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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.
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.
Writing in the early nineteenth century, the French traveler and cleric Abbé Huc exclaimed: "There is, perhaps, not a people in the world who carry so far their taste and passion for theatrical entertainments as the Chinese.” This taste and passion for the theater was not restricted to the stage, but permeated the visual and material world of everyday life from the village to the court. The visual spectacle of this theater is well known, displayed primarily through colorful costumes, props, and face painting. What is less known is the extent to which operatic characters and stories were favored as pictorial and decorative motifs across the full spectrum of visual mediums, from courtly scroll paintings, popular New Year prints, illustrated woodblock books and painted fans to carved utensils, ceramics, textiles, and dioramas.
High-quality images have an amazing power of attraction. Just add some stunning photos and graphics to your website or app and watch your user engagement and conversion numbers climb. It can be tricky, but with this practical guide, you’ll master the many facets of delivering high performance images on the internet—without adversely affecting site performance. You’ll learn the nuts and bolts of color theory, image formats, storage and management, operations delivery, browser and application behavior, the responsive web, and many other topics. Ideal for developers, this book also provides useful tips, tricks, and practical theory for processing and displaying powerful images that won’t slow down your online product. Explore digital image theory and the different formats available Dive into JPEGs, SVG and vector images, lossless compression, and other formats Use techniques for downloading and rendering images in a browser, and for loading images on mobile devices and cellular networks Examine specific rendering techniques, such as lazy loading, image processing, image consolidation, and responsive images Take responsive images to the next level by using content negotiation between browser and server with the Client Hints HTTP standard Learn how to operationalize your image workflow Contributors include Colin Bendell, Tim Kadlec, Yoav Weiss, Guy Podjarny, Nick Doyle, and Mike McCall from Akamai Technologies.
Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.
Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them
We seem to be living in hysterical times. A simple Google search reveals the sheer bottomless well of “hysterical” discussions on diverse topics such as the #metoo movement, Trumpianism, border wars, Brexit, transgender liberation, Black Lives Matter, COVID-19, and climate change, to name only a few. Against the backdrop of such recent deployments of hysteria in popular discourse––particularly as they emerge in times of material and hermeneutic crisis––Performing Hysteria re-engages the notion of “hysteria”. Performing Hysteria rigorously mines late 20th- and early 21st-century (primarily visual) culture for signs of hysteria. The various essays in this volume contribute to the multilayered and complex discussions that surround and foster this resurgent interest in hysteria––covering such areas as art, literature, theatre, film, television, dance; crossing such disciplines as cultural studies, political science, philosophy, history, media, disability, race and ethnicity, and gender studies; and analysing stereotypical images and representations of the hysteric in relation to cultural sciences and media studies. Of particular importance is the volume's insistence on taking the intersection of hysteria and performance seriously.
Microarray Image and Data Analysis: Theory and Practice is a compilation of the latest and greatest microarray image and data analysis methods from the multidisciplinary international research community. Delivering a detailed discussion of the biological aspects and applications of microarrays, the book: Describes the key stages of image processing, gridding, segmentation, compression, quantification, and normalization Features cutting-edge approaches to clustering, biclustering, and the reconstruction of regulatory networks Covers different types of microarrays such as DNA, protein, tissue, and low- and high-density oligonucleotide arrays Examines the current state of various microarray technologies, including their availability and affordability Explains how data generated by microarray experiments are analyzed to obtain meaningful biological conclusions An essential reference for academia and industry, Microarray Image and Data Analysis: Theory and Practice provides readers with valuable tools and techniques that extend to a wide range of biological studies and microarray platforms.
The Handbook of Medical Image Processing and Analysis is a comprehensive compilation of concepts and techniques used for processing and analyzing medical images after they have been generated or digitized. The Handbook is organized into six sections that relate to the main functions: enhancement, segmentation, quantification, registration, visualization, and compression, storage and communication.The second edition is extensively revised and updated throughout, reflecting new technology and research, and includes new chapters on: higher order statistics for tissue segmentation; tumor growth modeling in oncological image analysis; analysis of cell nuclear features in fluorescence microscopy images; imaging and communication in medical and public health informatics; and dynamic mammogram retrieval from web-based image libraries.For those looking to explore advanced concepts and access essential information, this second edition of Handbook of Medical Image Processing and Analysis is an invaluable resource. It remains the most complete single volume reference for biomedical engineers, researchers, professionals and those working in medical imaging and medical image processing.Dr. Isaac N. Bankman is the supervisor of a group that specializes on imaging, laser and sensor systems, modeling, algorithms and testing at the Johns Hopkins University Applied Physics Laboratory. He received his BSc degree in Electrical Engineering from Bogazici University, Turkey, in 1977, the MSc degree in Electronics from University of Wales, Britain, in 1979, and a PhD in Biomedical Engineering from the Israel Institute of Technology, Israel, in 1985. He is a member of SPIE. - Includes contributions from internationally renowned authors from leading institutions - NEW! 35 of 56 chapters have been revised and updated. Additionally, five new chapters have been added on important topics incluling Nonlinear 3D Boundary Detection, Adaptive Algorithms for Cancer Cytological Diagnosis, Dynamic Mammogram Retrieval from Web-Based Image Libraries, Imaging and Communication in Health Informatics and Tumor Growth Modeling in Oncological Image Analysis. - Provides a complete collection of algorithms in computer processing of medical images - Contains over 60 pages of stunning, four-color images
Image Segmentation Summarizes and improves new theory, methods, and applications of current image segmentation approaches, written by leaders in the field The process of image segmentation divides an image into different regions based on the characteristics of pixels, resulting in a simplified image that can be more efficiently analyzed. Image segmentation has wide applications in numerous fields ranging from industry detection and bio-medicine to intelligent transportation and architecture. Image Segmentation: Principles, Techniques, and Applications is an up-to-date collection of recent techniques and methods devoted to the field of computer vision. Covering fundamental concepts, new theories and approaches, and a variety of practical applications including medical imaging, remote sensing, fuzzy clustering, and watershed transform. In-depth chapters present innovative methods developed by the authors—such as convolutional neural networks, graph convolutional networks, deformable convolution, and model compression—to assist graduate students and researchers apply and improve image segmentation in their work. Describes basic principles of image segmentation and related mathematical methods such as clustering, neural networks, and mathematical morphology. Introduces new methods for achieving rapid and accurate image segmentation based on classic image processing and machine learning theory. Presents techniques for improved convolutional neural networks for scene segmentation, object recognition, and change detection, etc. Highlights the effect of image segmentation in various application scenarios such as traffic image analysis, medical image analysis, remote sensing applications, and material analysis, etc. Image Segmentation: Principles, Techniques, and Applications is an essential resource for undergraduate and graduate courses such as image and video processing, computer vision, and digital signal processing, as well as researchers working in computer vision and image analysis looking to improve their techniques and methods.