'Snapshot Chronicles' is a visual exploration of the creative outpouring made possible by the camera.

From the sod houses of South Dakota to the skyscrapers of New York City, these personal photographs form the first people's photo history of America.

A sweeping exploration of why and how we look at ourselves through art

This volume offers a multifaceted investigation of intersections among visual and memorial forms in modern art, politics, and society. The question of the relationships among images and memory is particularly relevant to contemporary society, at a time when visually-based technologies are increasingly employed in both grand and modest efforts to preserve the past amid rapid social change. The chapters in this book provide valuable insights concerning not only how memories may be seen (or sighted) in visual form but also how visual forms constitute noteworthy material sites of memory. The collection addresses this central theme with a wealth of interdisciplinary and international approaches, featuring conventional scholarly as well as artistic works from such disciplines as rhetoric and communication, art and art history, architecture, landscape studies, and more, by contributors from around the globe.

'Forget Me Not' explores the relationship between photography and memory and shows how ordinary people have sought to strengthen the emotional appeal of photographs, primarily by embellishing them to create strange and often beautiful hybrid objects.

The Good Life was a publication that was sent out on a semi-regular basis to a small group of friends/colleagues/subscribers beginning in November 1993 and concluding in September 2002. This book is a compilation of those issues. The subject material is varied and diverse---the bulk of it is a recounting of real life experiences, both mundane and dramatic, frequently analyzed from sociological, philosophical, psychological and humanistic perspectives. It also includes commentary on sociological issues, as well as topical commentary on the events of the day: the O.J. Simpson trial, the death of Princess Diana, and September 11, 2001. Sports topics of the day are discussed, and a smattering of poetry is also included, as well as reader commentary. It is an open-minded and multi-faceted book unlike any other you have read or will read.

When the revolutionary technology of photography erupted in American culture in 1839, it swiftly became, in the day's parlance, a "mania." This richly illustrated book positions vernacular photography at the center of the study of nineteenth-century American religious life. As an empirical tool, photography captured many of the signal scenes of American life, from the gold rush to the bloody battlefields of the Civil War. But photographs did not simply display neutral records of people, places, and things; rather, commonplace photographs became inscribed with spiritual meaning, disclosing, not merely signifying, a power that lay beyond. Rachel McBride Lindsey demonstrates that what people beheld when they looked at a photograph had as much to do with what lay outside the frame--theological expectations, for example--as with what the camera had recorded. Whether studio portraits tucked into Bibles, postmortem portraits with locks of hair attached, "spirit" photography, stereographs of the Holy Land, or magic lanterns used in biblical instruction, photographs were curated, beheld, displayed, and valued as physical artifacts that functioned both as relics and as icons of religious practice. Lindsey's interpretation of "vernacular" as an analytic introduces a way to consider anew the cultural, social, and material reach of religion. A multimedia collaboration with MAVCOR—Center for the Study of Material & Visual Cultures of Religion—at Yale University.