Results for 'stylization'

9 found
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  1. Emojis as Pictures.Emar Maier - 2023 - Ergo: An Open Access Journal of Philosophy 10.
    I argue that emojis are essentially little pictures, rather than words, gestures, expressives, or diagrams. ???? means that the world looks like that, from some viewpoint. I flesh out a pictorial semantics in terms of geometric projection with abstraction and stylization. Since such a semantics delivers only very minimal contents I add an account of pragmatic enrichment, driven by coherence and nonliteral interpretation. The apparent semantic distinction between emojis depicting entities (like ????) and those depicting facial expressions (like ????) (...)
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  2. When statistical evidence is not specific enough.Marcello Di Bello - 2021 - Synthese 199 (5-6):12251-12269.
    Many philosophers have pointed out that statistical evidence, or at least some forms of it, lack desirable epistemic or non-epistemic properties, and that this should make us wary of litigations in which the case against the defendant rests in whole or in part on statistical evidence. Others have responded that such broad reservations about statistical evidence are overly restrictive since appellate courts have expressed nuanced views about statistical evidence. In an effort to clarify and reconcile, I put forward an interpretive (...)
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  3. Plague, Foucault, Camus.Adam Herpolsheimer - 2023 - Foucault Studies 35:70-96.
    In January 1975, Michel Foucault contemplated the nature and formation of what in subsequent years he would come to know as governmentality. For Foucault, plague marks the rise of the invention of positive technologies of power, where these relations center around inclusion, multiplication, and security, rather than exclusion, negation, and rejection. In a point that might at first seem ancillary to his central argument, Foucault comments on stylized works about plague, such as those, according to the lecture series’ editors, exemplified (...)
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  4. Uncomfortably Close to Human.Shelley M. Park - 2022 - Feminist Philosophy Quarterly 8 (3).
    Social robots are marketed as human tools promising us a better life. This marketing strategy commodifies not only the labor of care but the caregiver as well, conjuring a fantasy of technoliberal futurism that echoes a colonial past. Against techno-utopian fantasies of a good life as one involving engineered domestic help, I draw here on the techno-dystopian television show Humans (stylized HUMⱯNS) to suggest that we should find our desires for such help unsettling. At the core of my argument is (...)
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  5. Depiction of Violence in the Early Films of Sogo Ishii.Doga Col - 2024 - In Jaime Lopez Diez (ed.), Resonances of Japanese Cinema. Madrid: Editorial Fragua. pp. 6-25.
    Sogo/Gakuryu Ishii is one of the pioneers of the punk/cyberpunk movement in Japanese cinema. Though his style changed throughout his career, his early films have been a great influence to filmmakers around the world. His unique filmic style presents questions, observations and interpretations regarding the role of violence as normalized in the daily lives of heavily marginalized punk youth portrayed in an amplified and stylized cyberpunk Japan. What is so captivating about Ishii's style and motivation is that he was not (...)
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  6. Defining 'democracy': Are we staying on topic?Sean Ingham & David Wiens - manuscript
    Political scientists' failure to pay careful attention to the content (as opposed to the operationalization) of their chosen definition of 'democracy' can make them liable to draw invalid inferences from their empirical research. With this problem in mind, we argue for the following proposition: if one wishes to conduct empirical research that contributes to an existing conversation about democracy, then one must choose a definition of 'democracy' that picks out the topic of that conversation as opposed to some other (perhaps (...)
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  7. Research Habits in Financial Modelling: The Case of Non-normativity of Market Returns in the 1970s and the 1980s.Boudewijn De Bruin & Christian Walter - 2016 - In Ping Chen & Emiliano Ippoliti (eds.), Methods and Finance: A Unifying View on Finance, Mathematics and Philosophy. Cham: Springer. pp. 73-93.
    In this chapter, one considers finance at its very foundations, namely, at the place where assumptions are being made about the ways to measure the two key ingredients of finance: risk and return. It is well known that returns for a large class of assets display a number of stylized facts that cannot be squared with the traditional views of 1960s financial economics (normality and continuity assumptions, i.e. Brownian representation of market dynamics). Despite the empirical counterevidence, normality and continuity assumptions (...)
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  8. Je est un autre. Mimicries in nature, art and society.Filippo Fimiani, Paolo Conte & Michel Weemans - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):3-6.
    Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating (...)
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  9. Художня література, кіно і пісні в інтертексті роману С. Оксеника «Вбивство п’яної піонерки»: кодифікація ретрочасу.Ludmyla Danylenko - 2018 - NaUKMA Researh Papers. Literary Studies 1:66-69.
    У статті розглянуто інтертекстуальне тло в романі Сергія Оксеника «Вбивство п’яноï піонерки». Ідеться про використання художньоï літератури, кіно і пісень як джерела зображення ретрочасу. Виявлено, що система мікротекстів в основному тексті відображає атмосферу 1960-х років. Проаналізовано цитати, алюзіï, стилізацію як прийоми для художнього конструювання суспільних і моральних проблем того часу. Визначено, що цитування чужих текстів у романі забезпечує своєрідну поліфонічність основного тексту, увиразнює часовий пласт мистецьких пріоритетів і рівня культури персонажів. Використовуючи чужі тексти, автор розраховував на ерудицію і мистецькі уподобання (...)
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