The Lives Of Images Vol Ii Analogy Attunement And Attention

"Analogy, Attunement, and Attention brings together a uniquely contemporary and diverse set of voices to address the complex sets of relationships that the photograph creates between its viewers and their bodies, minds, and sense of the physical and metaphysical world. This volume examines our changing relationship to space and selfhood as mediated by the lens, the print, the screen, the computer, and the multitude of networked technologies built around the image"--

How the image collection, organized and made available for public consumption, came to define a key feature of contemporary visual culture. The origins of today’s kaleidoscopic digital visual culture are many. In this book, Diana Kamin traces the sharing of photographs to an image economy developed throughout the twentieth century by major institutions. Picture-Work examines how three of these institutions—the New York Public Library, the Museum of Modern Art, and the stock agency H. Armstrong Roberts Inc.—defined the public’s understanding of what the photographic image is, while building vast collections with universalizing ambitions. Highlighting underexplored figures, such as the first rights and reproduction manager at MoMA Pearl Moeller and visionary NYPL librarian Romana Javitz, and underexplored professional practices, Diana Kamin demonstrates how bureaucratic work communicates ideas about images to the public. Kamin artfully shows how the public interfaces with these image collections through systems of classification and protocols of search and retrieval. These interactions, in turn, shape contemporary image culture, including concepts of authorship, art, property, and value, as well as logics of indexing, tagging, and hyperlinking. Together, these interactions have forged a concept of the image as alienable content, which has intensified with the advent of digital techniques for managing image collections. To survey the complicated process of digitization in the nineties and early aughts, Kamin also includes interviews with photographers, digital asset management system designers, librarians, and artists on their working practices.

The Lives of Images, edited by Stanley Wolukau-Wanambwa, is a set of contemporary thematic readers designed for educators, students, practicing photographers, and others interested in the ways images function within a wide set of cultural practices. The series tracks the many movements and "lives" of images--their tendency to accumulate, circulate, and transform through different geographies, cultures, processes, institutions, states, uses, and times. Volume I of the series, Repetition, Reproduction, and Circulation, addresses the multiple life cycles of the image--its modes of dispersion, reception, consumption, and aggregation--and the significance of technological reproduction for contemporary forms of social, cultural, and political life. The image is considered both a tool for liberation and a means of repression within the evolving structures of modern life. The essays consider the implications of the nature and effect of the reproducible image on the categories, shapes, and aims of contemporary art and society. Further grounded by two interviews with practitioners in the field, Repetition, Reproduction, and Circulation promises to be an accessible, rigorous, and timely resource for all students, educators, and practitioners of photography.

In this timely and profoundly original new book, bestselling writer and physician Gabor Maté looks at the epidemic of addictions in our society, tells us why we are so prone to them and what is needed to liberate ourselves from their hold on our emotions and behaviours. For over seven years Gabor Maté has been the staff physician at the Portland Hotel, a residence and harm reduction facility in Vancouver’s Downtown Eastside. His patients are challenged by life-threatening drug addictions, mental illness, Hepatitis C or HIV and, in many cases, all four. But if Dr. Maté’s patients are at the far end of the spectrum, there are many others among us who are also struggling with addictions. Drugs, alcohol, tobacco, work, food, sex, gambling and excessive inappropriate spending: what is amiss with our lives that we seek such self-destructive ways to comfort ourselves? And why is it so difficult to stop these habits, even as they threaten our health, jeopardize our relationships and corrode our lives? Beginning with a dramatically close view of his drug addicted patients, Dr. Maté looks at his own history of compulsive behaviour. He weaves the stories of real people who have struggled with addiction with the latest research on addiction and the brain. Providing a bold synthesis of clinical experience, insight and cutting edge scientific findings, Dr. Maté sheds light on this most puzzling of human frailties. He proposes a compassionate approach to helping drug addicts and, for the many behaviour addicts among us, to addressing the void addiction is meant to fill. I believe there is one addiction process, whether it manifests in the lethal substance dependencies of my Downtown Eastside patients, the frantic self-soothing of overeaters or shopaholics, the obsessions of gamblers, sexaholics and compulsive internet users, or in the socially acceptable and even admired behaviours of the workaholic. Drug addicts are often dismissed and discounted as unworthy of empathy and respect. In telling their stories my intent is to help their voices to be heard and to shed light on the origins and nature of their ill-fated struggle to overcome suffering through substance use. Both in their flaws and their virtues they share much in common with the society that ostracizes them. If they have chosen a path to nowhere, they still have much to teach the rest of us. In the dark mirror of their lives we can trace outlines of our own. —from In the Realm of Hungry Ghosts

As anyone who has wielded a camera knows, photography has a unique relationship to chance. It also represents a struggle to reconcile aesthetic aspiration with a mechanical process. Robin Kelsey reveals how daring innovators expanded the aesthetic limits of photography in order to create art for a modern world.

Touch may well be one of the least understood or talked about subjects in the helping professions. A discussion on the importance and ethics of positive, caring, and appropriate touch in professions such as teaching, nursing and counselling is long overdue. Touch in the Helping Professions delivers just that, weaving together scholarly evidence, research and clinical practice from a wide range of perspectives encompassing philosophy, theology, psychology, and anthropology to challenge assumptions about the role of touch in the helping professions. The contributors to the volume focus not only on the overarching roles of gender, age, culture and life experience, but go beyond to encompass canine-assisted therapy, touch deprivation, sacred objects, as well as key ethical considerations. The prevailing lack of dialogue, due to fear of contravening ethical boundaries, has stood in the way of an open and responsible discussion on the use of touch in therapy. Touch in the Helping Professions is a welcome and much needed contribution to the field—a window onto a fundamental need. This book is published in English. - Cet ouvrage offre un ensemble de données probantes et de résultats cliniques à l’appui du toucher dans le développement physique et émotionnel. Il est structuré selon trois axes : la théorie sur le toucher; la pratique du toucher dans un contexte de thérapie, et les questions éthiques. Il aborde la question du rôle du genre, de l’âge, de la culture et de l’expérience de vie, des sujets comme la zoothérapie, la privation sensorielle, des objets sacrés, et des considérations d’ordre éthique. Les approches variées – philosophie, théologie, psychologie, anthropologie – remettent en question les présuppositions, offrent un contexte historico-culturelprofessionnel, et font appel à des données primaires. Les collaborateurs soutiennent que le toucher sain et non sexuel n’est pas suffisamment enseigné dans le cadre de la formation professionnelle. Cette absence de dialogue – engendrée par la crainte de dépasser des bornes éthiques, fait en sorte qu’une discussion ouverte et responsable sur l’utilisation du toucher dans un cadre thérapeutique ne peut avoir lieu, alors même qu’elle contribuerait aux balises théoriques de notre compréhension de cet enjeu fondamental. Ce livre est publié en anglais.

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.