Camouflage

Dernier ouvrage de défense construit sur l'île de Porquerolles, la batterie haute des Mèdes (1928-1944) est un élément représentatif et exemplaire du système de défense de la base navale de Toulon. Son organisation, sa construction, son armement et son équipement de conduite de tir furent étudiés par la CEPAC. Son camouflage expérimental fut l'œuvre du peintre de la Marine Pierre Gatier.

By staging an encounter between surveillance studies, art studies and queer theory, this article explores a queerness that disrupts surveillance, a queerness that invests and takes seriously refusals of certain forms of recognition and visibility. For In Between Days (Without You) (1998), Dean Sameshima photographed deserted private rooms of 1350 Club and Hollywood Spa, two former bathhouses in Los Angeles for men* who have sex with men* (MSM), which were, in the 1990s, under increasing conditions of continual surveillance due to conservative political trends and sexual panic fueled by AIDS. By choosing not to show human figures on a visual level and by concealing the locations of the baths linguistically, the artist found a way to convey a resistance to surveillance and cultural critique by showcasing the strengths of commercial cruising venues for men*—what is considered here as counter-surveillance tactics. By operating at the level of managing and subverting rather than avoiding surveillance, the use of tactics such as camouflage and opacity foreground how to (re-)negotiate and queer the visual sphere in this photographic art project.

Study of Graphic Camouflage Patterns of Battle Uniform and improving the pattern used by Indian Army.
The contextual study of camouflage usage in Indian Army is done to explore the prospects of improvement in the current camouflage pattern design of Indian Army.

Le sentier littoral de découverte « Sur les traces du passé » à Martigues fut, dès son origine, marqué par la personnalité du maire de la commune, Paul Lombard. Fils de FTP fusillé par les Allemands en 1944, résistant lui-même à 17 ans, il fut élu municipal sans interruption de 1953 à 2009 et maire pendant 40 ans. Après l’explosion de l’usine AZF à Toulouse et le grand incendie de Martigues de septembre 2001 (2 morts), il prend conscience de la richesse environnementale et patrimoniale d’une côte fortement industrialisée : la préservation de cette richesse de la Côte Bleue est un atout d’avenir face au complexe pétrochimique de Fos-Martigues qui ne pourra que se réduire.

En 2003, la municipalité lança donc une étude sur ces « bunkers allemands » qui parsèment le littoral pour savoir qu’en faire. Les conclusions révélèrent que loin d’être tous allemands – la propagande nazie fut d’une efficacité furieuse … - ces « bunkers » étaient les témoins d’une histoire plus longue, plus variée et plus riche. La municipalité décida donc de les intégrer dans son projet de préservation de l’espace littoral et de les mettre en valeur pour que la population puisse se les approprier à nouveau. Cette « patrimonialisation » est exemplaire en Méditerranée où, plus que sur la Manche ou l'Atlantique, les bunkers sont encore considérés comme des résidus d'événements honteux. En les intégrant au patrimoine municipal, entre la carrière antique de la Couronne et la chapelle de Sainte-Croix, le sentier « Sur les traces du passé » leur rend une légitimité en exposant par des brochures, des panneaux et une signalétique propre leur histoire, leur signification et leur intérêt patrimonial.

Coinciding with the centennial of the U.S. entry into World War I, this exhibition catalog examines the lives of four individuals from Montana or closely tied to the western state who served their country proudly and whose lives were significantly shaped by the Great War. They are: Glasgow-born William Belzer, celebrated aviator and among America’s first flying aces; Great Falls widow Josephine Hale who served as a Red Cross nurse and became a notable painter in France; doughboy Sidney F. Smith, survivor and hero of the infamous “Lost Battalion;” and James Watson Gerard, U.S. ambassador to Berlin until the U.S. declaration of war and husband to Mary Daly of the famous mining family. The catalog essay  by UM Professor of Art History and Criticism H. Rafael Chacón addresses the abstract concept of the enemy, both abroad and within.

Experiments in ship camouflage during World War I were necessitated by the inordinate success of German submarines (called “U-boats”) in destroying Allied ships. Because it is impossible to make a ship invisible at sea, Norman Wilkinson, Everett L. Warner and other artists devised methods of course distortion in which high-contrast, unrelated shapes were painted on a ship's surface, thereby confusing the periscope view of the submarine gunner.

« Revêtir ma meilleure panoplie de normalité » : camouflage social chez les
adultes présentant une condition du spectre autistique
Nous posons l’hypothèse que le camouflage des caractéristiques autistiques en situation sociale
est une stratégie habituelle de recherche de maîtrise des adultes avec une condition du spectre
autistique (ASC). Le camouflage peut impacter le diagnostic, la qualité de la vie, et les pronostics
à long terme, mais on en sait peu à son sujet. Cette étude qualitative a examiné les expériences
de camouflage chez 92 adultes avec ASC. Les interrogations se sont centrées sur la nature, les
motivations et les conséquences du camouflage. Nous avons utilisé des analyses thématiques pour
identifier des éléments clefs du processus de camouflage, lesquels ont permis d’établir un modèle
à trois niveaux du processus de ce dernier.
Premièrement, les motivations qui mènent l’adulte à se camoufler ont englobé les faits de vouloir
s’intégrer et d’accroître les connexions à autrui. Deuxièmement, le camouflage lui-même a
englobé une combinaison de techniques de masquage et de compensation. Troisièmement, les
conséquences à court et à long terme du camouflage ont inclus un épuisement, des stéréotypes
problématiques et des menaces vis-à-vis de la perception de soi.

This is an English translation for a Dutch publication in the jubilee book for the military-historical society 'Mars et Historia' celebrating its 55th anniversary with a symposium on the topic of military camouflage.
This English translation is only accompanied with two maps at the end, whilst other illustrative material will be shown later on when due published in the Dutch original text (here on Academia.edu).

Rock and pop musicians attired in military uniforms belong to our collective visual memory of the popular music scene since the 1960s. There has been a tendency to overestimate the subversive and erotic appeal of the uniformed look; subversion and fetishistic eroticism need not have been all that 'rock military style' involved. In challenging a-priori psychological or semiotic approaches, a note is made of discrepancies between what military-styled stars wished to express by their look and what their audiences assumed was its purpose. A general characterization of 'rock military style' is followed by analysis of the 1960s guitar hussar look of Jimi Hendrix and the 21st century camouflaged survivor look of Destiny's Child. Elucidation of the motivation behind their respective versions of 'rock military style' is achieved through utilization of personal statements in interviews, song lyrics, and contextual evidence linked to the histories and philosophies of Pop Art and aesthetics, current events and the cultural and social histories of particular groups. Differences and similarities between Hendrix and Destiny are noted, which include gender-specific attitudes toward the use of uniforms and military textiles as decorative devices, male status display and female empowerment, as well as anxieties about mortality.

From ubiquitous surveillance to drone strikes that put “warheads onto foreheads,” we live in a world of globalized, individualized targeting. The perils are great. In The Eye of War, Antoine Bousquet provides both a sweeping historical overview of military perception technologies and a disquieting lens on a world that is, increasingly, one in which anything or anyone that can be perceived can be destroyed—in which to see is to destroy.

Arguing that modern-day global targeting is dissolving the conventionally bounded spaces of armed conflict, Bousquet shows that over several centuries, a logistical order of militarized perception has come into ascendancy, bringing perception and annihilation into ever-closer alignment. The efforts deployed to evade this deadly visibility have correspondingly intensified, yielding practices of radical concealment that presage a wholesale disappearance of the customary space of the battlefield. Beginning with the Renaissance’s fateful discovery of linear perspective, The Eye of War discloses the entanglement of the sciences and techniques of perception, representation, and localization in the modern era amid the perpetual quest for military superiority. In a survey that ranges from the telescope, aerial photograph, and gridded map to radar, digital imaging, and the geographic information system, Bousquet shows how successive technological systems have profoundly shaped the history of warfare and the experience of soldiering.

A work of grand historical sweep and remarkable analytical power, The Eye of War explores the implications of militarized perception for the character of war in the twenty-first century and the place of human subjects within its increasingly technical armature.

The present book analyses critically the tripartite mimicry model (consisting of the mimic, model and receiver species) and develops semiotic tools for comparative analysis. It is proposed that mimicry has a double structure where sign relations in communication are in constant interplay with ecological relations between species. Multi-constructivism and toolbox-like conceptual methods are advocated for, as these allow taking into account both the participants’ Umwelten as well as cultural meanings related to specific mimicry cases.

From biosemiotic viewpoint, mimicry is a sign relation, where deceptively similar messages are perceived, interpreted and acted upon. Focusing on living subjects and their communication opens up new ways to understand mimicry. Such view helps to explain the diversity of mimicry as well as mimicry studies and treat these in a single framework. On a meta-level, a semiotic view allows critical reflection on the use of mimicry concept in modern biology.

The author further discusses interpretations of mimicry in contemporary semiotics, analyses mimicry as communicative interaction, relates mimicry to iconic signs and focuses on abstract resemblances in mimicry. Theoretical discussions are illustrated with detailed excursions into practical mimicry cases in nature (brood parasitism, eyespots, myrmecomorphy, etc.). The book concludes with a conviction that mimicry should be treated in a broader semiotic-ecological context as it presumes the existence of ecological codes and other sign conventions in the ecosystem.

This essay examines the use of camouflage, artifice, and abstraction – as strategies of surface-play – by Mickalene Thomas, a contemporary painter. Many scholars have focused on Thomas's use of painting materials (e.g. enamel, rhinestones, glitter) that locate her work within discourses of consumer culture and beauty in hip-hop aesthetics. While providing a different orientation to the look through the black queer gaze, the author argues that Thomas's method (e.g. photography, collage-painting, installation) and use of materials signify the surface of her work as a corporeal topography of black interiorities. Camouflage, artifice, and abstraction reveal interiorities hidden in plain sight. The first part of this article examines camouflage and artifice as porous surface-play, while the second part turns to a discussion of abstraction in Thomas's work as a method that pushes the boundaries of representation and abstractionism.

Article published in Selected Papers of the 15th International Congress of Aesthetics, edited by Kiyokazu Nishimura, Ken-ichi Iwaki, Tanehisa Otabe, Ken-ichi Sasaki, Eske Tsugami (Tokyo: Organizing Committee of the 15th International Congress of Aesthetics, 2003), 118-125.

Cette communication entend traiter de la portée technique et pratique de la théorie (philosophique) de l’imagination que Gilbert Simondon a notamment formulée dans son cours (de psychologie) à la Sorbonne en 1965-1966. [Simondon 2008]
Avant tout, il convient de rappeler que cette théorie de l’imagination est réaliste et affirme une pluralité des modes d’existence des images, jusqu’à comprendre les concrets artefacts humains (les inventions) dans la classe des images, en affirmant qu’il existe une relation directe (et réelle) entre l’imagination et la réalité de l’idéation des artefacts humaines dans toute leur évolution technique et esthétique. L’évolution des techniques — de ce point de vue réaliste — montre le côté objectif, indéniable et cumulatif de l’idéation.  Cette objectivité de l’idéation est fondée sur la réalité a posteriori des « idées » entendues comme « modèles » et « objets sociaux » — au sens de ce qu’aujourd’hui on appelle « textualisme faible » (Ferraris 2009) — constituants de ce que — au sens de la sémiotique de Umberto Eco – on appelle « Encyclopédie » d’une culture (Eco 1999).
Bien que Simondon n’emploie pas (explicitement) le terme « eidos » et une perspective « textualiste » ou « sémiotique », il nous donne une complète ontologie des objets techniques (ex. Simondon 1958), c’est-à-dire, une vision capable aussi de décrire ce que nous appellerons — en empruntant un terme du lexique zoologique du grec moderne — « eidogenesis [spéciation] des artefacts ». En ce sens, l’Eidogenesis est une question qui se situe entre nature et culture, au niveau des processus (psychologiques et anthropologiques) de la catégorisation, au moins dans les aspects ou les catégories sont des véritables objets sociaux et non seulement des images mentales ou de concepts privés.
En ce sens la théorie de l’imagination technique touche l’ontologie des objets. Et, connu surtout en tant que penseur de la technologie e de l’ontologie, Simondon, dans l’ensemble de son œuvre, propose aussi l’esquisse très embryonnaire d’une « technologie de l’imagination » pas encore bien exploitée en tant que telle ; il nous offre une vision qui pourrait — à notre sens — constituer un point de référence pour les étudies (historiques, techniques et anthropologiques) sur la conception des artefacts. Cette “technologie” peut nous offrir une idée claire des idées travaillées dans la concrète idéation technique et esthétique. En revanche, le monde des artefacts — de sa réalité matérielle — est la pierre de touche de l’adéquation des théories (philosophiques, anthropologiques et psychologiques) de l’imagination.
Donc, une théorie technique de l’imagination est questions dans laquelle on doit se croiser e se traduire entre eux les points de vue des philosophes et des concepteurs, les modèles technologiques de l’ontologie et les modèles ontologiques de la technologie (Simondon 2011).
Pour aborder cette question d’une façon à la fois concrète et générale, il nous faut donner un exemple tiré de la modélisation scientifique et technique ; nous choisissons de traiter le thème de l’imagination e de la catégorisation eidétique que le modèle morphogénétique et physicaliste de Alan Turing (1952) a propagée soit en biologie, soit dans la fabrication des objets à fonction esthétiques.

Chapter 1: Aesthetics: Painting and Sculpture
Deterritorialization and Reterritorialization
Forensic evidence and Jackson Pollock
Diversional Neo-formalism
Abstract Expressionism to Minimalism
Lucio Fontana: mentally moving beyond the frame

Chapter 2: Appropriation, Imitation and Provincialism
Painting imitation and its paralleling present
The Neo-Formalist, “copyist of manner”
Provincialism, Lost Influences and Space

Chapter 3: Becoming-Free, freedom of expression and the Politics of procrypsis
Art as territorial Property
Long Leashed Fiction of Freedom

Chapter 4: Collaboration and Identity
Globalisation, Collaboration, identity
Nomadic Identity: Pseudonymity and anonymity
Framing of the Earth: Deterritorialization
Shared Affect in Collaboration
Collective Practices: Collaboration with Dis_Object

Chapter 5: Becoming Imperceptible and Rhizomatic
Vernon Ah kee and Rhizomatic approach
Dis_Object Appropriation

Présentation
Jérôme A. Lapasset

« Tant qu'on ne s'est pas heurté à un mur d'impossibilité absolue,
physique ou mentale, on ne sait pas ce qu'exister veut dire »
(C. Pavese, Le Métier de vivre, tome 2, 1982)


Cet article présente plusieurs centres d’intérêt : vis-à-vis des personnes concernées, de la méthode usitée, et du devenir desdites personnes comme du nouvel axe de recherche psychosociale présenté ici.
Vis-à-vis des personnes qui relèvent d’un TSA :
Vis-à-vis de la méthode :
Vis-à-vis du devenir des personnes et du nouvel axe de recherche :

This essay traces the evolution and use of military scale models during the First World War. The application of such models by all belligerents is characterized by an enormous diversity in scale, context, construction method and purpose. Between the two extremes of a full scale replica of the Paris agglomeration and the tiny boxed miniature of a POW prison cell, a whole range of military models can be distinguished. On one hand, the model production can be considered part of a long tradition of military terrain modeling, as is evident in the examples of relief maps and training models. On the other hand, the rapidly changing technological and tactical developments during the Great War –such as strategic aerial bombing, camouflage and submarine warfare—demand the creation of new types of scale models. During the last stages of the war, the encapsulation of the model as research object in a laboratory, looked at through optical devices and studied through model photography, demonstrates how this technological progress paves the way for a scientific approach towards warfare. The evolution of the models thus illustrates how war was waged on a variety of scales and that its theater was far from limited to the battlefield itself.

I tratti di una disciplina attuale del "Disegno" emergono specialmente dalla filosofia della natura e della tecnica di Gilbert Simondon ove essa ridefinisce il quadro concettuale dei design studies: 1) eliminando il dualismo forma/materia, 2) individuando una normatività dell'evoluzione tecno-estetica delle specie degli artefatti (coi loro "ambienti associati") e 3) delineando una teoria generale delle immagini. Indichiamo qui i termini in cui una teoria realista e materialista dell'ideazione riformula le categorie tradizionali della forma nel nostro presente storico e tecnologico.

This article provides an analysis of the problematic of foresight in traditional Chinese thought, articulating it with current developments in the epistemology of futures studies, planning theory, and strategic management. It is argued that in Chinese thought the answer to the question " Can the future be predicted? " depends on the forecasting horizon: whereas the immediate future can be sensed and taken advantage of by immersing oneself in the evolving situation, the remote future is fundamentally unpredictable. These dual answers are entrenched in discussions of what constitutes wisdom, opening up productive spaces of encounter between the problematic of foresight and the problematic of wisdom. https://doi.org/10.6531/JFS.2018.22(3).00A35

“YOU, the U-Bomb, or ‘YOU-Bomb goes Kabloom’: An Essay on Anonymity, Risibility, & Quantum Subjectivity,” published without author page-proofs ∴ with many odd glitches and with sections that had been deleted in the final draft (oh well!) in The Canadian Review of Comparative Literature Vol XXIII, Issue II, 1996, pp. 426-455 (submitted just prior to beginning a Masters/M.A. in Comparative Literature).

This article describes current adaptations of the traditional environment of New York's Lower East Side. It examines how global factors such as expanding " content " industries, market differentiation , and the Internet have reinforced perceptions of the area as real and authentic while opening it to dramatic change. Specifically, the article considers a recent trend of commercial camouflage — hidden shops, restaurants and clubs that " represent " tradition by meticulously preserving defunct facades, signage, and other physical traces of the neighbor-hood's working-class and immigrant past. Urban camouflage, in various guises, has played a role in the transformation of the Lower East Side since the late 1970s, and has been employed by a succession of actors, from squatters to global retailers. As a cultural strategy, it has been inherent to the economic restructuring of the area, helping to overcome barriers to redevelopment that have persisted for more than five decades.

There are countless examples of explorers and prospectors being duped by the gleam of fool’s gold, or pyrite: a mineral that has a remarkably golden sheen but on closer inspection is revealed to be something altogether different. Pyrite has its own uses and can be found in close proximity to real gold deposits, but it lacks the prestige that has long been bestowed on its metallic namesake. A similar phenomenon can be observed in urban environments, where seemingly ‘normal’ neoclassical terraces, castellated towers, 1950s bungalows and even strangely rigid palm-trees pepper the landscape, blending in to their surroundings through cunning acts of architectural camouflage. These carefully crafted façades can sometimes echo their surroundings so effectively that passers-by fail to notice the subtle differences that hint that these structures are not, in fact, what they seem. Appearing on the surface to be one thing whilst operating as something different, one might regard these as architectural ‘fool’s gold’: terraces obscuring subway vents, bungalows masking electrical substations, castellated forms hiding pumping towers and telecommunications masts that take the form of palms, pine trees and church crosses. This paper uses the phenomenon of architectural camouflage, drawing on examples from North America, Europe and Australia, to challenge existing attitudes about authenticity in architectural design and heritage practice. Are these ‘fake’ forms essentially worthless, serving only to highlight a predominantly Western distaste for ugly infrastructure? Or are they of value for a different reason, serving
as an indicator of contemporary fondness for ‘hyperreality’, whereby a convincing ‘fake’ of one form is preferable to the gritty reality of another?

Perception comes in various forms all over the world.  Animals of all shapes and sizes use whatever input they have to their utmost advantage; bats use echolocation to hunt, ants use scents to relay information and label territories, and moles see with their hands.  But perhaps the most creative use of perception by these fantastic creatures is that of the octopus and cuttlefish.  These creatures, from the Coleoidea sub-class, not only see the visual world, they mimic it.  They texture their skin and change their colors in order to blend in perfectly with their surroundings and appear when they are least expected.  But what is the extent of their unique abilities?  Research from leading scientists in both the biological and perceptual fields about cephalopods and synthesizes them into theories on how these amazing creatures’ camouflage systems really tick.  What sort of information do they collect?  How do they do it?  What are the limits of this ability?  This amazing talent isn’t a magic trick, yet simply the wonders of a cephalopod’s powerful perceptual system.

This paper reviews the four canonical strategies of Information Warfare and asserts that Information Warfare is an artifact of evolution in biological systems: the use of Information Warfare techniques by organisms aids survival in a competitive environment. A range of specific biological examples are explored to support this assertion.

Öz
Çeşitli nedenlerden dolayı kimi zaman, siyaset ve haber retoriğinin birbiriyle örtüştüğü ya da benzeştiği görülür. Siyasal iktidar ve medya ortak çıkarlar etrafında, çerçeveleme, metaforlaştırma, örtmece benzeri söylem stratejileri uygularlar. Kasıtlı ya da kasıtsız olarak devreye sokulan tüm bu stratejiler, bireylerin hesaplama sistemini sekteye uğratılması ve bilinçlerinin manipüle edilmesi işlevine sahiptir. Tüm bunlar, nihai olarak, ideolojik amaçlarına ulaşmak isteyen iktidar sahiplerinin ya da iktidara aday olanların siyasal kamuflaj uygulamalarını desteklerler.
Bu kapsam içinde yer alan çalışmada, iktidar-medya ilişkilerinin bir sonucu olarak gerçekliğin imal edilmesi ve bu sahte gerçekliklerde ideolojinin söylemi kullanarak gizlenebildiği incelenmektedir. Siyasal iletişimin bütününü temsil edebilecek biçimde üretilen gerek siyasala gerek medyaya ait metinlerde örtmecelerin kullanım ve kamuflajın uygulanış biçimleri betimsel olarak belirlenmeye çalışılmıştır.


Abstract
Sometimes for several reasons, politics and the news is seen as similar or overlapping of rhetoric. Political power and the media around common interests, with the framing, metaphorizing, implement discursive strategies similar euphemism. All these strategies that are activated intentionally or unintentionally have function of disrupted individuals’ calculation system and manipulation of their consciousness. All these, ultimately, support to camouflage applications of power holders or candidates to power who want to achieve their ideological objectives.
Within this content of the work, it was investigated being manufacturing of reality by government-media relations and how it was possible to hide using the rhetoric of ideology within these pseudo-realities. The application of euphemism and camouflage in political communication that represents the totality of generated descriptive texts has been studied as the application of to determine.