By analysing the philosophical lineage of notions of representation, time, being, light, exposure, image, and truth, this book argues that photography is the visual manifestation of the philosophical account of how humans encounter beings in the present. Daniel Rubinstein argues that traditional understandings of photography are determined by the notions of verisimilitude and representation, and this limits our understanding of photographic materiality. It is suggested that the photographic image must be closely read not for the objects, events and situations represented in it, but for the insights it affords into the structure of contemporary consciousness. The book will be of interest to scholars working in photography, media studies, philosophy, fine art, and art history.

Numerous studies address the flow of information between nations and states - especially in the era of globalization - and its contribution to the development of relations across physical borders. By contrast, little attention has been paid to the circumstances under which parties in conflict initiate and build barriers to free flow of information. The conflict in the Middle East may serve as a test bed of controlled disruption of information flow, as covered in Reporting the Middle East: Challenges and Chances. Two parallel types of confrontations appear to take place in the Middle East: the actual physical conflict, and the 'war of words,' conducted via the media, with each side firing its own verbal missiles. Reporting the Middle East: Challenges and Chances aims to show that the media arena is a key element in understanding the Middle East conflict. Media coverage of Middle Eastern affairs remains critical, if only because of its power in determining sources of information, setting decision makers' agendas, and influencing management of the physical confrontation.

Fragmentation of the Photographic Image in the Digital Age challenges orthodoxies of photographic theory and practice. Beyond understanding the image as a static representation of reality, it shows photography as a linchpin of dynamic developments in augmented intelligence, neuroscience, critical theory, and cybernetic cultures. Through essays by leading philosophers, political theorists, software artists, media researchers, curators, and experimental programmers, photography emerges not as a mimetic or a recording device but simultaneously as a new type of critical discipline and a new art form that stands at the crossroads of visual art, contemporary philosophy, and digital technologies.

Fragmentation of the Photographic Image in the Digital Age challenges orthodoxies of photographic theory and practice. Beyond understanding the image as a static representation of reality, it shows photography as a linchpin of dynamic developments in augmented intelligence, neuroscience, critical theory, and cybernetic cultures. Through essays by leading philosophers, political theorists, software artists, media researchers, curators, and experimental programmers, photography emerges not as a mimetic or a recording device but simultaneously as a new type of critical discipline and a new art form that stands at the crossroads of visual art, contemporary philosophy, and digital technologies.