Christopher D. Johnson
- Published in print:
- 2012
- Published Online:
- August 2016
- ISBN:
- 9780801477423
- eISBN:
- 9780801464065
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801477423.001.0001
- Subject:
- Art, Art History
The work of German cultural theorist and art historian Aby Warburg (1866–1929) has had a lasting effect on how we think about images. This book focuses on his last project, the encyclopedic Atlas of ...
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The work of German cultural theorist and art historian Aby Warburg (1866–1929) has had a lasting effect on how we think about images. This book focuses on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully arranged some one thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, the book traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that “pathos formulas” structure the West's cultural memory, the book maps numerous tensions between word and image in the Atlas. In addition, it considers the literary, philosophical, and intellectual-historical implications of the Atlas. The book demonstrates that the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.Less
The work of German cultural theorist and art historian Aby Warburg (1866–1929) has had a lasting effect on how we think about images. This book focuses on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully arranged some one thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, the book traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that “pathos formulas” structure the West's cultural memory, the book maps numerous tensions between word and image in the Atlas. In addition, it considers the literary, philosophical, and intellectual-historical implications of the Atlas. The book demonstrates that the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.
Elisa Mandelli
- Published in print:
- 2019
- Published Online:
- May 2021
- ISBN:
- 9781474416795
- eISBN:
- 9781474476577
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474416795.001.0001
- Subject:
- Film, Television and Radio, Film
Moving images have become a common feature in museums, where visitors are now accustomed to finding a broad variety of projections and screens. But when did films start to be displayed in history, ...
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Moving images have become a common feature in museums, where visitors are now accustomed to finding a broad variety of projections and screens. But when did films start to be displayed in history, science or natural history museums? How did visitors react to the transformation of static displays by means of moving images? And what are the current stakes of showing audio-visuals in exhibition spaces? The Museum as a Cinematic Space is an extensive investigation of the use of moving images in exhibition design outside the art field. It explores how museums have incorporated films and audio-visuals in their display from the beginning of the twentieth century up to the present. The Museum as a Cinematic Space investigates the inclusion of cinematic elements (films, screens, projections) within the display. In addition to describing the strategies used by the curators to exhibit films, the book identifies the practical, technical and discursive conditions that made possible the use of moving images in museum galleries during the twentieth and twenty-first century. By opening itself to moving images, the exhibition becomes a place where cinema and museum spectatorships converge, reshaping the relations between the public, the images, and viewing space.Less
Moving images have become a common feature in museums, where visitors are now accustomed to finding a broad variety of projections and screens. But when did films start to be displayed in history, science or natural history museums? How did visitors react to the transformation of static displays by means of moving images? And what are the current stakes of showing audio-visuals in exhibition spaces? The Museum as a Cinematic Space is an extensive investigation of the use of moving images in exhibition design outside the art field. It explores how museums have incorporated films and audio-visuals in their display from the beginning of the twentieth century up to the present. The Museum as a Cinematic Space investigates the inclusion of cinematic elements (films, screens, projections) within the display. In addition to describing the strategies used by the curators to exhibit films, the book identifies the practical, technical and discursive conditions that made possible the use of moving images in museum galleries during the twentieth and twenty-first century. By opening itself to moving images, the exhibition becomes a place where cinema and museum spectatorships converge, reshaping the relations between the public, the images, and viewing space.
Robert DeCaroli
- Published in print:
- 2004
- Published Online:
- January 2005
- ISBN:
- 9780195168389
- eISBN:
- 9780199835133
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195168380.003.0004
- Subject:
- Religion, Buddhism
Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of ...
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Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of the remains of the monastery from Bharhut reveals a process of superimposition wherein the spirit‐deities have been moved to the periphery of the sacred space and the center is reserved for the Buddhist relic alone. When this information is coupled with new evidence demonstrating that these monasteries were largely built over locations (like cemeteries and hills) that were understood as being the abodes of specific minor deities, it becomes clear that the Buddhist community is making a potent statement of religious authority though its architecture. Significantly, this hierarchy expressed in sculpture parallels the claims of authority made in the legendary literature.Less
Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of the remains of the monastery from Bharhut reveals a process of superimposition wherein the spirit‐deities have been moved to the periphery of the sacred space and the center is reserved for the Buddhist relic alone. When this information is coupled with new evidence demonstrating that these monasteries were largely built over locations (like cemeteries and hills) that were understood as being the abodes of specific minor deities, it becomes clear that the Buddhist community is making a potent statement of religious authority though its architecture. Significantly, this hierarchy expressed in sculpture parallels the claims of authority made in the legendary literature.
Alan Macfarlane
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197263020
- eISBN:
- 9780191734199
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263020.003.0007
- Subject:
- History, Historiography
Alfred Gell was widely regarded as one of the most interesting thinkers in the world in the field of the anthropology of art. His life and writings provide an interesting insight into the fashions ...
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Alfred Gell was widely regarded as one of the most interesting thinkers in the world in the field of the anthropology of art. His life and writings provide an interesting insight into the fashions and flows of one part of British thought in the later 20th century. While Gell will be remembered as the author of the classic ethnography on the Umeda and a splendid survey of theories of time, it is the work on art and anthropology, undertaken during the last twelve years of his short life, which will determine his wider reputation. This consists of three books. The first, and only one published during his life was Wrapping in Images: Tattooing in Polynesia (1992). The second in order of writing, though not of publication, was a collection of his essays, mostly given as seminar papers and lectures, published in 1999 as The Art of Anthropology; Essays and Diagrams and edited by Eric Hirsch. The final work was Art and Agency, An Anthropological Theory (1998).Less
Alfred Gell was widely regarded as one of the most interesting thinkers in the world in the field of the anthropology of art. His life and writings provide an interesting insight into the fashions and flows of one part of British thought in the later 20th century. While Gell will be remembered as the author of the classic ethnography on the Umeda and a splendid survey of theories of time, it is the work on art and anthropology, undertaken during the last twelve years of his short life, which will determine his wider reputation. This consists of three books. The first, and only one published during his life was Wrapping in Images: Tattooing in Polynesia (1992). The second in order of writing, though not of publication, was a collection of his essays, mostly given as seminar papers and lectures, published in 1999 as The Art of Anthropology; Essays and Diagrams and edited by Eric Hirsch. The final work was Art and Agency, An Anthropological Theory (1998).
Jessica Lake
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780300214222
- eISBN:
- 9780300225303
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300214222.001.0001
- Subject:
- Law, Legal History
The advent of the photographic and cinematic camera in the mid to late 19th century caused new harms to individuals (particularly women), which existing laws (copyright, defamation, trespass) were ...
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The advent of the photographic and cinematic camera in the mid to late 19th century caused new harms to individuals (particularly women), which existing laws (copyright, defamation, trespass) were inadequate to address. This book demonstrates that women forged a ‘right to privacy’ in the United States by bringing lawsuits claiming control and ownership over filmed images (still and moving) of their faces, bodies and narratives. At a time when they still lacked civil and political rights, women employed ‘a right to privacy’ to prevent themselves being reduced to nameless ‘pretty’ objects; to protest the transformation of their bodies into spectacles of ‘monstrosity’; to limit their exposure on the big screen to the mass ‘gaze’ of audiences; to control the development of their careers in paid work as models, dancers and actresses; and to reclaim their personal life stories from exploitation by film studios. Case documents also reveal the nexus between privacy claims and arguments by the subjects of images for property rights in them (eventuating in the right to publicity). This book interrogates the gender of privacy law and shows how privacy emerged as an ambiguous claim for women – it both reinforced traditional stereotypes of femininity or womanhood and progressed the feminist aspirations of the New Woman for greater self-determination and self-articulation. It shows that visual crimes against women occurring today via the Internet, such as revenge pornography or non-consensual pornography, have an important legal, social and political history.Less
The advent of the photographic and cinematic camera in the mid to late 19th century caused new harms to individuals (particularly women), which existing laws (copyright, defamation, trespass) were inadequate to address. This book demonstrates that women forged a ‘right to privacy’ in the United States by bringing lawsuits claiming control and ownership over filmed images (still and moving) of their faces, bodies and narratives. At a time when they still lacked civil and political rights, women employed ‘a right to privacy’ to prevent themselves being reduced to nameless ‘pretty’ objects; to protest the transformation of their bodies into spectacles of ‘monstrosity’; to limit their exposure on the big screen to the mass ‘gaze’ of audiences; to control the development of their careers in paid work as models, dancers and actresses; and to reclaim their personal life stories from exploitation by film studios. Case documents also reveal the nexus between privacy claims and arguments by the subjects of images for property rights in them (eventuating in the right to publicity). This book interrogates the gender of privacy law and shows how privacy emerged as an ambiguous claim for women – it both reinforced traditional stereotypes of femininity or womanhood and progressed the feminist aspirations of the New Woman for greater self-determination and self-articulation. It shows that visual crimes against women occurring today via the Internet, such as revenge pornography or non-consensual pornography, have an important legal, social and political history.
Anna Dahlgren
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526126641
- eISBN:
- 9781526139016
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526126641.001.0001
- Subject:
- Art, Art History
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 ...
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Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.Less
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
Elisa Mandelli
- Published in print:
- 2019
- Published Online:
- May 2021
- ISBN:
- 9781474416795
- eISBN:
- 9781474476577
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474416795.003.0012
- Subject:
- Film, Television and Radio, Film
This chapter runs through the main arguments of the book and traces the conclusions, arguing that not only audio-visuals can be incorporated in exhibitions, but exhibitions can also be structured ...
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This chapter runs through the main arguments of the book and traces the conclusions, arguing that not only audio-visuals can be incorporated in exhibitions, but exhibitions can also be structured according to cinematic principles, or be influenced by the configuration of the “classic” cinematic dispositive. Moreover, moving images play a key role in shaping the relationships between visitors and the museum. The cinematic component should thus be understood as a “structural element” of contemporary museum exhibitions, rather than as an extrinsic component.Less
This chapter runs through the main arguments of the book and traces the conclusions, arguing that not only audio-visuals can be incorporated in exhibitions, but exhibitions can also be structured according to cinematic principles, or be influenced by the configuration of the “classic” cinematic dispositive. Moreover, moving images play a key role in shaping the relationships between visitors and the museum. The cinematic component should thus be understood as a “structural element” of contemporary museum exhibitions, rather than as an extrinsic component.
Steve Woolgar
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780262525381
- eISBN:
- 9780262319157
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262525381.003.0015
- Subject:
- Society and Culture, Technology and Society
This chapter comprises brief commentaries by seven authors with long-standing and formative roles in studies of representational practice. Lorraine Daston speaks of intractable conceptual problems ...
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This chapter comprises brief commentaries by seven authors with long-standing and formative roles in studies of representational practice. Lorraine Daston speaks of intractable conceptual problems associated with the very idea of representation and argues that we need to shift from epistemological to ontological treatments of images. Michael Lynch reflects on the ways in which philosophical pictures hold us captive, in earlier times with respect to reference, and more recently with respect to information. Steve Woolgar looks back on various attempts to problematize and displace the notion of representation since the publication of the earlier volume. Lucy Suchman calls for a greater measure of reflexivity in our studies of representation, to understand what exclusions we generate through our own practices of articulating and bounding the phenomena we study. John Law asks us to attend to the “collateral realities” that are being “done” at the periphery of what representation in scientific practice is ostensibly about. Martin Kemp discusses how visual images and graphics are used to evoke “reality,” as though directly on the page or screen. Bruno Latour argues that the supposed “gap” between previously unknown realities and visual images is densely populated by “long cascades of successive traces.” These seven short pieces comment on the nature and prospects of studies of representation in general. In this vein, they reference the “big” themes of representation— for example, epistemology, ontology, visualization, and trust. The commentaries thus provide an interesting complement to the empirical case studies in the book. Whereas the latter deliver a crucial deflationary effect— “science” is brought down to earth, made commonplace and subject to epistemic leveling; the “elevator words” in philosophy of science are unloaded at the ground floor (Hacking 1999, 21ff)— these final commentaries remind us about the traps, troubles, and taken-for-granted assumptions that continue to characterize even the very best empirical studies of representational work. Reference Hacking, Ian. 1999. The Social Construction of What? Cambridge, MA: Harvard University Press.Less
This chapter comprises brief commentaries by seven authors with long-standing and formative roles in studies of representational practice. Lorraine Daston speaks of intractable conceptual problems associated with the very idea of representation and argues that we need to shift from epistemological to ontological treatments of images. Michael Lynch reflects on the ways in which philosophical pictures hold us captive, in earlier times with respect to reference, and more recently with respect to information. Steve Woolgar looks back on various attempts to problematize and displace the notion of representation since the publication of the earlier volume. Lucy Suchman calls for a greater measure of reflexivity in our studies of representation, to understand what exclusions we generate through our own practices of articulating and bounding the phenomena we study. John Law asks us to attend to the “collateral realities” that are being “done” at the periphery of what representation in scientific practice is ostensibly about. Martin Kemp discusses how visual images and graphics are used to evoke “reality,” as though directly on the page or screen. Bruno Latour argues that the supposed “gap” between previously unknown realities and visual images is densely populated by “long cascades of successive traces.” These seven short pieces comment on the nature and prospects of studies of representation in general. In this vein, they reference the “big” themes of representation— for example, epistemology, ontology, visualization, and trust. The commentaries thus provide an interesting complement to the empirical case studies in the book. Whereas the latter deliver a crucial deflationary effect— “science” is brought down to earth, made commonplace and subject to epistemic leveling; the “elevator words” in philosophy of science are unloaded at the ground floor (Hacking 1999, 21ff)— these final commentaries remind us about the traps, troubles, and taken-for-granted assumptions that continue to characterize even the very best empirical studies of representational work. Reference Hacking, Ian. 1999. The Social Construction of What? Cambridge, MA: Harvard University Press.
Patrick R. Crowley
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9780226648293
- eISBN:
- 9780226648323
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226648323.003.0001
- Subject:
- Classical Studies, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
This introduction outlines two major claims that structure the argument of the book. First, it identifies the shared vocabulary for ghosts and images to argue that images of ghosts recursively depict ...
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This introduction outlines two major claims that structure the argument of the book. First, it identifies the shared vocabulary for ghosts and images to argue that images of ghosts recursively depict the challenge of depiction and even of seeing itself, giving physical form to conflicting and overlapping systems of knowledge and classification. Second, it argues that such depictions acquire a particular salience in the Second Sophistic, a periodization coined in antiquity that identified a renaissance of Classical (i.e., fifth and fourth centuries BCE) Greek culture in the second and third centuries CE that was inflected by an intense historical self-consciousness and a spectral logic of untimely chronologies. Situating these issues through the lens of historical epistemology, it makes the case that images of ghosts are neither illustrations of ancient belief-patterns about the supernatural nor the afterlife more generally.Less
This introduction outlines two major claims that structure the argument of the book. First, it identifies the shared vocabulary for ghosts and images to argue that images of ghosts recursively depict the challenge of depiction and even of seeing itself, giving physical form to conflicting and overlapping systems of knowledge and classification. Second, it argues that such depictions acquire a particular salience in the Second Sophistic, a periodization coined in antiquity that identified a renaissance of Classical (i.e., fifth and fourth centuries BCE) Greek culture in the second and third centuries CE that was inflected by an intense historical self-consciousness and a spectral logic of untimely chronologies. Situating these issues through the lens of historical epistemology, it makes the case that images of ghosts are neither illustrations of ancient belief-patterns about the supernatural nor the afterlife more generally.
Chari Larsson
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781526149268
- eISBN:
- 9781526158277
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526149275
- Subject:
- Art, Art Theory and Criticism
Didi-Huberman and the image is an introduction to French art historian and philosopher Georges Didi-Huberman. With an enormous body of work spanning four decades, Didi-Huberman is considered one of ...
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Didi-Huberman and the image is an introduction to French art historian and philosopher Georges Didi-Huberman. With an enormous body of work spanning four decades, Didi-Huberman is considered one of the most innovative and influential critical thinkers writing in France today. In this monograph art historian Chari Larsson presents the first extensive English-language study of Didi-Huberman’s research on images. Placing Didi-Huberman’s project in relation to major historical and philosophical frameworks, this book shows not only how Didi-Huberman modifies dominant traditions, but also how the study of images is central to a new way of thinking about poststructuralist-inspired art history. This book explores the origins of Didi-Huberman’s project, arguing he has sought renewal by turning the discipline of art history on its axis, wresting it away from its founding ‘fathers’ such as Giorgio Vasari and Erwin Panofsky and instead reorganising it along the poststructuralist lines of Michel Foucault, Jacques Derrida and Gilles Deleuze. An image is a form of representation, but what is the philosophical framework supporting it? Didi-Huberman takes up this question repeatedly over the course of his career.Less
Didi-Huberman and the image is an introduction to French art historian and philosopher Georges Didi-Huberman. With an enormous body of work spanning four decades, Didi-Huberman is considered one of the most innovative and influential critical thinkers writing in France today. In this monograph art historian Chari Larsson presents the first extensive English-language study of Didi-Huberman’s research on images. Placing Didi-Huberman’s project in relation to major historical and philosophical frameworks, this book shows not only how Didi-Huberman modifies dominant traditions, but also how the study of images is central to a new way of thinking about poststructuralist-inspired art history. This book explores the origins of Didi-Huberman’s project, arguing he has sought renewal by turning the discipline of art history on its axis, wresting it away from its founding ‘fathers’ such as Giorgio Vasari and Erwin Panofsky and instead reorganising it along the poststructuralist lines of Michel Foucault, Jacques Derrida and Gilles Deleuze. An image is a form of representation, but what is the philosophical framework supporting it? Didi-Huberman takes up this question repeatedly over the course of his career.
Elisa Mandelli
- Published in print:
- 2019
- Published Online:
- May 2021
- ISBN:
- 9781474416795
- eISBN:
- 9781474476577
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474416795.003.0011
- Subject:
- Film, Television and Radio, Film
This chapter discusses a number of audio-visual interactive devices in which the movement of the images plays a crucial role. In many contemporary museums, there are few press-buttons devices or ...
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This chapter discusses a number of audio-visual interactive devices in which the movement of the images plays a crucial role. In many contemporary museums, there are few press-buttons devices or objects to be touched or handled. Rather, visitors have to touch moving images themselves, whose surface acts as an interface between the spectator and the representation. The technological component is thus concealed in favour of a seemingly “natural” interaction. Interactive tables, which are widespread in museums today, are an emblematic example of this tendency: the chapter analyses relevant cases, such as the interactive table at the Churchill Museum (London, UK).Less
This chapter discusses a number of audio-visual interactive devices in which the movement of the images plays a crucial role. In many contemporary museums, there are few press-buttons devices or objects to be touched or handled. Rather, visitors have to touch moving images themselves, whose surface acts as an interface between the spectator and the representation. The technological component is thus concealed in favour of a seemingly “natural” interaction. Interactive tables, which are widespread in museums today, are an emblematic example of this tendency: the chapter analyses relevant cases, such as the interactive table at the Churchill Museum (London, UK).
Neville Bolt
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780197511671
- eISBN:
- 9780197554623
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197511671.001.0001
- Subject:
- Political Science, Conflict Politics and Policy
Fast-moving, self- propelled 'violent images' have radically changed the nature of insurgency in the modern world. Global media have revolutionized the way ideas, messages and images are ...
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Fast-moving, self- propelled 'violent images' have radically changed the nature of insurgency in the modern world. Global media have revolutionized the way ideas, messages and images are disseminated, and the speed with which they travel. First satellite TV, then laptops and the Internet, and now mobile phones and social media have transformed the way we communicate, collapsing time and distance. Rebels who hope to overthrow states or to build transnational, ideological communities, have adopted these dynamic technologies. But they have also learned the key lesson: in a visual world, the power of the image has supplanted that of the written world. Neville Bolt investigates how today's revolutionaries have rejuvenated the nineteenth century 'Propaganda of the Deed' so that terrorism no longer simply goads states into overreacting, thereby losing legitimacy. The deed has become a tool to highlight the underlying grievances of communities. Pictures of 9/11, 7/1, and Abu Ghraib are today's weapon of choice. The Violent Image explores what happens in the 'moment of shock'; how emotive pictures attach to messages, causing populations to rise up in anger. From the Fenians to the Taliban to the Arab Spring we learn how insurgents have adapted the way they use violence to tell stories and effect social change. In the 'war of ideas', the new revolutionaries aim to set in motion surges of support that spread virally through global networks at such speed that states can no longer defend their own strategic narratives. Have we now reached the point where insurgents and populations are driving images and ideas so fast, that a new era of revolutionary politics is already upon us?Less
Fast-moving, self- propelled 'violent images' have radically changed the nature of insurgency in the modern world. Global media have revolutionized the way ideas, messages and images are disseminated, and the speed with which they travel. First satellite TV, then laptops and the Internet, and now mobile phones and social media have transformed the way we communicate, collapsing time and distance. Rebels who hope to overthrow states or to build transnational, ideological communities, have adopted these dynamic technologies. But they have also learned the key lesson: in a visual world, the power of the image has supplanted that of the written world. Neville Bolt investigates how today's revolutionaries have rejuvenated the nineteenth century 'Propaganda of the Deed' so that terrorism no longer simply goads states into overreacting, thereby losing legitimacy. The deed has become a tool to highlight the underlying grievances of communities. Pictures of 9/11, 7/1, and Abu Ghraib are today's weapon of choice. The Violent Image explores what happens in the 'moment of shock'; how emotive pictures attach to messages, causing populations to rise up in anger. From the Fenians to the Taliban to the Arab Spring we learn how insurgents have adapted the way they use violence to tell stories and effect social change. In the 'war of ideas', the new revolutionaries aim to set in motion surges of support that spread virally through global networks at such speed that states can no longer defend their own strategic narratives. Have we now reached the point where insurgents and populations are driving images and ideas so fast, that a new era of revolutionary politics is already upon us?
Nicholas D. Smith
- Published in print:
- 2019
- Published Online:
- August 2019
- ISBN:
- 9780198842835
- eISBN:
- 9780191878756
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198842835.001.0001
- Subject:
- Philosophy, History of Philosophy
This book argues for four main theses: (1) The Republic is not just a work that has a lot to say about education; it is a book that depicts Socrates as attempting to engage his interlocutors in such ...
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This book argues for four main theses: (1) The Republic is not just a work that has a lot to say about education; it is a book that depicts Socrates as attempting to engage his interlocutors in such a way as to help to educate them and also engages us, the readers, in a way that helps to educate us. (2) Plato does not suppose that education, properly understood, should have as its primary aim putting knowledge into souls that do not already have it. Instead, the education that Plato discusses, represents occurring between Socrates and his interlocutors, and hopes to achieve in his readers is one that aims to arouse the power of knowledge in us and then to begin to train that power always to engage with what is more real, rather than what is less real. (3) Plato’s conception of knowledge is not the one typically presented in contemporary epistemology. It is, rather, the power of conceptualization via exemplar representation. (4) Plato engages this power of knowledge in the Republic in a way he represents as only a kind of second-best way to engage knowledge—and not as the best way, which would be dialectic. Instead, Plato uses images that summon the power of knowledge to begin the process by which the power may become fully realized. The full realization of the power of knowledge, however, is not provided in the work, and could not be achieved by anything like reading a work of this sort.Less
This book argues for four main theses: (1) The Republic is not just a work that has a lot to say about education; it is a book that depicts Socrates as attempting to engage his interlocutors in such a way as to help to educate them and also engages us, the readers, in a way that helps to educate us. (2) Plato does not suppose that education, properly understood, should have as its primary aim putting knowledge into souls that do not already have it. Instead, the education that Plato discusses, represents occurring between Socrates and his interlocutors, and hopes to achieve in his readers is one that aims to arouse the power of knowledge in us and then to begin to train that power always to engage with what is more real, rather than what is less real. (3) Plato’s conception of knowledge is not the one typically presented in contemporary epistemology. It is, rather, the power of conceptualization via exemplar representation. (4) Plato engages this power of knowledge in the Republic in a way he represents as only a kind of second-best way to engage knowledge—and not as the best way, which would be dialectic. Instead, Plato uses images that summon the power of knowledge to begin the process by which the power may become fully realized. The full realization of the power of knowledge, however, is not provided in the work, and could not be achieved by anything like reading a work of this sort.
Victor Svorinich
- Published in print:
- 2015
- Published Online:
- January 2018
- ISBN:
- 9781628461947
- eISBN:
- 9781626740891
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461947.003.0009
- Subject:
- Music, History, American
Using new commentary from the people behind the lens blended with revealing photographs, this chapter examines the visual narrative of Bitches Brew. Although the sessions were never shot, Miles Davis ...
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Using new commentary from the people behind the lens blended with revealing photographs, this chapter examines the visual narrative of Bitches Brew. Although the sessions were never shot, Miles Davis was photographed just about everywhere else at the time, whether it was on stage, at home, at the gym, or driving around New York in his Ferrari. Despite his shy and difficult demeanor, Davis had a warm and sincere relationship with the camera and the people behind it. These photographers were not only able to document this period in Davis’s life, but were also able to unveil a whole other side of him.Less
Using new commentary from the people behind the lens blended with revealing photographs, this chapter examines the visual narrative of Bitches Brew. Although the sessions were never shot, Miles Davis was photographed just about everywhere else at the time, whether it was on stage, at home, at the gym, or driving around New York in his Ferrari. Despite his shy and difficult demeanor, Davis had a warm and sincere relationship with the camera and the people behind it. These photographers were not only able to document this period in Davis’s life, but were also able to unveil a whole other side of him.
Emma Hutchison
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9780252042898
- eISBN:
- 9780252051753
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042898.003.0011
- Subject:
- History, Cultural History
This chapter explores how the emotional dimensions of witnessing human hardship play a key role in shaping humanitarian practices. While images of suffering have evoked a range of emotions, ...
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This chapter explores how the emotional dimensions of witnessing human hardship play a key role in shaping humanitarian practices. While images of suffering have evoked a range of emotions, contemporary commentators lament that a “politics of pity” fuels Western humanitarian practices. Even if it could seem a recent phenomenon, these emotions have a history. This chapter examines the emergence of humanitarian emotions by linking early modern depictions of suffering with contemporary media images of crises. Furthermore, it analyses how representing distant suffering has led to a “politics of pity.” Exposing the contingency of such emotions, this chapter concludes by emphasizing how feelings hold immanent possibilities for political transformations.Less
This chapter explores how the emotional dimensions of witnessing human hardship play a key role in shaping humanitarian practices. While images of suffering have evoked a range of emotions, contemporary commentators lament that a “politics of pity” fuels Western humanitarian practices. Even if it could seem a recent phenomenon, these emotions have a history. This chapter examines the emergence of humanitarian emotions by linking early modern depictions of suffering with contemporary media images of crises. Furthermore, it analyses how representing distant suffering has led to a “politics of pity.” Exposing the contingency of such emotions, this chapter concludes by emphasizing how feelings hold immanent possibilities for political transformations.
Kimberly Lamm
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781526121264
- eISBN:
- 9781526136176
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526121264.003.0001
- Subject:
- Art, Art History
This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, ...
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This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, it demonstrates that an engagement with language was a significant part of women artists’ efforts to resist the ways in which late-twentieth-century visual culture reinforces the idea that women should serve as the other of patriarchal culture. The introduction presents the three artists who are the focus of the book – Adrian Piper, Nancy Spero, and Mary Kelly – and argues that the ‘writerly’ qualities of the artwork they produced in the 1970s undermines the visual dominance of spectacle culture and the production of woman as a sign that represents passivity and sexual availability. The introduction also makes a case for pairing the artwork of Piper, Spero, and Kelly with the writings of Angela Davis, Valerie Solanas, and Laura Mulvey. In aligned historical contexts, these writers also addressed the limited range of images through which women were allowed to appear, and thereby suggest what it means to receive the artwork’s call to other women to collaborate on the project of creating a feminist imaginary.Less
This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, it demonstrates that an engagement with language was a significant part of women artists’ efforts to resist the ways in which late-twentieth-century visual culture reinforces the idea that women should serve as the other of patriarchal culture. The introduction presents the three artists who are the focus of the book – Adrian Piper, Nancy Spero, and Mary Kelly – and argues that the ‘writerly’ qualities of the artwork they produced in the 1970s undermines the visual dominance of spectacle culture and the production of woman as a sign that represents passivity and sexual availability. The introduction also makes a case for pairing the artwork of Piper, Spero, and Kelly with the writings of Angela Davis, Valerie Solanas, and Laura Mulvey. In aligned historical contexts, these writers also addressed the limited range of images through which women were allowed to appear, and thereby suggest what it means to receive the artwork’s call to other women to collaborate on the project of creating a feminist imaginary.
Michael Atkins
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781526100733
- eISBN:
- 9781526132376
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526100733.003.0005
- Subject:
- Sociology, Urban and Rural Studies
Combining narratives of success and community with imagery and maps characterises and regulates Manchester’s Gay Village as a distinct, bordered, hedonistic and particularly tolerant place. This ...
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Combining narratives of success and community with imagery and maps characterises and regulates Manchester’s Gay Village as a distinct, bordered, hedonistic and particularly tolerant place. This chapter describes the use of collaboratively produced graphic stories, created using combinations of drawings, text, photographs and found images. These 'ethno-graphics' describe lived experiences of men seeking sex in public and engaging in exchanges of intimacy, money, goods and services that challenge the master narratives of that are openly recognised and spoken about in the village.Less
Combining narratives of success and community with imagery and maps characterises and regulates Manchester’s Gay Village as a distinct, bordered, hedonistic and particularly tolerant place. This chapter describes the use of collaboratively produced graphic stories, created using combinations of drawings, text, photographs and found images. These 'ethno-graphics' describe lived experiences of men seeking sex in public and engaging in exchanges of intimacy, money, goods and services that challenge the master narratives of that are openly recognised and spoken about in the village.
Elisa Pieri
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781526100733
- eISBN:
- 9781526132376
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526100733.003.0007
- Subject:
- Sociology, Urban and Rural Studies
This chapter focuses on Manchester city centre to argue that exploring the futures that different stakeholders envisage for the city centre reveals tensions that are otherwise glossed over. ...
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This chapter focuses on Manchester city centre to argue that exploring the futures that different stakeholders envisage for the city centre reveals tensions that are otherwise glossed over. Critically engaging with urban futures as they are mobilised by institutional stakeholders, and eliciting those that other actors envisage, highlights whose interests are currently being prioritised and whose are traded off. Engaging in an analysis of these urban futures reveals not only important tensions connected to future developments and imagined uses of the city centre, but also opens up to scrutiny the present experiences and uses of the city centre, and the competing interests that a range of actors currently have.Less
This chapter focuses on Manchester city centre to argue that exploring the futures that different stakeholders envisage for the city centre reveals tensions that are otherwise glossed over. Critically engaging with urban futures as they are mobilised by institutional stakeholders, and eliciting those that other actors envisage, highlights whose interests are currently being prioritised and whose are traded off. Engaging in an analysis of these urban futures reveals not only important tensions connected to future developments and imagined uses of the city centre, but also opens up to scrutiny the present experiences and uses of the city centre, and the competing interests that a range of actors currently have.
Jessica Lake
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780300214222
- eISBN:
- 9780300225303
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300214222.003.0006
- Subject:
- Law, Legal History
This chapter charts the evolution of a right to privacy to a “right of publicity” in US law and argues that if a right to privacy is recognized as a doctrine primarily used by women to control their ...
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This chapter charts the evolution of a right to privacy to a “right of publicity” in US law and argues that if a right to privacy is recognized as a doctrine primarily used by women to control their images, the development of a right of publicity was a logical extension that accorded with women’s increasing participation in the paid work force. In the 1930s, women found new career opportunities in the emerging visual arts industries as dancers, models and actors and a right to privacy was employed by professional women to protect and profit from what Liz Conor has termed their “techniques of appearing”. It is in this context that a right to privacy’s racial dimensions are best examined, particularly the case of Myers v African American Publishing Co involving a claim by a young “tribal” dancer from Harlem who successfully sued over the publication of professional photographs that had been doctored to emphasise her nudity. A right to privacy was also invoked by men to protect their professions of performance (as golfers, bullfighters, boxers and ball players) and despite numerous early cases brought by professional women, it was in this masculine context that “a right of publicity” was first articulated.Less
This chapter charts the evolution of a right to privacy to a “right of publicity” in US law and argues that if a right to privacy is recognized as a doctrine primarily used by women to control their images, the development of a right of publicity was a logical extension that accorded with women’s increasing participation in the paid work force. In the 1930s, women found new career opportunities in the emerging visual arts industries as dancers, models and actors and a right to privacy was employed by professional women to protect and profit from what Liz Conor has termed their “techniques of appearing”. It is in this context that a right to privacy’s racial dimensions are best examined, particularly the case of Myers v African American Publishing Co involving a claim by a young “tribal” dancer from Harlem who successfully sued over the publication of professional photographs that had been doctored to emphasise her nudity. A right to privacy was also invoked by men to protect their professions of performance (as golfers, bullfighters, boxers and ball players) and despite numerous early cases brought by professional women, it was in this masculine context that “a right of publicity” was first articulated.
Anna Dahlgren
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526126641
- eISBN:
- 9781526139016
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526126641.003.0001
- Subject:
- Art, Art History
The introduction expands on the rationale, aim and layout of the book. It also the develops the core concepts of the book, such as image, art world, borderlands, and image ecology. The notion ‘art ...
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The introduction expands on the rationale, aim and layout of the book. It also the develops the core concepts of the book, such as image, art world, borderlands, and image ecology. The notion ‘art world’ emphasizes that the distinctions between art and non-art are constructed by diverse agents and institutions. Moreover the term ‘borderlands’ is used to defy the idea that there is a definite demarcation or border between what is ‘inside’ and ‘outside’ of the art world. The term image ecology serves as a metaphor for a desire to understand the interrelationships of things such as the nature of change, adaption and community and as a way to locate how and why images operate in certain ‘environments’ or systems of meaning. Finally the introduction posits the book in the long tradition of image studies and also in recent development within media studies, particularly studies on mediatization and media archaeology.Less
The introduction expands on the rationale, aim and layout of the book. It also the develops the core concepts of the book, such as image, art world, borderlands, and image ecology. The notion ‘art world’ emphasizes that the distinctions between art and non-art are constructed by diverse agents and institutions. Moreover the term ‘borderlands’ is used to defy the idea that there is a definite demarcation or border between what is ‘inside’ and ‘outside’ of the art world. The term image ecology serves as a metaphor for a desire to understand the interrelationships of things such as the nature of change, adaption and community and as a way to locate how and why images operate in certain ‘environments’ or systems of meaning. Finally the introduction posits the book in the long tradition of image studies and also in recent development within media studies, particularly studies on mediatization and media archaeology.
