This much-expanded and updated second edition of New Media, Old Media brings together original and classic essays that explore the tensions of old and new in digital culture. Touching on topics including media archaeology, archives, software studies, surveillance, big data, social media, organized networks, digital art, and the Internet of Things, this newly revised critical anthology is essential reading for anyone studying the cultural impact of new and digital media.

This much-expanded and updated second edition of New Media, Old Media brings together original and classic essays that explore the tensions of old and new in digital culture. Touching on topics including media archaeology, archives, software studies, surveillance, big data, social media, organized networks, digital art, and the Internet of Things, this newly revised critical anthology is essential reading for anyone studying the cultural impact of new and digital media.

The interaction of politics and the visual in the activities of nongovernmental activists. Political acts are encoded in medial forms-punch holes on a card, images on a live stream, tweets about events unfolding in real time-that have force, shaping people as subjects and forming the contours of what is sensible, legible, and visible. In doing so they define the terms of political possibility and create terrain for political acts. Sensible Politics considers the constitutive role played by aesthetic and performative techniques in the staging of claims by nongovernmental activists. Attending to political aesthetics means focusing not on a disembodied image that travels under the concept of art or visual culture, nor on a preformed domain of the political that seeks subsequent expression in media form. Instead it requires bringing the two realms together into the same analytic frame. A diverse group of contributors, from art historians, anthropologists, and political theorists to artists, filmmakers, and architects, considers the interaction of politics and the visual in such topics as the political consequences of a photograph taken by an Israeli soldier in a Palestinian house in Ramallah; AIDS activism; images of social suffering in Iran; the "forensic architecture" of claims to truth; and the "Make Poverty History" campaign. Transcending disciplines, they trace a broader image complex whereby politics is brought to visibility through the mediation of specific cultural forms that mix the legal and the visual, the hermeneutic and the technical, the political and the aesthetic. Their contributions offer critical insight into the practices of mediation whereby the political becomes manifest.

Honorable Mention, Exhibition Catalogues - 2014 AAM Museum Publications Design Competition While photographs have been exchanged, appropriated, and mobilized in different contexts since the 19th century, their movement is now occurring at an unprecedented speed. The Itinerant Languages of Photography examines photography's capacity to circulate across time and space as well as across other media, such as art, literature, and cinema. Taking its point of departure from Latin American and Spanish photographic archives, the volume offers an alternative history of photography by focusing on the transnational dimension of technological traffic and image production at a time when photography is at the center of current debates on the role of representation, authorship, and reception in a global contemporary culture. Featuring a wide-range of photographs-images that converse across temporal, political, and cultural boundaries by artists such as Lola and Manuel Alvarez Bravo, Henri Cartier-Bresson, Marcelo Brodsky, Joan Colom, Marc Ferrez, and Joan Fontcuberta-the book argues that the photographic image comes into being only as a consequence of reproduction, displacement, and itinerancy. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum (09/07/13-01/19/14)

In occupied Belgium during World War II, Paul de Man (1919-1983) wrote music, lecture, and exhibition reviews, a regular book column, interviews, and articles on cultural politics for the Brussels daily newspaper "Le Soir," From December 1940 until he resigned in November 1942, de Man contributed almost 200 articles to this and another newspaper, both then controlled by Nazi sympathizers and vocal advocates of the "new order."
Later to become one of the most respected and influential literary theorists in America, de Man, then 21 and 22 years old, wrote primarily as the chief literary critic for "Le Soir," His weekly column reviewed the latest novels and poetry from Belgium, France, Germany, and England. De Man commented extensively on major propaganda expositions, and interviewed leading writers and cultural figures, including Paul Valery and the future Vichy Education minister Abel Bonnard.

The political extremes of de Man's wartime writing are marked by two articles. His single anti-Semitic article, "Les Juifs dans la litterature actuelle" (4 March 1941), acquiesces in the deportation of Jews to "a Jewish colony isolated from Europe." But de Man later argued in defense of a Resistance-linked journal ("A propos de la revue "Messages, "" 14 July 1942) against the "totalitarian" censors' "unconsidered attacks."

This volume reprints in facsimile all of de Man's articles in "Le Soir" as well as three articles he wrote prior to the occupation in 1940 as editor of the liberal "Cahiers du Libre Examen." It also includes English translations of the ten articles written in Flemmish for the Antwerp paper "Het Vlaamsche Land," in March-October 1942. The collection appears underthe auspices of the "Oxford Literary Review," England's leading theoretical journal for over a decade.

This collection of essays serves as a forum for a broad spectrum of responses to the war-time writing of Paul de Man, responses rarely in agreement and often sharply contradictory, differing in approach, affect, and style. "Responses" engages in reading de Man's early articles, in articulating their multiple contexts, then and now, and in opening the limitations imposed by rubrics like "the case of Paul de Man" and "deconstruction politics."
"Responses" brings together the readings and commentaries of literary critics and historians from the United States and Europe, with their diverse strategies-historical, rhetorical, psychological, political. The primary aims of these essays are reading de Man's texts, from 1940 to 1983, and assessing them in their political, ideological, and institutional fields.

"Responses" also provides essential historical materials-letters, documents, personal recollections-on "Le Soir" and "Het Vlaamsche Land," on the occupation of Belgium, and on the biography of Paul de Man. An appendix collects the recent reactions of newspapers in the United States and Europe (France, Germany, Switzerland, Sweden, Belgium, and elsewhere) to the discovery of de Man's wartime writings.

Contributors include Yves Bonnefoy, Cynthia Chase, Else de Bens, Ortwin de Graef, Jacques Derrida, Rodolphe Gasche, Gerald Graff, Barbara Johnson, Jeffrey Mehlman, J. Hillis Miller, Edward Said, Marc Shell, Gayatri Spivak, and others.

The collection appears under the auspices of the "Oxford Literary Review," England's leading theoretical journal for over a decade.