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The visual turn recovers new pasts. With education as its theme, this book seeks to present a body of reflections that questions a certain historicism and renovates historiographical debate about how to conceptualize and use images and artifacts in educational history, in the process presenting new themes and methods for researchers. Images are interrogated as part of regimes of the visible, of a history of visual technologies and visual practices. Considering the socio-material quality of the image, the analysis moves away from the use of images as mere illustrations of written arguments, and takes seriously the question of the life and death of artifacts – that is, their particular historicity. Questioning the visual and material evidence in this way means considering how, when, and in which régime of the visible it has come to be considered as a source, and what this means for the questions contemporary researchers might ask.

Visual aids --- Education --- Communication --- Visual education --- Historiography. --- History of education. --- Material studies. --- Media history. --- Visual studies.

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Through a genealogy of photosensitive elements in media devices and artworks, this book investigates three dichotomies that impoverish debates and proposals in media art: material/immaterial, organic/machinic, and theory/practice. It combines historical and analytical approaches, through new materialism, media archaeology, cultural techniques and second-order cybernetics. Known media stories are reframed from an alternative perspective, elucidating photosensitivity as a metonymy to provide guidelines to art students, artists, curators and theoreticians - especially those who are committed to critical views of scientific and technological knowledge in aesthetic experimentations.

Media Art; Media Culture; Media Archaeology; Media History; Photosensitivity; Photography; Sound; Media; Media Aesthetics; Theory of Art; Media Studies --- Media Aesthetics. --- Media Archaeology. --- Media Culture. --- Media History. --- Media Studies. --- Media. --- Photography. --- Photosensitivity. --- Sound. --- Theory of Art. --- Art and technology --- History.

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Piazza virtuale by the group of artists known as Van Gogh TV was not only the biggest art project ever to appear on television, but from a contemporary point of view the project was also a forerunner of today's social media. The ground-breaking event that took place during the 100 days of documenta IX in 1992 was an early experiment with entirely user-created content. This is the first book-length study of this largely forgotten experiment: It documents the radicality of Piazza virtuale's approach, the novel programme ideas and the technical innovations. It also allows, via QR codes, direct access to videos from the show, which until now have been inaccessible.

Media Art; Social Media; Van Gogh TV; Piazza Virtuale; Documenta; Media; Art; Cultural History; Media History; Media Aesthetics; Media Studies --- Art. --- Cultural History. --- Documenta. --- Media Aesthetics. --- Media History. --- Media Studies. --- Media. --- Piazza Virtuale. --- Social Media. --- Van Gogh TV. --- Social media. --- Interactive television. --- Television --- User-generated media --- Communication --- User-generated content --- Media Art --- Social Media --- Van Gogh TV --- Piazza Virtuale --- Documenta --- Media --- Art --- Cultural History --- Media History --- Media Aesthetics --- Media Studies

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Illustrierte Zeitschriften entwickeln sich ab der Mitte des 19. Jahrhunderts zu den ersten Massenmedien der Moderne. Willi Wolfgang Barthold erforscht die Wechselwirkung der Literatur des Realismus mit diesem neuen medialen Kommunikationssystem und verbindet dabei Ansätze der Journalliteraturforschung und der Visual Culture Studies. Mit Hilfe einer Untersuchung sowohl kanonisierter als auch bisher kaum berücksichtigter Texte (von Wilhelm Raabe, Theodor Fontane, Marie von Ebner-Eschenbach und Balduin Möllhausen) zeigt er, wie sich der Realismus im intermedialen Spannungsfeld seiner Zeit positioniert und durch ein permanentes Hinterfragen der eigenen Wirklichkeitskonstruktionen ein Reflexionswissen produziert, das zur kritischen Beobachtung der entstehenden Massenmedien beiträgt.

LITERARY CRITICISM / European / German. --- 19th Century. --- Analogue Media. --- Cultural History. --- German Literature. --- Illustration. --- Image. --- Literary Studies. --- Literature. --- Magazin. --- Mass Media. --- Media History. --- Modernity. --- Realism. --- Medien; Literatur; Realismus; 19. Jahrhundert; Zeitschrift; Massenmedien; Illustration; Moderne; Bild; Germanistik; Analoge Medien; Kulturgeschichte; Mediengeschichte; Literaturwissenschaft; Media; Literature; Realism; 19th Century; Magazin; Mass Media; Modernity; Image; German Literature; Analogue Media; Cultural History; Media History; Literary Studies

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In contemporary society, digital images have become increasingly mobile. They are networked, shared on social media, and circulated across small and portable screens. Accordingly, the discourses of spreadability and circulation have come to supersede the focus on production, indexicality, and manipulability, which had dominated early conceptions of digital photography and film. However, the mobility of images is neither technologically nor conceptually limited to the realm of the digital. The edited volume re-examines the historical, aesthetical, and theoretical relevance of image mobility. The contributors provide a materialist account of images on the move - ranging from wired photography to postcards to streaming media.

Digital media. --- Electronic media --- New media (Digital media) --- Mass media --- Digital communications --- Online journalism --- Analogue Media. --- Circulation. --- Digital Media. --- Image. --- Images. --- Media History. --- Media Studies. --- Mobility. --- Networks. --- Photography. --- Visual Studies.