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  • Result 116841-116850 of 219780
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116841.
  • Liljefors, Max, et al. (author)
  • Mapped Bodies : Notes on the Use of Biometrics in Geopolitical Contexts
  • 2015
  • In: Socioaesthetics. Ambience – Imaginary. - 1572-459X. - 9789004246270 - 9789004303751 ; 19, s. 53-72
  • Book chapter (peer-reviewed)abstract
    • “Mapped Bodies: Notes on the Use of Biometrics in Geopolitical Contexts” examines the role played by automated biometric technologies in migration control and in the so-called war on terror. Biometric methods such as automated fingerprint identification, iris scanning and facial recognition record microscopic bodily characteristics, computes patterns from them, and matches those patterns against already existing records in super-national databases. These technologies, we argue, are a telling example of a recasting of the relations between the body and state power, in which two current trends, the ‘biologization’ of the human being and the focus on security in the so-called war on terror, after 9/11 and subsequent terror attacks, are epitomized and combined. Starting from a visual culture studies perspective, this article discusses the negotiations of visibility and invisibility involved in biometrics, in connection to questions of power, subjectivity and citizenship. We draw on Vilém Flusser’s and Paul Virilio’s respective understanding of visual technologies as being ultimately ”blind”. We also draw on Emmanuel Levinas’ and Giorgio Agamben’s elaborations on the human face as an inherently ethical ”depth dimension” of interpersonal encounters, a depth we find at risk of becoming eclipsed by the biometric flattening of bodily topographies into abstract, encoded patterns. Ultimately, we argue, automated biometrics threatens to dissolve the bond between subjectivity and citizenship.
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116842.
  • Liljefors, Max, et al. (author)
  • Max Book : a second second
  • 2013
  • In: Verführung Freiheit : Kunst in Europa seit 1945 ; XXX. Europaratsausstellung - Kunst in Europa seit 1945 ; XXX. Europaratsausstellung. - 9783942422987
  • Book chapter (peer-reviewed)
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116843.
  • Liljefors, Max (author)
  • Medical Imagery in an Imaging Society
  • 2011
  • In: Japan the Horned Islands: JSPS Nordic & Baltic Newsletter. ; :8, s. 13-14
  • Journal article (pop. science, debate, etc.)
  •  
116844.
  •  
116845.
  • Liljefors, Max, et al. (author)
  • Milan Kunc : Pravda Coca-Cola
  • 2013
  • In: Verführung Freiheit : Kunst in Europa seit 1945 ; XXX. Europaratsausstellung - Kunst in Europa seit 1945 ; XXX. Europaratsausstellung. - 9783942422987
  • Book chapter (peer-reviewed)
  •  
116846.
  • Liljefors, Max, et al. (author)
  • Neuronal Fantasies : Reading Neuroscience with Schreber
  • 2012
  • In: The Atomized Body. The Cultural Life of Stem Cells, Genes and Neurons. - 9789187121920 ; , s. 143-169
  • Book chapter (peer-reviewed)abstract
    • This essay examines the aesthetics and rhetoric through which popular science delivers the message of brain-mind conflation—‘You are your brain’. Noting the entwinement of realist and imaginary visual tropes in popular scientific presentations of brain imaging, author seeks a correlative ‘counter-text’ to this discourse in one of the classic texts in psychiatric history, the memoirs of the paranoid nineteenth-century judge, Daniel Paul Schreber. In this juxtaposition of contemporary neuroscience and a century-old insider report from madness, the author sees two opposite fantasies about the biologization of the mind. In the end, Schreber’s is deemed the most ‘realist’, since his delusions highlight precisely the blind spots of popular neuroscience today, especially the eclipse of societal, collective meaning in strictly biologistic explanations of the mind.
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116847.
  • Liljefors, Max, et al. (author)
  • Ordet och djuren : En dubbel blick på det mänskliga
  • 2018
  • In: Bild och natur : Tio konstvetenskapliga betraktelser - Tio konstvetenskapliga betraktelser. - 2001-7510 .- 2001-7529. - 9789198369045 ; 16, s. 13-40
  • Book chapter (peer-reviewed)
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116848.
  •  
116849.
  • Liljefors, Max, et al. (author)
  • Prime time trauma - historia och television
  • 2005
  • In: Hedendomen i historiens spegel - bilder av det förkristna Norden. - 9189116801
  • Book chapter (other academic/artistic)abstract
    • A full century ago, H. G. Wells said that a hand seemed to have descended from the sky and turned man’s face towards the future. Wells wrote in an era which saw a new world appear through the progress of technology. Today we may be just as attracted to new technology, but that great hand seems to have come down again and turned man’s head back towards the past. Our own time is characterized by an urge to experience the past. From school journeys to Auschwitz, to reconstructed Viking villages and medieval role-playing, to the History Channel and historical docusoap series, the past is reconstructed to offer intensified experiences of authenticity. This essay relates the contemporary desire to experience the past to the medium of television and video. Television – meaning “distant viewing “, implicating a vision unbound by geographical horizons – is particularly associated with the dimension of time and temporality. As much as by its capacity to reach geographically separate receivers, television has been determined by real-time transmission – it has been the medium of the present, of “now”. With the ability of video technology to liberate the televised “now” from the flow of time and replay it, TV provides the experience of seeing other people’s suffering live or in constant repeats – as with the collapsing WTC towers or the tsunami in Southeast Asia – and the feeling of witness history in its making. Thus, History Channel can promote its coming program about the French revolution in the future tense: “The Revolution Will Be Televised!” Television progressively dominates as source for our knowledge and experience of the world. The implications for our understanding of the past is explored through a juxtaposition of two TV/video reconstructions of history: the popular scientific documentary Virtual History (2003) and the video artwork The Eternal Frame (1975) by the artists’ collectives T.R. Uthco and Ant Farm. The former is an attempt to create through computer animation a “virtual documentary” of the attempted assassination against Hitler in 1944. The latter is a reconstruction of the murder of John F. Kennedy in 1963. Whereas the problem that the creators of Virtual History had to solve was that “nobody actually filmed the attack against Hitler”, T.R.Uthco’s and Ant Farm’s problem was rather the opposite – the Kennedy assassination was filmed and subsequently televised innumerable times.
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116850.
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  • Result 116841-116850 of 219780
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