Focusing on early nineteenth-century England?and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today’s prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot’s accounts on the removal of the “artist’s hand” in favor of “the pencil of nature” did not mark a shift from manual to “mechanical” and more accurate or “objective” systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.

While innumerable words have been written about individual paintings, there have been few attempts at extended analysis of a singular photographic image. This selection of essays addresses this startling omission by examining in depth key images from a history of photography dating from 1835 to the present.

The community of Zoar has been a tourist attraction since it was founded in 1817, due in part to its uncommon experiment in Christian communal living, its German heritage, and its location on the Ohio & Erie Canal. Unlike many 19th-century communal societies, Zoar did not discourage tourism and gawkers. As a result, there is an unusually rich photographic record of the community and its people as well as many descriptions and comments by writers who wished to share their impressions of this Old World town. Tourists snapped photos of themselves riding on haywagons, boating on Zoar Lake, and walking in the Zoar Separatists' symbolic garden. The Zoarites themselves got into the act as well, taking commercial photos of themselves and their town to be sold as postcards. Fernandez uses many previously unpublished photographs from the Ohio Historical Society's collections and captions them with the words of journalists, diarists, and other visitors. Today a restored village with a ten-museum complex operated by the Ohio Historical Society, Zoar has consciously maintained its German roots. Zoar continues to attract the curious individual, the traveler, the day-tripper, and the magazine a

This book represents a unique collaborative effort to bring together the multiple aspects of the semiotics of images into a coherent approach based on Greimasian and post-Greimasian theory. Starting with a critical discussion of epistemological and theoretical issues and continuing with methodology and numerous examples of applied analysis, it aims to provide the educated reader with a consistent and unified theoretical framework for the semiotic study of visual cultural texts. It offers a comprehensive overview of the semiotics of static images such as painting, drawing, sculpture and photography, but also dynamic images such as cinema, animation and digital games. Readers will benefit from the special emphasis placed on the analysis of the pictorial signifier, visual syntax and the structuring of the semantic universe.

We live in an age of the mobile image. The world today is absolutely saturated with images of all kinds circulating around the world at an incredible rate. The movement of the image has never been more extraordinary than it is today. This recent kinetic revolution of the image has enormous consequences not only for the way we think about contemporary art and aesthetics but also for art history as well. Responding to this historical moment, Theory of the Image offers a fresh new theory and history of art from the perspective of this epoch-defining mobility. The image has been understood in many ways, but it is rarely understood to be fundamentally in motion. The original and materialist approach is what defines Theory of the Image and what allows it to offer the first kinetic history of the Western art tradition. In this book, Thomas Nail further develops his larger philosophy of movement into a comprehensive “kinesthetic” of the moving image from prehistory to the present. The book concludes with a vivid analysis of the contemporary digital image and its hybridity, ultimately outlining new territory for research and exploration across aesthetics, art history, cultural theory, and media studies.

According to Didi-Huberman, visual representation has an "underside" in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the "dreamwork", a mobile process that often involves substitution and contradiction.

The two-volume set LNCS 4141, and LNCS 4142 constitutes the refereed proceedings of the Third International Conference on Image Analysis and Recognition, ICIAR 2006. The volumes present 71 revised full papers and 92 revised poster papers together with 2 invited lectures. Volume I includes papers on image restoration and enhancement, image segmentation, image and video processing and analysis, image and video coding and encryption, image retrieval and indexing, and more.