Histoire des plantes de la Guiane Françoise : rangées suivant la méthode sexuelle, avec plusieurs mémoires sur différens objects intéressans, relatifs à la culture & au commerce de la Guiane Françoise, & une notice des plantes de l'Isle-de-France ... /

v.4

Los objetos técnicos y los organismos tecnificados. Reflexiones filosóficas, estéticas y políticas sobre la técnica. Technical objects and technified organisms. Philosophical, aesthetical and political approaches on technique

El presente proyecto se propone como parte inicial de una investigación sobre la relación entre naturaleza/cultura/técnica. Tradicionalmente la naturaleza y la cultura se han considerado como ámbitos diferenciados y opuestos. Y es en esta distinción donde la técnica adquiere un lugar central. El pensamiento occidental sobre la técnica ha recibido diversas interpretaciones: desde una subordinación con respecto al conocimiento verdadero (episteme) en la filosofía clásica, un optimismo sobre la técnica como posibilidad de dominación de la naturaleza en el Renacimiento y la Ilustración, y la ambigüedad y desasosiego romántico (Mitcham, 1979). Durante el siglo XX se distinguen dos posiciones antagónicas sobre la técnica. Por un lado, una actitud “crítica” donde pueden identificarse los trabajos de filósofs de diferentes tradiciones como Ortega y Gasset (1939), Heidegger (1954), Mumford (1971) Ellul (1960) y la Escuela de Frankfurt. Por otro lado, una filosofía de la técnica “ingenieril” que consiste en el análisis de la tecnología como un paradigma de pensamiento y acción humana. Esta dicotomía ha sido interpretada por Eco como “apocalípticos e integrados”. Más allá de las mencionadas diferencias, lo que tienen en común ambas posiciones es que parten de una dicotomía entre cultura y naturaleza. Nuestra perspectiva rechaza esta dicotomía, por el contrario, evidenciamos una creciente imbricación entre ambas donde las fronteras entre una y otra se hacen difusas. La noción de “objeto técnico” propuesta por Simondon (2007) hace referencia a la inserción del objeto técnico en la cultura, donde debe reconocerse la “realidad humana” presente en el mismo. Ahora bien, esto no significa “humanizar el objeto técnico”, sino más bien indagar sobre el lugar que este ocupa en la cultura como también establecer su relación con la naturaleza. En el siglo XVII el hombre mismo es reinterpretado como máquina (La Mettrie, 2000). En la actualidad pueden identificarse dos tendencias en la concepción de la técnica: los «humanos-máquinas» y las «máquinas-humanas», en otras palabras, la disposición del humano hacia la máquina y la tendencia de la máquina hacia lo humano. No obstante, ambas posiciones siguen manteniendo una distinción taxonómica entre el cuerpo –o lo orgánico- y lo maquínico, lo que implica una consideración de esta relación de manera extrínseca. Frente a esta tensión Haraway propone el concepto de cyborg: «un organismo cibernético» (1995). Los desarrollos tecnológicos han producido una modificación tal en la vida de los seres orgánicos en los cuales ya no puede concebirse su cuerpo independientemente de la tecnología. Esto conduce a replantear la distinción entre “animales/hombres/máquinas”, entendiendo a los mismos como expresiones de naturaleza, cultura y tecnología respectivamente. Nuestra investigación parte de la hipótesis que la técnica diluye diferencias de orden natural y cultural a través de los objetos técnicos que son productos culturales. La estética se ocupa de la percepción sensible del mundo no puede eludir su dimensión técnica. Al margen de la crítica a la “Industria cultural” consideramos relevante la aproximación de Benjamin al problema de la técnica porque aborda la imbricación antes mencionada en el campo de la percepción. Según Benjamin la irrupción de la técnica al mismo tiempo que posibilita una estetización de la política que confluye en el fascismo como punto extremo también abre la posibilidad de desmontar la ideología del progreso infinito (1967). Una integración entre aproximaciones estéticas y políticas a la técnica Flusser (1983) propone la “caja negra” como metáfora de la técnica contemporánea. Su propuesta es la “apertura de la caja negra” que consiste en tomar conocimiento del funcionamiento del dispositivo. Nuestra propuesta de investigación aborda la técnica desde una consideración filosófica/estética/política, donde redefiniremos la técnica partiendo de la imbricación entre cultura y naturaleza. This project will set the basis for a sustained research on the relation nature/culture/technique. They have been traditionally considered as separate and even opposite fields. And it is on the brink of this distinction where technique plays a central role. In Western thought technique has received many interpretations since the beginnings of philosophy: from a subordination to true knowledge (episteme) in classic philosophy, or the optimism which sees in technique the possibility of dominating nature in the Renaissance and in the Enlightenment, to the Romantic ambiguity and uneasiness towards technological change (Mitcham, 1979). During the twentieth century two opposed approach on technique prevail. On one hand, a “critical” attitude such defines the work of philosophers of different traditions such as Ortega y Gasset (1939), Heidegger (1954), Mumford (1971) Ellul (1960) and the Frankfurt School. On the other hand there is an “engineering” philosophy of technique that consists in the analisis of technology as a paradigm to understand human action and thought. Besides their differences, both positions have in common a dichotomy between nature and culture. We reject such dichotomy. On the contrary we consider there is a growing intertwinement between both which blurs the borders of the concepts. Simondon’s notion of “technical object” refers to the insertion of the technique in culture where the “human reality” in it must be recognised. This does not imply “humanising the technical object”, but investigate on the role it plays on culture and establishing its relation to nature. To articulate this relation we will work with unorthodox approaches on technique such as Benjamin (1967), Flusser (1983) and others. The hypothesis of our project is that the traditional distinction of “animal/man/machine” must be re-thought, therefore raising the question on the blurring line between nature, culture and technique and its effects in philosophy, politics and aesthetics.

The naturalist's guide in collecting and preserving objects of natural history, with a complete catalogue of the birds of the eastern Massachusetts.

[1873 printing]

Neural mechanisms of attentional selection in vision : locations, features, and objects

Magdeburg, Univ., Fak. für Naturwiss., Diss., 2012

Microwave imaging of high-contrast objects

Imaging microwave reconstruction dielectric contrast regularization iterative multiport cavity measurement

Mining perennial objects

Magdeburg, Univ., Fak. für Informatik, Diss., 2013

Modellierung und Entwicklung von Pliable Objects zum Aufbau dynamischer Informationssysteme im medizinischen Fachgebiet der Anästhesie

Magdeburg, Univ., Fak. für Informatik, Diss., 2013

File-based post-processing of DNS results for turbulent flames using MATLAB

Magdeburg, Univ., Fak. für Verfahrens- und Systemtechnik, Diss., 2015

Stridulatory file and calling song of two populations of the tropical bush cricket Eneoptera surinamensis (Orthoptera, Gryllidae, Eneopterinae)

This study characterizes the calling song and ultramorphology of the stridulatory file of two geographically isolated populations of the tropical bush cricket Eneoptera surinamensis (De Geer, 1773) from city of Foz do Iguaçu, state of Paraná, and town of Rio Claro, state of São Paulo, Brazil, distant 1,000 Km from each other. The teeth are shell-shaped, the larger ones are distributed in the medium region of the file, decreasing gradually in size towards the edges. Specimens from Foz do Iguaçu have a file with 82 ± 9.8 teeth, length=1.89 mm ± 0.15 with 43.76 ± 5.94 teeth per mm (n=15). Specimens from Rio Claro present a file with 87 ± 9.81, length=1.96 ± 0.19 mm with 44.52 ± 4.61 teeth per mm (n=15). Statistical differences found between the two populations are not significant. The calling song is an uninterrupted trill that alternates two sets of notes distinct for its temporal features.

The micrographic dictionary; a guide to the examination and investigation of the structure and nature of microscopic objects, by J. W. Griffith and Arthur Henfrey.

2, Plates

A cooperative appproach to queue allocation of indivisible objects

We consider the allocation of a finite number of indivisible objects to the same number of agents according to an exogenously given queue. We assume that the agents collaborate in order to achieve an efficient outcome for society. We allow for side-payments and provide a method for obtaining stable outcomes.

Automatic top-down processing explains common left occipito-temporal responses to visual words and objects.

Previous studies have demonstrated that a region in the left ventral occipito-temporal (LvOT) cortex is highly selective to the visual forms of written words and objects relative to closely matched visual stimuli. Here, we investigated why LvOT activation is not higher for reading than picture naming even though written words and pictures of objects have grossly different visual forms. To compare neuronal responses for words and pictures within the same LvOT area, we used functional magnetic resonance imaging adaptation and instructed participants to name target stimuli that followed briefly presented masked primes that were either presented in the same stimulus type as the target (word-word, picture-picture) or a different stimulus type (picture-word, word-picture). We found that activation throughout posterior and anterior parts of LvOT was reduced when the prime had the same name/response as the target irrespective of whether the prime-target relationship was within or between stimulus type. As posterior LvOT is a visual form processing area, and there was no visual form similarity between different stimulus types, we suggest that our results indicate automatic top-down influences from pictures to words and words to pictures. This novel perspective motivates further investigation of the functional properties of this intriguing region.

Object recognition for autonomous objects: comparison of two approaches

Report for the scientific sojourn at the Swiss Federal Institute of Technology Zurich, Switzerland, between September and December 2007. In order to make robots useful assistants for our everyday life, the ability to learn and recognize objects is of essential importance. However, object recognition in real scenes is one of the most challenging problems in computer vision, as it is necessary to deal with difficulties. Furthermore, in mobile robotics a new challenge is added to the list: computational complexity. In a dynamic world, information about the objects in the scene can become obsolete before it is ready to be used if the detection algorithm is not fast enough. Two recent object recognition techniques have achieved notable results: the constellation approach proposed by Lowe and the bag of words approach proposed by Nistér and Stewénius. The Lowe constellation approach is the one currently being used in the robot localization project of the COGNIRON project. This report is divided in two main sections. The first section is devoted to briefly review the currently used object recognition system, the Lowe approach, and bring to light the drawbacks found for object recognition in the context of indoor mobile robot navigation. Additionally the proposed improvements for the algorithm are described. In the second section the alternative bag of words method is reviewed, as well as several experiments conducted to evaluate its performance with our own object databases. Furthermore, some modifications to the original algorithm to make it suitable for object detection in unsegmented images are proposed.