At the most mundane level, CCTV observes bodies, and as such attaches great importance to the specific features of the human body. At the same time, however, bodies tend to disappear, as they are represented electronically by the camera monitors and, in the case of image recording, by the computer systems processing data. The roles of bodies(either as targets of surveillance or as translations into flows of disembodied information), however, are not unimportant or inconsequential, but may in fact give (...) rise to a number of tangible ethical dilemmas. Firstly, the virtual representation of the embodied actor is not a neutral, unproblematic process. Body representation techniques such as CCTV produce constructions of the subject that involve judgmental, discriminatory processes of categorisation and are based on asymmetrical relations between observers and observed. Secondly, the `data doubles' are not inconsequential: the representations of the body produced by CCTV can have palpable consequences for the embodied self and its life chances. The widespread use of CCTV could therefore give rise to individual as well as social issues, and possibly in a different manner than previous surveillance technologies. This fact signals the need for(re-)conceptualisations of moral values (such as privacy) applicable to the case of CCTV which take into account the importance of bodily protections. (shrink)

Purpose This paper aims to uncover the assumptions and concerns driving public debates about Google Glass and police body cameras. In doing so, it shows how debates about wearable cameras reflect broader cultural tensions surrounding race and privilege. Design/methodology/approach The paper employs a form of critical discourse analysis to discover patterns in journalistic coverage of these two technologies. Findings Public response to Glass has been overwhelmingly negative, while response to body cameras has been positive. Analysis (...) indicates that this contrasting response reflects a consistent public concern about the dynamics of power and privilege in the digital economy. While this concern is well-founded, news coverage indicates that technologists, policy makers and citizens each hold assumptions about the inevitability and unvarnished beneficence of technology. Research limitations/implications Since this qualitative approach seeks to discern broad emergent patterns, it does not employ a quantifiable and reproducible coding schema. Practical implications The article concludes by arguing that grassroots action, appropriate regulatory policy and revitalized systems of professional journalism are indispensable as the struggle for social justice unfolds in the emerging digital economy. Social implications These debates represent a struggle over what and how people see. Yet public discourse often glosses over the disadvantages of technological change, which impacts who is able to amass social power. Originality/value This comparative approach yields unique conceptual insight into debates about technologies that augment ways of seeing. (shrink)

Over the past decade, police departments in many countries have experimented with and increasingly adopted the use of police body-worn cameras. This article aims to examine the moral issues raised by the use of PBWCs, and to provide an overall assessment of the conditions under which the use of PBWCs is morally permissible. It first reviews the current evidence for the effects of using PBWCs. On the basis of this review the article sets out a teleological argument for (...) the use of PBWCs. The final two sections of the article review two deontological objections to the use of PBWCs: the idea that use of PBWCs is based on or expresses disrespectful mistrust, and the idea that the use of PBWCs violates a right to privacy. The article argues that neither of these objections is persuasive, and concludes that we should conditionally accept and support the use of PBWCs. (shrink)

In this article, we explore some of the roles of cameras in policing in the United States. We outline the trajectory of key new media technologies, arguing that cameras and social media together generate the ambient surveillance through which graphic violence is now routinely captured and circulated. Drawing on Michel Foucault, we suggest that there are important intersections between this video footage and police subjectivity, and propose to look at two: recruit training at the Washington state Basic Law (...) Enforcement Academy and the Seattle Police Department’s body-worn camera project. We analyze these cases in relation to the major arguments for and against initiatives to increase police use of cameras, outlining what we see as techno-optimistic and techno-pessimistic positions. Drawing on the pragmatism of John Dewey, we argue for a third position that calls for field-based inquiry into the specific co-production of socio-techno subjectivities. (shrink)

Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scène to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," disrupts the (...) very material of film, much like historical events disturb the narrative of human progress. De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works of _catastroika_; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristic _mise en forme_ of filmmaker Sacha Guitry, who, in _Si_ _Versailles m'était conté (1954), filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate._. (shrink)

Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scène to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," disrupts the (...) very material of film, much like historical events disturb the narrative of human progress. De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works of _catastroika_; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristic _mise en forme_ of filmmaker Sacha Guitry, who, in _Si_ _Versailles m'était conté, filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate._. (shrink)

From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt’s furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights—and their abuses—is also a richly illustrated one. Following this picture trail, _Human Rights In Camera_ takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have (...) had to them. Sharon Sliwinski considers a series of historical events, including the 1755 Lisbon earthquake and the Holocaust, to illustrate that universal human rights have come to be imagined through aesthetic experience. The circulation of images of distant events, she argues, forms a virtual community between spectators and generates a sense of shared humanity. Joining a growing body of scholarship about the cultural forces at work in the construction of human rights, _Human Rights In Camera_ is a novel take on this potent political ideal. (shrink)

We investigate two issues about the subjective experience of one's body: first, is the experience of owning a full-body fundamentally different from the experience of owning a body-part?Second, when I experience a bodily sensation, does it guarantee that I cannot be wrong about whether it is me who feels it? To address these issues, we conducted a series of experiments that combined the rubber hand illusion (RHI) and the “body swap illusion.” The subject wore a head (...) mounted display (HMD) connected with a stereo camera set on the experimenter's head. Sitting face to face, they used their right hand holding a paintbrush to brush each other's left hand. Through the HMD, the subject adopted the experimenter's first-person perspective (1PP) as if it was his/her own 1PP: the subject watched either the experimenter's hand from the adopted 1PP, and/or the subject's own hand from the adopted third-person perspective (3PP) in the opposite direction (180°), or the subject's full body from the adopted 3PP (180°, with or without face). The synchronous full-body conditions generate a “self-touching illusion”: many participants felt that “I was brushing my own hand!” We found that (1) the sense of body-part ownership and the sense of full-body ownership are not fundamentally different from each other; and (2) our data present a strong case against the mainstream philosophical view called the immunity principle (IEM). We argue that it is possible for misrepresentation to occur in the subject's sense of “experiential ownership” (the sense that I am the one who is having this bodily experience). We discuss these findings and conclude that not only the sense of body ownership but also the sense of experiential ownership call for further interdisciplinary studies. (shrink)

Barbara Maria Stafford's Body Criticism is analyzed for its reliance upon monstrous bodies as the source of an alternative to the art history of the Enlightenment. A counterculture of the flesh caught in its own vision of skin diseases, bumps, and medical pathologies is painstakingly reproduced as the official opposition to reason's body. The art establishment is required to admit engravers, cartoonists, kaleidoscopists, and phrenologists. Critical questions are raised regarding Stafford's use of iconology and genealogy, as well as (...) a critical difference over the question of the revolutionary status of the postmodern aesthetic traced from the camera obscura to virtual reality perception. (shrink)

This article focuses on how the human body and body parts such as the legs, abdomen, and torso are conceptualized in Spanish director Pedro Almodóvar's films. The comparative analysis follows a qualitative methodology in which instances of the use of body parts are analyzed within their multimodal, sociocultural, and cinematic contexts. Through camera work and mise-en-scène, the actors' bodies and bodily functions are mapped onto complex cultural, social, and filmic targets within the narrative structure. Ultimately, the author (...) shows how artistic creativity is an activity whose purpose is a reembodiment of the emotion by visual and physical alteration. The new body is an environment onto which traditional views of the body based on folk theories are mapped, and body parts and functions are metonymically highlighted. (shrink)

ABSTRACT In Frank Capra’s Mr. Deeds Goes to Town, Stanley Cavell says, the film camera, a “somatogram,” reads fits and fidgets as a post-Cartesian cogito of embodied thinking. Giorgio Agamben sees the cameras of motion studies at Salpêtrière in the 1880s as dehumanizing normalizers of gesture, but Georges Didi-Huberman claims that what they recorded as hysteria was solicited by them and sometimes refused. Which is it? Does the camera humanize, normalize, or solicit gesture? I consider the question with Anna (...) Rose Holmer’s The Fits. Like Mr. Deeds, The Fits foregrounds non-sovereign body movements, but its protagonist, Toni, agonistically engages the camera’s gaze, extracting from it the respect she deserves. I argue that Toni may be seen as responding to Salpêtrière, and also to Thomas Eakins, in whose attic, in the 1880s, a young Black girl was photographed naked, on a couch. Is her stare a refusal of the white gaze or a coerced pose? Toni’s own stare suggests she avenges such historic wrongs in acts of cinematic agonism. In The Fits, the camera that might have been Toni’s reader/partner, betrayer, or groomer becomes a mystical mechanism of remediation and Toni, the ghost in its machine. (shrink)

Serious attempts to build thinking machines began after the second world war. One line of research, called Cybernetics, used electronic circuitry imitating nervous systems to make machines that learned to recognize simple patterns, and turtle-like robots that found their way to recharging plugs. A different approach, named Artificial Intelligence, harnessed the arithmetic power of post-war computers to abstract reasoning, and by the 1960s made computers prove theorems in logic and geometry, solve calculus problems and play good games of checkers. At (...) the end of the 1960s, research groups at MIT and Stanford attached television cameras and robot arms to their computers, so "thinking" programs could begin to collect information directly from the real world. (shrink)

This article focuses on the aesthetics of the psychedelic experience. Aldous Huxley’s Doors of Perception remains one of the few studies that investigates the aesthetic dimension of the psychedelic experience as profoundly meaningful as such, because it gives direct attention to the nonhuman otherness of the universe that is hard to describe in words, but that can be felt and sensed. Similarly, Deleuze and Guattari have investigated psychedelics as a perceptual, aesthetic, phenomenon. They argue that psychedelic aesthetics offers an experience (...) at the limits of perception to the point of ultimate abstraction of geometric figures and grains. Drawing upon the works of two experimental filmmakers from two different generations and backgrounds, Philippe Garrel’s enigmatic Le Révélateur ( The Revealer, 1968 ) and Morgan Quaintance’s thought-provoking Surviving You, Always (2021), the borders of the perceptual field by cinematographic means will be investigated. These works are exemplary of how the nonhuman perception of the camera, its ‘bodies without organs’, and its affective intensity evoke a psychedelic, mind-revealing, experience and an ethics of – in Deleuze’s words – ‘becoming not unworthy of the event’. (shrink)

Self-location—the sense of where I am in space—provides an experiential anchor for one's interaction with the environment. In the studies of full-body illusions, many researchers have defined self-location solely in terms of body-location—the subjective feeling of where my body is. Although this view is useful, there is an issue regarding whether it can fully accommodate the role of 1PP-location—the sense of where my first-person perspective is located in space. In this study, we investigate self-location by comparing (...) class='Hi'>body-location and 1PP-location: using a head-mounted display (HMD) and a stereo camera, the subjects watched their own body standing in front of them and received tactile stimulations. We manipulated their senses of body-location and 1PP-location in three different conditions: the participants standing still (Basic condition), asking them to move forward (Walking condition), and swiftly moving the stereo camera away from their body (Visual condition). In the Walking condition, the participants watched their body moving away from their 1PP. In the Visual condition, the scene seen via the HMD was systematically receding. Our data show that, under different manipulations of movement, the spatial unity between 1PP-location and body-location can be temporarily interrupted. Interestingly, we also observed a “double-body effect.” We further suggest that it is better to consider body-location and 1PP-location as interrelated but distinct factors that jointly support the sense of self-location. (shrink)

Sem pretender esgotar o tema, este trabalho visa refletir sobre o conceito de Modernidade aqui entendida como a construção de uma perspectiva ou projeto de futuro. O ponto de partida são as reflexões teóricas de Jurgen Habermas e nesse sentido pretende ser uma contribuição para a elaboração de uma noção emancipatória de Modernidade podendo também servir como contribuição para o debate entorno dos rumos de uma reconstrução do país também emancipadora.

O objetivo deste trabalho é o de examinar processos de exclusão e expulsão que vem se ampliando nos diversos aspectos da vida sob as condições atuais do neoliberalismo e como se manifesta na ocupação/desocupação do território, no papel da informação nesse processo e como as alterações das condições tanto da ocupação da terra quanto de produção e uso da informação impostas podem resultar na expulsão de moradores e na exclusão de usuários. Este trabalho também aponta possibilidades de surgimento de condições (...) alternativas por meio da construção de contraracionalidades na constituição de uma esfera pública política e democrática. Elaborei 7 Notas. (shrink)

The association of colour, sensation and the body, which is noted by Jacqueline Lichtenstein and Merleau-Ponty through their insights on colour as the disturbing of structure and form, offers a way in which to foreground a series of questions about embodiment and the discourse of vision. An analysis of the chromatics of Red Road, which features a female protagonist who works as a surveillance officer in a CCTV control room, offers a way to echo and disrupt the ‘mechanisms and (...) techniques of reality-control’ and to challenge what constitutes socially acceptable bodies and the cinematic institution of the image of woman. In Red Road the legible architecture of the film image emerges through the myriad colours of light reflected by a camera lens and the effacement of details in areas affected by shadow and variations in focus. The camera is almost always in motion and responsive to the gestures of the protagonist's body, signalling the potential of the chromatics of Red Road to trouble the structures of seeing familiar to cinematic representation. Colour and perception remain open to contingency and change, fostering alternative subject positions that trace the interrelations of the body — its senses and sensations — and the discourse of vision. The unsettling of perception refigures the encounter between the self and others through the imaginary or fictional worlds that remind us of the uncertainties and vulnerability of such interactions. (shrink)

Film viewers make sense of films first of all at a precognitive level, triggered by their bodi­ly responses. The key notion here is movement: the movements of screen characters, the movements simulated by the viewers who perceive these characters, and the camera move­ments that mediate between the two. This review essay evaluates two monographs: Maarten Coëgnarts’ Embodied Cinema, which expands conceptual metaphor theo­ry to account for film’s unique affordances to communicate embodied meaning; and Vit­torio Gallese's and Michele Guerra’s The Empathic (...) Screen, which buttresses embod­ied simulation by film viewers experimentally by demonstrating the workings of “mirror neurons.” The review ends by discussing how these two books tie in with other develop­ments in the study of gene-culture coevolution. (shrink)

After describing the three European strategies focused on social control, this essay will first demonstrate that the first two strategies try less to protect societies than to enforce efficient tools of governance. Additionally, they reinforce stereotypes harming Muslim immigrants. I show that diverse approaches in policing can make a difference in the communities where police forces operate. The third strategy, that of prevention requiring the cooperation of the citizens, may be more sustainable in the long term as it facilitates communication (...) among local politicians and involved actors. Finally, I point out that the interplay of interests, ideas and institutions matter a great deal to the comparison. (shrink)

As part of a research conducted in the field of professional didactics for the design of video-based training for saddlers, we mobilize an iterative and collaborative analysis protocol with professionals. We compare the effects produced during a debate between experts mediated by the researcher, based sometimes on a confrontation with video traces of the activity, sometimes on the temporary diagrams of a conceptual structure of the situation. Using the argumentative trilogue analysis framework, we show how these methodologies are able to (...) foster the expression of a process of conceptualization depending on whether professionals are confronted with lived images or concep-tualizations produced by the researcher. (shrink)

IntroductionThe world pandemic of the virus SARS-CoV-2, which causes COVID-19 infection was announced by the World Health Organization on March 11, 2020. Due to the restrictions that were introduced in order to minimize the spread of the virus, people more often suffer from stress, depression, anxiety, and sleep disorders. The aim of this study was evaluation of the stress levels and sleep disorders among nursing students during the pandemic SARS-CoV-2.Materials and Study MethodsThis is a cross-sectional study conducted among 397 nursing (...) students on March 2020. The research tools used were original questionnaires, Perceived Stress Scale, and the Athenian Insomnia Scale, as well as Coping with Stress Inventory.ResultsRespondents felt a high level of stress, which occurred in 68.8% of interviewees regarding whether there was a danger of contracting COVID-19. Respondents experienced 84% stress levels when a family member suffered from COVID-19. Sleep disorders were determined mainly by the fear of infection and contact with someone who might be infected with the virus. Nursing students who felt a high level of stress often suffered from sleep disorders more frequently than students who felt a low or average stress level. The respondents decided to cope with stress by denial, taking psychoactive substances, ceasing action, or blaming themselves. The greater the intensity of stress experienced by students, the more often they undertook avoidance behaviors or showed helplessness.ConclusionDuring the pandemic, students experienced severe stress, which resulted in sleep disorders and avoidance behaviors. (shrink)

As study of knowledge, epistemology attempts at identifying its necessary and sufficient conditions and defining its sources, structure and limits. From this pointof view, until present, there are no applied approaches to the Romanian archaeology. Consequently, my present paper presents an attempt to explore the structural characteristics of the knowledge creation process through the analysis of the results of a series of interviews conducted on Romanian archaeologists. The interviews followed a qualitative approach built upon a semi-structured frame. Apparent data saturation (...) was reached after four interviews within initial target group (senior researchers with institutional authority). Under these conditions a decision was made to continue the interviews within a secondary control group (young doctoral or post-doc researchers guided by members of the initial target group) in order to both verify the observed data saturation and to assess the impact of the attitude of senior researchers towards scientific research on the younger generation. The preliminary results allow to assert that Romanian archaeology is still caught in a highly conservative and intradisciplinarian manner of knowledge production with a negative effect on both new knowledgeproduction and future specialists’ education. (shrink)

Globalization leads to cross-border business transactions between societies with very different norms and regulations regarding bribery. Bribery in international business transactions can be seen as a function of not only the demand for such bribes in different countries, but the supply, or willingness to provide bribes by multinational firms and their representatives. This study addresses the propensity of firms from 30 different countries to engage in international bribery. The study incorporates both domestic (economic development, culture, and domestic corruption in the (...) supplying country) and international factors (those countries’ patterns of trade and involvement in international accords) in explaining the willingness to bribe abroad. The propensity to provide bribes was the lowest when corruption was not tolerated in the multinational firms’ home countries, when the firms’ countries were signatories of the Organization for Economic Cooperation and Development (OECD) anti-bribery convention, and when those countries traded heavily with wealthier nations. Further, these findings are maintained when controlling for levels of economic development and cultural values in the supplying country. In terms of culture, firms from high power distance countries showed a somewhat greater propensity for providing bribes in transactions with less-developed nations. (shrink)

I would first like to congratulate Dr Seale for producing a thought-provoking piece of research that has captured the imagination of the nation's media. 1 I would also like to point out an interesting discordance that I have noted with regard to the findings of this important research, which ought to stimulate further discussion. Although religious doctors were significantly less likely than their non-religious colleagues to provide continuous or deep sedation until death or to provide treatment with at least ….