New insights into the shifting cultures of today’s ‘hypervisual’ digital universe With the advent of digital technologies and the Internet, photography can, at last, fulfill its promise and forgotten potential as both a versatile medium and an adaptable creative practice. This multidisciplinary volume provides new insights into the shifting cultures affecting the production, collection, usage, and circulation of photographic images on interactive World Wide Web platforms.
This volume contains the proceedings of the 7ICIAP held in Monopoli, Italy.Some of the Areas Covered Include: Active Vision, Computer Vision System; Data Structures and Representations; Feature Extraction; Geometric Modelling; Human Perception and Computer Vision; Image Analysis; Language for Image Modelling; Processing and Retrieval; Motion Analysis and Time Varying Images; Neurocomputing for Recognition; Parallel Computer Architecture; Pattern Recognition; Picture and Video Coding.
This book is for intermediate and advanced trumpeters. It features 16 selections of printed music in the form of duets in multiple styles with written explanations of techniques and methods. It is complete with accompanying play-along tracks via download or CD.
While it has traditionally been seen as a means of documenting an external reality or expressing an internal feeling, photography is now capable of actualizing never-existed pasts and never-lived experiences. Thanks to the latest photographic technologies, we can now take photos in computer games, interpolate them in extended reality platforms, or synthesize them via artificial intelligence. To account for the most recent shifts in conceptualizations of photography, this book proposes the term virtual photography as a binding theoretical framework, defined as a photography that retains the efficiency and function of real photography (made with or without a camera) while manifesting these in an unfamiliar or noncustomary form.
In this book, Hariman and Lucaites provide an account of how photojournalism creates a distinctive and valuable way of understanding the modern world, plus example of how the public spectator can think about and with photographs in order to develop that understanding. Coming off the banner success of their No Caption Needed (2007), The Public Image takes that book forward with the express purpose of promoting visual literacy as a civic skill. In the end they aim to enlarge the conceptual scope of photography as a mode of experience, a medium for social thought, and a public art. Public thought needs both good writing and good photography, and this indicates the contemporary shift in talk about photography from what photographs are to a more direct concern with what photographs do. The authors take up a series of Big Issues, such as the recorded image as real and as artifice, the tangle of photography with modernity (here they touch on digitization and globalization), the manner in which the photograph operates as a medium for social thought, the photograph s intimate relationship with warfare, and they conclude with a chapter on the supersaturation of the image world (abundance is an important theme, and characteristic sign of cultural vitality)."
This book constitutes the thoroughly refereed post proceedings of the international workshop Computer Vision Approaches to Medical Image Analysis, CVAMIA 2006, held in Graz, Austria in May 2006 as a satellite event of the 9th European Conference on Computer Vision, EECV 2006. The 10 revised full papers and 11 revised poster papers presented together with one invited talk were carefully reviewed and selected from 38 submissions.
Rethinking Photography is an accessible and illuminating critical introduction to the practice and interpretation of photography today. Peter Smith and Carolyn Lefley closely link critical approaches to photographic practices and present a detailed study of differing historical and contemporary perspectives on social and artistic functions of the medium, including photography as art, documentary forms, advertising and personal narratives. Richly illustrated full colour images throughout connect key concepts to real world examples. It also includes: Accessible book chapters on key topics including early photography, photography and industrial society, the rise of photography theory, critical engagement with anti-realist trends in the theory and practice of photography, photography and language, photography education, and photography and the creative economy Specific case studies on photographic practices include snapshot and portable box cameras, digital and mobile phone cultures, and computer-generated imagery Critical summaries of current photography theoretical studies in the field, displaying how critical theory has been mapped on to working practices of photographers and students In-depth profiles of selected key photographers and theorists and studies of their professional practices Assessment of photography as a key area of contemporary aesthetic debate Focused and critical study of the world of working photographers beyond the horizons of the academy. Rethinking Photography provides readers with an engaging mix of photographic case studies and an accessible exploration of essential theory. It is the perfect guide for students of Photography, Fine Art, Art History, and Graphic Design as well as practitioners from any background wishing to understand the place of photography in global societies today.
Over the past decade, historical studies of photography have embraced a variety of cultural and disciplinary approaches to the medium, while shedding light on non-Western, vernacular, and "other" photographic practices outside the Euro-American canon. Photography, History, Difference brings together an international group of scholars to reflect on contemporary efforts to take a different approach to photography and its histories. What are the benefits and challenges of writing a consolidated, global history of photography? How do they compare with those of producing more circumscribed regional or thematic histories? In what ways does the recent emphasis on geographic and national specificity encourage or exclude attention to other forms of difference, such as race, class, gender, and sexuality? Do studies of "other" photographies ultimately necessitate the adoption of nontraditional methodologies, or are there contexts in which such differentiation can be intellectually unproductive and politically suspect? The contributors to the volume explore these and other questions through historical case studies; interpretive surveys of recent historiography, criticism, and museum practices; and creative proposals to rethink the connections between photography, history, and difference. A thought-provoking collection of essays that represents new ways of thinking about photography and its histories. It will appeal to a broad readership among those interested in art history, visual culture, media studies, and social history.
The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
Photography is a ubiquitous part of the public sphere. Yet we rarely stop to think about the important role that photography plays in helping to define what and who constitute the public. Photography and Its Publics brings together leading experts and emerging thinkers to consider the special role of photography in shaping how the public is addressed, seen and represented.This book responds to a growing body of recent scholarship and flourishing interest in photography's connections to the law, society, culture, politics, social change, the media and visual ethics.Photography and Its Publics presents the public sphere as a vibrant setting where these realms are produced, contested and entwined. Public spheres involve yet exceed the limits of families, interest groups, identities and communities. They are dynamic realms of visibility, discussion, reflection and possible conflict among strangers of different race, age, gender, social and economic status. Through studies of photography in South America, North America, Europe and Australasia, the contributors consider how photography has changed the way we understand and locate the public sphere. As they address key themes including the referential and imaginative qualities of photography, the transnational circulation of photographs, online publics, social change, violence, conflict and the ethics of spectatorship, the authors provide new insight into photography's vital role in defining public life.
