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This chapter describes the use of information technologies in two entertainment industries: video games and photography. It describes how the technology is used in the work of these industries (applications), development, and manufacture of its products, and in the digital goods sold to the public. These are characterized as part of the New Economy.

The argument in Chapter 8 is that modern postural practice cannot be understood without an examination of the technologies of visual reproduction. Advances in photography and print distribution created the conditions for a popular yoga of the body and dictated to a large extent the features of that body. The result of modern yoga's overwhelming reliance on photographic realism has elided the body of “traditional” haṭha yoga.

This chapter defines what makes up the media and entertainment industries in the economy, and how that has grown in size and importance over the past half century. It includes book publishing, magazine publishing, newspapers, radio, television, music recording, game and toy producers, and photography. It concludes with a discussion of the general patterns of adoption of computer applications by these industries, including use of the Internet.

This chapter addresses a much neglected issue: the importance of the artwork's relation to the momentary. It begins with a phenomenology of the Moment and introduces its links to style, image, and art. These links are then developed in much more detail through analysis of those arts of temporal realization, where perceptual or imaginative acquaintance with the image necessarily involves a linear temporal process. The contrasting way in which arts of spatial realization — most notably pictorial representation — relate to the Moment is investigated. It is argued that perspectival works have a privileged role. The chapter ends with a consideration of photography in relation to this role.

This chapter presents a historiographical review and critique of textual sources documenting the mela (premodern, colonial Oxford, and contemporary accounts of the mela in a range of languages, but predominantly written by observers, as opposed to participants), in the interests of delineating the discursive nature of power. A discernible discourse of danger emerges, underpinning the administration and management of the mela; it was heavily informed by records of deadly battles between sadhu akharas in 18th century Haridwar and sealed with 19th century experiences with epidemic diseases, unregulated crowds, and what was perceived as esoteric or mysterious Hindu practices. The chapter draws attention to the power and prevalence of such representations and concludes with a consideration of the politics of photographic representation at the 2001 Kumbh Mela, when the High Court of Allahabad enforced a ban on photography at the bathing ghats, limiting the ability of freelance and agency photographers from all over the world to photograph the bathing rituals. It is argued that the representations of the mela, in writing and in photography, have served to historically constrain it, and often, by extension, India, for it was frequently argued that the scale of the crowds attending the Kumbh reflected a microcosm of India, neatly representing a cross‐section of its diverse regional, linguistic, and caste communities.

Spiritualists believed that science would reveal the truths of their metaphysical claims and embraced medical and technological progress on all fronts. Spiritualist ritual was predicated on the invention of the telegraph: instant and invisible communication across space was the precursor to communication with those in heaven. With the steam engine revolutionizing ideas of time, futurity and progress competed with the lionizing of the past. Spiritualists proposed that new machines could be made to perfect communication with the dead and created several devices from the simple to the extraordinary. Photography, a burgeoning medium that seemed purely objective to most observers, was conscripted to prove the existence of the dead as spirit photographs proliferated across the country and abroad.

This chapter reviews approaches to the empirical documentation of music as found in comparative musicology, folklore studies, and through the fifty-year history of ethnomusicology. Means of gathering and measuring research data are shown to be linked to available technology as well as to prevailing intellectual paradigms. The central part of the chapter focuses on empirical aspects of participant-observation, including the keeping of field notes, interviewing, photography, and audio- and video-recording. Good practice conventions for data preservation are explained and illustrated. The chapter's coda emphasizes the importance of ethics in research that documents the voices of live people.

The systematic study of coinage at the level of individually engraved die revolutionized numismatics; however the laborious nature of such work has severely limited its application. Die studies are important for attribution and chronology as well as for quantification. Exhaustive study on coinage reveals great evidences particularly in economic history. This chapter discusses the potential posed by image analysis and photography on the field of numismatics. It discusses the principal technique challenges, with a view to stimulating discussion as to the best way forward.

A rundown of the individual elements and artists that would join together to form the musical film. To create the songs, studios bought music publishers and hired songwriters to create lower-common denominator versions of Broadway and pop hits. Music arrangements and sound recording slowly improved, as did photography and editing. Two-color Technicolor was hugely popular, then became a liability through its limited palette and loss of quality control. The personnel drew from both stage veterans and film people: directors such as Lubitsch and Mamoulian, stage and opera stars like Jolson and Lawrence Tibbett, and silent-film performers with acceptable voices, such as Bebe Daniels and Gloria Swanson.

This chapter presents a case study of the agriculture and economy of the large suburban deme Euonymon. Archaeological evidence from this deme and its neighbors on the southern Athenian plain and the coastal strip of Attica west of Hymettos is examined, particularly aerial photography showing the systematic use of terracing and roads. The deme's demography and economy are examined in the context of the pattern of settlement in the countryside, and the coordinated efforts of neighboring communities. It is argued that the intensive cultivation of cash crops (especially olives), the economic and social interdependence of neighbouring Attic demes, and their reliance on the urban market of Athens, were the basis of the economy of the Athenian countryside in the Classical period. The division sometimes seen by modern scholars between urban and rural life in Athens is therefore fundamentally incorrect.

Chapter One reconstructs the use of racial photography as scientific evidence between 1876 and 1922. It commences with the Dammann brothers' Atlas, in which “racial type” photographs illustrate races conceived in terms of “types.” It then proceeds to examine the works of Alphonse Bertillon, Francis Galton and Rudolf Martin who thought of photography as a form of scientific measurement.The second part of the chapter reconstructs a parallel but lesser-known genealogy in which photography was employed in the observation of biological variety and was tightly connected to the rise of Mendelian genetics. This section focuses on Carl Heinrich Stratz, Redcliffe Salaman, and Eugen Fischer. The chapter concludes with discussions in the history and philosophy of art concerning “seeing” examining two books, Rembrandt (1916) by Georg Simmel and Principles in Art History by Heinrich Wölfflin (1916).

This chapter highlights commercial aspects of the cult of authorial celebrity. Well-known writers featured in product advertising, selling anything from toothpaste, pens, cigarettes, and pipe tobacco, to health tonics and whisky. Some even penned advertising slogans; others profited from merchandise associated with their creations — Beatrix Potter and Kate Greenaway dolls, toys, board games, cards, and wallpapers; Little Lord Fauntleroy costumes and Trilby hats. Authors' attitudes to the new medium of photography are also explored. They feared being caught off guard, while appreciating the publicity value of carefully posed (and touched-up) images for reproduction in popular papers and periodicals. Similarly they generally enjoyed sitting for famous portraitists and sculptors in order to be captured for posterity, although certain representations caused author and artist to quarrel. Among the writers discussed here are: Mrs Hodgson Burnett, Hall Caine, Marie Corelli, Kipling, George Du Maurier, George Meredith, George Moore, George Bernard Shaw, Robert Louis Stevenson, Swinburne, Tennyson, Francis Thompson, and W. B. Yeats.

This chapter moves the discussion in a new direction, exploring how private life was presented in the visual arts and in particular photography. Whereas private life played little role in East German professional photography in the 1950s and early 1960s, the domestic sphere emerged as a new interest in the 1970s and 1980s. By that time a new generation of East German Fotokünstler saw themselves as maverick chroniclers of ‘real existing socialism,’ recording the private lives of ordinary East German citizens. Given the state's embracing of socialist realism as official ideology from the early 1950s on, as well as the much-touted relaxation of the Honecker Era, photographers began to test the meaning of socialist realism from fresh perspectives. This chapter addresses how and why many of them chose to go indoors in the 1970s and 1980s, identifying the private domestic sphere as the authentic register and last outpost of GDR socialism.

The book concludes by reappraising critics' blocks, but through rereading Flaubert's well‐known correspondence with Sand and Colet and response to the camera of Du Camp, all against crucial moments in the revision of the Tentation. This way of remapping the significance of the text in the personal and literary‐historical lives of its creation, borrows explicitly from the vocabulary of French ‘evolutionary’ theory, Lamarckian ‘transformisme’. The concluding sections thus name the ‘unities of composition’ and ‘literary transformisms’ of Flaubert's 1874 Tentation and the text as a paradigm of both ‘literary science’ and the ‘fantastic real’. The vital importance of the dialogic structure of the work—religion and science; the Egypt of Saint Anthony and Antoine—marks this ‘oeuvre de toute [sa] vie’ as an ‘oeuvre de toute la vie’, religious and scientific, of 19th‐century France. Supremely a text which challenges received ideas and doxa, Flaubert's Tentation everywhere prizes probing literary‐critical vision of his own times.