As many observers have noted, the world is becoming increasingly visually mediated, with the rise of computers and the internet being central factors in the emergence of new tools and conventions. Exploring the social structure of visuality, this volume contains a collection of essays by internationally renowned artists and scholars from a variety of fields (including art history, literary theory and criticism, cultural studies, film and television studies, intellectual history and sociology). It was conceived to address a bold query: how is our experience and understanding of vision and visual form changing under pressure from the various social, economic and cultural factors that are linked under the term globalization.
The essays overlap in their considerations of the tensions between cultures and worlds, political life, everyday social experience, and war. The resulting conversation that develops between the chapters touches on points from many visual worlds, and provides a unique opportunityfor considering the changing character of visual experience today.
This book will attract readers from a wide range of academic disciplines and will especially be valuable as a textbook for graduate and undergraduate courses in visual culture and cultural studies.

As many observers have noted, the world is becoming increasingly visually mediated, with the rise of computers and the internet being central factors in the emergence of new tools and conventions. Exploring the social structure of visuality, this volume contains a collection of essays by internationally renowned artists and scholars from a variety of fields (including art history, literary theory and criticism, cultural studies, film and television studies, intellectual history and sociology). It was conceived to address a bold query: how is our experience and understanding of vision and visual form changing under pressure from the various social, economic and cultural factors that are linked under the term 'globalization'.

The essays overlap in their considerations of the tensions between cultures and worlds, political life, everyday social experience, and war. The resulting conversation that develops between the chapters touches on points from many visual worlds, and provides a unique opportunity for considering the changing character of visual experience today.

This book will attract readers from a wide range of academic disciplines and will especially be valuable as a textbook for graduate and undergraduate courses in visual culture and cultural studies.

Landmark is a collaborative body of photographic work generated over the last five years in Pontiac/Detroit, Michigan, and Toledo, Ohio. In this volume, photographers J.W. Fisher and J.T. Leonard focus on exchanges between individuals and communities, as well as interventions in the landscape. Joel W. Fisher has published, exhibited and taught around the world. His work has been published in multiple magazines and books, including his most recent collaborative publication, 'Landmark.' Fisher has shown in museums and galleries such as the Kiosk Gallery in Missouri, Wassaic Projects in New York, the HGB in Germany and the Fotomuseum in Switzerland. Currently, he is an assistant professor of Art at the Lewis & Clark College. Justin T. Leonard received his MFA in Photography from Yale University in 2009. Leonard has shown work nationally in both group and solo exhibitions. In 2013 he was the recipient of an Ohio Arts Council Individual Fellowship, and in the summer of 2014 was selected to participate in Review Santa Fe by Center Programs. Blake Stimson is Professor of Art History at the University of California, Davis. He is the author of The Pivot of the World: Photography and Its Nation (2004), and coeditor (with Alexander Alberro) of Conceptual Art: A Critical Anthology (2000), both published by the MIT Press. Lisa Larson-Walker is Slate's associate art director, based in Brooklyn. She also is the editor of Slate's Instagram account. She is a graduate of the Cooper Union School of Art, and previously worked at Newsweek and the Daily Beast.