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.

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."--Amazon.com.

The seven-volume set comprising LNCS volumes 8689-8695 constitutes the refereed proceedings of the 13th European Conference on Computer Vision, ECCV 2014, held in Zurich, Switzerland, in September 2014. The 363 revised papers presented were carefully reviewed and selected from 1444 submissions. The papers are organized in topical sections on tracking and activity recognition; recognition; learning and inference; structure from motion and feature matching; computational photography and low-level vision; vision; segmentation and saliency; context and 3D scenes; motion and 3D scene analysis; and poster sessions.

The 8-volume set, comprising the LNCS books 13801 until 13809, constitutes the refereed proceedings of 38 out of the 60 workshops held at the 17th European Conference on Computer Vision, ECCV 2022. The conference took place in Tel Aviv, Israel, during October 23-27, 2022; the workshops were held hybrid or online. The 367 full papers included in this volume set were carefully reviewed and selected for inclusion in the ECCV 2022 workshop proceedings. They were organized in individual parts as follows: Part I: W01 - AI for Space; W02 - Vision for Art; W03 - Adversarial Robustness in the Real World; W04 - Autonomous Vehicle Vision Part II: W05 - Learning With Limited and Imperfect Data; W06 - Advances in Image Manipulation; Part III: W07 - Medical Computer Vision; W08 - Computer Vision for Metaverse; W09 - Self-Supervised Learning: What Is Next?; Part IV: W10 - Self-Supervised Learning for Next-Generation Industry-Level Autonomous Driving; W11 - ISIC Skin Image Analysis; W12 - Cross-Modal Human-Robot Interaction; W13 - Text in Everything; W14 - BioImage Computing; W15 - Visual Object-Oriented Learning Meets Interaction: Discovery, Representations, and Applications; W16 - AI for Creative Video Editing and Understanding; W17 - Visual Inductive Priors for Data-Efficient Deep Learning; W18 - Mobile Intelligent Photography and Imaging; Part V: W19 - People Analysis: From Face, Body and Fashion to 3D Virtual Avatars; W20 - Safe Artificial Intelligence for Automated Driving; W21 - Real-World Surveillance: Applications and Challenges; W22 - Affective Behavior Analysis In-the-Wild; Part VI: W23 - Visual Perception for Navigation in Human Environments: The JackRabbot Human Body Pose Dataset and Benchmark; W24 - Distributed Smart Cameras; W25 - Causality in Vision; W26 - In-Vehicle Sensing and Monitorization; W27 - Assistive Computer Vision and Robotics; W28 - Computational Aspects of Deep Learning; Part VII: W29 - Computer Vision for Civil and Infrastructure Engineering; W30 - AI-Enabled Medical Image Analysis: Digital Pathology and Radiology/COVID19; W31 - Compositional and Multimodal Perception; Part VIII: W32 - Uncertainty Quantification for Computer Vision; W33 - Recovering 6D Object Pose; W34 - Drawings and Abstract Imagery: Representation and Analysis; W35 - Sign Language Understanding; W36 - A Challenge for Out-of-Distribution Generalization in Computer Vision; W37 - Vision With Biased or Scarce Data; W38 - Visual Object Tracking Challenge.