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How to account for the peculiar attraction of certain photos? How to deal with the specific use of images in particular contexts? Monika Schwärzler presents a variety of photographic case studies exploring visual phenomena from the point of view of media analysis as well as from sociological, aesthetic, and psychoanalytic perspectives. The topics range from a new reading of Thomas Struth's street photographs to CERN photos with their charged rhetoric, from the assault of photographic close-ups to speculations on an anonymous slide collection featuring a woman with an ever-present white handbag. The book is intended for an audience receptive to the analytical appeal of images, prepared to go beyond what can be taken at face value.

Fine Arts. --- Image. --- Imagery. --- Media. --- Visual Culture. --- Visual Literacy. --- Visual Studies. --- ART / Criticism.

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The past is what happened. History is what we remember and write about that past, the narratives we craft to make sense out of our memories and their sources. But what does it mean to look at the past and to remember that "nothing happened"? Why might we feel as if "nothing is the way it was"? This book transforms these utterly ordinary observations and redefines "Nothing" as something we have known and can remember. "Nothing" has been a catch-all term for everything that is supposedly uninteresting or is just not there. It will take some-possibly considerable-mental adjustment before we can see Nothing as Susan A. Crane does here, with a capital "n." But Nothing has actually been happening all along. As Crane shows in her witty and provocative discussion, Nothing is nothing less than fascinating. When Nothing has changed but we think that it should have, we might call that injustice; when Nothing has happened over a long, slow period of time, we might call that boring. Justice and boredom have histories. So too does being relieved or disappointed when Nothing happens-for instance, when a forecasted end of the world does not occur, and millennial movements have to regroup. By paying attention to how we understand Nothing to be happening in the present, what it means to "know Nothing" or to "do Nothing," we can begin to ask how those experiences will be remembered. Susan A. Crane moves effortlessly between different modes of seeing Nothing, drawing on visual analysis and cultural studies to suggest a new way of thinking about history. By remembering how Nothing happened, or how Nothing is the way it was, or how Nothing has changed, we can recover histories that were there all along.

Collective memory. --- History --- Philosophy. --- Nothing. --- historical consciousness. --- injustice. --- memory. --- photographs. --- puns. --- ruins. --- visual culture.

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This volume reads the global urban environment through mediated sonic practices to put a contemporary spin on acoustic ecology’s investigations at the intersection of space, cultures, technology, and the senses. Acoustic ecology is an interdisciplinary framework from the 1970s for documenting, analyzing, and transforming sonic environments: an early model of the cross-boundary thinking and multi-modal practices now common across the digital humanities. With the recent emergence of sound studies and the expansion of “ecological” thinking, there is an increased urgency to re-discover and contemporize the acoustic ecology tradition. This book serves as a comprehensive investigation into the ways in which current scholars working with sound are re-inventing acoustic ecology across diverse fields, drawing on acoustic ecology’s focus on sensory experience, place, and applied research, as well as attendance to mediatized practices in sounded space. From sounding out the Anthropocene, to rethinking our auditory media landscapes, to exploring citizenship and community, this volume brings the original acoustic ecology problem set into the contemporary landscape of sound studies. .

Motion pictures. --- Culture—Study and teaching. --- Audio-Visual Culture. --- Cultural Theory.

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This book explores the evolving world of drones through a multifaceted lens, revealing their profound impact on society and visual culture. The comprehensive collection bridges the gap between technology and aesthetics, dissecting the transformative role drones play in various domains, from cinema and art to surveillance and environmental sensing. Each chapter, penned by leading scholars, explores the unique ways drones are redefining our visual landscape, whether in capturing unprecedented cinematic shots, aiding in critical rescue missions, or offering new perspectives in artistic endeavours. The book is an essential read for academics, professionals, and enthusiasts alike, and is a key resource for anyone seeking to comprehend the full spectrum of drone capabilities and their implications for the future of visual communication and technology. Chapter 2 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Sociology --- Culture --- Photography. --- Sociological Methods. --- Visual Culture. --- Methodology. --- Study and teaching.

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The Fourth Industrial Revolution, also known as Industry 4.0, is the fourth most important industrial stage that has occurred since the beginning of the Industrial Revolution in the 18th century. This new revolution is characterized by combining cutting-edge production techniques with intelligent systems that integrate with organizations and people. Communication and journalism, especially digital media, face the challenge of integrating emerging technologies and practices or in-test or developing technologies into companies and communicative products, that are breaking down the boundaries between physical, digital, and biological. This collection analyzes and reflects on the impact of Industry 4.0 on journalism and digital media. The collection is split into three parts. The first part analyzes the emergence of centralized and decentralized networks and their impact on digital media. Specifically, it delves into the role of cryptographic journalism and the impact of free and collaborative networks in the fediverse to fight against disinformation and censorship, as well as to promote data and metadata journalism. In a second part, the "innovation of innovation" is explored with the aim of continuing to create products that satisfy the needs of 4.0 audiences. This is where the challenges and opportunities offered by the metaverse, content automation technologies, the impact of the Internet of Things on journalism, labs, the application of R+D+I to journalism, and collaborative encounters between journalists to develop highly innovative proposals are explored. Finally, in the third part of the book, the emergence of new communicative and journalistic actors in the 4.0 context is reviewed. Examples include start-ups, spin-offs or other entrepreneurial initiatives, communication of knowledge transfer, new financing models, and outsourcing of tasks, new proposals for newsgames, or the impact of artificial intelligence in journalism practices. In addition, a final chapter is dedicated to exploring the new professional skills needed for journalists in this Fourth Industrial Revolution. José Sixto-García is Professor of Journalism at the Department of Communication Sciences of the University of Santiago de Compostela. Alberto Quian is Assistant professor of Journalism at Universidade de Santiago de Compostela (USC), ex-adjunct professor of Journalism at Universidad Carlos III de Madrid (UC3M) and Universitat Oberta de Catalunya (UOC). Ana-Isabel Rodríguez-Vázquez is Dean of the Communication Science Faculty at the University of Santiago de Compostela (Spain) and Professor of Audiovisual Communication. Alba Silva-Rodríguez is Professor of Journalism at the Department of Communication Sciences at Universidade de Santiago de Compostela. Xosé Soengas-Pérez is Head of Department of Communication Sciences at the University of Santiago de Compostela and Full Professor of Audiovisual Communication and Advertising.

Journalism. --- Motion pictures. --- Artificial intelligence. --- Digital Journalism. --- Multimedia Journalism. --- Audio-Visual Culture. --- Artificial Intelligence.