Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation (...) the common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

Gravity remains the most elusive field. Its relationship with the electromagnetic field is poorly understood. Relativity and quantum mechanics describe the aforementioned fields, respectively. Bosons and fermions are often credited with responsibility for the interactions of force and matter. It is shown here that fermions factually determine the gravitational structure of the universe, while bosons are responsible for the three established and described forces. Underlying the relationships of the gravitational and electromagnetic fields is a symmetrical probability distribution of (...) fermions and bosons. Werner Heisenberg's assertion that the Schr\'f6dinger wave function and Heisenberg matrices do not describe one thing is confirmed. It is asserted that the conscious observation of Schr\'f6dinger's wave function never causes its collapse, but invariably produces the classical space described by the Heisenberg picture. As a result, the Heisenberg picture can be explained and substantiated only in terms of conscious observation of the Schr\'f6dinger wave function. Schr\'f6dinger\'92s picture is defined as information space, while Heisenberg\'92s picture is defined as classical space. B-theory postulates that although the Schr\'f6dinger picture and the Heisenberg picture are mathematically connected, the former is eternal while the latter is discrete, existing only as the sequence of discrete conscious moments. Inferences related to information-based congruence between physical and mental phenomena have long been discussed in the literature. Moreover, John Wheeler suggested that information is fundamental to the physics of the universe. However, there is a great deal of uncertainty about how the physical and the mental complement each other. Bishop Berkeley and Ernst Mach, to name two who have addressed the subject, simply reject the concept of the material world altogether. Professor Hardy defined physical reality as 'dubious and elusive'. It is proposed in this paper that physical reality, or physical instantiation in the classical space as described by Heisenberg picture is one thing with the consciousness. (shrink)