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Paul Crowther, using a philosophical approach to art history, considers the first steps towards digital graphics, their development in terms of three-dimensional abstraction and figuration, and then the complexities of their interactive formats.

This volume offers a varied and informed series of approaches to questions of mobilityΓÇöactual, social, virtual, and imaginaryΓÇöas related to visual culture. Contributors address these questions in light of important contemporary issues such as migration; globalization; trans-nationality and trans-cultural difference; art, space and place; new media; fantasy and identity; and the movement across and the transgression of the proprieties of boundaries and borders. The book invites the reader to read across the collection, noting differences or making connections between media and forms and between audiences, critical traditions and practitioners, with a view to developing a more informed understanding of visual culture and its modalities of mobility and fantasy as encouraged by dominant, emergent, and radical forms of visual practice.

This book links two fields of interest which are too seldom considered together: the production and critique of art in public space and social behaviour in the public realm. Case studies consider a broad range of public art, including commissioned and unofficial artworks, memorials, street art, street furniture, performance art, sound art, and media installations.

On Not Looking: The Paradox of Contemporary Visual Culture focuses on the image, and our relationship to it, as a site of "not looking." The collection demonstrates that even though we live in an image-saturated culture, many images do not look at what they claim, viewers often do not look at the images, and in other cases, we are encouraged by the context of exhibition not to look at images. Contributors discuss an array of imagesΓÇöphotographs, films, videos, press images, digital images, paintings, sculptures, and drawingsΓÇöfrom everyday life, museums and galleries, and institutional contexts such as the press and political arena. The themes discussed include: politics of institutional exhibition and perception of images; censored, repressed, and banned images; transformations to practices of not looking as a result of new media interventions; images in history and memory; not looking at images of bodies and cultures on the margins; responses to images of trauma; and embodied vision.

This book analyzes the philosophical origins of dualism in portraiture in Western culture during the Classical period, through to contemporary modes of portraiture.

The first book of its kind, Gestures of Seeing in Film, Video and Drawing engages broadly with the often too neglected yet significant questions of gesture in visual culture. In our turbulent mediasphere where images – as lenses bearing on their own circumstances – are constantly mobilized to enact symbolic forms of warfare and where they get entangled in all kinds of cultural conflicts and controversies, a turn to the gestural life of images seems to promise a particularly pertinent avenue of intellectual inquiry. The complex gestures of the artwork remain an under-explored theoretical topos in contemporary visual culture studies. In visual art, the gestural appears to be that which intervenes between form and content, materiality and meaning. But as a conceptual force it also impinges upon the very process of seeing itself. As a critical and heuristic trope, the gestural galvanizes many of the most pertinent areas of inquiry in contemporary debates and scholarship in visual culture and related disciplines: ethics (images and their values and affects), aesthetics (from visual essentialism to transesthetics and synesthesia), ecology (iconoclastic gestures and spaces of conflict), and epistemology (questions of the archive, memory and documentation). Offering fresh perspectives on many of these areas,　Gestures of Seeing in Film, Video and Drawing will be intensely awaited by readers from and across several disciplines, such as anthropology, linguistics, performance, theater, film and visual studies.

This book explores the relationship between the ongoing urbanization in China and the production of contemporary Chinese art since the beginning of the twenty-first century.

This book examines the interconnections between art, phenomenology, and cognitive studies, foregrounding the many ways that artists ask us to consider how we sense, think, and act in relation to a work of art.

This book examines the importance of the animal in modern art theory. It focuses on the conceptual connections between the notions of art and animality in art theory between the 1750s and 1950s, and clarifies the status of the animal under modernity.

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings which are attached to them and the implications they have on notions of identity, memory, gender, cultural belonging and political action.

The presentation of bodies in pain has been a major concern in Western art since the time of the Greeks. The Christian tradition is closely entwined with such themes, from the central images of the Passion to the representations of bloody martyrdoms. The remnants of this tradition are evident in contemporary images from Abu Ghraib. In the last forty years, the body in pain has also emerged as a recurring theme in performance art. Recently, authors such as Elaine Scarry, Susan Sontag, and Giorgio Agamben have written about these themes. The scholars in this volume add to the discussion, analyzing representations of pain in art and the media. Their essays are firmly anchored on consideration of the images, not on whatever actual pain the subjects suffered. At issue is representation, before and often apart from events in the world. Part One concerns practices in which the appearance of pain is understood as expressive. Topics discussed include the strange dynamics of faked pain and real pain, contemporary performance art, international photojournalism, surrealism, and Renaissance and Baroque art. Part Two concerns representations that cannot be readily assigned to that genealogy: the Chinese form of execution known as lingchi (popularly the "death of a thousand cuts"), whippings in the Belgian Congo, American lynching photographs, Boer War concentration camp photographs, and recent American capital punishment. These examples do not comprise a single alternate genealogy, but are united by the absence of an intention to represent pain. The book concludes with a roundtable discussion, where the authors discuss the ethical implications of viewing such images.

Elizabeth Sutton, using a phenomenological approach, investigates how animals in art invite viewers to contemplate human relationships to the natural world.

The complex gestures of artwork remain an under-explored theoretical topos in contemporary visual culture studies. In In this volume, contributors ask: How may one speak not only of the gestures of the body but also of the gestures of the image? What constitutes gesturality in the image and, more broadly, what are the gestures of the aesthetic itself? By thinking about images within this conceptual framework, this volume seeks to renew our understanding of the image.

Wonder has an established link to the history and philosophy of science. However, there is little acknowledgement of the relationship between the visual arts and wonder. In this book, artists, curators and art theorists give accounts of their approach to wonder through the use of materials, objects and ways of exhibiting.

How Folklore Shaped Modern Art: A Post-Critical History of Aesthetics underscores how the cultural traditions, belief systems and performed exchanges that were once integral to the folklore discipline are now central to contemporary art's "post-critical turn."

This book will help both students and seasoned scholars to understand key terms in visual studies - pictorial turn, metapictures, literary iconology, image/text, biopictures or living pictures, among many others - while systematically presenting the work of W.J.T.Mitchell as one of the discipline's founders and most prominent figures.

This volume explores the place of the sublime in contemporary culture and the aesthetic, cultural, and political values coded in it. It offers a map of the contemporary sublime in terms of the limits¿cinematic, cognitive, neurophysiological, technological, or environmental¿of representation.

This book focuses on the artistic process, creativity and collaboration, and personal approaches to creation and ideation in making digital and electronic technology-based art.

This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors¿from the arts, art history, sociology, political science, and philosophy¿to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.

As social, locative, and mobile media render the intimate public and the public intimate, this volume interrogates how this phenomenon impacts art practice and politics in the Asia-Pacific region.

This book explores the relationship between the ongoing urbanization in China and the production of contemporary Chinese art since the beginning of the twenty-first century.

This volume offers a varied and informed series of approaches to questions of mobility¿actual, social, virtual, and imaginary¿as related to visual culture. Contributors address these questions in light of important contemporary issues such as migration; globalization; trans-nationality and trans-cultural difference; art, space and place; new media; fantasy and identity; and the movement across and the transgression of the proprieties of boundaries and borders.

As social, locative, and mobile media render the intimate public and the public intimate, this volume interrogates how this phenomenon impacts art practice and politics in the Asia-Pacific region.

This book links two fields of interest which are too seldom considered together: the production and critique of art in public space and social behaviour in the public realm. Case studies consider a broad range of public art, including commissioned and unofficial artworks, memorials, street art, street furniture, performance art, sound art, and media installations.

Recently there have been a number of texts on images of pain by authors such as Elaine Scarry, George Roeder, Susan Sontag, Ulrich Baer, Georges Didi-Huberman, and Giorgio Agamben. In this volume, contributors add to the discussion on images of pain by providing thoughtful scholarly accounts of representations of pain in art and the media. The book covers areas such as contemporary performance art, international photojournalism, surrealism, and Renaissance and Baroque art, with imagery of Congolese whippings, contemporary American execution chambers, Abu Ghraib, lynching photographs, and concentration camps, among others.

On Not Looking: The Paradox of Contemporary Visual Culture focuses on the image, and our relationship to it, as a site of "not looking." The collection demonstrates that even though we live in an image-saturated culture, many images do not look at what they claim, viewers often do not look at the images, and in other cases, we are encouraged by the context of exhibition not to look at images. Contributors discuss an array of images-photographs, films, videos, press images, digital images, paintings, sculptures, and drawings-from everyday life, museums and galleries, and institutional contexts such as the press and political arena. The themes discussed include: politics of institutional exhibition and perception of images; censored, repressed, and banned images; transformations to practices of not looking as a result of new media interventions; images in history and memory; not looking at images of bodies and cultures on the margins; responses to images of trauma; and embodied vision.