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Human civilizations' longest lasting artifacts are not the great Pyramids of Giza, nor the cave paintings at Lascaux, but the communications satellites that circle our planet. In a stationary orbit above the equator, the satellites that broadcast our TV signals, route our phone calls, and process our credit card transactions experience no atmospheric drag. Their inert hulls will continue to drift around Earth until the Sun expands into a red giant and engulfs them about 4.5 billion years from now. The Last Pictures, co-published by Creative Time Books, is rooted in the premise that these communications satellites will ultimately become the cultural and material ruins of the late 20th and early 21st centuries, far outlasting anything else humans have created. Inspired in part by ancient cave paintings, nuclear waste warning signs, and Carl Sagan's Golden Records of the 1970s, artist/geographer and MacArthur "Genius" Fellow Trevor Paglen has developed a collection of one hundred images that will be etched onto an ultra-archival, golden silicon disc. The disc, commissioned by Creative Time, will then be sent into orbit onboard the Echostar XVI satellite in September 2012, as both a time capsule and a message to the future. The selection of 100 images, which are the centerpiece of the book, was influenced by four years of interviews with leading scientists, philosophers, anthropologists, and artists about the contradictions that characterize contemporary civilizations. Consequently, The Last Pictures engages some of the most profound questions of the human experience, provoking discourse about communication, deep time, and the economic, environmental, and social uncertainties that define our historical moment. Copub: Creative Time Books
Bringing the image into dialogue with the imagination, mimesis and performativity, Christoph Wulf illuminates the historical, cultural and philosophical aspects of the relationship between images and human beings, looking both at its conceptual and physical manifestations. Wulf explores the cultural power of the image. He shows that images take root in our personal and collective imaginaries to determine how we feel, how we perceive the arts and culture, and how our bodies respond with physical actions, in games and dance to rituals and gesture. By showing how imagination occupies an essential place in our daily conduct, Wulf makes a significant contribution to how we think about the role of images in culture, the arts and society.
In Our Image brilliantly illuminates who we are as humans by demonstrating the surprisingly deep parallels between our motivations to replicate ourselves through computer technology and our emerging understanding of ourselves as relational beings created in God's image. This book is required reading for anyone--Christian or non-Christian--intrigued by the possibility of artificial intelligence.
How can we, in our times, understand the biblical concept that human beings have been created in the image of an invisible God? This is a perennial but increasingly pressing question that lies at the heart of theological anthropology. Humanity in God's Image: An Interdisciplinary Exploration clarifies the meaning of this concept, traces different Jewish and Christian interpretations of being created in God's image, and reconsiders the significance of the imago Dei in a post-Holocaust context. As normative, counter-factual notions, human dignity and the imago Dei challenge us to see more. Claudia Welz offers an interdisciplinary exploration of theological and ethical 'visions' of the invisible. By analysing poetry and art, Welz exemplifies human self-understanding in the interface between the visual and the linguistic. The content of the imago Dei cannot be defined apart from the image carrier: an embodied creature. Compared to verbal, visual, and mental images, how does this creature as a 'living image' refer to God--like a metaphor, a mimetic mirror, or an elusive trace? Combining hermeneutical and phenomenological perspectives with philosophy of religion and philosophy of language, semiotics, art history, and literary studies, Welz regards the imago Dei as a complex sign that is at once iconic, indexical, and symbolical--pointing beyond itself.
"I want to connect what concerns people today with what it was about Jesus that fascinated Luke, as a man of his lifetime... I want every reader to be guided by Luke to Jesus, to gain new insights into Jesus, and to discover in him the one who gives meaning to our existence, heals our wounds and leads us to true life." -Anslem Grun In Jesus: the Image of Humanity, best selling author Anslem Grün writes an introduction to the Gospel of Luke that will inspire those who find it difficult to encounter the real Jesus in the writings of the New Testament. He shows the Jesus of Luke's Gospel to be the key to a spiritually fruitful life, something many Biblical exegetes fail to do. Grün's concern is to interpret the text in terms of the needs and longings of contemporary Christians. He pierces through alienating and inherited impressions of the text to show that what Luke is giving us is a record of his own experience of Jesus. He sees the Gospel as an expertly composed, entertaining and valuable piece of publicity on behalf of the Jesus movement; and its message is as life changing in the twenty-first century as it was in the first century.
In this groundbreaking work, Ariella Azoulay thoroughly revises our understanding of the ethical status of photography. It must, she insists, be understood in its inseparability from the many catastrophes of recent history. She argues that photography is a particular set of relations between individuals and the powers that govern them and, at the same time, a form of relations among equals that constrains that power. Anyone, even a stateless person, who addresses others through photographs or occupies the position of a photograph’s addressee, is or can become a member of the citizenry of photography. The crucial arguments of the book concern two groups that have been rendered invisible by their state of exception: the Palestinian noncitizens of Israel and women in Western societies. Azoulay’s leading question is: Under what legal, political, or cultural conditions does it become possible to see and show disaster that befalls those with flawed citizenship in a state of exception? The Civil Contract of Photography is an essential work for anyone seeking to understand the disasters of recent history and the consequences of how they and their victims are represented.
Stunning satellite images of one hundred cities show our urbanizing planet in a new light to reveal the fragile relationship between humanity and Earth Seeing cities around the globe in their larger environmental contexts, we begin to understand how the world shapes urban landscapes and how urban landscapes shape the world. Authors Karen Seto and Meredith Reba provide these revealing views to enhance readers’ understanding of the shape, growth, and life of urban settlements of all sizes—from the remote town of Namche Bazaar in Nepal to the vast metropolitan prefecture of Tokyo, Japan. Using satellite data, the authors show urban landscapes in new perspectives. The book’s beautiful and surprising images pull back the veil on familiar scenes to highlight the growth of cities over time, the symbiosis between urban form and natural landscapes, and the vulnerabilities of cities to the effects of climate change. We see the growth of Las Vegas and Lagos, the importance of rivers to both connecting and dividing cities like Seoul and London, and the vulnerability of Fukushima and San Juan to floods from tsunami or hurricanes. The result is a compelling book that shows cities’ relationships with geography, food, and society.
Misunderstandings about what it means for humans to be created in God's image have wreaked devastation throughout history -- for example, slavery in the U. S., genocide in Nazi Germany, and the demeaning of women everywhere. In Dignity and Destiny John Kilner explores what the Bible itself teaches about humanity being in God's image. He discusses in detail all of the biblical references to the image of God, interacts extensively with other work on the topic, and documents how misunderstandings of it have been so problematic. People made according to God's image, Kilner says, have a special connection with God and are intended to be a meaningful reflection of him. Because of sin, they don't actually reflect him very well, but Kilner shows why the popular idea that sin has damaged the image of God is mistaken. He also clarifies the biblical difference between being God's image (which Christ is) and being in God's image (which humans are). He explains how humanity's creation and renewal in God's image are central, respectively, to human dignity and destiny. Locating Christ at the center of what God's image means, Kilner charts a constructive way forward and reflects on the tremendously liberating impact that a sound understanding of the image of God can have in the world today.
An award-winning documentary photographer delivers a stunning visual history of the Silicon Valley technology boom, in which he was witness to key moments in the careers of Steve Jobs and more than seventy other leading innovators as they created today’s digital world. An eye-opening chronicle of the Silicon Valley technology boom, capturing key moments in the careers of Steve Jobs and more than seventy other leading innovators as they created today’s digital world In the spring of 1985, a technological revolution was under way in Silicon Valley, and documentary photographer Doug Menuez was there in search of a story—something big. At the same time, Steve Jobs was being forced out of his beloved Apple and starting over with a new company, NeXT Computer. His goal was to build a supercomputer with the power to transform education. Menuez had found his story: he proposed to photograph Jobs and his extraordinary team as they built this new computer, from conception to product launch. In an amazing act of trust, Jobs granted Menuez unlimited access to the company, and, for the next three years, Menuez was able to get on film the spirit and substance of innovation through the day-to-day actions of the world’s top technology guru. From there, the project expanded to include the most trailblazing companies in Silicon Valley, all of which granted Menuez the same complete access that Jobs had. Menuez photographed behind the scenes with John Warnock at Adobe, John Sculley at Apple, Bill Gates at Microsoft, John Doerr at Kleiner Perkins, Bill Joy at Sun Microsystems, Gordon Moore and Andy Grove at Intel, Marc Andreessen at Netscape, and more than seventy other leading companies and innovators. It would be fifteen years before Menuez stopped taking pictures, just as the dotcom bubble burst. An extraordinary era was coming to its close. With his singular behind-the-scenes access to these notoriously insular companies, Menuez was present for moments of heartbreaking failure and unexpected success, moments that made history, and moments that revealed the everyday lives of the individuals who made it happen. This period of rapid, radical change would affect almost every aspect of our culture and our lives in ways both large and small and would also create more jobs and wealth than any other time in human history. And Doug Menuez was there, a witness to a revolution. In more than a hundred photographs and accompanying commentary, Fearless Genius captures the human face of innovation and shows what it takes to transform powerful ideas into reality.
Presents an all-immersive experience that invites you on extraordinary journeys to India, South Sudan, China, French Polynesia, Chad, Bhutan, Mongolia, Angola, Namibia, Papua New Guinea, Vanuatu, Mexico, Siberia, Peru, and Australia, capturing an artistic record of the proud and still lasting extraordinary indigenous cultures of our planet today