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This collection of essays presents new formulations of ideas and
practices within documentary media that respond critically to the
multifaceted challenges of our age. As social media, augmented
reality, and interactive technologies play an increasing role in
the documentary landscape, new theorizations are needed to account
for how such media both represents recent political,
socio-historical, environmental, and representational shifts, and
challenges the predominant approaches by promoting new critical
sensibilities. The contributions to this volume approach the idea
of "critical distance" in a documentary context and in subjects as
diverse as documentary exhibitions, night photography, drone
imagery, installation art, mobile media, nonhuman creative
practices, sound art and interactive technologies. It is essential
reading for scholars, practitioners and students working in fields
such as documentary studies, film studies, cultural studies,
contemporary art history and digital media studies.
This collection of essays presents new formulations of ideas and
practices within documentary media that respond critically to the
multifaceted challenges of our age. As social media, augmented
reality, and interactive technologies play an increasing role in
the documentary landscape, new theorizations are needed to account
for how such media both represents recent political,
socio-historical, environmental, and representational shifts, and
challenges the predominant approaches by promoting new critical
sensibilities. The contributions to this volume approach the idea
of "critical distance" in a documentary context and in subjects as
diverse as documentary exhibitions, night photography, drone
imagery, installation art, mobile media, nonhuman creative
practices, sound art and interactive technologies. It is essential
reading for scholars, practitioners and students working in fields
such as documentary studies, film studies, cultural studies,
contemporary art history and digital media studies.
A place comes into existence through the depth of relationships
that underwrite a physical location with layers of sedimented
names. In Place Matters scholars and artists conduct varied forms
of place-based inquiry to demonstrate why place matters. Lavishly
illustrated, the volume brings into conversation photographic
projects and essays that revitalize the study of landscape.
Contributors engage the study of place through an approach that
Jonathan Bordo and Blake Fitzpatrick call critical topography: the
way that we understand critical thought to range over a place, or
how thought and symbolic forms invent place through text and image
as if initiated by an X marking the spot. Critical topography's
tasks are to mediate and to diminish the gap between representation
and referent, to be both in the world and about the world; to ask
what place is this, what are its names, where am I, how and with
what responsibilities may I be here? Chapters map the deep
cultural, environmental, and political histories of singular
places, interrogating the charged relation between history, place,
and power and identifying the territorial imperatives of place
making in such sites as Colonus, Mont Sainte-Victoire,
Chomolungma/Everest, Hiroshima, Fort Qu'Appelle, Donetsk airport,
and the island of Lesbos. With contributions from the renowned
artists Hamish Fulton and Edward Burtynsky, the Swedish poet Jesper
Svenbro, and others, the collection examines profound shifts in
place-based thinking as it relates to the history of art, the
anthropocene and nuclear ruin, borders and global migration,
residential schools, the pandemic, and sites of refuge. In his
prologue W.J.T. Mitchell writes: "Places, like feasts, are
moveable. They can be erased and forgotten, lost in space, or
maintained and rebuilt. Both their appearance and disappearance,
their making and unmaking, are the work of critical topography."
Global in scope, Canadian in spirit, and grounded in singular
sites, Place Matters presents critical topography as an approach to
analyze, interpret, and reflect on place.
This special issue of "TOPIA Canadian Journal of Cultural Studies"
addresses the ubiquity of militarization, a presence that is woven
into the very fabric of civic culture.Militarization is not just
something that happens in war zones; when our government invests
billions of dollars in war planes, prisons and the "digital
economy," while starving resources in social justice, education,
the environment and culture, we are living the consequences of
global militarization. To talk about cultures of militarization is
to talk about the terms in which collective identity is militarized
and resistive forms of agency allowed and disallowed. By
recognizing the human relations within capitalism and how these
have come to be defined increasingly by military interests, we
reveal that militarism is a global master narrative; military
diction becomes inseparable from the language of power, sweeping
aside human suffering as mere "collateral damage." We are led to
believe that it is temporary, and we are compliant in our
acceptance of these narratives.
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Camera Atomica (Paperback)
John O'Brian; Contributions by Julia Bryan-Wilson, Blake Fitzpatrick, Susan Schuppli, Douglas Coupland, …
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Wherever there have been nuclear weapons and nuclear fission, there
have also been cameras. Camera Atomica explores the intimate
relationship between photography and nuclear events, to uncover how
the camera lens has shaped public perceptions of the atomic age and
its anxieties. Photographs have a crucial place in the
representation of the atomic age and its anxieties. Published in
collaboration with the Art Gallery of Ontario to coincide with a
major exhibition there in 2014. Camera Atomica examines narratives
beyond the "technological sublime" that dominates much nuclear
photography, suppressing representations of the human form in
favour of representations of B-52 bombers and mushroom clouds. The
book proposes that the body is the site where the social
environment interacts with the so-called "atomic road": uranium
mining and processing, radiation research, nuclear reactor
construction and operation, and weapons testing. Cameras have both
recorded and - in certain instances - provided motivation for the
production of nuclear events. Their histories and technological
development are intimately intertwined. All photographs, including
nuclear photographs, have the capability to function affectively by
working on the emotions and fascinating audiences. Through a wide
range of visual documentation, Camera Atomica raises questions such
as: what has the role of photography been in underwriting a public
image of the bomb and nuclear energy? Has the circulation of
photographic images heightened or lessened anxieties, or done both
at the same time? How should the different visual protocols of
photography be understood?
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