de 1914" de Marcel Duchamp e um envelope anexo contendo as notas da Caixa de 1914 por Wallace Masuko. A "Boîte de 1914", uma edição de 3 exemplares, contém as reproduções em fotografias preto e branco de 2 desenhos e 16 notas manuscritas entre os anos de 1912 e 1914, todas coladas sobre um suporte de papel cartão de tamanho padrão (18 x 24 cm) acondicionadas em 3 caixas de placas fotográficas das marcas Jougla, Kodak e Lumière. Duchamp reuniu reproduções de notas manuscritas por ele em 3 caixas distintas, publicadas ao longo de sua vida: a "Boîte de 1914" em 1914, a "Boîte verte" ("La Mariée mise à nu par ses célibataires, même.") em 1934 e a "Boîte blanche" ("A l'infinitif") em 1966. Estas notas aparecem como uma espécie de intertítulo na obra do artista. This version presents images in negative of Marcel Duchamp's "Boîte de * Professor substituto no Departamento de Desenho da EBA-UFMG

This article examines the work of the Mexican filmmaker Carlos Reygadas. The representative of the new auteur cinema, the developing direction of “slow cinema”, he is the exponent of those social and cultural problems on which the attention of European directors of the first third of the 21st century is focused. The example of Reygadas’ films shows the changes that society has undergone in recent decades in the transition from the postmodern to the metamodern culture. The interdisciplinary approach to the study of his work is designed to more fully reveal the ideological and thematic orientation of the films and to illuminate the cultural and historical process of the first decades of the 21st century, which will constitute the novelty of the study.
Based on the ideas of T. Vermeulen and R. van den Akker that the metamodern seeks to remove the contradictions between different art movements, past and present cultures, the author of the article attempts to demonstrate how this trend manifested itself in the work of Reygadas. At the same time, the reference to the mythology of Mesoamerica and the “philosophy of liberation” of Latin America shows that Vermeulen and van den Akker’s concept of culture transformation through the resolution of contradictions reflects the situation of a crisis in which modern society is involved.
In the director’s films, this is reflected in the inability of the individual to make contact with the Other and the reality around them. Moreover, the films of the 2000s showed an attempt to get out of the former social and cultural paradigm, but by the end of the 2010s, the problem of interpersonal relations was not resolved, and reality acquired the status of “elusive”. This allows us to draw a preliminary conclusion that society is still in a state of a crisis, experiencing a change of cultural formations, and the transition from postmodernism to metamodernism cannot be considered a completed process. / В статье исследуется творчество мексиканского кинематографиста Карлоса Рейгадаса. Представитель нового авторского кинематографа, развивающегося направления «медленное кино», он является выразителем тех социокультурных проблем, вокруг которых сосредоточилось внимание европейских режиссеров первой трети XXI века. На примере фильмов Рейгадаса показаны те изменения, которые претерпевало общество за последние десятилетия, при переходе от культуры постмодерна к метамодерну. Междисциплинарный подход к изучению его творчества призван полнее раскрыть идейно-тематическую направленность фильмов и осветить культурно-исторический процесс первых десятилетий XXI века, что и составляет новизну исследования.
Отталкиваясь от идей Т. Вермюлена и Р. ван ден Аккера о том, что метамодерн пытается снять противоречия между различными арт-направлениями, культурой прошлого и настоящего, предпринимается попытка продемонстрировать, как эта тенденция проявилась в творчестве Рейгадаса. Вместе с тем обращение к мифологии Мезоамерики и «философии освобождения» Латинской Америки показывает, что концепция Вермюлена и Аккера о преобразовании культуры посредством разрешения противоречий отражает ситуацию кризиса, в которую вовлечено современное общество.
В фильмах режиссера это сказывается на невозможности установления человеком контакта с Другим и окружающей его реальностью. Более того, если фильмы 2000-х годов демонстрировали попытку выхода из прежней социокультурной парадигмы, то к концу 2010-х проблема межличностных отношений не получила разрешения, а реальность обрела статус «ускользающей». Это позволяет сделать предварительный вывод о том, что общество еще находится в ситуации кризиса, переживает момент смены культурных формаций, а переход от постмодернизма к метамодернизму нельзя считать завершенным процессом.