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Under the ISO 1087 terminology standard of the International Standards Organization (first published in October 2000, and reviewed in 2005), a concept is defined as a unit of thought or an idea constituted through abstraction on the basis of properties common to a set of objects.See e.g. It is acknowledged that although a concept usually has one definition or one meaning, it may have multiple designations, terms of expression, symbolizations or representations. Thus, for example, the same concept can have different names in different languages.
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Stenography systems are normally defective writing systems, leaving away redundant information for the sake of writing speed. Pitman shorthand, for instance, can be written while distinguishing only three vowel symbolizations for the first vowel of a word (high vowel, mid vowel, or low vowel), though there are optional diacritical methods for distinguishing more vowel qualities. Taylor shorthand, which was widely used in the first half of the 19th century, does not distinguish any vowels at all – there is just a dot when a word begins or ends with any vowel.
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A symbolic language and way of communicating emerges, in which inanimate "things" are personified. A market (or a price, or a stock, or a state etc.) gains an independent power to act. Marx calls this commodity fetishism (or more generally, "fetishism"), and he regards it as a necessary reification of the symbolizations required to traverse life's situations in bourgeois society, because the relationships between people are constantly being mediated by the relationships between things. It means that people are eventually unable to take their mask off, because the masks are controlled by the business relationships between things being traded, and by broader legal, class, or political interests.
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Animated by the spread of dystopian futurist imaginaries in a wide array of media outlets, in her case mostly in film, her book aims to analyze dystopian fantasies partially as ‘displacements from the past and present’ as well as shapings of the future which then ultimately shape the present and past. Kaplan coined the term “Future-Sense Trauma Cinema”, a sub genre of the Science Fiction category, which target the human and natural causes of entire social disintegration, instead of the standard Sci-Fi procedure, forcing out ‘cultural anxieties’ into symbolizations of aliens attacking the Earth from outer space. According to Kaplan, the elected movies can be broadly put into two tiers, namely “Futurist Dystopian Political Thriller” (e.g. Children of Men(2006)) and “Post-Traumatic Futurist Disaster Film” (e.g.
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Balducci bases his thought on such yearning towards the universal. Many of its symbolizations are about the dialectic between particular and universal dimensions of the human. He borrows from Ernst Bloch the dialectic between the "cultured human" (homo editus) and the "hidden human" (homo absconditus), a dialectic between the being and the being able to of the human, an aspiration that is a transcendence without transcending, a «transcendence in the immanence» The Balducci crossing appears to be a sort of anthropologic teleology which represents an evolutionary trend that the human being can support or disclaim in its path. The reason, as said by Balducci, finds a brand-new categorical imperative: > «Act only according to that maxim by which you can at the same time will > that the human species would find the reasons and the guarantees of its > survival» (in La terra del tramonto).
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