#artselfie opens with an incisive remark by Douglas Coupland, who warns us that "Selfies are mirrors we can freeze. ... Selfies allow us to see how others look at themselves in a mirror making their modeling face when nobody's around-- except these days, everybody's around everywhere all the time." #artselfie emerged in 2012, right as the recent photographic phenomenon known as the selfie reached its tipping point. It was subsequently activated by New York based collective DIS, as an aggregated mode of art-tourism and documentation. These selfies and their dialogue with art are an opportunity to revisit fundamental questions such as: if art is a mirror, what happens when we place ourselves between it and the camera? The traditional trajectory from photographer to subject via the camera has been subverted, and with it, the nature of images and our perception of them. The #artselfie makes every participant both protagonist and collaborator, consumer and producer. Including an introduction by Douglas Coupland (author of Generation X: Tales for an Accelerated Culture and ruthless observer of contemporary society) and a discussion between Simon Castets (director of the Swiss Institute in New York and co-founder of the 89+ project) and DIS, #artselfie allows us to experience how significant -- and seductive -- this viral phenomenon is.

This volume explores the selfie not only as a specific photographic practice that is deeply rooted in digital culture, but also how it is understood in relation to other media of self-portrayal. Unlike the public debate about the dangers of 'selfie-narcissism', this anthology discusses what the practice of taking and sharing selfies can tell us about media culture today: can the selfie be critiqued as an image or rather as a social practice? What are the technological conditions of this form of vernacular photography? By gathering articles from the fields of media studies; art history; cultural studies; visual studies; philosophy; sociology and ethnography, this book provides a media archaeological perspective that highlights the relevance of the selfie as a stereotypical as well as creative practice of dealing with ourselves in relation to technology.

This book undertakes a critical reappraisal of Minimalism through an examination of three key painters: Robert Mangold, David Novros, and Jo Baer. By establishing their substantive engagements with Minimalist discourse, as well as their often overlooked artistic exchanges with their sculptor peers, it demonstrates that painting crucially informed the movement’s development, serving not only as an object of critique but also as a crucible for its most central tenets. It also poses broader disciplinary implications as it historicizes and challenges Minimalism’s "death of painting" critiques that have been so influential to theories of modernism and postmodernism in the visual arts.

The past twenty years have seen a new generation of artists working together in small groups and large collectives to explore new avenues of art, design, performance, and commerce. In Come Together, author and visual artist Francesco Spampinato assembles an international roster of forty of today's most exciting and influential collectives, from design studios like Project Projects and political performance artists The Yes Men to flash mob provocateurs Improv Everywhere and the multimedia artists Assume Vivid Astro Focus. Alongside visual portfolios of their best work are in-depth interviews addressing each group's unique motivations, processes, and objectives. What emerges is a shared desire to turn viewers into producers and to use commercial mass-media strategies to challenge prevailing social, political, and cultural power structures. Come Together is an essential resource and inspiration for students, art lovers, and anyone interested in the cutting edge of visual culture.

Designed to be read one day – and page – at a time, this book from four inclusive learning experts offers 365 strategies for implementing technology to design inclusive experiences. Educators across the world are working to design individualized instruction that empowers every student to become experts at learning. Technology and instructional interventions designed to support students with disabilities often eventually become mainstream and used by the masses. These practices provide a pathway for designing inclusive, equitable and accessible educational experiences that meet the needs of every individual learner. This engaging book includes daily strategies accompanied by examples of tools that can be implemented immediately to design meaningful instruction. Topics covered include role-playing games for social-emotional learning, building literacy through captioned video, coding to teach early literacy, text-to-speech for math and reading, and much more! Each daily strategy includes: • Explanation of how to use the strategy to design inclusive educational experiences. • Examples of tools that can be used to implement the strategy. • Alternative ways to use the strategy to extend student learning. • Images illustrating the strategy or tool. • Identification of relevant ISTE Standards for Educators and ISTE Standards for Students. Related resources. The heart of the book is the shift in mindset that occurs by exploring a different practical, inclusive strategy each day and infusing these strategies into everyday practice.

Sad Topographies is an illustrated guide for the melancholic among us. Dispirited travellers rejoice as Damien Rudd journeys across continents in search of the world’s most joyless place names and their fascinating etymologies. Behind each lugubrious place name exists a story, a richly interwoven narrative of mythology, history, landscape, misadventure and tragedy. From Disappointment Island in the Southern Ocean to Misery in Germany, across to Lonely Island in Russia, or, if you’re feeling more intrepid, pay a visit to Mount Hopeless in Australia – all from the comfort of your armchair. With hand drawn maps by illustrator Kateryna Didyk, Sad Topographies will steer you along paths that lead to strange and obscure places, navigating the terrains of historical fact and imaginative fiction. At turns poetic and dark-humoured, this is a travel guide quite like no other. Damien Rudd is the founder of the hugely popular Instagram account @sadtopographies.

This collection explores the cultural fascination with social media forms of self-portraiture, "selfies," with a specific interest in online self-imaging strategies in a Western context. This book examines the selfie as a social and technological phenomenon but also engages with digital self-portraiture as representation: as work that is committed to rigorous object-based analysis. The scholars in this volume consider the topic of online self-portraiture—both its social function as a technology-driven form of visual communication, as well as its thematic, intellectual, historical, and aesthetic intersections with the history of art and visual culture. This book will be of interest to scholars of photography, art history, and media studies.

This book explores the histories and functions of museums while also looking at the current standing of museums and their ongoing efforts toward relevance, resiliency, and future-proofing. Section I examines the beginnings of museums with chapters dedicated to art and design museums; natural history and anthropological museums; science museums; museums focused history and the past; and gardens, zoos, and children’s museums. Emphasis is on museums in the United States, with some historical framing beyond the U.S. Section II explores the primary functions of museums, including conservation, exhibition, interpretation, engagement, and service. Section III examines museums from within by exploring critical issues and contemporary movements facing museums and our society: transparency and openness, labor and equity, belonging and coalition-building, risk-taking and risk aversion, and sustainability and empathy. Advocating for change rather than “death to museums,” Museums in Motion demonstrates the very premise that museums have been in motion all along, as they have shifted from their rather simple form of a treasury, storehouse, and tomb to something much more complex by deeply considering where museums have come from, where they are today, and where they are going. Entirely new to this edition, Section III (Museum Aspirations) features five new chapters, each centered around topics, rather than a museum type or museum function. Each topic is meant to be a micro-narrative and springboard for a conversation about museums today and their sustainability in the future. The chapters examine museums from the inside (museum workers and their voices, especially, as well as power held by people and institutions) and DEIA without using those individual words as chapter headings. On their own, or in conjunction with the chapters in the previous sections of this book, these chapters serve as vignettes that can help readers to understand where, how, and why we need to apply critical lenses to institutions and articulate how doing so helps us to understand this historical moment and, ultimately how we can realize resiliency and sustainability for museums and those who make their existence possible.

In Selfie Aesthetics Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality. Morse contends that rather than being understood as shallow emblems of a narcissistic age, selfies can produce politically meaningful encounters between creators and viewers. Through close readings of selfies and other digital artworks by trans feminist artists, Morse details a set of formal strategies they call selfie aesthetics: doubling, improvisation, seriality, and nonlinear temporality. Morse traces these strategies in the work of Zackary Drucker, Vivek Shraya, Tourmaline, Alok Vaid-Menon, Zinnia Jones, and Natalie Wynn, showing how these artists present improvisational identities and new modes of performative resistance by conveying the materialities of trans life. Morse shows how the interaction between selfie creators and viewers constructs collective modes of being and belonging in ways that envision trans feminist futures. By demonstrating the aesthetic depth and political potential of selfie creation, distribution, and reception, Morse deepens understandings of gender performativity and trans experience.

What Is Cultural Translation? In this book, Sarah Maitland uncovers processes of negotiation and adaptation closely associated with the translation of languages behind the cultural phenomena of everyday life. For globalized societies confronted increasingly with the presence of difference in all its forms, translation has become both a metaphor for thoughtful encounter and a touchstone act for what we see, do and say, and who we are. Drawing on examples from across cultural domains (theatre, film, TV and literature) this work illuminates the elusive concept of 'cultural translation'. Focusing on the built environment, current affairs, international relations and online media, this book arrives at a view of translation in its broadest sense. It is a means for decoding how we shape the cultural realm and serves as a vehicle for new ways of seeing and being that question the received ideas that structure the communities in which we live. Written in a clear and engaging style, this is the first book-length study of cultural translation. It builds a powerful case for expanding the remit of translation to cover the experience of living and working in a globalized, multicultural world, and is of interest to all involved in the academic study of representation and contestation in contemporary cultural practice.