"Now in its 14th edition, Documentary Evidence is a comprehensive guide to the legal obligations of disclosure. Logically presented and lucidly written, it provides detailed analysis and sensible practical advice. Following a chronological structure, it shows when and how a practitioner should take action in relation to the obligation to disclose. It is a standard work that is often cited in court judgments. Under the Civil Procedure Rules the parties to an action are encouraged to adopt a "cards-on-the-table" approach toward the exchange of information, not just once litigation has commenced but before as well. It is likely in the early stages that a few documents will be identified as being relevant or key to the matter at hand. These will be used to provide advice as to the merit or not of proceeding with the dispute. If the decision is taken to proceed, the law imposes a requirement to make full and proper disclosure, which is the process whereby the parties to an action disclose to each other all documents in their possession, custody or power relating to matters in question in the action. This title deals with the nature and scope of the obligation to disclose."

This insightful book introduces a range of innovative strategies for collecting contemporary textual documentary evidence. Featuring insightful vignettes, it comprises a critical guide to the various challenges of collecting documents to realize each of those strategies.

When independent filmmakers, activists, and amateurs document the struggle for rights, representation, and revolution, they instrumentalize images by advocating for a particular outcome. Ryan Watson calls this "militant evidence." In Radical Documentary and Global Crises, Watson centers the discussion on extreme conflict, such as the Iraq War, the occupation of Palestine, the war in Syria, mass incarceration in the United States, and child soldier conscription in the Congo. Under these conditions, artists and activists aspire to document, archive, witness, and testify. The result is a set of practices that turn documentary media toward a commitment to feature and privilege the media made by the people living through the terror. This footage is then combined with new digitally archived images, stories, and testimonials to impact specific social and political situations. Radical Documentary and Global Crises re-orients definitions of what a documentary is, how it functions, how it circulates, and how its effect is measured, arguing that militant evidence has the power to expose, to amass, and to adjudicate.

For the catalogue of the 1965 monographic exhibition in Rotterdam and Bruges on Jan Gossart (ca. 1472-1532) a compilation was made of 68 documentary references pertaining to the artist's life and works. Now, forty-five years later, there has been a reassessment of Gossart and his oeuvre which has resulted in a new catalogue raisonne, Man, Myth, and Sensual Pleasures: Jan Gossart's Renaissance. The present text, Jan Gossart: The Documentary Evidence accompanies this volume. This tome covers more than 130 documents, including inventories, accounts, biographies, descriptions and other records about Gossart's life and works, up until the mid-18th century. These mainly archival records have been re-examined and transcribed anew, and subsequently discovered documents have been added. Each transcription is accompanied by a short description and comment as well as published references. The book includes photographs of original records. Additionally, two of Gossart's works for which most of our knowledge is based on documentary evidence are discussed: the so-called Salamanca Triptych and the famous, now lost, Middelburg Altarpiece.

A historical-conceptual account of the different genres, technologies, modes of inscription, and innate powers of expression by which something becomes evident. In this book, Ronald Day offers a historical-conceptual account of how something becomes evident. Crossing philosophical ontology with documentary ontology, Day investigates the different genres, technologies, modes of inscription, and innate powers of expression by which something comes into presence and makes itself evident. He calls this philosophy of evidence documentarity, and it is through this theoretical lens that he examines documentary evidence (and documentation) within the tradition of Western philosophy, largely understood as representational in its epistemology, ontology, aesthetics, and politics. Day discusses the expression of beings or entities as evidence of what exists through a range of categories and modes, from Plato's notion that ideas are universal types expressed in evidential particulars to the representation of powerful particulars in social media and machine learning algorithms. He considers, among other topics, the contrast between positivist and anthropological documentation traditions; the ontological and epistemological importance of the documentary index; the nineteenth-century French novel's documentary realism and the avant-garde's critique of representation; performative literary genres; expression as a form of self evidence; and the “post-documentation” technologies of social media and machine learning, described as a posteriori, real-time technologies of documentation. Ultimately, the representational means are not only information and knowledge technologies but technologies of judgment, judging entities both descriptively and prescriptively.

In response to a request from Congress, Surface Temperature Reconstructions for the Last 2,000 Years assesses the state of scientific efforts to reconstruct surface temperature records for Earth during approximately the last 2,000 years and the implications of these efforts for our understanding of global climate change. Because widespread, reliable temperature records are available only for the last 150 years, scientists estimate temperatures in the more distant past by analyzing "proxy evidence," which includes tree rings, corals, ocean and lake sediments, cave deposits, ice cores, boreholes, and glaciers. Starting in the late 1990s, scientists began using sophisticated methods to combine proxy evidence from many different locations in an effort to estimate surface temperature changes during the last few hundred to few thousand years. This book is an important resource in helping to understand the intricacies of global climate change.

"What issues, of both form and content, shape the documentary film? What role does visual evidence play in relation to a documentary's arguments about the world in which we live? Can a documentary be believed, and why or why not? How do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? In what ways can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways in which documentaries strive for accuracy and truthfulness, but simultaneously fabricate a form that shapes reality. Such films may rely on re-enactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor and expressive forms such as irony to make a point. In many ways documentaries are a fiction unlike any other. With clarity and passion, Nichols offers close readings of several provocative documentaries including Land without Bread, Restrepo, The Thin Blue Line, The Act of Killing, and Steve Jobs: The Man in the Machine as part of an authoritative examination of the layered approaches and delicate ethical balance demanded of documentary filmmakers"--Provided by publisher.