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'Failed Images' attempts to understand the divergence between photography and the reality it portrays, analysing the various ways the photograph transforms that which exists before the camera. Because the photographic medium enables very different practices, which in turn results in many kinds of images, it must also be examined from a perspective outside of the dominant approach to the medium, generally called the 'snapshot.' This book therefore explores the photographic image by focusing on practices which refuse this conventional approach, namely staged, blurred, under- and overexposed, and archival photography.
Focusing on early nineteenth-century England?and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today’s prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot’s accounts on the removal of the “artist’s hand” in favor of “the pencil of nature” did not mark a shift from manual to “mechanical” and more accurate or “objective” systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.
A fun and fabulous take on the art of making mistakes. Erik Kessels celebrates imperfection and failure and shows why they are an essential part of the creative process. Failed it! celebrates the power of mistakes and shows how they can enrich the creative process. This is part photobook and part guide to loosening up and making mistakes to take the fear out of failure and encourage experimentation. It showcases the best and most hilarious examples of imperfection and failure across a broad range of creative forms, including art, design, photography, architecture and product design, to inspire and encourage creatives to embrace and celebrate their mistakes. We live in an era when everyone is striving for perfection and we have become afraid of failure, which limits our potential. Mistakes help us find new ways of thinking and innovative solutions, and failures can change our perceptions and open up new ways of looking things. This book transforms mistakes from something to be embarrassed about into a cause for celebration. It includes over 150 visual examples drawn from Kessels personal collection of artworks and found photographs, along with tips, quotes, anecdotes and wisdom for celebrating with failure. To quote Kessels: 'the ubiquity of Apple + Z, means that we can literally undo any mistake before it has had time to breathe, be considered and — perhaps — evolve into something else: a fascinating, strange, provocative or even original piece of work. This book asks readers to embrace their fuck-ups, learn from them and celebrate their tawdry glory'.
The author offers anecdotes and experiences with failure in his own life to help readers reconsider how they view past mistakes and to use past failures to overcome hardship and succeed later in life.
In this innovative, interdisciplinary study, James Elkins argues against the assumption that images can be adequately described in words. In his view, words must always fail because pictures possess a residue of 'meaningless' marks that cannot be apprehended as signs. On Pictures and the Words that Fail Them is a 1998 text which provides detailed, incisive critiques of fundamental notions about pictures: their allegedly semiotic structures; the 'rational' nature of realism; and the ubiquity of the figure-ground relation. Elkins then opens the concept of images to non-Western and prehistoric ideas, exploring Chinese concepts of magic, Mesopotamian practices of counting and sculpture, religious ideas about hypostasis, philosophical discussions concerning invisibility and blindness, and questions on the limits of the destruction of meaning.
FAIL Harder follows the hilarious best-seller Fail Nation to showcase 200 original full-color photos of world-wide FAILS based on the popular website failblog.org, the most visited member of the Cheezburger Network. So what qualifies as a FAIL? How about a nursery outfitted with a gun rack hanging over the baby's crib? Perhaps the equation, "E=MC3" written on a classroom's write/erase board. What about a trifecta of beauty parlor, chain saw repair, and nightclub housed inside an all-in-one-stop shop? Classic FAILs like these are presented in more than 15 different categories, including At Home, In A Relationship, On the Job, and With Your Pets. If you must FAIL, FAIL Harder.
From the ill-fated dot-com bubble to unprecedented merger and acquisition activity to scandal, greed, and, ultimately, recession -- we've learned that widespread and difficult change is no longer the exception. By outlining the process organizations have used to achieve transformational goals and by identifying where and how even top performers derail during the change process, Kotter provides a practical resource for leaders and managers charged with making change initiatives work.
This is a book about how to read visual images: from fine art to photography, film, television and new media. It explores how meaning is communicated by the wide variety of texts that inhabit our increasingly visual world. But, rather than simply providing set meanings to individual images, Visual Culture teaches readers how to interpret visual texts with their own eyes. While the first part of the book takes readers through differing theoretical approaches to visual analysis, the second part shifts to a medium-based analysis, connected by an underlying theme about the complex relationship between visual culture and reality. Howells and Negreiros draw together seemingly diverse methodologies, while ultimately arguing for a polysemic approach to visual analysis. The third edition of this popular book contains over fifty illustrations, for the first time in colour. Included in the revised text is a new section on images of power, fear and seduction, a new segment on video games, as well as fresh material on taste and judgement. This timely edition also offers a glossary and suggestions for further reading. Written in a clear, lively and engaging style, Visual Culture continues to be an ideal introduction for students taking courses in visual culture and communications in a range of disciplines, including media and cultural studies, sociology, and art and design.
Ghost Image is made up of sixty-three short essays—meditations, memories, fantasies, and stories bordering on prose poems—and not a single image. Hervé Guibert’s brief, literary rumination on photography was written in response to Roland Barthes’s Camera Lucida, but its deeply personal contents go far beyond that canonical text. Some essays talk of Guibert’s parents and friends, some describe old family photographs and films, and spinning through them all are reflections on remembrance, narcissism, seduction, deception, death, and the phantom images that have been missed. Both a memoir and an exploration of the artistic process, Ghost Image not only reveals Guibert’s particular experience as a gay artist captivated by the transience and physicality of his media and his life, but also his thoughts on the more technical aspects of his vocation. In one essay, Guibert searches through a cardboard box of family portraits for clues—answers, or even questions—about the lives of his parents and more distant relatives. Rifling through vacation snapshots and the autographed images of long-forgotten film stars, Guibert muses, “I don’t even recognize the faces, except occasionally that of an aunt or great-aunt, or the thin, fair face of my mother as a young girl.” In other essays, he explains how he composes his photographs, and how—in writing—he seeks to escape and correct the inherent limits of his technique, to preserve those images lost to his technical failings as a photographer. With strains of Jean Genet and recurring themes that speak to the work of contemporary artists across a range of media, Guibert’s Ghost Image is a beautifully written, melancholic ode to existence and art forms both fleeting and powerful—a unique memoir at the nexus of family, memory, desire, and photography.
In Athlete/Warrior internationally acclaimed fine art photographers Anderson & Low present powerful images of young men and women who are training for both the sports field and the battlefield while studying at America's three famed military academies -- West Point, Annapolis and Colorado Springs. Arresting juxtapositions of cadets in military dress and in the uniforms of their chosen sports offer a modern interpretation of the hero as represented by the classically inspired iconography of the athlete and the warrior.