Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic." Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects? In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself. Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.

In her opening chapter on Marx, Kofman provides a reading of inversion as necessary to the ideological process. She then explores the metaphor of the camera obscura in Freud's description of the unconscious. For Nietzsche the camera obscura in a "metaphor for forgetting," and it is neither the photographic nor the eye but the mind that constructs a preeminence of the perspectival. Kofman asks here whether the "magical apparatus" of the camera obscura, rather than bringing about clarity, serves some thinkers as fetish. She turns to Descartes for a final counter-example, that of the Cartesian camera obscura as a model of vision which neither disqualifies the eye as a model of knowledge nor sets up a perspectivist notion of perception.

Annette Michelson's contributions to art and film criticism over the last three decades have been unparalleled. This volume honors her unique legacy with original essays by some of the many scholars who have been influenced by her work. Some continue her efforts to develop theoretical frameworks for understanding modernist art, while others practice her form of interdisciplinary criticism in relation to avant-garde and modernist art works and artists. Still others investigate and evaluate Michelson's work itself. All in some way pay homage to her extraordinary contribution.

An omnibus edition of the most exciting steampunk series of recent years. Lizard Kings and swashbuckling pirates, secret government agencies and scuttling automata, tripods and airships. There’s never been a series with quite so much adventure crammed between two covers! File Under: Steampunk [ Alternate History! | Diabolical Anarchists! | Murder Most Foul | The End of Days ] From the Trade Paperback edition.

In a 19th century unlike our own, the shadowy assassin known as the Bookman moves unseen. His weapons are books; his enemies are many. And when Orphan, a young man with a mysterious past, loses his love to the sinister machinations of the Bookman, Orphan would stop at nothing to bring her back from the dead. In The Bookman, World Fantasy Award winner Lavie Tidhar writes a love letter to books, and to the serial literature of the Victorian era: full of hair-breadth escapes and derring-dos, pirates and automatons, assassins and poets, a world in which real life authors mingle freely with their fictional creations – and where nothing is quite as it seems. New 2016 edition includes the novelette “Murder in the Cathedral”. Discover, truthfully, what actually happened when Orphan visited Paris. File Under: Steampunk [Alternate Victorian London | Reptilian royalty | Diabolical anarchists | Extraordinary adventure!]

The Doctor's second heart was taken from his body -- for his own good, he was told. Removed by his sometime ally, sometime rival, the mysterious time-traveller Sabbath. Now, as a new danger menaces reality, the Doctor finds himself working with Sabbath again. From a seance in Victorian London to a wild pursuit on Dartmoor, the Doctor and his companions work frantically to unravel the mystery of this latest threat to Time... Before Time itself unravels.

In an accessible yet complex way, Rebekah Modrak and Bill Anthes explore photographic theory, history, and technique to bring photographic education up to date with contemporary photographic practice. --

When an Italian woman is decapitated, a photographer/storyteller who lives in a camera obscura decides to solve her murder

In How Do We Look? Fatimah Tobing Rony draws on transnational images of Indonesian women as a way to theorize what she calls visual biopolitics—the ways visual representation determines which lives are made to matter more than others. Rony outlines the mechanisms of visual biopolitics by examining Paul Gauguin’s 1893 portrait of Annah la Javanaise—a trafficked thirteen-year-old girl found wandering the streets of Paris—as well as US ethnographic and documentary films. In each instance, the figure of the Indonesian woman is inextricably tied to discourses of primitivism, savagery, colonialism, exoticism, and genocide. Rony also focuses on acts of resistance to visual biopolitics in film, writing, and photography. These works, such as Rachmi Diyah Larasati’s The Dance that Makes You Vanish, Vincent Monnikendam’s Mother Dao (1995), and the collaborative films of Nia Dinata, challenge the naturalized methods of seeing that justify exploitation, dehumanization, and early death of people of color. By theorizing the mechanisms of visual biopolitics, Rony elucidates both its violence and its vulnerability.