Aby Warburg’s Mnemosyne Atlas (1925–1929) is a prescient work of mixed media assemblage, made up of hundreds of images culled from antiquity to the Renaissance and arranged into startling juxtapositions. Warburg’s allusive atlas sought to illuminate the pains of his final years, after he had suffered a breakdown and been institutionalized. It continues to influence contemporary artists today, including Gerhard Richter and Mark Dion.
 
In this illustrated exploration of Warburg and his great work, Georges Didi-Huberman leaps from Mnemosyne Atlas into a set of musings on the relation between suffering and knowledge in Western thought, and on the creative results of associative thinking. Deploying writing that delights in dramatic jump cuts reminiscent of Warburg’s idiosyncratic juxtapositions, and drawing on a set of sources that ranges from ancient Babylon to Walter Benjamin, Atlas, or the Anxious Gay Science is rich in Didi-Huberman’s trademark combination of elan and insight.

How are images made, and how should we understand their limits, capacities, and forces in digital media?

While functioning as representations or mediations of the political, images also act through the technologies and social processes that they claim only to represent. In both capacities, images can be innovative, but they can also reproduce harmful phenomena such as racism, misogyny, and conspiracy. Boundary Images investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature. Exploring the limits of the visual and beyond what can be seen, Boundary Images posits these boundaries as starting points for the production of new and radically different ways of knowing about the world.

Communications, philosophy, film and video, digital culture: media studies straddles an astounding array of fields and disciplines and produces a vocabulary that is in equal parts rigorous and intuitive. Critical Terms for Media Studies defines, and at times, redefines, what this new and hybrid area aims to do, illuminating the key concepts behind its liveliest debates and most dynamic topics.

Part of a larger conversation that engages culture, technology, and politics, this exciting collection of essays explores our most critical language for dealing with the qualities and modes of contemporary media. Edited by two outstanding scholars in the field, W. J. T. Mitchell and Mark B. N. Hansen, the volume features works by a team of distinguished contributors. These essays, commissioned expressly for this volume, are organized into three interrelated groups: “Aesthetics” engages with terms that describe sensory experiences and judgments, “Technology” offers entry into a broad array of technological concepts, and “Society” opens up language describing the systems that allow a medium to function.

A compelling reference work for the twenty-first century and the media that form our experience within it, Critical Terms for Media Studies will engage and deepen any reader’s knowledge of one of our most important new fields.

Almost thirty years ago, W. J. T. Mitchell’s Iconology helped launch the interdisciplinary study of visual media, now a central feature of the humanities. Along with his subsequent Picture Theory and What Do Pictures Want?, Mitchell’s now-classic work introduced such ideas as the pictorial turn, the image/picture distinction, the metapicture, and the biopicture. These key concepts imply an approach to images as true objects of investigation—an “image science.”

Continuing with this influential line of thought, Image Science gathers Mitchell’s most recent essays on media aesthetics, visual culture, and artistic symbolism. The chapters delve into such topics as the physics and biology of images, digital photography and realism, architecture and new media, and the occupation of space in contemporary popular uprisings. The book looks both backward at the emergence of iconology as a field and forward toward what might be possible if image science can indeed approach pictures the same way that empirical sciences approach natural phenomena.

Essential for those involved with any aspect of visual media, Image Science is a brilliant call for a method of studying images that overcomes the “two-culture split” between the natural and human sciences.

In this landmark work of critical theory, black studies, and visual culture studies, Alessandra Raengo boldly reads race as a theory of the image. By placing emphasis on the surface of the visual as the repository of its meaning, race presents the most enduring ontological approach to what images are, how they feel, and what they mean. Having established her theoretical concerns, the author’s eclectic readings of various artifacts of visual culture, fine arts, cinema, and rhetorical tropes provoke and destabilize readers’ visual comfort zone, forcing them to recognize the unstated racial aspects of viewing and the foundational role of race in informing the visual.

The history of American art is a history of objects, but it is also a history of ideas about how we create and consume these objects. As Picturing convincingly shows, the critical tradition in American art has given rise to profound thinking about the nature and capacity of images and formed responses to some of most pressing problems of picturing: What is an image, and why make one? What do images do?
           
The first volume in a new series on critical concerns in the history of American art, Picturing brings together essays by a distinguished international group of scholars who discuss the creation and consumption of images from the early modern period through the end of the twentieth century. Some of the contributions focus on art critical texts, like Gertrude Stein’s portrait of Cézanne, while others have as their point of departure particular artworks, from a portrait of Benjamin Franklin to Eadweard Muybridge’s nineteenth-century photographs of the California Coast. Works that addressed images and image making were not confined to the academy; they spilled out into poetry, literature, theater, and philosophy, and the essays’ considerations likewise range freely, from painting to natural history illustrations, travel narratives, and popular fiction. Together, the contributions demonstrate a rich deliberation that thoroughly debunks the notion that American art is merely derivative of a European tradition.

With a wealth of new research and full-color illustrations, Picturing significantly expands the terrain of scholarship on American art.