Blowup, says Armando Prats, is one of the necessary movies. It is a "living expression of the transition into the new narrative domains" in terms of man's "new vision of himself as a narrative creature in a world whose very essense is cinematic narration." Prats' work on the new humanism inherent in postwar filmmaking is a rewarding work with implications for the fields of esthetics and axiology as well as film criticism. In his analyses of four films by three directors—Fellini's Director's Notebook and The Clowns, Wertmiller's Seven Beauties, Antonioni's Blowup—Prats shows the contrasts between the conventional, word-bound narrative methods of the past and the new narrative in which images are free to display their energies fully, to lead the eye beyond rational concepts of reality and illusion, truth and falsity, good an evil, beauty and ugliness. The autonomous visual event, Prats finds, offers one of the most direct ways of entering into adventures of ideas, particularly in the realm of human values. Movies have revolutionized art as well as thought about art, and inasmuch as art and life converge, they have revolutionized life itself.

Over the past two decades, Latin America has seen an explosion of experiments with autonomy, as people across the continent express their refusal to be absorbed by the logic and order of neoliberalism. The autonomous movements of the twenty-first century are marked by an unprecedented degree of interconnection, through their use of digital tools and their insistence on the importance of producing knowledge about their practices through strategies of self-representation and grassroots theorization. The Book in Movement explores the reinvention of a specific form of media: the print book. Magalí Rabasa travels through the political and literary underground of cities in Mexico, Bolivia, Argentina, and Chile to explore the ways that autonomous politics are enacted in the production and circulation of books.

"What are the primary characteristics that define what it means to be human? And what happens to those characteristics in the face of technology past, present, and future? The three essays in Image, by leading philosophers of religion Mark Taylor, Mary-Jane Rubenstein, and Thomas Carlson, play at this intersection of the human and the technological, building out from Heidegger's notion that humans master the world by picturing or representing the real.Taylor's essay traces a history of capitalism, dwelling on the lack of humility, particularly in the face of our own mortality, that is the persistent failure of humans, before turning to art as a possible way to bring us back to earth and recover humility before it is too late. Rubenstein zeroes in on the delusions of imaginative conquest associated with space travel. Through a genealogy of the modern "view from space" from the iconic Earth rise photo of 1968 up to the new privatized American space race, Rubenstein provides an analysis of the perils of the one-world and the false unity it projects. In his essay, Carlson takes as his starting point the surveillance capitalism of facial recognition technology. He dives deep into Heidegger to meditate on the elimination of individuals through totalizing gestures and the relationship between such elimination and our encounters with mortality. Each of these essays, in its own way, reflects on the nature of imagination, the character of technological vision in contemporary culture, and the implications of these for the kinds of sociality and love that condition our human experience"--

This book is a collection of the papers accepted by the ICIVIS 2021—The International Conference on Image, Vision and Intelligent Systems held on June 15–17, 2021, in Changsha, China. The topics focus but are not limited to image, vision and intelligent systems. Each part can be used as an excellent reference by industry practitioners, university faculties, research fellows and undergraduates as well as graduate students who need to build a knowledge base of the most current advances and state-of-practice in the topics covered by this conference proceedings.

This volume contains the Proceedings of the 13th International Conference on Image Analysis and Processing (ICIAP 2005), held in Cagliari, Italy, at the conference centre “Centro della Cultura e dei Congressi”, on September 6–8, 2005. ICIAP 2005 was the thirteenth edition of a series of conferences organized every two years by the Italian group of researchersa?liated to the International Association for Pattern Recognition (GIRPR) with the aim to bring together researchers in image processing and pattern recognition from around the world. As for the previous editions, conference topics concerned the theory of image analysis and processing and its classical and Internet-driven applications. The central theme of ICIAP 2005 was “Pattern Recognition in the Internet and Mobile Communications Era”. The interest for such a theme was con?rmed by the large number of papers dealing with it, the special session devoted to pattern recognition for computer network security, and the emphasis of twoinvited talks on Internet and mobile communication issues. ICIAP 2005 received 217 paper submissions. Fifteen papers were collected into the two special sessions dealing with Pattern Recognition for Computer Network Security and Computer Vision for Augmented Reality and Augmented Environments.

What is the fate of cinema in an age of new technologies, new aesthetic styles, new modes of cultural production and consumption? What becomes of cinema and a century-long history of the moving image when the theatre is outmoded as a social and aesthetic space, as celluloid gives over to digital technology, as the art-house and multiplex are overtaken by a proliferation of home entertainment systems? The Orientation of Future Cinema offers an ambitious and compelling argument for the continued life of cinema as image, narrative and experience. Commencing with Lumière's Arrival of a Train at a Station, Bruce Isaacs confronts the threat of contemporary digital technologies and processes by returning to cinema's complex history as a technological and industrial phenomenon. The technology of moving images has profoundly changed; and yet cinema materialises ever more forcefully in digital capture and augmentation, 3-D perception and affect, High Frame Rate cinema, and the evolution of spectacle as the dominant aesthetic mode in contemporary studio production.

“A refreshing collection of essays that offers a range of critical and radical voices which are generally marginalized in the critical social studies ‘mainstream’ ... This collection is a good read with valuable insights that can impact teaching practice.”— Canadian Social Studies - Canada’s National Social Studies Journal - Volume 45 Issue 1