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Effigy examines the images of a capital defendant portrayed during the guilt and penalty phases of a capital trial, the trial tactics used by attorneys to impart these images, and the consequences that result from the jury's attempt to reconcile contradictory images to place one in permanent record as a verdict. These images are starkly contrasted against the backdrop of a brutal murder in which the stereotypes of American fear are realized: Donta Page, the defendant, is an African American male from a low-income segment of society while Peyton Tuthill, the victim, was a Caucasian female from a middle-income suburb. The prosecuting attorneys depict the defendant as a "savage beast," juxtaposing their image against that of a "troubled youth" as Page is portrayed by the defense attorneys. Slowly and methodically developed as figures with diametrically opposed features, none of which overlap or congeal, both of the images are portrayed as real (buttressed by the testimony of witnesses) rather than constructed. The jury is expected to render a verdict that accepts one and rejects the other: there is no middle ground. Book jacket.
An examination of how artists have combined performance and moving image for decades, anticipating our changing relation to images in the internet era. In Performing Image, Isobel Harbison examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism. Over this period, artists have used a variety of DIY modes of self-imaging and circulation—from home video to social media—suggesting how and why Western subjects might seek alternative platforms for self-expression and self-representation. In the course of her argument, Harbison offers close analyses of works by such artists as Robert Rauschenberg, Yvonne Rainer, Mark Leckey, Wu Tsang, and Martine Syms. Harbison argues that while we produce images, images also produce us—those that we take and share, those that we see and assimilate through mass media and social media, those that we encounter in museums and galleries. Although all the artists she examines express their relation to images uniquely, they also offer a vantage point on today's productive-consumptive image circuits in which billions of us are caught. This unregulated, all-encompassing image performativity, Harbison writes, puts us to work, for free, in the service of global corporate expansion. Harbison offers a three-part interpretive framework for understanding this new proximity to images as it is negotiated by these artworks, a detailed outline of a set of connected practices—and a declaration of the value of art in an economy of attention and a crisis of representation.
In the 1890s the Apollo Iron and Steel Company ended a bitterly contested labor dispute by hiring replacement workers from the surrounding countryside. To avoid future unrest, however, the company sought to gain tighter control over its workers not only at the factory but also in their homes. Drawing upon a philosophy of reform movements in Europe and the United States, the firm decided that providing workers with good housing and a good urban environment would make them more loyal and productive. In 1895, Apollo Iron and Steel built a new, integrated, non-unionized steelworks and hired the nation's preeminent landscape architectural firm (Olmsted, Olmsted, and Eliot) to design the model industrial town: Vandergrift. In Capital's Utopia: Vandergrift, Pennsylvania, 1855-1916, Anne E. Mosher offers the first comprehensive geographical overview of the industrial restructuring of an American steelworks and its workforce in the late nineteenth–century. In addition, by offering a thorough analysis of the Olmsted plan, Mosher integrates historical geography and labor history with landscape architectural history and urban studies. As a result, this book is far more than a case study. It is a window into an important period of industrial development and its consequences on communities and environments in the world-famous steel country of southwestern Pennsylvania.
European narratives of the Atlantic New World tell stories of people and things: strange flora, wondrous animals, and sun-drenched populations for Europeans to mythologize or exploit. Yet between 1500 and 1700 one region upended all of these conventions in travel writing, science, and, most unexpectedly, art: the Arctic. Icy, unpopulated, visually and temporally “abstract,” the far North – a different kind of terra incognita for the Renaissance imagination – offered more than new stuff to be mapped, plundered, or even seen. Neither a continent, an ocean, nor a meteorological circumstance, the Arctic forced visitors from England, the Netherlands, Germany, and Italy, to grapple with what we would now call a “nonsite,” spurring dozens of previously unknown works, objects, and texts – and this all in an intellectual and political milieu crackling with Reformation debates over art’s very legitimacy. Into the White uses five case studies to probe how the early modern Arctic (as site, myth, and ecology) affected contemporary debates of perception and matter, of representation, discovery, and the time of the earth – long before the nineteenth century romanticized the polar landscape. In the far North, this book contends, the Renaissance exotic became something far stranger than the marvelous or the curious, something darkly material and unmasterable, something beyond the idea of image itself.
NEW YORK TIMES BESTSELLER • CBC KIDS’ BOOK CHOICE AWARD WINNER Civil rights icon Ruby Bridges—who, at the age of six, was the first black child to integrate into an all-white elementary school in New Orleans—inspires readers and calls for action in this moving letter. Her elegant, memorable gift book is especially uplifting in the wake of Kamala Harris making US history as the first female, first Black, and first South Asian vice president–elect. Written as a letter from civil rights activist and icon Ruby Bridges to the reader, This Is Your Time is both a recounting of Ruby’s experience as a child who had to be escorted to class by federal marshals when she was chosen to be one of the first black students to integrate into New Orleans’ all-white public school system and an appeal to generations to come to effect change. This beautifully designed volume features photographs from the 1960s and from today, as well as stunning jacket art from The Problem We All Live With, the 1964 painting by Norman Rockwell depicting Ruby’s walk to school. Ruby’s honest and impassioned words, imbued with love and grace, serve as a moving reminder that “what can inspire tomorrow often lies in our past.” This Is Your Time will electrify people of all ages as the struggle for liberty and justice for all continues and the powerful legacy of Ruby Bridges endures.
Despite all of the writing on venture capital, there is a missing part of the literature. There has been no book written about raising a venture capital fund. It remains a secret to a few privileged venture capitalists who have gone through this fundraising process. Until now . . . This book serves as a guide. It dives into the process of raising a venture capital fund, the how-tos, the unique language of the limited partner (LP) world, secrets of how LPs think about fund diligence and alignment, the best practices in fundraising, what works, and how you can best prepare for success. I've written this book after spending a decade investing into venture capital funds at a $30B wealth management firm and a $160B technology company. I've been on both sides of the table, the VC and the LP side. I've been behind the scenes managing every aspect of the fundraising process, investing into 80 funds, and reviewing thousands of fund investments. I also co-founded a company that specifically focuses on co-building venture capital businesses, which includes helping VCs understand the intricate dynamics of raising a venture capital fund. After reading my book, you will gain the knowledge and insights gained from these experiences.