Films are meticulously crafted using visual aesthetic elements, where mathematics and geometry play pivotal roles. Camera angles, timing in editing, staging sequences, lens specifications, and lighting ratios, demonstrate the intricate relationship between cinema and mathematics. Specifically, the virtual projection of isosceles and equilateral triangles is utilized in object positioning before the camera. Additionally, forms such as circles, squares, and rectangles are frequently employed in stage design. Number combinations, sequential numbers, and patterns are also common techniques used to enhance visual aesthetics in films. Fundamental components such as oblique, horizontal, vertical, and parallel lines are instrumental in achieving visual appeal. In our research, we investigate the properties of these components as they are discussed in scientific publications and their relevance to aesthetics. In this context, a comparative and quantitative analysis is conducted on 2001’s “Harry Potter and the Philosopher’s Stone” and the Turkish film “The Conquest 1453” (known as Fetih 1453 in Turkey). It is observed that “The Conquest 1453” employs excessive mathematical and geometric data, which somewhat diminishes the thematic strength of the film. In contrast, “Harry Potter and the Philosopher’s Stone” demonstrates a more balanced use of these elements.
{"title":"Visual Aesthetics and Mathematics in Cinema: Comparative Content and Cultural Analysis of Harry Potter and the Philosopher’s Stone and The Conquest 1453","authors":"Menderes Akdağ, Serhat Yetimova, Serkan Öztürk","doi":"10.46539/gmd.v6i1.416","DOIUrl":"https://doi.org/10.46539/gmd.v6i1.416","url":null,"abstract":"Films are meticulously crafted using visual aesthetic elements, where mathematics and geometry play pivotal roles. Camera angles, timing in editing, staging sequences, lens specifications, and lighting ratios, demonstrate the intricate relationship between cinema and mathematics. Specifically, the virtual projection of isosceles and equilateral triangles is utilized in object positioning before the camera. Additionally, forms such as circles, squares, and rectangles are frequently employed in stage design. Number combinations, sequential numbers, and patterns are also common techniques used to enhance visual aesthetics in films. Fundamental components such as oblique, horizontal, vertical, and parallel lines are instrumental in achieving visual appeal. \u0000In our research, we investigate the properties of these components as they are discussed in scientific publications and their relevance to aesthetics. In this context, a comparative and quantitative analysis is conducted on 2001’s “Harry Potter and the Philosopher’s Stone” and the Turkish film “The Conquest 1453” (known as Fetih 1453 in Turkey). It is observed that “The Conquest 1453” employs excessive mathematical and geometric data, which somewhat diminishes the thematic strength of the film. In contrast, “Harry Potter and the Philosopher’s Stone” demonstrates a more balanced use of these elements.","PeriodicalId":507708,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139778659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper raises the question of the essence and necessity of primary and secondary suffering in psychiatry, oncology, Buddhism, and transhumanism. It directly explores the phenomenon of suffering, drawing a distinction between primary and secondary suffering in these domains of medicine and philosophy. The article presents objections to common misconceptions regarding the irreplaceable and significant role of suffering in human experience and for humanity as a whole. The study aims to deconstruct the assumed value of primary and secondary suffering for both humans and posthumanity. An analysis of the problem of primary and secondary suffering is conducted to substantiate the fundamental importance of overcoming suffering as such. One of the research methods employed is the conducting of analytical, focused individual interviews with medical professionals and religious figures, complemented by content analysis. A deconstructive and phenomenological approach is also utilized. Both psychiatric and oncological fields are selected as exemplars representing the quintessence of mental and physical suffering. Buddhism and transhumanism are chosen as philosophical responses to the suffering addressed in psychiatry and oncology. Emphasizing the problem of suffering is essential to prioritize its resolution. Meditation is suggested as a method for addressing secondary suffering; science and technology are proposed as means to overcome suffering in general. The article is intended for a broad readership, particularly researchers in philosophy, psychology, futurology, as well as for posthumanists, transhumanists, immortalists, and those interested in the topic of overcoming suffering, illness, senility, and death.
{"title":"Primary and Secondary Suffering in Psychiatry, Oncology, Buddhism, Transhumanism, and the Necessity of Its Overcoming","authors":"Mariia A. Ivanchenko","doi":"10.46539/gmd.v6i1.399","DOIUrl":"https://doi.org/10.46539/gmd.v6i1.399","url":null,"abstract":"The paper raises the question of the essence and necessity of primary and secondary suffering in psychiatry, oncology, Buddhism, and transhumanism. It directly explores the phenomenon of suffering, drawing a distinction between primary and secondary suffering in these domains of medicine and philosophy. The article presents objections to common misconceptions regarding the irreplaceable and significant role of suffering in human experience and for humanity as a whole. \u0000The study aims to deconstruct the assumed value of primary and secondary suffering for both humans and posthumanity. An analysis of the problem of primary and secondary suffering is conducted to substantiate the fundamental importance of overcoming suffering as such. \u0000One of the research methods employed is the conducting of analytical, focused individual interviews with medical professionals and religious figures, complemented by content analysis. A deconstructive and phenomenological approach is also utilized. \u0000Both psychiatric and oncological fields are selected as exemplars representing the quintessence of mental and physical suffering. Buddhism and transhumanism are chosen as philosophical responses to the suffering addressed in psychiatry and oncology. \u0000Emphasizing the problem of suffering is essential to prioritize its resolution. Meditation is suggested as a method for addressing secondary suffering; science and technology are proposed as means to overcome suffering in general. The article is intended for a broad readership, particularly researchers in philosophy, psychology, futurology, as well as for posthumanists, transhumanists, immortalists, and those interested in the topic of overcoming suffering, illness, senility, and death.","PeriodicalId":507708,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139779418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Films are meticulously crafted using visual aesthetic elements, where mathematics and geometry play pivotal roles. Camera angles, timing in editing, staging sequences, lens specifications, and lighting ratios, demonstrate the intricate relationship between cinema and mathematics. Specifically, the virtual projection of isosceles and equilateral triangles is utilized in object positioning before the camera. Additionally, forms such as circles, squares, and rectangles are frequently employed in stage design. Number combinations, sequential numbers, and patterns are also common techniques used to enhance visual aesthetics in films. Fundamental components such as oblique, horizontal, vertical, and parallel lines are instrumental in achieving visual appeal. In our research, we investigate the properties of these components as they are discussed in scientific publications and their relevance to aesthetics. In this context, a comparative and quantitative analysis is conducted on 2001’s “Harry Potter and the Philosopher’s Stone” and the Turkish film “The Conquest 1453” (known as Fetih 1453 in Turkey). It is observed that “The Conquest 1453” employs excessive mathematical and geometric data, which somewhat diminishes the thematic strength of the film. In contrast, “Harry Potter and the Philosopher’s Stone” demonstrates a more balanced use of these elements.
{"title":"Visual Aesthetics and Mathematics in Cinema: Comparative Content and Cultural Analysis of Harry Potter and the Philosopher’s Stone and The Conquest 1453","authors":"Menderes Akdağ, Serhat Yetimova, Serkan Öztürk","doi":"10.46539/gmd.v6i1.416","DOIUrl":"https://doi.org/10.46539/gmd.v6i1.416","url":null,"abstract":"Films are meticulously crafted using visual aesthetic elements, where mathematics and geometry play pivotal roles. Camera angles, timing in editing, staging sequences, lens specifications, and lighting ratios, demonstrate the intricate relationship between cinema and mathematics. Specifically, the virtual projection of isosceles and equilateral triangles is utilized in object positioning before the camera. Additionally, forms such as circles, squares, and rectangles are frequently employed in stage design. Number combinations, sequential numbers, and patterns are also common techniques used to enhance visual aesthetics in films. Fundamental components such as oblique, horizontal, vertical, and parallel lines are instrumental in achieving visual appeal. \u0000In our research, we investigate the properties of these components as they are discussed in scientific publications and their relevance to aesthetics. In this context, a comparative and quantitative analysis is conducted on 2001’s “Harry Potter and the Philosopher’s Stone” and the Turkish film “The Conquest 1453” (known as Fetih 1453 in Turkey). It is observed that “The Conquest 1453” employs excessive mathematical and geometric data, which somewhat diminishes the thematic strength of the film. In contrast, “Harry Potter and the Philosopher’s Stone” demonstrates a more balanced use of these elements.","PeriodicalId":507708,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139838338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is devoted to the problem of transformation of historical memory in the context of digitalization. The aim of the article is to make a critical analysis of the “cancel culture” as one of the tools for the formation and transmission of historical identity in digital space and beyond. The new media space from where the phenomenon of cancel culture originated is chosen as the research field. The objective of the article is then to bring the conceptual subjects of memory studies and media theory closer together. New media differ significantly from traditional media, and these differences determine the change in discursive rules and consequently imply a reorganization of the discursive space. The vertical paternalistic structure of discourse gives way to a horizontal rhizomatic structure, while the rigid author-reader opposition breaks down. The change in discursive rules entails a change of discursive practices. The changes affect not only discursive but also social space, including the space of historical memory. The digitalization of the past entails new forms of memory existence. At the same time, some traditional functions, such as identity formation, are preserved. New media becomes a platform for identity formation, providing opportunities for the construction and constant reassembly of identities. The article considers “cancel culture” as a marker of this reassembly. It is viewed both as a mode of manifestation and as a source of identity. The critical analysis highlights both the negative and positive characteristics of the phenomenon, explaining its paradoxicality and regularity in the new reality.
{"title":"“We did not Send You There”: Media Representations of the War in Afghanistan and the Emergence and Practice of Cancel Culture in Post-Soviet Russia","authors":"D. Anikin, R. Batishchev","doi":"10.46539/gmd.v6i1.445","DOIUrl":"https://doi.org/10.46539/gmd.v6i1.445","url":null,"abstract":"The article is devoted to the problem of transformation of historical memory in the context of digitalization. The aim of the article is to make a critical analysis of the “cancel culture” as one of the tools for the formation and transmission of historical identity in digital space and beyond. The new media space from where the phenomenon of cancel culture originated is chosen as the research field. The objective of the article is then to bring the conceptual subjects of memory studies and media theory closer together. \u0000New media differ significantly from traditional media, and these differences determine the change in discursive rules and consequently imply a reorganization of the discursive space. The vertical paternalistic structure of discourse gives way to a horizontal rhizomatic structure, while the rigid author-reader opposition breaks down. The change in discursive rules entails a change of discursive practices. The changes affect not only discursive but also social space, including the space of historical memory. The digitalization of the past entails new forms of memory existence. At the same time, some traditional functions, such as identity formation, are preserved. \u0000New media becomes a platform for identity formation, providing opportunities for the construction and constant reassembly of identities. The article considers “cancel culture” as a marker of this reassembly. It is viewed both as a mode of manifestation and as a source of identity. The critical analysis highlights both the negative and positive characteristics of the phenomenon, explaining its paradoxicality and regularity in the new reality.","PeriodicalId":507708,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139839140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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