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Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the problem of the real in the work of three exemplary directors of the French New Wave -- Jean-Luc Godard, Jean-Marie Straub, and Danielle Huillet. The cinema of the 1960s, particularly the French New Wave, was driven by the revolutionary utopia of changing the world. How did three of the most original and heretical film directors embody its requirement? How did it redraw the internal boundaries of cinematic work and its boundaries with other narrative arts? Moreover, how does this requirement redraw the boundaries of the image of the real itself? [ABSTRACT FROM AUTHOR]

The inclusion of the supernatural in Moscow's urban spaces (flats, restaurants, theater halls, the writer’s house, office) is meant to enhance the understanding of reality in its paradoxical nature. The boundary between the real and the unreal blurs due to the integration of opposing categories within the novel, aiming to reveal the complexity of the contemporary world. The inclusion of magic within real spaces, the sudden shifts between reality and imagination, and the metamorphosis of elements from one state to another support the syncretic nature of The Master and Margarita and Mikhail Bulgakov’s approach of maintaining a make-believe tone in recounting events through authorial reluctance. The text’s subtleties allow the author to express both personal and social critiques.

En el siguiente trabajo analizaremos las consideraciones político-sociales en elaboraciones de Slavoj Žižek, desde su apropiación específica de la perspectiva psicoanalítica de Lacan. En especial, buscaremos dar cuenta de la ontología política con la que desarrolla sus críticas de las políticas identitarias, los discursos multiculturalistas y movimientos socio-políticos recientes. En ese marco, distinguiremos sus comprensiones del sujeto y el prójimo, en las respectivas consideraciones sobre las formas de relación con el otro. Por esta vía nos proponemos desarrollar un análisis crítico de las bases con las que articula sus propuestas políticas de emancipación.

O presente artigo procura articular o percurso da angústia em Freud e Lacan às teorias queer e enquanto elemento disruptivo das práticas discursivas que tratam a sexualidade como um campo de determinação de identidades. A angústia, na leitura psicanalítica, é o sinal da presença do desejo do Outro enquanto Real, desvelando a sua inconsistência, sendo esse o perigo ao qual a angústia remete, o da perda dos limites do sujeito, pois o Outro não lhe oferece garantias. Nesse sentido, propõe-se pensar que ao se defrontar com as sexualidades que recusam a norma em um contexto civilizatório caracterizado pela hegemonia de uma gramática heteronormativa, a angústia surge como um afeto capaz de operar um rompimento dos processos sociais que promovem uma sustentação identitária dos indivíduos, indicando a presença de um Real inassimilável pela cultura que aponta não somente para o caráter sempre precário das identidades humanas mas, sobretudo, para a dimensão de impossível presente nos roteiros sexuais.

Starting from the sociological notion of 'hyperworld', as a condition of the widespread sense of anguish that permeates the increasingly complex and hypertrophic society of our time, devoted to an exasperated satisfaction of one's needs, the article probes the real and imaginary places that run through Dino Buzzati's narrative, declining and ordering them in the light of some categories of interpretation of the variegated concept of spatiality. The epicenter of the Belluno writer's reflection on the physical and metaphysical, human and transhumane latitudes of existence is the chaotic and disturbing context of today's metropolises. [ABSTRACT FROM AUTHOR]

The following work intends to reconstruct the ethical problem in the work of Jacques-Alain Miller from its beginnings in 1960, until the turn adopted at the beginning of the 80's from the phrase other Lacan. This new punctuation, of political and epistemic origins, is defined in the course of 1983 From the symptom to the fantasy from the emphasis on the real that Lacan makes in the ethics seminar and that Miller takes up for his new theoretical-clinical formulations. As an interpretive framework for said reconstruction, his passage from philosophy to psychoanalysis will be thematized, taking into account not only the academic origins of the author, but also the eminently philosophical character of ethics as a reflection oriented towards practical problems. As such, the dialectic between psychoanalysis and philosophy proves to sustain a critical tension that prevents the reduction of the problem to models of complementarity or the definition of psychoanalysis as a simple anti-philosophy. [ABSTRACT FROM AUTHOR]

This article honors the legacy of Professor Kadir Beycioglu as founding Editor of the REAL, Research in Educational Administration & Leadership and his scholarship. A content analysis of the REAL journal titles from inception in 2016 to 2023 was performed and confirmed the mission and intentions stated for the journal. Titles were organized into themes: International, cultural, policy, and leadership. The REAL is cost-free with unrestricted access which safeguards world-wide access in the current climate of censorship, suppression, and book banning. Dr. Beycioglu’s research is tendered through the lens of his membership in ELWB, Educational Leadership Without Borders, for whom he was the Keynote speaker for the 2019 ELWB biennial conference. His research voiced on Turkish schooling and leadership parallels with prophetic insight the warning cry for researchers to counter censorship and suppression efforts globally. [ABSTRACT FROM AUTHOR]

The study of crosslinguistic variation in word meaning often focuses on representational and concrete meanings. We argue other kinds of word meanings (e.g., abstract and (inter)subjective meanings) can be fruitfully studied in translation corpora, and present a quantitative procedure for doing so. We focus on the cross-linguistic patterns for lemmas pertaining to truth and reality (English true and real), as these abstract meanings been found to frequently colexify with particular (inter)subjective meanings. Applying our method to a corpus of translated subtitles of TED talks, we show that (1) the abstract-representational meanings are colexified in patterned ways, that, however, are more complex than previously observed (some languages not splitting a 'true'-like from 'real'-like terms; many languages displaying further splits of representational meanings); (2) some non-representational meanings strongly colexify with representational meanings of 'truth' and 'reality', while others also often colexify with other fields. [ABSTRACT FROM AUTHOR]

Introduction: Healthcare disparities may be exacerbated by upstream incapacity to collect high-quality and accurate race, ethnicity, and language (REaL) data. There are opportunities to remedy these data barriers. We present the Denver Health (DH) REaL initiative, which was implemented in 2021. Methods: Denver Health is a large safety net health system. After assessing the state of REaL data at DH, we developed a standard script, implemented training, and adapted our electronic health record to collect this information starting with an individual's ethnic background followed by questions on race, ethnicity, and preferred language. We analyzed the data for completeness after REaL implementation. Results: A total of 207,490 patients who had at least one in-person registration encounter before and after the DH REaL implementation were included in our analysis. There was a significant decline in missing values for race (7.9%-0.5%, p,.001) and for ethnicity (7.6%-0.3%, p,.001) after implementation. Completely of language data also improved (3%-1.6%, p,.001). A year after our implementation, we knew over 99% of our cohort's self-identified race and ethnicity. Conclusions: Our initiative significantly reduced missing data by successfully leveraging ethnic background as the starting point of our REaL data collection. [ABSTRACT FROM AUTHOR]

The desire of the mathematician is oriented by the real, by the science of this real, by logic, and by the writing of this real in letters empty of meaning. This desire gives Lacan a reference for thinking about the desire of the analyst with its relationship to the cipher of the unconscious and to its letter. The formula of the trimethylamine in Freud's dream provides an example. Lacan also recognises in Socrates' daimon, in the voice that orients him, his desire, and he correlates this with a resistance to recognising the status of the voice of the psychotic. Great classical clinicians, who built the clinic "before the analytical discourse" (Lacan), did not back down in the face of the reality of the clinic and in particular in the face of the reality of the voices whose sharpness the contemporary pseudo-clinic tries to abrade. They did not back down in the face of the desire of the psychotic, tied to his voices. Chaslin's desire is magnetized by the hallucinations of a psychotic in which a hand writes mathematical formulas. They evoke the writing of numbers and letters on the wall of the real, like the formula for trimethylamine in the dream of Irma's injection, or like the game of the meaningless letter in mathematics. [ABSTRACT FROM AUTHOR]

Psychoanalysis, as the clinic of unconscious desire invented by Freud, was taken up by Lacan as the dialectic of desire implied in the subversion of the subject divided by the signifier. However, what runs through desire and can never be caught is the saying of the demand that only the saying of interpretation can index, in the suspension of the signifying chain that it puts into act. When all is said and done, the clinic of desire would be a clinic of the saying: of saying well what cannot be forgotten by the one all alone. [ABSTRACT FROM AUTHOR]

Based on J. Lacan's Seminars IV and V, we will attempt to identify the knotting between the three registers of the symbolic, the real and the imaginary and the three subjective categories of lack, and to grasp their clinical significance [ABSTRACT FROM AUTHOR]

my new article deals with the heavy-handed censorship issued and practiced by the political-cultural elite in Germany. This in the name of the near-fascist Netanjahu regime in Israel and the loser-Zelensky regime in Ukraine. The ensuing evaluation along a) traditional media and communiciations theory and b) my new concept of creativity - ANTOA, is based on my German newsletter from February of 2024, entitled "Is this real? - Scharfe Kritik bei Berlinale für Israel Hass“. Besides exposing baseless insinuations by political elites regarding a made-up, exaggerated anti-Israel bias, the article furthemore refers to the equally over-the-top censorship by the EU Commission. So-called Very Large Online Platforms (VLOP) like content sharing and social networks are under the spotlight in shape of the recent Digital Services Act. The evaluation of peace efforts in Gaza are compared to the equally thwarted dialogue between Russia and Ukraine, mainly sabotaged by same political elites who label freedom for Palestine as anti-Semitic. In conclusion a link between media and Arts criticism and construction of social reality is established. The current threat by politcal elites to free speech and peace efforts is highlighted as well. Can the analysis of social phenomena in terms of media and communiciations guidelines as much as based on the 5 premisses of ANTOA, of which a minimum of three points need to be applicable, lead to a free and fair social order? [ABSTRACT FROM AUTHOR]

Alexandra-Monica Toma has been a university lecturer at the Cross-border Faculty of the “Dunarea de Jos” University of Galați since 2019. Having pursued her studies in philology at the same university, she successfully defended her doctoral thesis in 2011. Actively engaged in academic pursuits, she is affiliated with the “Limba noastră” Research Center. Her research interests primarily revolve around computer-mediated communication, pragmatics within the digital environment, and the pedagogy of teaching Romanian as a foreign language. The volume FORME ŞI STRUCTURI LITERARE ÎN COMUNICAREA MEDIATĂ DE CALCULATOR: INTERFERENŢE ÎNTRE VIRTUAL, FICŢIONAL ŞI REAL (LITERARY FORMS AND STRUCTURES IN COMPUTER-MEDIATED COMMUNICATION: INTERFERENCES BETWEEN VIRTUAL, FICTIONAL, AND REAL), Galati University Press, 2020, is based on the author’s doctoral thesis with the same title. The work comprises four chapters: (1) Virtual Reality and its Literary Perceptions, (2) The Email and the Revitalization of the Epistolary Style, (3) The Narrativity of Computer Games, and (4) Blogs as an Extension of the Traditional Diary.

En la actualidad hay toda una serie de interrogantes y discusiones suscitadas en torno a lo real: ¿Qué es real? ¿Lo real está perdido? ¿Cómo nos afecta lo real? El realismo especulativo, el realismo capitalista, como distintos realismos ontológicos y filosóficos tratan de salir del giro lingüístico para abordar lo real directamente. El problema es que se pueden convertir rápidamente en enfoques teóricos sin consecuencias, que no produzcan ninguna transformación real. Por eso, la interrogación puntual en este escrito se cierne en torno al problema de la transmisión y la formación efectiva: ¿Podemos acaso transmitir lo real? Y más específicamente, dado que mi respuesta es afirmativa: ¿Podemos escribir lo real? Trato de brindar algunas coordenadas históricas de cómo llegué a formular esta pregunta, y la modulación afirmativa de su respuesta.

Este trabalho tem como objetivo, a partir da experiência e do testemunho de um Coletivo de Mulheres, propor uma leitura do que nomeamos como o Real da violência por meio do ensino de Lacan e comentadores. Diferente do Real enquanto fundamento ausente ou falta-a-ser, o Real da violência se insere historicamente no dia a dia e na vida de determinados corpos brasileiros, precisamente os corpos negros, femininos e periféricos. Em vista do cenário de impasses socio-políticos do Brasil, mas também de potentes vozes e ações que têm surgido das comunidades atravessadas por estruturas de violência, a experiência do Coletivo ilustra o presente trabalho, a fim de demonstrar caminhos possíveis para um saber-fazer com esse Real ao qual seus filhos e a comunidade estão mais expostos. À luz de conceitos da Teoria Feminista, como, por exemplo, a noção de interseccionalidade e a categoria corpo-território, endossamos essa discussão que demanda à Psicanálise conversar com outros campos do saber. Empreitada que exige engajamento ético e político dos psicanalistas, em especial dos que exercem a práxis analítica no Brasil.

Jacques Lacan’s first Seminars (1953-1959) offer a systematic elaboration of the notions of the Imaginary and the Symbolic, but only sporadic references to the notion of the Real. Despite the scarcity of references, the conception of the Real that can be deduced from them is precise and coherent, and confirmed by the subsequent seminars – at least until Seminar XI (1964). The Real is to be understood as an indeterminate matter that, while it suffers from the signifier, resists it. This constitutes an innovation, on Lacan’s part, with respect to the classical philosophical concept of matter (at least as it is to be found in Aristotle, for whom matter offers no resistance to its own formation) and prepares the basis for the theory of the object a as the signifier of the subject’s castration operated by language, as it is elaborated at the end of Seminar VI (1958-1959) and in Seminar X (1962-1963).

La precariedad se ha convertido a lo largo de las décadas en un significante maestro con una diversidad infinita: se habla, así, de precariedad económica, social, existencial..., lo que convierte esta palabra en un concepto universal. Nuestro objetivo es cuestionar clínicamente esta precariedad, no como la clínica del hombre en situación de desprendimiento, inestabilidad o inseguridad, sino como paradigmática del Hombre contemporáneo. Pascal inauguró este modelo antropológico en la formulación de su apuesta, testimonio de una relación del sujeto con un Real de goce precario. La colusión de los discursos de la ciencia y del capitalista completa la apuesta de Pascal con las probabilidades y el gobierno a través de los números, hasta el punto de poder decir que esta lógica no produce la precariedad, sino que más bien la condiciona. El Real ahora regresa en formas más radicales, empujando al sujeto de nuestra modernidad a conductas de llamado a un Otro del que ya no se espera ninguna respuesta. El Hombre precario en sus apuestas (inconscientes) ahora flota como una prenda de vestir sobre un personaje inacabado, agitándose en el escenario de lo aleatorio.

Este artículo discute las formas de la técnica que dependen de los desarrollos digitales, como las inteligencias artificiales, y el impacto de estos dentro de la sociedad, especialmente, por el intento de atrapar Verdades que, para la ciencia, estarían referidas a la Verdad sobre el sujeto. Esta objetivación del ser humano termina, guiada por el espíritu de optimización capitalista y por el circuito del discurso capitalista, en ansias de eliminar todo lo que no sea susceptible de ser matematizado.

in this article, we attempt to shed light on how, placed by the law in a situation of identity suspension that is "impossible to bear," unaccompanied minors (UAMs) can construct themselves, caught as they are between a unique personal identity that they know they must mourn in order to be able to stay in the territory, and a projected identity, also constructed by and within the fantasy of the Other. In this context, we consider the possible scope for a relationship between UAMs and social workers or volunteers, and how the understanding of the topology of the Borromean knot can be used in the training of social workers and volunteers. [ABSTRACT FROM AUTHOR]

Any thesis about human nature that wants to call itself scientific today pretend to verify itself by neurosciences. These perspectives propose a pure organism that is far from unitary but with a common denominator: the reduction of the subject to its neural substrate, sometimes ignoring socio-symbolical dimension. This article develops the topics from the neuro-reductionist perspective showing its limits, both theoretical and clinical. The articulation of Lacanian conception of subject with Wittgenstein’s critical approach to philosophy demonstrates the vacuity of neuro-reductionism discourse face to the “real”, which resides at the bottom of human nature. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this text we present stage productions/staged performances with which the authors relate as spectators or as researchers and artist-creators. This analysis of works is based on the discussion of devices of theatricality and performance in contemporary theatre, and their relationships with reality and individual and collective memory. This paper aims to follow, through theatre productions, the ways in which the collective memory is activated in the Latin American space, to detect the common points between socio-political events and the possibilities of reproduction on the contemporary stage, and to discuss the relationship that is established between social reality and stage reality. For that, we analyzed the two works Sin título. Técnica mixta/Perú and Memorial de Silêncios e Margaridas/Brazil. Both are seen as acts of memory in dialogue with reality. [ABSTRACT FROM AUTHOR]

H.P. Lovecraft (1890–1937) est un écrivain américain dont l'œuvre a renouvelé la littérature fantastique et inauguré un genre nouveau. Son maître premier est Edgar Allan Poe mais il a été également influencé par Lord Dunsany ou Arthur Machen. Auteur de très nombreux romans et nouvelles, mais aussi d'une correspondance riche de plusieurs dizaines de milliers de lettres (on dit jusqu'à 100 000 !), son monde est hanté par la dégénérescence des corps, la dissolution des limites de la réalité, la dangerosité de l'Autre et l'angoisse intense qu'il provoque. Préférant le contact médié par l'écriture à la présence physique réelle, Lovecraft fait état d'une xénophobie généralisée tendant au racisme et fondée sur le dégoût du corps de l'autre. L'objectif de ce travail est de saisir la dynamique psychique de cet écrivain de deux points de vue : celui de la psychopathologie et des différents diagnostics qui ont été émis et celui de sa capacité créative. L'histoire personnelle de H.P. Lovecraft ainsi que son œuvre littéraire, sa correspondance et les témoignages de personnes de son entourage servent de matériel pour décrypter chez lui le processus de création, les signes de sa position subjective ainsi que ceux pouvant relever du registre de la psychopathologie. L'écriture, dès l'enfance, a représenté pour Lovecraft une sauvegarde contre les dangers du monde extérieur, l'écran qui le protégeait du contact avec les autres et donc aussi du réel. Le génie littéraire de Lovecraft est absolument indissociable de son être. Lovecraft est devenu par ses propres moyens un être d'écriture, un scriptêtre plutôt qu'un parlêtre. Les hypothèses sur sa (psycho)pathologie, nombreuses et parfois contradictoires, ne peuvent en aucun cas rendre compte de son talent littéraire. Ce sont plutôt ses rêves qui le guident dans l'écriture de ses nouvelles. Davantage qu'un art, plus qu'une mise en forme de son angoisse, plus encore qu'un dépôt et un vidage de jouissance, l'écriture pour Lovecraft dresse l'écran imaginaire sur lequel le réel insupportable est signifié et saisi en tant que réalité. L'écriture est pour lui un exercice addictif, continu, protecteur et nécessaire : il ne cesse pas d'écrire. Par son extraordinaire ampleur – romans et correspondance –, elle prend précisément la place de l'imaginaire et c'est par elle que sont noués pour l'écrivain les registres du symbolique et du réel. Ainsi, chez lui, le rêve devient-il une source directe et continue de création. La sorte d'autobiographie constituée peu à peu dans sa correspondance, les témoignages de ceux et celles qui l'ont connu, ainsi que la lecture de son œuvre, ont permis d'établir à son propos différents diagnostics psychopathologiques qui seront soumis à discussion. Le parcours personnel de Lovecraft est celui d'un créateur malheureux sans doute, mais dont le travail d'écriture contribua néanmoins à la sauvegarde. Car c'est aussi d'un extraordinaire parcours d'autothérapie qu'il s'agit. Lovecraft ne connut pas la gloire ni la fortune de son vivant, mais ne pouvant faire autrement, il écrivit sans cesse jusqu'à sa mort, sans se préoccuper vraiment de réussite. L'écriture, dès l'enfance, a représenté pour lui une sauvegarde contre les dangers du monde extérieur, l'écran qui le protégeait du contact avec les autres et donc aussi du réel. Pour lovecraft, l'écriture fait sinthome et il parvient à se constituer un public, certes réduit, mais intelligent et admiratif, sur lequel il s'appuie pour construire peu à peu, mais assez vite, un réseau de relations sociales, d'abord médié par l'écriture puis, au fur et à mesure, de plus en plus direct. H.P. Lovecraft (1890–1937) was an American writer whose work renewed fantasy literature and inaugurated a new genre. His first master was Edgar Allan Poe, but he was also influenced by Lord Dunsany and Arthur Machen. Author of numerous novels and short stories, but also of a rich correspondence of several tens of thousands of letters (as many as 100,000, according to one count!), his world is haunted by the degeneration of bodies, the dissolution of the limits of reality, and the danger of the Other and the intense anguish that it provokes. Preferring the mediation of writing to the real physical presence, Lovecraft expresses a generalized xenophobia tending to racism and based on the disgust caused by the body of the other. The objective of this work is to grasp the psychic dynamics of this writer from two points of view : that of psychopathology and the various diagnoses that have been made, and that of his creative capacity. Lovecraft's personal history as well as his literary work, his correspondence, and the testimonies of people around him are used as material to decipher his creative process, the signs of his subjective position as well as those that could be related to psychopathology. Writing, from childhood on, represented for Lovecraft a safeguard against the dangers of the outside world, the screen that protected him from contact with others and therefore also from reality. Lovecraft's literary genius is absolutely inseparable from his being. Lovecraft became by his own means a being of writing, a scriptbeing rather than a talkbeing. The hypotheses about his (psycho)pathology, numerous and sometimes contradictory, can in no way account for his literary talent. It is rather his dreams that guide him in the writing of his short stories. More than an art, more than a formatting of his anguish, more than a deposit and emptying of jouissance, writing for Lovecraft sets up the imaginary screen on which the unbearable real is signified and seized as reality. Writing is for him an addictive, continuous, protective, and necessary exercise : he never stops writing. By its extraordinary extent – novels and correspondence – it occupies the place of the Imaginary, a space where the registers of the Symbolic and the Real are linked together. Thus, for him, the dream becomes a direct and continuous source of creation. The sort of autobiography that has gradually emerged from his correspondence, the testimonies of those who knew him, as well as the reading of his work, have made it possible to establish various psychopathological diagnoses about him that will be submitted for discussion. Lovecraft's personal journey is that of an unfortunate creator, but one whose writing nonetheless contributed to his survival. For it is also an extraordinary journey of self-therapy. Lovecraft did not achieve fame or fortune during his lifetime, but since he could not do otherwise, he wrote incessantly until his death, without really worrying about success. Writing, from childhood, represented a safeguard against the dangers of the outside world, the screen that protected him from contact with others and therefore also from reality. For Lovecraft, writing is a sinthome and he managed to build up a public, admittedly small, but intelligent and admiring, on which he relied, allowing for the gradual construction of a network of social relations, first mediated by writing and then, as time went by, more and more directly. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Psicoterapia y Psicosomática is the property of Instituto de Estudios Psicosomaticos & Psicoterapia Medica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Considering performances with animals such as Going to the Dogs (Wim T. Schippers, 1986), Octavio and I (Linda Molenaar, 2010), Performances for Pets (Juurak/ Bailey 2014) and A Performance With an Ocean View (for a Dog) (Kokkonnen, 2008), I argue that these works illustrate three emergent effects of performing with animals: challenging a binary and exclusionary view of co-presence in performance; determining a modification of the performer’s interaction with a non- human animal audience; reversing the humanization of the animal, by rehearsing an animalization of human agency.

Estimating depth from images is a common technique in 3D perception. However, dealing with non-Lambertian materials, e.g., transparent or specular, is still nowadays an open challenge. However, to overcome this challenge with deep stereo matching networks or monocular depth estimation, data sets with non-Lambertian objects are mandatory. Currently, only few real-world data sets are available. This is due to the high effort and time-consuming process of generating these data sets with ground truth. Currently, transparent objects must be prepared, e.g., painted or powdered, or an opaque twin of the non-Lambertian object is needed. This makes data acquisition very time consuming and elaborate. We present a new measurement principle for how to generate a real data set of transparent and specular surfaces without object preparation techniques, which greatly reduces the effort and time required for data collection. For this purpose, we use a thermal 3D sensor as a reference system, which allows the 3D detection of transparent and reflective surfaces without object preparation. In addition, we publish the first-ever real stereo data set, called TranSpec3D, where ground truth disparities without object preparation were generated using this measurement principle. The data set contains 110 objects and consists of 148 scenes, each taken in different lighting environments, which increases the size of the data set and creates different reflections on the surface. We also show the advantages and disadvantages of our measurement principle and data set compared to the Booster data set (generated with object preparation), as well as the current limitations of our novel method. [ABSTRACT FROM AUTHOR]