Including work by leading scholars, artists, scientists and practitioners in the field of visual culture, The Routledge Companion to Photography, Representation and Social Justice is a seminal reference source for the new roles and contexts of photography in the 21st century.
Including work by leading scholars, artists, scientists and practitioners in the field of visual culture, The Routledge Companion to Photography, Representation and Social Justice is a seminal reference source for the new roles and contexts of photography in the 21st century.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Moritz Neumüller is a curator, educator and writer in the field of photography and new media. He has worked for institutions such as MoMA New York and PhotoIreland Festival in Dublin and co-founded Photobook Week Aarhus (Denmark) in 2014. Since 2010, he has run The Curator Ship, an online resource for visual artists. Apart from his curatorial practice, Neumüller has been working for more than ten years at the forefront of making culture accessible for everybody, including disabled people. In 2009, he founded the project ArteConTacto and in 2011 the initiative MuseumForAll, with the mission to make museums open to all audiences.
Inhaltsangabe
0.1 Introduction 1. Representation, Identity and Inclusion 1.0 Chapter Introduction 1.1 Representation and Responsibility: Institutions as Changemakers 1.2 Between Camera and Canvas: Man Ray, Picasso, and the Representation of Adrienne Fidelin 1.3 An Archive in a Suitcase. And the Question What to Do With It 1.4 The Representation of the Inuit Population in Greenland, Then and Now 1.5 Representations and Stereotypes of Greenland, Revisited 1.6 Photography in Contemporary Jewelry Art 1.7 Repetitive Representations. The Case of Private Photographs 2. Diversity, Empowerment and Social Justice 2.0 Chapter Introduction 2.1 The Railway and its Images: Decolonizing Landscapes through the Works of Chinese Visual Artists 2.2 Through Fa'afafabulous Glasses: An Interview with Yuki Kihara 2.3 Participatory Photography: Gaze, Representation and Agency 2.4 Canterbury, Revisited: Reflections on a Collaborative Photography Course for Sighted and Visually Impaired Participants 2.5 Social Practice and Photography: Who is Looking at Whom? 2.6 The Breath of Memory 2.7 The Role of the Andean People in the Work of Martin Chambi, Revisited 3. Crisis and Change 3.0 Chapter Introduction 3.1 Feminism and Photography: A Situated Exploration of the Visual Archive of Feminisms in Chile 3.2 Freedom Is Not Free 3.3 Selling the Great White Myth. A Reflection on the South African Media and Communications Industry From the Life Experience of a Brown Bodied Woman 3.4 Working with Archives - Past, Present, Future 3.5 Visual Proof: How Glacier Photography Shows Us the Reality of Climate Change 3.6 When Will They Listen? 3.7 Art and Activism Revisited 4. Automated and Networked Images 4.0 Chapter Introduction 4.1 Leaks, Growths and Caveats: The Black Hole Image 4.2 Visualisation as a Political Act 4.3 How to Photograph a Virus 4.4 Video Games Inside the Body: Medical Robots and the Future of Tele Surgery 4.5 Orientation and Resistance in a Fog of Systems 4.6 Machine Learning for Aquatic Plastic Litter Detection Turned Into Art 4.7 Is this Still Photography? Online Experiences, NFTs and Digital Vernacular 5. Censorship, Image Control and Manipulation 5.0 Chapter Introduction 5.1 Who, How, and Where? Speaking, Writing, Making Art, and Publishing in a Censorial World 5.2 Tonald Drump, Censorship and Deplatforming 5.3 Interviews With Anonymous Internet Content Moderators 5.4 Selfies, Biometrics, Geolocation and the 2021 Capitol Hill Riot: How Photography is Used in the Service of Surveillance 5.5 The Real, the Unreal, and the Authentic 5.6 Image Archives in the Age of Surveillance Capitalism 6. New Ways of Seeing 6.0 Chapter Introduction 6.1 Exiting the Photographic Universe 6.2 Diversifying the Tools of Storytelling: From Photography and Video to Virtual Reality 6.3 Lubumbashi to Paulshoek: Iterations of the Local in Six African Photobook Projects 6.4 Remix: Printed Matter From the Caribbean 6.5 Opening the Gates for Eastern Concepts and Terminology for Photography Theory 6.6 Translation and Use of Western Photography Theory in Asia 6.7 Deconstructing Red, Yellow, Black and White
0.1 Introduction 1. Representation, Identity and Inclusion 1.0 Chapter Introduction 1.1 Representation and Responsibility: Institutions as Changemakers 1.2 Between Camera and Canvas: Man Ray, Picasso, and the Representation of Adrienne Fidelin 1.3 An Archive in a Suitcase. And the Question What to Do With It 1.4 The Representation of the Inuit Population in Greenland, Then and Now 1.5 Representations and Stereotypes of Greenland, Revisited 1.6 Photography in Contemporary Jewelry Art 1.7 Repetitive Representations. The Case of Private Photographs 2. Diversity, Empowerment and Social Justice 2.0 Chapter Introduction 2.1 The Railway and its Images: Decolonizing Landscapes through the Works of Chinese Visual Artists 2.2 Through Fa'afafabulous Glasses: An Interview with Yuki Kihara 2.3 Participatory Photography: Gaze, Representation and Agency 2.4 Canterbury, Revisited: Reflections on a Collaborative Photography Course for Sighted and Visually Impaired Participants 2.5 Social Practice and Photography: Who is Looking at Whom? 2.6 The Breath of Memory 2.7 The Role of the Andean People in the Work of Martin Chambi, Revisited 3. Crisis and Change 3.0 Chapter Introduction 3.1 Feminism and Photography: A Situated Exploration of the Visual Archive of Feminisms in Chile 3.2 Freedom Is Not Free 3.3 Selling the Great White Myth. A Reflection on the South African Media and Communications Industry From the Life Experience of a Brown Bodied Woman 3.4 Working with Archives - Past, Present, Future 3.5 Visual Proof: How Glacier Photography Shows Us the Reality of Climate Change 3.6 When Will They Listen? 3.7 Art and Activism Revisited 4. Automated and Networked Images 4.0 Chapter Introduction 4.1 Leaks, Growths and Caveats: The Black Hole Image 4.2 Visualisation as a Political Act 4.3 How to Photograph a Virus 4.4 Video Games Inside the Body: Medical Robots and the Future of Tele Surgery 4.5 Orientation and Resistance in a Fog of Systems 4.6 Machine Learning for Aquatic Plastic Litter Detection Turned Into Art 4.7 Is this Still Photography? Online Experiences, NFTs and Digital Vernacular 5. Censorship, Image Control and Manipulation 5.0 Chapter Introduction 5.1 Who, How, and Where? Speaking, Writing, Making Art, and Publishing in a Censorial World 5.2 Tonald Drump, Censorship and Deplatforming 5.3 Interviews With Anonymous Internet Content Moderators 5.4 Selfies, Biometrics, Geolocation and the 2021 Capitol Hill Riot: How Photography is Used in the Service of Surveillance 5.5 The Real, the Unreal, and the Authentic 5.6 Image Archives in the Age of Surveillance Capitalism 6. New Ways of Seeing 6.0 Chapter Introduction 6.1 Exiting the Photographic Universe 6.2 Diversifying the Tools of Storytelling: From Photography and Video to Virtual Reality 6.3 Lubumbashi to Paulshoek: Iterations of the Local in Six African Photobook Projects 6.4 Remix: Printed Matter From the Caribbean 6.5 Opening the Gates for Eastern Concepts and Terminology for Photography Theory 6.6 Translation and Use of Western Photography Theory in Asia 6.7 Deconstructing Red, Yellow, Black and White
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Internetauftritt der buecher.de internetstores GmbH
Geschäftsführung: Monica Sawhney | Roland Kölbl | Günter Hilger
Sitz der Gesellschaft: Batheyer Straße 115 - 117, 58099 Hagen
Postanschrift: Bürgermeister-Wegele-Str. 12, 86167 Augsburg
Amtsgericht Hagen HRB 13257
Steuernummer: 321/5800/1497
USt-IdNr: DE450055826
