With more than 600 previously unpublished photographs, this book shows Celine Dion through the unique and up-close perspective of photographer Cayla. With tender family moments to private backstage views and captivating scenes on the stage.
Beyond the Image Machine is an eloquent and stimulating argument for an alternative history of scientific and technological imaging systems. Drawing on a range of hitherto and marginalised examples from the world of visual representation and the work of key theorists and thinkers, such as Latour, de Certeau, McLuhan and Barthes, David Tomas offers a disarticulated and deviant view of the relationship between archaic and new representations, imaging technologies and media induced experience. Rejecting the possibility of absolute forms of knowledge, Tomas shows how new media technologies have changed the nature of established disciplines. The book develops Tomas's own theory of transcultural space and makes several original contributions to current debates on the culture of advanced technology.
Videomapping with its use of digital images is an audiovisual format that has gained traction with the creative industries. It consists of projecting images onto diverse surfaces, according to their geometric characteristics. It is also synonymous with spatial augmented reality, projection mapping and spatial correspondence. Image Beyond the Screen lays the foundations for a field of interdisciplinary study, encompassing the audiovisual, humanities, and digital creation and technologies. It brings together contributions from researchers, and testimonials from some of the creators, technicians and organizers who now make up the many-faceted community of videomapping. Live entertainment, museum, urban or event planning, cultural heritage, marketing, industry and the medical field are just a few examples of the applications of this media.
Encounters with Godard takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godard's multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of La Chinoise (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including Nouvelle vague (1990), Film socialisme (2010), Hélas pour moi (1993), and the magnum opus Histoire(s) du cinéma (1988–98). Wide-ranging and accessible, Encounters with Godard marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.
In this book, "Beyond the Looking Glass: Understanding the Interplay of Body Image, Social Anxiety, and Eating Disorders in Young Adults," we have explored the complex relationship between body image dissatisfaction, social anxiety, and disordered eating behaviors. Throughout our journey, we have gained a deeper understanding of how these factors interplay and impact the lives of young adults. It is important for teens and young adults to recognize that their mental and physical health are intertwined. Our body image, how we perceive ourselves, can greatly inuence our social interactions and overall wellbeing. The pressure to conform to societal beauty standards can lead to body dissatisfaction and, in turn, contribute to the development of social anxiety and disordered eating behaviors. However, it is essential to remember that there is no one-size- ts-all denition of beauty. It is crucial to embrace diversity and celebrate our unique qualities. Instead of striving for an unattainable ideal, we should focus on nurturing a healthy mind and body. Building a healthy mind involves cultivating positive self-esteem and practicing self-compassion. Instead of comparing ourselves to others, we should focus on our own growth and personal achievements. Surrounding ourselves with a supportive network of friends and family who uplift and encourage us can also contribute to our mental well-being. Taking care of our physical health is equally important. This means fueling our bodies with nutritious foods, engaging in regular physical activity that we enjoy, and developing a healthy relationship with food. It is vital to listen to our body's needs and honor its signals rather than succumbing to restrictive diets or excessive exercise.
Addressing a dilemma that spiritual seekers and others face in their pursuit of happiness, Beyond Our Self-Image presents a unique and simple approach to experiencing true happiness - free from confusing thoughts and wavering satisfaction. You may be an experienced meditator facing difficulty receiving the full benefits of your meditation, stuck at one level of absorption, or you may be on the brink of transcendence. The practices in this book resolve those obstacles and help you experience your true self. While its purpose is primarily to enhance your first-hand experiences of well-being through practices in this book, Beyond Our Self-Image also attempts to heal a world divided by petty differences and wakes its readers up to a wiser civilization, resulting in widespread peace in this world.
This scholarly anthology presents a new framework for understanding early cinema through its usage outside the realm of entertainment. From its earliest origins until the beginning of the twentieth century, cinema provided widespread access to remote parts of the globe and immediate reports on important events. Reaching beyond the nickelodeon theatres, cinema became part of numerous institutions, from churches and schools to department stores and charitable organizations. Then, in 1915, the Supreme Court declared moviemaking a “busines, pure and simple,” entrenching the film industry’s role as a producer of “harmless entertainment.” In Beyond the Screen, contributors shed light on how pre-1915 cinema defined itself through institutional interconnections and publics interested in science, education, religious uplift, labor organizing, and more.