Citizens of networked societies are almost incessantly accompanied by ecologies of images. These ecologies of still and moving images present a paradox of uncertainties emerging along with certainties. Images appear more certain as the technical capacities that render them visible increase. At the same time, images are touched by more uncertainty as their numbers, manipulabilities, and contingencies multiply. With the emergence of big data, the image is becoming a dominant vehicle for the construction and presentation of the truth of data. Images present themselves as so many promises of the certainty, predictability, and intelligibility offered by data. The focus of this book is twofold. It analyses the kinds of images appearing today, showing how they are marked by a return to modern photographic emphases on high resolution, clarity, and realistic representation. Secondly, it discusses the ways in which the uncertainty of images is increasingly underscored within such reiterated emphases on allegedly certain visual truths. This often involves renewed encounters with noise, grain, glitch, blur, vagueness, and indistinctness. This book provides the reader with an intriguing transdisciplinary investigation of the uncertainly certain relation between the cultural imagination and the techno-aesthetic regime of big data and ubiquitous computing. This book was originally published as a special issue of Digital Creativity.

Almost all museums hold photographs in their collections, and museum professionals and their audiences engage with photographs in a myriad of ways. Yet despite some three decades of critical museology and photographic theory, and an extensive debate on the politics of representation, outside art museums, almost no critical attention has been given specifically to the roles, purposes and lives of these photographs within museums. This book brings into focus the ubiquitous yet entirely unconsidered work that photographs are put to in museums. The authors' argument is that there is an economy of photographs in museums which is integral to the processes of the museum, and integral to the understanding of museums. The international contributors, drawn from curators and academics, reflect a range of visual and museological expertise. After an introduction setting out the range of questions and problems, the first part addresses broad curatorial strategies and ways of thinking about photographs in museums. Shifting the emphasis from curatorial practices and anxieties to the space of the gallery, this is followed by a series of case studies of exhibitionary practices and the museum strategies that support them. The third section focuses on the role of photographs in the museum articulation of ’difficult histories’. A final section addresses photograph collections in a digital environment. New technologies and new media have transformed the management, address and purposing in photographs in museums, from cataloguing practices to streaming on social media. These growing practices challenge both traditional hierarchies of knowledge in museums and the location of authority about photographs. The volume emerges from PhotoCLEC, a HERA funded project on museums and the photographic legacy of the colonial past in a postcolonial and multicultural Europe.

"In the beginning, there was no real plan, just a road trip that became a journey." In the years 1986 and 1987, Keith Carter and his wife, Patricia, visited one hundred small Texas towns with intriguing names like Diddy Waw Diddy, Elysian Fields, and Poetry. He says, "I tried to make my working method simple and practical: one town, one photograph. I would take several rolls of film but select only one image to represent that dot on my now-tattered map. The titles of the photographs are the actual names of the small towns. . . ." Carter created a body of work that evoked the essence of small-town life for many people, including renowned playwright and fellow Texan, Horton Foote. In 1988, Carter published his one town/one picture collection in From Uncertain to Blue, a landmark book that won acclaim both nationally and internationally for the artistry, timelessness, and universal appeal of its images—and established Carter as one of America's most promising fine art photographers. Now a quarter century after the book's publication, From Uncertain to Blue has been completely re-envisioned and includes a new essay in which Carter describes how the search for photographic subjects in small towns gradually evolved into his first significant work as an artist. He also offers additional insight into his creative process by including some of his original contact sheets. And Patricia Carter gives her own perspective on their journey in her amplified notes about many of the places they visited as they discovered the world of possibilities from Uncertain to Blue.

What’s the best way to develop for a Web gone wild? That’s easy. Simply scrap the rules you’ve relied on all these years and embrace uncertainty as a core tenet of design. In this practical book, veteran developer Rob Larsen outlines the principles out what he calls The Uncertain Web, and shows you techniques necessary to successfully make the transition. By combining web standards, progressive enhancement, an iterative approach to design and development, and a desire to question the status quo, your team can create sites and applications that will perform well in a wide range of present and future devices. This guide points the way. Topics include: Navigating thousands of browser/device/OS combinations Focusing on optimal, not absolute solutions Feature detection, Modernizr, and polyfills RWD, mobile first, and progressive enhancement UIs that work with multiple user input modes Image optimization, SVG, and server-side options The horribly complex world of web video The Web we want to see in the future

The ten-volume set LNCS 14220, 14221, 14222, 14223, 14224, 14225, 14226, 14227, 14228, and 14229 constitutes the refereed proceedings of the 26th International Conference on Medical Image Computing and Computer-Assisted Intervention, MICCAI 2023, which was held in Vancouver, Canada, in October 2023. The 730 revised full papers presented were carefully reviewed and selected from a total of 2250 submissions. The papers are organized in the following topical sections: Part I: Machine learning with limited supervision and machine learning – transfer learning; Part II: Machine learning – learning strategies; machine learning – explainability, bias, and uncertainty; Part III: Machine learning – explainability, bias and uncertainty; image segmentation; Part IV: Image segmentation; Part V: Computer-aided diagnosis; Part VI: Computer-aided diagnosis; computational pathology; Part VII: Clinical applications – abdomen; clinical applications – breast; clinical applications – cardiac; clinical applications – dermatology; clinical applications – fetal imaging; clinical applications – lung; clinical applications – musculoskeletal; clinical applications – oncology; clinical applications – ophthalmology; clinical applications – vascular; Part VIII: Clinical applications – neuroimaging; microscopy; Part IX: Image-guided intervention, surgical planning, and data science; Part X: Image reconstruction and image registration.

Algebraic projective geometry, with its multilinear relations and its embedding into Grassmann-Cayley algebra, has become the basic representation of multiple view geometry, resulting in deep insights into the algebraic structure of geometric relations, as well as in efficient and versatile algorithms for computer vision and image analysis. This book provides a coherent integration of algebraic projective geometry and spatial reasoning under uncertainty with applications in computer vision. Beyond systematically introducing the theoretical foundations from geometry and statistics and clear rules for performing geometric reasoning under uncertainty, the author provides a collection of detailed algorithms. The book addresses researchers and advanced students interested in algebraic projective geometry for image analysis, in statistical representation of objects and transformations, or in generic tools for testing and estimating within the context of geometric multiple-view analysis.

An illustrated artist's memoir of the motivations, feelings, ideas, figures (including Samuel Beckett and Walter Benjamin), travels, and love affairs that have influenced his life. The writer and artist Frédéric Pajak was ten when he began to dream of “a book mixing words and pictures: snippets of adventure, random memories, maxims, ghosts, forgotten heroes, trees, the raging sea,” but it was not until he was in his forties that this dream took form as Uncertain Manifesto. The utterly original book that he produced is a memoir born of reading and a meditation on the lives and ideas, the motivations, feelings, and fates of some of Pajak’s heroes: Samuel Beckett and the artist Bram van Velde, and, especially, Walter Benjamin, whose travels to Moscow, Naples, and Ibiza, whose experiences with hashish, whose faltering marriage and love affairs and critique of modern experience Pajak re-creates and reflects on in word and image. Pajak’s moody black-and white drawings accompany the text throughout, though their bearing on it is often indirect and all the more absorbing for that. Between word and image, the reader is drawn into a mysterious space that is all Pajak’s as he seeks to evoke vanished histories and to resist a modern world more and more given over to a present without a past. With the support of the Swiss Arts Council Pro Helvetia