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What do photographs want? Do they need any accompaniment in today's image-saturated society? Can writing inflect photography (or vice versa) in such a way that neither medium takes precedence? Or are they in constant, inexorable battle with each other? Taking nine case studies from the 1990s French-speaking world (from France, North Africa and the Caribbean), this book attempts to define the interaction between non-fictional written text (caption, essay, fragment, poem) and photographic image. Having considered three categories of 'intermediality' between text and photography - the collaborative, the self-collaborative and the retrospective - the book concludes that the dimensions of their interaction are not simple and two-fold (visuality versus/alongside textuality), but threefold and therefore 'complex'. Thus, the photo-text, as defined here, is concerned as much with orality - the demotic, the popular, the vernacular - as it is with visual and written culture. That text-image collaborations give space to the spoken, spectral traces of human discourse, suggests that the key element of the photo-text is its radical provisionality.
Zusammenfassung: This book constitutes the refereed proceedings of the 11th International Conference on Recent Trends in Analysis of Images, Social Networks and Texts, AIST 2023, held in Yerevan, Armenia, during September 28-30, 2023. The 19 full papers 2 short papers and 1 demo paper included in this book were carefully reviewed and selected from 52 submissions. They were organized in topical sections as follows: Natural Language Processing; Computer Vision; Data Analysis and Machine Learning; Network Analysis; Theoretical Machine Learning and Optimization; and Demo Paper
The Word is conceptualized as a Feminine Principle, being a container that is the Womb. The Word, or the Utterance, or even what the Hindu refer to as the "OM" is Creation itself, a Vessel in which to contain or conceive reality. The poems also reference the feminine knowledge of Odu Ifa: everything that ever has or ever will exist or come into being-and even everything that is not, or has not been, all potential for all creation, good and bad, and the transcendence of all duality and plurality.
Texts from Mittens is a series of text message conversations between a snappy, self-absorbed housecat named Mittens and his long-suffering human, a single woman who works away from home during the day. Mittens relentlessly hassles his human all day long, while only taking breaks to watch Judge Judy, hang with his best friend Stumpy, complain about the antics of Drunk Patty the neighbor, ask Grandma for money to buy useless items from QVC, and harass the “filthy beast” dog, Phil. Angie Bailey is an award-winning writer and blogger, humorist, and professional member of the Cat Writers’ Association. Her primary blog, Catladyland, has won many awards, and her humor writing is featured nearly daily on Catster.com, one of the most popular cat sites on the Web. She loves to photograph her cats in silly poses and sleeps with one eye open. And yes, she has three cats. “Each installment of Texts From Mittens is like a little gift to brighten your day!” —Kate Benjamin, Hauspanther founder and co-author of Catification with Jackson Galaxy "Texts From Mittens makes me wish my cat had thumbs! This is a hilarious book; Angie Bailey has done it again!” —Jeremy Greenberg, Author of Sorry I Barfed on Your Bed "We all knew that cats were hilarious, but Ms. Bailey's sardonic cat quips really take their mannerisms, attitude and occasional apathy to another level." —Susan Michals, Curator of Cat Art Show Los Angeles Come home! There's an emergency! What?? Are you OK? My dish is half empty! I'll be home soon. You wish starvation upon me! Stop being dramatic. Am weeak. Caan hasrdly tyyppe. Are you going to wear those black pants on your bed? Yes. I have a date. They're comfortable. Mittens, get off my pants! FYI: Poly-blend makes your butt look big
Talk, Text and Technology is an ethnography of language, learning and literacy in remote Indigenous Australia. This study traces one Indigenous group from the introduction of alphabetic literacy in the 1930s to the recent arrival of digital literacies and new media. This innovative work examines changing social, cultural and linguistic practices across the generations and addresses the implications for language and literacy socialisation.
Das "lange 19. Jahrhundert" der Nationalstaatenbildung ist auch das Jahrhundert der "Erfindung" der Fotografie wie auch der Geburt der modernen Archivwissenschaften. Die Fotografie wurde bald von den Nationalstaaten in ihrem Bedürfnis nach bildlicher Visualisierung in den Dienst genommen. Nach dem II. Weltkrieg, dem Zerfall der kolonialistischen Systeme und schließlich dem Fall der Berliner Mauer erlangten nationale Fragen erneut Aktualität - nun in einem globalen Rahmen. Die Beiträge in diesem Band untersuchen den Zusammenhang zwischen Fotografie/Fotoarchiven und der Idee der Nation, wobei das Objektiv sich nicht auf einzelne Ikonen, sondern auf die weitreichende Dimension des Archivs richtet.
Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.
This volume analyzes the cultural origins, precedents, influences and aspirations of the contemporary Chinese artists.