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Looking across the borderlands of art, media and visual culture
Author: Anna Dahlgren

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.

Art, process, archaeology

This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.

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Visual media and political conflict
Editors: Jens Eder and Charlotte Klonk

Still and moving images are crucial factors in contemporary political conflicts. They not only have representational, expressive or illustrative functions, but also augment and create significant events. Beyond altering states of mind, they affect bodies, and often life or death is at stake. Various forms of image operations are currently performed in the contexts of war, insurgency and activism. Photographs, videos, interactive simulations and other kinds of images steer drones to their targets, train soldiers, terrorise the public, celebrate protest icons, uncover injustices, or call for help. They are often parts of complex agential networks and move across different media and cultural environments. This book is a pioneering interdisciplinary study of the role and function of images in political life. Balancing theoretical reflections with in-depth case studies, it brings together renowned scholars and activists from different fields to offer a multifaceted critical perspective on a crucial aspect of contemporary visual culture.

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Harun Farocki and the operational image
Volker Pantenburg

49 Working images: Harun Farocki and the operational image Volker Pantenburg ‘Images without a social goal, not for edification, not for reflection.’ This is the negative definition of ‘operational images’ that Harun Farocki provides in the first part of his three-​part installation Eye/​Machine.1 The filmmaker and video artist was one of the first to examine in depth the various uses of images as instruments. His work consists in a continuous examination of the operational potential of images in different fields of practice. Farocki’s Eye/​Machine series (2000

in Image operations
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Refracting control from virtual reality to the digital battlefield
Timothy Lenoir and Luke Caldwell

89 Image operations: refracting control from virtual reality to the digital battlefield Timothy Lenoir and Luke Caldwell In the post-​Cold War era, the US military invested heavily in a makeover to replace the massive US ground forces of the post-​World War II era with smaller, more flexible organisational units typified by special operations forces and weapons systems that exploited the new information technologies: what military historian Max Boot called ‘a new American way of war’ grounded in ‘speed, maneuver, flexibility … precision firepower, special

in Image operations
Author: Chari Larsson

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.

Ben O’Loughlin

25 Images of the world, images of conflict 1 Ben O’Loughlin1 In the short story ‘The Fearful Sphere of Pascal’, Borges wrote, ‘It may be that universal history is the history of a few metaphors’ (Borges 2007, 189). The history of world politics certainly seems marked by a few recurring concepts and metaphors:  the universal and the particular, the inside and the outside, the balance of power and the ideal of symmetry and actuality of chaos. If these metaphors are the basis for how we understand world politics today, then they also shape how we remember past

in Image operations
Jens Eder

63 Affective image operations Jens Eder1 Images enter the interactional networks of political conflict in various ways. Often, they motivate political action by evoking emotions and affects. This is evident, for instance, in visual propaganda, images of terror, donation campaigns or activist videos like Kony2012. Aiming to mobilise a movement against a brutal warlord, the documentary made calculated use of cinematic techniques to maximise viewers’ emotional responses. It went viral on social media platforms and was soon watched more than 100 million times. The

in Image operations
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Charlotte Klonk

128 9 Images of terror Charlotte Klonk Amidst the flood of images that appeared in the hours and days after the terror attack on New  York’s World Trade Center on 11 September 2001, one picture caused an outcry among the American public: Richard Drew’s The Falling Man. It shows a man in free fall in front of the towers. He was one of many hundreds who threw themselves out of the windows of the burning buildings, perhaps still hoping to escape their desperate fate. An estimated 8 per cent of those who perished in New York City on 11 September 2001 died by

in Image operations
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A relational approach
Julia Gallagher and V. Y. Mudimbe

This book is about images of Africa – how they are produced, by whom and for what purposes; and about how they are understood. These questions are fraught because of the continent’s relationship with the wider world, particularly the European world, which for many years assumed the right to create images of Africa, in fiction, travel writing, anthropological research, maps, missionary accounts, colonial records and reports produced by aid agencies. Since the middle of the twentieth century, when the majority of African states began to move

in Images of Africa