Der Mond in der Silberschale: Zen, die Tiefe des Lebens erfahren (German Edition)

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So far the stereoscopic technology has been ridiculed by critics using the same kind of arguments heard in the past, but it has not yet proved them wrong in the manner of sound and color. All of them were plagued by major technological and financial problems, which at the time were difficult to overcome. And now, at the beginning of a new millennium, the audiovisual industry is pushing once more for the acceptance of stereoscopy into the mainstream. At the moment the success of this fourth major attempt is somewhat questionable.

Yes, a major portion of the products from the Hollywood pipeline are stereoscopic, but the 3D TV channels have been a failure.

Of course the history and the bad reputation gained over a century is hard to overcome. But in addition to fighting prejudice from critics and audiences alike, there are still practical conventions that the users find dissatisfying — the most noticeably the glasses.

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The hardware producers have used famous designers and fashion brands to design aesthetically pleasing models of 3D glasses, but to me and perhaps to the buying audiences this looks like a desperate attempt to cover up impractical solutions by directing the attention to superficial qualities. I believe, that in order to become a household name in all visual communication, the technology most likely has to be autostereoscopic, meaning 3D without any glasses or other supplements. But the first time in the history of stereoscopic culture there is light at the end of the tunnel.

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The advent of the digital technology has made it possible to address the issues that formerly were next to impossible to overcome. These challenges were noticeable in every part of the production process, all the way from initial planning to projections in theaters the latter being perhaps the most difficult one and the one that made most damage to the reputation of stereoscopy during the past decades.

And although were not there yet, we can see the development being made with the autostereoscopic technology. It might start with small apparatus such as the likes of Nintendo 3ds instead of the big screen, but it is happening. And when that is combined with the currently existing possibility for individual people to affordably create their own and high quality 3D content, there will be a change for stereoscopic culture to gain more ground in the world of visual communication and perhaps even become a dominant convention to represent visual information.

A medium is not restricted to being a technical device, like a radio, a newspaper or a browser. Any conceptual space that enables us to identify, interpret and generate signs in a specific, meaningful manner can be seen as a medium.

So, what and how do you want to express with the exhibition itself, so that it resonates and references what you want to express with your foto series Marshall McLuhan? You could see the exhibition as a kind of painting, with your pictures as colors; or as a novel with your pictures as paragraphs; as a comic where your pictures are the panels, and the magic happens between the pictures Scott McLoud.

These are, of course, different aesthetic media as analogies for how you could see and arrange your exhibition: An exhibition trying to turn an individual or cultural construction visible as such. There is a third element, probably the most tricky one. Artists, therapists or educators each have a specific advantage touching this element: The European Commission for Research and Innovation started an initiative on June 21st to get girls into scientific careers: A video clip was produced by an ad agency for about This clip was meant to raise interest in the age group of year old females.

The video — unintentionally — succeeded as discussion starter because it failed to use the right contextmarkers whatever these are. Two approaches to initiate education, one obvious to inform and integrate; and one to question invisible medio-cultural givens.

Addendum July 5th On July 4th the german newspapers are all posting articles on the campaign. It had thus been highly successful as awareness-raiser. Some connections to former concepts we disucssed:. Obviously we do not see that there are blind spots.

Generating continuity where there is none is an effect of closure. No situation is exactly as any one we encountered before. We need generalized context markers that let us decide upon a current context in a situation. By softening, recontextualising or sabotaging context markers, we may become aware of them as cognitive constructs: The awareness may be a temporary dip into a higher type of learning. A father and his son are involved in a car accident, as a result of which the son is rushed to hospital for emergency surgery. A variant of this involves a father and son travelling on a scheduled flight; the father asks the flight attendant if his son may visit the cockpit and she takes him there.

Try this story with kindergarten-teacher, a dancer, or a hairdresser and see if the results are the same this kind of deceptive gender stereotyping can also be measured by an implicit association test. Have another story, a bit more complicated:. Two lovers that have died. Their bodies are near a table and surrounded by a pool of water. How did they die? Do you have a mental image in your mind after reading this text? This is the helpful, but also sometimes restricting effect of closure. McCloud not only explains comics, but also aspects inherent to all media and human cognition, aspects like closure or amplification by simplification.

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He presents a sequence of decreasingly detailed renditions of a human face. At the left end of the sequence is a photorealistic representation; at the right end is a circle with two dots for eyes and a line for a mouth. A sequence of sounds — or letters — become words, and evoke meaning. Zen, die Tiefe des Lebens erfahren German Edition. Set up a giveaway. There's a problem loading this menu right now. Learn more about Amazon Prime.

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