Dag Petersson offers a comprehensive critique of the philosophy that has dominated 200 years of modern thought, politics, economy, and culture. The basic question is this: why does dialectical metaphysics fail to keep what it promises? What is it about dialectics, that makes it fall into irreducibly distinct variations of itself, when all it promises is to synthesize, to reconcile and make whole what is fragmented and alien to itself? An undisciplined creativity intrinsic to completing reason comes to light through analyses of how dialectical systems begin. Every dialectical philosophy must account for its own birth, and it is at this point, when it also articulates its promise of universal synthesis, that the book discovers a desire for light-writing, or photography. Only the most immediate element - light - can mediate the necessary self-determination of thought at its origin. Light must begin to write. A philosophical critique of dialectics is therefore also a point of departure for a new aesthetic ontology of photography.

In the 21st century photography has come of age as a contemporary art form. Almost two centuries after photographic technology was first invented, the art world has fully embraced it as a legitimate medium, equal in status to painting and sculpture. This book provides an introduction to the extraordinary range of contemporary art photography, from portraits of intimate life to highly staged, 'directorial' spectacle. The vast span of photographers whose work is reproduced includes established artists such as Isa Genzken, Jeff Wall, Sophie Calle, Thomas Demand, Nan Goldin and Sherry Levine, as well as emerging talents such as Sara VanDerBeek, Rashid Johnson, Viviane Sassen and Amalia Ulman. This new edition revitalizes previous discussion of works from the 2000s through dialogue with more recent practice. Adding to the wide selection featured of work, Cotton celebrates a new generation of artists, who are shaping photography as a culturally significant medium for our current socio-political climate.

Based on the author's real-world experience, this book provides a comprehensive guide on how to develop a professional career and client base as a unit stills photographer in the entertainment industry. Industry veteran Jace Downs takes readers behind the scenes as he explores production from the perspective of a unit stills photographer. Honest and entertaining, chapters cover the production environment, set etiquette, equipment, dealing with difficult talent, shooting on set, developing a client base, joining the union and much more. Accessible to those within and outside of the entertainment industry, this book is ideal for intermediate level photographers looking to expand their skillset and client base, as well as for aspiring photographers who would like more insight into photography work in entertainment production.

Based on the author's real-world experience, this book provides a comprehensive guide on how to develop a professional career and client base as a unit stills photographer in the entertainment industry. Industry veteran Jace Downs takes readers behind the scenes as he explores production from the perspective of a unit stills photographer. Honest and entertaining, chapters cover the production environment, set etiquette, equipment, dealing with difficult talent, shooting on set, developing a client base, joining the union and much more. Accessible to those within and outside of the entertainment industry, this book is ideal for intermediate level photographers looking to expand their skillset and client base, as well as for aspiring photographers who would like more insight into photography work in entertainment production.

Expert advice from several industrial professionals who have worked for some of the world's biggest tech and interactive companies. Best practices that not only prepare writers on how to apply their craft to new fields, but also prepare them for the common ambiguity they will find in corporate and start-up environments. Breakdown of platforms that shows how tech capabilities can fulfill content expectations and how content can fulfill tech expectations. Basic storytelling mechanics customized to today's popular technologies and traditional gaming platforms.

Expert advice from several industrial professionals who have worked for some of the world's biggest tech and interactive companies. Best practices that not only prepare writers on how to apply their craft to new fields, but also prepare them for the common ambiguity they will find in corporate and start-up environments. Breakdown of platforms that shows how tech capabilities can fulfill content expectations and how content can fulfill tech expectations. Basic storytelling mechanics customized to today's popular technologies and traditional gaming platforms.

Artist and photographer Clare Newton rediscovers and records the faint remnants of old London, only made visible when lit by a fleeting low winter's sun. These images are the conduits through time, analysing the sometimes uncomfortable balance between a struggling heritage to exist and the insatiable appetite of modern regeneration. But deep inside East London also lies a Victorian era. The mother of inventions, which not only stimulated change across the world then but even now their lingering artefacts and sayings effect us even in today's hi-tech social world. Strange but true stories that explain how and where artefacts have come from. Including the roots of 'Sarcasm' or the colour purple, both invented in the east end. Or how Shoreditch got its name. This book arose after many previous years exploration for a large exhibition displayed before the Olympics in London, called Riches Uncovered. The facts of which will be made into a series of photographic studies for all to enjoy and smile over. About Clare Newton In 2001 Clare Newton was awarded the British Female Inventor of the Year, and she has received 5 international awards for innovation. Born in London, her creative talents were expressed at a young age, first painting her bedroom to building wooden aeroplanes. But when she was given her first camera, a little Minolta, at the age of 14, it inspired her to build a dark room in the roof of her parents' house, where she taught herself how to shoot and develop photographs, with neighbours encouraging her with small commissions. She took a degree in art and design in East London and worked as a Graphic & Interior Designer for many years. Photography really took off for her when the Olympics came to London. She made her first large photographic installation in 2009, 'Riches Uncovered', a collection of photographic montages to explain and document East London's disappearing heritage. After this first project she went on to produce numerous extraordinary community art projects, involving hundreds of children and adults. The resulting photographic montages were displayed outdoors in unexpected public places, encouraging all to take part, share and learn about local heritage. Clare believes that it is through the passion of creating participatory public projects, that art can positively affect people in different and personal ways, even drawing communities together. Clare's next endeavour was to create Jump4London - the World's Longest Photograph, with 5,000 people taking part, who appeared to jump simultaneously. Two meters high and one kilometre in length, it was printed on 2.5 tons of specialist photographic material, and documented an important piece of London's history as people celebrated the 2012 Olympic Games. It made a Double Guinness World Record as part of the Cultural Olympiad's World Record London.

With an introduction by Hubertus von Amelunxen Media philosopher Vilem Flusser proposed a revolutionary new way of thinking about photography. An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture (from the linearity of history into the two-dimensionality of magic) and of industrial into post-industrial society (from work into leisure) went hand in hand, and how photography allows us to read and interpret these changes with particular clarity.

"It's dangerous to be an honest man." - Michael Corleone, Godfather III As special photographer on the sets and locations of Francis Ford Coppola's The Godfather trilogy, Steve Schapiro had the remarkable experience of witnessing legendary actors giving some of their most memorable performances. Schapiro immortalized Marlon Brando, Al Pacino, Robert De Niro, James Caan, Robert Duvall, and Diane Keaton in photos that have since become iconic images, instantly recognizable and endlessly imitated. Gathered together in this book are Schapiro's finest photographs from all three Godfather films, lovingly reproduced from the original negatives. With contextual essays and interviews covering the trilogy in its entirety, this book contains over 300 color and black-and-white images. Schapiro's images take us behind the scenes of this epic and inimitable cinematic saga, revealing the director's working process, capturing the moods and personalities involved, and providing insight into the making of movie history. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.

Andreas Muller-Pohle is an artist and publisher who has challenged the limits of photographic, video, and computer images since 1977. Interfaces surveys his entire career, including his early, experimental work from the 70s and 80s and his latest video and computer pieces, Face Codes and Sojourner II. Exquisitely presented and printed, this book is edited and introduced by one of Europe's most distinguished curators, Hubertus von Amelunxen. Anreas Muler-Pohle has also served as the publisher of European Photography since 1980 and is the editor of numerous publications including the major books by media philosopher Vilem Flusser. As von Amelunxen notes, "With its combination of analog and digital technology, video and interaction installations, Interfaces provides insight into photography as a tool for imaging ideas. For Muller-Pohle, the medium of photography is located on the threshold between human perception and the abolition of its limits by the apparatus".

In Selfie Aesthetics Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality. Morse contends that rather than being understood as shallow emblems of a narcissistic age, selfies can produce politically meaningful encounters between creators and viewers. Through close readings of selfies and other digital artworks by trans feminist artists, Morse details a set of formal strategies they call selfie aesthetics: doubling, improvisation, seriality, and nonlinear temporality. Morse traces these strategies in the work of Zackary Drucker, Vivek Shraya, Tourmaline, Alok Vaid-Menon, Zinnia Jones, and Natalie Wynn, showing how these artists present improvisational identities and new modes of performative resistance by conveying the materialities of trans life. Morse shows how the interaction between selfie creators and viewers constructs collective modes of being and belonging in ways that envision trans feminist futures. By demonstrating the aesthetic depth and political potential of selfie creation, distribution, and reception, Morse deepens understandings of gender performativity and trans experience.

Roger Bamber, for fifty years one of Britain’s leading photojournalists, has poured his life’s work into this unique reflection of a career that encompassed not only riots and bombings and the crazy world of rock and pop in the twentieth century but recorded with a sympathetic eye the demise of traditional British industries and the old steam railways. His graphic photographs are well known for their distinctive, often wryly humorous, style and strong visual impact and have been widely published worldwide. He was British Press Photographer of the Year, twice British News Photographer of the Year and won many awards for his features on the arts. Towards the end of his career he worked mainly for the Guardian and was happiest finding creative people with a story to tell. He preferred working outdoors, ideally within sight of the sea, and showcasing ordinary people – celebrating just how extraordinary all of us can be.

Journalism Research in Practice: Perspectives on Change, Challenges, and Solutions is a unique collection of research on journalism written for journalists and wider audiences. Based on scholarship previously published in Journalism Practice, Journalism Studies, and Digital Journalism, authors have updated and rewritten their works to make connections to contemporary issues. These 28 studies include perspectives on modern-day freelancing, digitization, and partisan influences on the press. They appear in four distinct sections: * Addressing Journalism in Times of Social Conflict * Advancements in New Media and Audience Participation * Challenges and Solutions in a Changing Profession * Possibilities for Journalism and Social Change This book is a collection by leading scholars from the field of Journalism Studies who have revisited their previous work with the intent of asking more questions about how journalism looks, works, and is preparing for the future. From coverage on Donald Trump and alt-right media to media trust, verification, and social media, this volume is relevant for practicing journalists today who are planning for tomorrow, students learning about the field and its debates, and scholars and educators looking for approachable texts about complex issues.

This book is a sumptuously produced journey around twelve privately owned country houses, asking what it is like to live in such places today. What role do they play in the twenty-first century? For many years after the Second World War, the country house was struggling. Now a new generation of young owners, often with children, has taken over. They're finding innovative ways to live in these ancient, fragile and poetic places. While they treasure the history and beauty of the houses, they're also adapting and enhancing them for a modern era. Old Homes, New Life is a behind-the-scenes account of today's aristocracy, as they reinvent the country house way of life. Each family does this in its own way, maintaining the tradition of individualism, even eccentricity, which is so much associated with country houses. Dylan Thomas's superb yet intimate photographs capture both the inhabitants of these houses and the spaces they occupy - from State dining to family kitchen, walled garden to attic. This feast for the eyes is accompanied by an equally mouth-watering text by Clive Aslet, based on interviews with family members and his long experience of the subject through his years as Editor of Country Life. The result is an exclusive tour of a dozen spectacular homes.

Throughout photography's history, failure has played an essential, recurring part in the development and perceived value of this medium. Exploring a range of failures - individual and institutional, technological and historiographical - Photography and Failure asks what it means to fail and considers how this narrative of failure has shaped our understanding of photography. From the trial-and-error beginnings of photochemistry to poor business decisions influenced by fickle public opinion and taste, the founders and early practitioners of photography frequently faced bankruptcy and ignominy. Alongside these individual 'failures', this collection of essays examines the role of museums in rediscovering, preserving and presenting photographs within institutions, as well as technological limitations, such as the problematic panoramic lens or the digital, archival failures of Snapchat. Moving beyond the physical photograph and these processes, the book also investigates the limitations of photographs themselves, as purveyors of truth, time, space, documentary realism and social change, whether these failures are used to effect or not. Finally, the book probes the historiographical failures affecting the discipline, drawing on key debates, such as the perceived over-emphasis on European and American photography, and the place of photography theory in contemporary art practice. Blurring the boundaries between traditional binaries of art and non-art photography, amateur and professional practice, and individual and corporate perspectives, Photography and Failure presents a new approach to understanding and evaluating photographic history.

At the turn of the 20th century, printing and photographic technologies evolved rapidly, leading to the birth of mass media and the rise of the amateur photographer. Demonstrating how this development happened symbiotically with great changes in the shape of British literature, Writing, Authorship and Photography in British Literary Culture, 1880-1920 explores this co-evolution, showing that as both writing and photography became tools of mass dissemination, literary writers were forced to re-evaluate their professional and personal identities. Focusing on four key authors—Thomas Hardy, Bram Stoker, Joseph Conrad and Virginia Woolf—each of which had their own private and professional connections to photographs, this book offers valuable historical contexts for contemporary cultural developments and anxieties. At first establishing the authors’ response to developing technologies through their non-fiction, personal correspondences and working drafts, Ennis moves on to examine how their perceptions of photography extend into their major works of fiction: A Laodicean, Dracula, The Secret Agent, The Inheritors and The Voyage Out. Reflecting on the first ‘graphic revolution’ in a world where text and image are now reproduced digitally and circulated en masse and online, Ennis redirects our attention to when image and text appeared alongside each other for the first time and the crises this sparked for authors: how they would respond to increasingly photographic depictions of everyday life, and in turn, how their writing adapted to a distinctly visual mass media.

At the intersection of law, literature and history, this book interrogates how a dominant contemporary idea of law emerged out of specific ideas of reading in the nineteenth century. Reading shapes our identities. How we read shapes who we are. Reading also shapes our conceptions of what the law is, because the law is also a practice of reading. Focusing on the works of key Victorian writers closely associated with legal practice, this book addresses the way in which the identity of the reader of law has been modelled on the identity of the political elite. At the same time, it shows how other readers of law have been marginalised. The book thus shows how a construction of the law has emerged from the ordering of a power that discriminates between different readers and readings. More specifically, and in response to the emerging media of photography - and, with it, potentially subversive ideas of exposure and visibility - the book shows that there have been dominant, hidden and unrecognised guides to legal reading and to legal thought. And in making these visible, the book also aims to make them contestable. This secret history of law will appeal to legal historians, legal theorists, those working at the intersection of law and literature and others with interests in law and the visual.