Construct · 4 fields · 6 citations
One name. Different field. Different construct. One map.
● jingle · one word, four constructs Nearest construct by meaningvariantcompare the meaningsEvery construct on the map is compared with every other by the meaning of its definitions, and the closest one is surfaced here. The nearest construct to apparatus is variant.
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In cell biology, the Golgi apparatus is a stack of flattened membrane sacs inside the cell that receives proteins and lipids, modifies them, and sorts them for delivery to their destinations. Camillo Golgi first described it in 1898 as the apparato reticolare interno (internal reticular apparatus), a network he stained inside nerve cells, and its structure and central role in secretion were later reviewed by Farquhar and Palade in 1981. Here the referent is a physical compartment within a living cell, measured in micrometres under a microscope, not a scholarly record of manuscript variants or a social institution.[1][2]
In political philosophy and sociology, an ideological state apparatus is an institution, such as a school, a church, a family, or the media, through which, in Louis Althusser's account, a society transmits and reproduces its dominant ideology. Althusser introduced the term in his 1970 essay Idéologie et appareils idéologiques d'État in the journal La Pensée, translated into English in 1971 as Ideology and Ideological State Apparatuses, where he set these institutions apart from what he called the coercive or 'repressive' apparatus of police, courts, and army. Here the referent is a set of social institutions analysed in social theory, not a scholarly record attached to a text or a compartment inside a cell.[3][4]
In photography theory, apparatus refers to the camera understood as a programmed device whose program shapes what photographers can produce. This meaning comes from Flusser (1983) in Für eine Philosophie der Fotografie.[5]
In film theory, apparatus refers to the cinematic set-up of camera, projection and screen, which the essay argues has ideological effects by placing the viewer as a central subject. This meaning comes from Baudry (1974) in Film Quarterly.[6]
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