Search Results - Object-oriented ontology

Comment on: Photo '德國遊：歴史之旅': nkgo tree. Object-oriented ontology argues that humans are not the center of reality; instead, all objects—animals, plants, machines, and landscapes—possess their own existence independent of human meaning. Enyedi embodies this philosophy by making the ginkgo tree the film’s true protagonist while human lives appear temporary and secondary. The ginkgo tree itself symbolizes deep time and nonhuman resilience. Having survived ice ages, wars, and even nuclear destruction, the tree exists on a scale far beyond human history. By anchoring the narrative to a single tree in Marburg across different eras, the film emphasizes the insignificance of individual human concerns within nature’s vast timeline. Human characters arrive and disappear like passing seasons, while the tree remains constant, silent, and enduring. This perspective destabilizes the traditional anthropocentric worldview in which nature exists merely as a backdrop for human drama. Enyedi further develops this ontological critique through the film’s visual structure. The 1908 segment, shot in 35mm black-and-white, depicts a female student discovering spiritual meaning in the geometry of leaves. Her relationship with nature feels intuitive and immediate. In contrast, the 1972 section, filmed in 16mm, reflects a growing emotional and technological distance from the natural world. By 2020, rendered through digital macro-photography, Tony Leung’s neuroscientist depends on advanced scientific machinery simply to detect the tree’s electrochemical signals. Ironically, as human technology becomes more sophisticated, humanity’s authentic connection to nature weakens. The evolution of cinematic form mirrors the alienation of modern society from the living environment around it. The COVID-19 lockdown setting in the final segment intensifies this isolation. Human beings, confined and disconnected, appear fragile compared to the enduring calm of the tree. The ginkgo does not react to human crises because it exists according to a reality beyond human anxieties. This reflects a key idea in object-oriented ontology: objects possess their own agency and existence regardless of human perception. Tony Leung’s performance reinforces this philosophical framework. Known for expressing emotion through silence, his character bridges Eastern philosophies of interconnectedness with Western scientific rationality. Yet his search for universal understanding ultimately leads away from human language and toward the silent rhythms of the tree itself. Communication becomes nonverbal, ecological, and shared across species. Ultimately, Silent Friend offers a humbling meditation on humanity’s place in the world. By centering the perspective of a tree rather than human ambition, Enyedi reminds audiences that humans do not dominate the earth; they merely pass briefly through a living world that existed long before them and will continue long after they are gone.…; Added by Curation Nation 策展國 at 3:54pm on May 20, 2026

Comment on: Photo 'Puteri Gunung Ledang': nkgo tree. Object-oriented ontology argues that humans are not the center of reality; instead, all objects—animals, plants, machines, and landscapes—possess their own existence independent of human meaning. Enyedi embodies this philosophy by making the ginkgo tree the film’s true protagonist while human lives appear temporary and secondary. The ginkgo tree itself symbolizes deep time and nonhuman resilience. Having survived ice ages, wars, and even nuclear destruction, the tree exists on a scale far beyond human history. By anchoring the narrative to a single tree in Marburg across different eras, the film emphasizes the insignificance of individual human concerns within nature’s vast timeline. Human characters arrive and disappear like passing seasons, while the tree remains constant, silent, and enduring. This perspective destabilizes the traditional anthropocentric worldview in which nature exists merely as a backdrop for human drama. Enyedi further develops this ontological critique through the film’s visual structure. The 1908 segment, shot in 35mm black-and-white, depicts a female student discovering spiritual meaning in the geometry of leaves. Her relationship with nature feels intuitive and immediate. In contrast, the 1972 section, filmed in 16mm, reflects a growing emotional and technological distance from the natural world. By 2020, rendered through digital macro-photography, Tony Leung’s neuroscientist depends on advanced scientific machinery simply to detect the tree’s electrochemical signals. Ironically, as human technology becomes more sophisticated, humanity’s authentic connection to nature weakens. The evolution of cinematic form mirrors the alienation of modern society from the living environment around it. The COVID-19 lockdown setting in the final segment intensifies this isolation. Human beings, confined and disconnected, appear fragile compared to the enduring calm of the tree. The ginkgo does not react to human crises because it exists according to a reality beyond human anxieties. This reflects a key idea in object-oriented ontology: objects possess their own agency and existence regardless of human perception. Tony Leung’s performance reinforces this philosophical framework. Known for expressing emotion through silence, his character bridges Eastern philosophies of interconnectedness with Western scientific rationality. Yet his search for universal understanding ultimately leads away from human language and toward the silent rhythms of the tree itself. Communication becomes nonverbal, ecological, and shared across species. Ultimately, Silent Friend offers a humbling meditation on humanity’s place in the world. By centering the perspective of a tree rather than human ambition, Enyedi reminds audiences that humans do not dominate the earth; they merely pass briefly through a living world that existed long before them and will continue long after they are gone.…; Added by MalaysianCinema at 3:57pm on May 20, 2026

Comment on: Photo '吉隆坡飛禽公園：水簾景觀': e might explore how objects carry meaning and how they are imbued with purpose through cultural and historical contexts. While not explicitly framed as a "Theory of Calling," this research often touches on how objects are perceived as having roles or significance. Object Oriented Ontology: This philosophical approach considers objects as having their own existence and significance, independent of human perception. It explores the intrinsic qualities and roles of objects in a broader ontological sense, which could be related to the idea of objects having a "calling." Museum Studies and Curatorial Practice Museum Studies: Research in this area looks at how objects are selected, displayed, and interpreted in museums. The concept of "evocative objects" or "objects of significance" aligns with the idea that objects are chosen for their ability to communicate meaning, evoke emotions, and fulfill specific roles in exhibits. Curatorial Practice: Curators often consider the "calling" of objects when designing exhibitions. They select objects based on their ability to convey particular narratives, themes, or educational messages, which can be seen as aligning with the notion of an object's purpose or role. Philosophy and Semiotics Philosophy of Objects: Philosophical inquiries into the nature and significance of objects might explore how objects are perceived, valued, and assigned meaning. These discussions can be related to the concept of objects having a "calling" in terms of their roles in human understanding and experience. Semiotics: The study of signs and symbols includes how objects function as symbols and convey meaning. Semiotic analysis of objects can reveal how they carry cultural, historical, or personal significance, which can be related to the idea of an object's "calling." Psychology and Personal Meaning Psychological Research: Research on personal meaning and attachment to objects can explore how individuals imbue objects with personal significance, which might be related to the idea of an object's calling. For example, research on sentimental objects or memorabilia often examines how objects gain emotional significance and purpose in individuals' lives. In Summary While there isn't a specific academic theory formally termed the "Theory of Calling" for objects, various related fields explore concepts that are closely aligned with this idea. Research in material culture, museum studies, philosophy, semiotics, and psychology all address aspects of how objects carry meaning, fulfill roles, and are perceived as significant in different contexts. These studies collectively contribute to understanding the roles and purposes that objects might serve, echoing the metaphorical aspects of the "Theory of Calling" as applied to nonhuman entities.…; Added by 私貨珍藏 at 10:03pm on September 26, 2024

Comment on: Photo '舒靈的詩《寂寞》': re might explore how objects carry meaning and how they are imbued with purpose through cultural and historical contexts. While not explicitly framed as a "Theory of Calling," this research often touches on how objects are perceived as having roles or significance. Object Oriented Ontology: This philosophical approach considers objects as having their own existence and significance, independent of human perception. It explores the intrinsic qualities and roles of objects in a broader ontological sense, which could be related to the idea of objects having a "calling." Museum Studies and Curatorial Practice Museum Studies: Research in this area looks at how objects are selected, displayed, and interpreted in museums. The concept of "evocative objects" or "objects of significance" aligns with the idea that objects are chosen for their ability to communicate meaning, evoke emotions, and fulfill specific roles in exhibits. Curatorial Practice: Curators often consider the "calling" of objects when designing exhibitions. They select objects based on their ability to convey particular narratives, themes, or educational messages, which can be seen as aligning with the notion of an object's purpose or role. Philosophy and Semiotics Philosophy of Objects: Philosophical inquiries into the nature and significance of objects might explore how objects are perceived, valued, and assigned meaning. These discussions can be related to the concept of objects having a "calling" in terms of their roles in human understanding and experience. Semiotics: The study of signs and symbols includes how objects function as symbols and convey meaning. Semiotic analysis of objects can reveal how they carry cultural, historical, or personal significance, which can be related to the idea of an object's "calling." Psychology and Personal Meaning Psychological Research: Research on personal meaning and attachment to objects can explore how individuals imbue objects with personal significance, which might be related to the idea of an object's calling. For example, research on sentimental objects or memorabilia often examines how objects gain emotional significance and purpose in individuals' lives. In Summary While there isn't a specific academic theory formally termed the "Theory of Calling" for objects, various related fields explore concepts that are closely aligned with this idea. Research in material culture, museum studies, philosophy, semiotics, and psychology all address aspects of how objects carry meaning, fulfill roles, and are perceived as significant in different contexts. These studies collectively contribute to understanding the roles and purposes that objects might serve, echoing the metaphorical aspects of the "Theory of Calling" as applied to nonhuman entities. …; Added by Sindumin at 10:05pm on September 26, 2024

Blog Post: [愛墾·嫣然] 物導向本體論（Object-Oriented Ontology, OOO）: 在當代文創語境中，「體驗」幾乎已成為一種預設前提：展覽必須可理解、可參與、可拍照、可分享，甚至可被即時消費與再生產。無論是沉浸式展覽、互動裝置，還是地方文化節慶，其核心往往仍圍繞著一個隱而不宣的中心——人。觀眾被設計為感官與意義的接收者，而物，無論是器物、材料或環境，則多半被視為承載訊息的媒介。…; Added by 堅持深博 at 9:46am on April 4, 2026

Comment on: Photo '玩得哥和妹0.3: 未來的故事': 分成四個層次。一、「物」作為符號：捕夢網最初仍是人類意義的載體在文章開端，捕夢網首先被放置於一種文化符號學的脈絡中。它：源自美洲原住民文化象徵夢境的篩選被轉譯為「記憶的過濾器」此時，「物」仍然是被人類語意系統所掌握的東西。它的價值來自於：人如何理解它、命名它、詮釋它。這其實仍接近傳統人文分析中的「象徵物」概念。換言之：捕夢網不是作為「自身存在」而重要而是作為「代表某種情感」而重要在 OOO 看來，這仍是一種「相關主義」（correlationism）式的位置：物的存在，被限定在人類經驗與解釋之中。二、「物」開始脫離純粹象徵：它成為空間中的界面但文章很快讓捕夢網超出單純符號功能。嫣然寫道：它被置於面海的玻璃窗前，形成室內與室外、生者與逝者、過去與現在之間的邊界。這裡非常關鍵。因為捕夢網已不只是「代表」某種情感，它開始「實際參與」空間關係的生成。這時，「物」不再只是被觀看的對象，而成為：空間配置的一部分感知流動的節點時間與情感運作的媒介。這正接近Graham Harman所說的：物並不只是人類意識中的對象，而是彼此之間不斷發生關聯的存在。捕夢網在此已開始擁有某種「行動性」。它不是被動承載意義，而是在實際改變：光線風視線情感流向空間感知OOO 很重視這一點：物不是背景，而是世界生成的參與者。…; Added by Gai Lan Fa at 10:50pm on May 29, 2026

Comment on: Photo '愛墾慕課·在地篇': 分成四個層次。一、「物」作為符號：捕夢網最初仍是人類意義的載體在文章開端，捕夢網首先被放置於一種文化符號學的脈絡中。它：源自美洲原住民文化象徵夢境的篩選被轉譯為「記憶的過濾器」此時，「物」仍然是被人類語意系統所掌握的東西。它的價值來自於：人如何理解它、命名它、詮釋它。這其實仍接近傳統人文分析中的「象徵物」概念。換言之：捕夢網不是作為「自身存在」而重要而是作為「代表某種情感」而重要在 OOO 看來，這仍是一種「相關主義」（correlationism）式的位置：物的存在，被限定在人類經驗與解釋之中。二、「物」開始脫離純粹象徵：它成為空間中的界面但文章很快讓捕夢網超出單純符號功能。嫣然寫道：它被置於面海的玻璃窗前，形成室內與室外、生者與逝者、過去與現在之間的邊界。這裡非常關鍵。因為捕夢網已不只是「代表」某種情感，它開始「實際參與」空間關係的生成。這時，「物」不再只是被觀看的對象，而成為：空間配置的一部分感知流動的節點時間與情感運作的媒介。這正接近Graham Harman所說的：物並不只是人類意識中的對象，而是彼此之間不斷發生關聯的存在。捕夢網在此已開始擁有某種「行動性」。它不是被動承載意義，而是在實際改變：光線風視線情感流向空間感知OOO 很重視這一點：物不是背景，而是世界生成的參與者。…; Added by Suyuu at 10:51pm on May 29, 2026

Blog Post: [愛墾研創·嫣然]《Silent Friend》與物導向本體論：當銀杏樹成為世界的主體

[愛墾研創·嫣然]《Silent Friend》與物導向本體論：當銀杏樹成為世界的主體…

Added by Dokusō-tekina aidea at 4:29pm on May 20, 2026

Comment on: Photo '《愛墾藝頻道》內容重點推薦': 學中的「物導向本體論」（Object-oriented Ontology, OOO）視角觀看，此片不僅是一部關於孤獨與自然的電影，更是一場對「人類中心主義」的徹底反省。物導向本體論是當代思辨實在論（Speculative Realism）中的重要分支，其核心思想在於：世界並非以人類為中心而存在。物件（objects）——無論是樹木、石頭、機器、動物，甚至病毒——都擁有自身的存在方式與自主性，不依附於人的感知與命名。哲學家格拉漢・哈曼（Graham Harman）指出，人類長久以來習慣將世界理解為「為人而存在的世界」，但實際上，所有事物都擁有超越人類理解之外的深層實在性。《Silent Friend》最重要的創作突破，正是讓銀杏樹成為真正的主角，而人類反而退居次位。電影橫跨1908、1972與2020三個時代，但不變的並非人物，而是那棵銀杏樹。人類角色出生、老去、死亡，文明與科技不斷變化，但銀杏始終沉默地存在。這種敘事方式徹底顛覆了傳統電影以人類情感為核心的結構，也使觀眾被迫從「非人類」的尺度重新觀看歷史。銀杏樹本身具有強烈的象徵意義。它被稱為「活化石」，曾歷經冰河時期與核爆災難，具有近乎超越文明的生命韌性。相較之下，人類文明顯得極為短暫脆弱。在影片中，銀杏不是背景，而是一種比人類更接近永恆的存在。這正符合物導向本體論對「物自身」的重視：樹木不是供人欣賞、研究或利用的客體，而是一個擁有自身時間性與存在性的主體。導演在攝影媒介上的安排，也深化了這種哲學思考。1908年的段落採用35mm黑白膠片，畫面充滿顆粒感與詩意。一位女學生能直接從葉片紋理中感受到自然的「神聖幾何」。那是一種仍與自然保持感官連結的年代。到了1972年，16mm影像則帶有某種疏離與實驗性，暗示工業化社會中人與自然關係的裂痕。而2020年的數位微距攝影雖然極度清晰，卻也呈現一種冷冽感。由梁朝偉飾演的神經科學家，需要依賴複雜儀器才能「聽見」樹木的心跳。這裡形成極具反諷性的對比：科技愈進步，人類與自然的距離反而愈遙遠。我們不再透過直覺與感官感受自然，而是透過數據、螢幕與儀器間接接觸世界。物導向本體論認為，人類無法真正掌握物件的全部實在性，因為所有物都超越人的理解。《寂静友人》中的科學家正體現這種困境：他愈想理解銀杏，便愈發現自己只能接觸到其表層訊號，而無法真正進入樹木的存在本身。新冠病毒疫情背景則讓這種孤立感更加鮮明。疫情期間，人類被迫封閉於室內，文明秩序一度停擺；然而銀杏樹依舊安靜生長。病毒、樹木、人類在同一世界中共存，但彼此並不以人類意志為中心。這種視角非常接近近年生態哲學中的「後人類主義」（Posthumanism）：人類並非世界的主人，而只是生態網絡中的其中一環。 Tony Leung的選角亦具有深刻文化意涵。他長於以沉默表達情感，其東方氣質恰好連結了亞洲哲學中的「萬物一體」思想。例如道家強調「天地與我並生，而萬物與我為一」，佛教亦認為眾生彼此依存。這與西方物導向本體論形成有趣對話。電影中的科學家最終發現，真正的交流不在於語言，而在於與非人生命共享存在的節奏。值得注意的是，《Silent Friend》並未將自然浪漫化。銀杏樹並不關心人類命運，也沒有道德立場。它只是存在。這種冷靜態度恰恰體現物導向本體論的核心：世界不是為了安慰人類而存在。相反，人類只是無數物件之一。我們與樹木、病毒、城市、機器共同構成一個彼此交織卻無法完全理解的宇宙。在當代數位文化中，人們長期沉迷於高速資訊流與虛擬世界，逐漸失去與真實物質世界的聯繫。《寂静友人》因此像是一帖緩慢而沉靜的解藥。它迫使觀眾放慢速度，學習從樹木的時間觀看世界。銀杏數百年的生命尺度，對照人類短暫焦慮，使我們重新意識到自身的渺小。總結而言，《寂静友人》不只是生態電影，更是一部將物導向本體論影像化的重要作品。它透過銀杏樹這一非人主體，顛覆傳統的人類中心敘事，提醒我們：人類從來不是宇宙的核心。我們並不擁有地球，只是短暫經過它的花園。在全球氣候危機與數位異化日益加深的今日，這種去中心化的哲學視角，或許正是當代文化最需要的反思。 Harman, Graham. Object-Oriented Ontology: A New Theory of Everything. London: Pelican Books, 2018. Morton, Timothy. Humankind: Solidarity with Nonhuman People. London: Verso, 2017. Heidegger, Martin. Being and Time. Translated by John Macquarrie and Edward Robinson. Oxford: Blackwell, 1962. Bryant, Levi R. The Democracy of Objects. Ann Arbor: Open Humanities Press, 2011. Enyedi, Ildikó. Silent Friend (Stille Freundin). Hungary, 2025.…; Added by 家在這裡 at 6:27pm on May 23, 2026

Comment on: Photo '沙巴丹南～保佛鐵路遊': 學中的「物導向本體論」（Object-oriented Ontology, OOO）視角觀看，此片不僅是一部關於孤獨與自然的電影，更是一場對「人類中心主義」的徹底反省。物導向本體論是當代思辨實在論（Speculative Realism）中的重要分支，其核心思想在於：世界並非以人類為中心而存在。物件（objects）——無論是樹木、石頭、機器、動物，甚至病毒——都擁有自身的存在方式與自主性，不依附於人的感知與命名。哲學家格拉漢・哈曼（Graham Harman）指出，人類長久以來習慣將世界理解為「為人而存在的世界」，但實際上，所有事物都擁有超越人類理解之外的深層實在性。《Silent Friend》最重要的創作突破，正是讓銀杏樹成為真正的主角，而人類反而退居次位。電影橫跨1908、1972與2020三個時代，但不變的並非人物，而是那棵銀杏樹。人類角色出生、老去、死亡，文明與科技不斷變化，但銀杏始終沉默地存在。這種敘事方式徹底顛覆了傳統電影以人類情感為核心的結構，也使觀眾被迫從「非人類」的尺度重新觀看歷史。銀杏樹本身具有強烈的象徵意義。它被稱為「活化石」，曾歷經冰河時期與核爆災難，具有近乎超越文明的生命韌性。相較之下，人類文明顯得極為短暫脆弱。在影片中，銀杏不是背景，而是一種比人類更接近永恆的存在。這正符合物導向本體論對「物自身」的重視：樹木不是供人欣賞、研究或利用的客體，而是一個擁有自身時間性與存在性的主體。導演在攝影媒介上的安排，也深化了這種哲學思考。1908年的段落採用35mm黑白膠片，畫面充滿顆粒感與詩意。一位女學生能直接從葉片紋理中感受到自然的「神聖幾何」。那是一種仍與自然保持感官連結的年代。到了1972年，16mm影像則帶有某種疏離與實驗性，暗示工業化社會中人與自然關係的裂痕。而2020年的數位微距攝影雖然極度清晰，卻也呈現一種冷冽感。由梁朝偉飾演的神經科學家，需要依賴複雜儀器才能「聽見」樹木的心跳。這裡形成極具反諷性的對比：科技愈進步，人類與自然的距離反而愈遙遠。我們不再透過直覺與感官感受自然，而是透過數據、螢幕與儀器間接接觸世界。物導向本體論認為，人類無法真正掌握物件的全部實在性，因為所有物都超越人的理解。《寂静友人》中的科學家正體現這種困境：他愈想理解銀杏，便愈發現自己只能接觸到其表層訊號，而無法真正進入樹木的存在本身。新冠病毒疫情背景則讓這種孤立感更加鮮明。疫情期間，人類被迫封閉於室內，文明秩序一度停擺；然而銀杏樹依舊安靜生長。病毒、樹木、人類在同一世界中共存，但彼此並不以人類意志為中心。這種視角非常接近近年生態哲學中的「後人類主義」（Posthumanism）：人類並非世界的主人，而只是生態網絡中的其中一環。 Tony Leung的選角亦具有深刻文化意涵。他長於以沉默表達情感，其東方氣質恰好連結了亞洲哲學中的「萬物一體」思想。例如道家強調「天地與我並生，而萬物與我為一」，佛教亦認為眾生彼此依存。這與西方物導向本體論形成有趣對話。電影中的科學家最終發現，真正的交流不在於語言，而在於與非人生命共享存在的節奏。值得注意的是，《Silent Friend》並未將自然浪漫化。銀杏樹並不關心人類命運，也沒有道德立場。它只是存在。這種冷靜態度恰恰體現物導向本體論的核心：世界不是為了安慰人類而存在。相反，人類只是無數物件之一。我們與樹木、病毒、城市、機器共同構成一個彼此交織卻無法完全理解的宇宙。在當代數位文化中，人們長期沉迷於高速資訊流與虛擬世界，逐漸失去與真實物質世界的聯繫。《寂静友人》因此像是一帖緩慢而沉靜的解藥。它迫使觀眾放慢速度，學習從樹木的時間觀看世界。銀杏數百年的生命尺度，對照人類短暫焦慮，使我們重新意識到自身的渺小。總結而言，《寂静友人》不只是生態電影，更是一部將物導向本體論影像化的重要作品。它透過銀杏樹這一非人主體，顛覆傳統的人類中心敘事，提醒我們：人類從來不是宇宙的核心。我們並不擁有地球，只是短暫經過它的花園。在全球氣候危機與數位異化日益加深的今日，這種去中心化的哲學視角，或許正是當代文化最需要的反思。 Harman, Graham. Object-Oriented Ontology: A New Theory of Everything. London: Pelican Books, 2018. Morton, Timothy. Humankind: Solidarity with Nonhuman People. London: Verso, 2017. Heidegger, Martin. Being and Time. Translated by John Macquarrie and Edward Robinson. Oxford: Blackwell, 1962. Bryant, Levi R. The Democracy of Objects. Ann Arbor: Open Humanities Press, 2011. Enyedi, Ildikó. Silent Friend (Stille Freundin). Hungary, 2025.…; Added by 陳老頭 at 6:23pm on May 23, 2026