The Videography of Darcy Lange is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers. This book follows Lange's trajectory from his early observational studies to the crisis of representation and socially engaged video and activism, as it is shaped by, and resists, the artistic, cultural and political preoccupations of the 1970s and 1980s. It strikes a balance between being a monographic account providing a close analysis of Lange's oeuvre and drawing from unpublished archival materials—a sort of catalogue raisonné—whilst maintaining a breadth with theoretical discourses around the themes of labour and class, education, and indigenous struggles central to his work. The book's frameworks of Conceptual Art, structuralist and ethnographic film theory, social documentary and the critique of representation, video as social practice and the notion of 'feedback', participatory socially engaged art and postcolonial and indigenous theory,—expand our understanding of video outside the predominant structuralist tendencies. Lange's transnational and nomadic career introduces notions of alterity and challenges nationalistic accounts that excluded him in the past.

The objective of this publication is to trace and describe the artistic and institutional decisions that have influenced the work of Camera Austria, which has been made visible through numerous exhibitions and symposiums on photography and, since 1980, by the magazine Camera Austria International. Operating through a comprehensive network of photographers, academics, and art critics from all over the world, the?laboratory? Camera Austria has shaped the photographic culture both internationally and regionally. At the centre of the book are positions of artists that Camera Austria has worked with for exhibitions, who have presented their work at the symposiums and contributed to the magazine.

The documenta 12 magazines are a collective worldwide editorial project. In advance of the exhibition in Kassel, documenta 12 magazines have opened up a central site for reflection and visual contemplation. Since early 2006, influential journals in the realm of art, as well as specialist publications operating in discursive fields beyond the major art centres, have been publishing and discussing contributions essays, interviews, photo reportages, features, interventions from artists and articles of fiction in relation to documenta 12's three main themes: Is modernity our antiquity? What is bare life? What is to be done? This Book is a compilation of all three magazines.

Without montage or the use of dramatic sequencing, multiple takes or camera angles, Lange's videos rely exclusively on a process of slow observation facilitated by long takes recording the actions of their subjects in real time as they perform daily work. This beautiful monograph covers Lange's earliest sculptural works, his move into video and his Works Studies through to his later Maori Land Project. Texts by Guy Brett, Benjamin H.D. Buchloh, Dan Graham and Mercedes Vicente. Experimental New Zealand artist Darcy Lange had his frst solo exhibition at Ikon in 1971.

A veteran New York Times reporter dissects the most spectacular failure in real estate history Real estate giant Tishman Speyer and its partner, BlackRock, lost billions of dollars when their much-vaunted purchase of Stuyvesant Town–Peter Cooper Village in New York City failed to deliver the expected profits. But how did Tishman Speyer walk away from the deal unscathed, while others took the financial hit—and MetLife scored a $3 billion profit? Illuminating the world of big real estate the way Too Big to Fail did for banks, Other People’s Money is a riveting account of politics, high finance, and the hubris that ultimately led to the nationwide real estate meltdown.

An examination of how artists have combined performance and moving image for decades, anticipating our changing relation to images in the internet era. In Performing Image, Isobel Harbison examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism. Over this period, artists have used a variety of DIY modes of self-imaging and circulation—from home video to social media—suggesting how and why Western subjects might seek alternative platforms for self-expression and self-representation. In the course of her argument, Harbison offers close analyses of works by such artists as Robert Rauschenberg, Yvonne Rainer, Mark Leckey, Wu Tsang, and Martine Syms. Harbison argues that while we produce images, images also produce us—those that we take and share, those that we see and assimilate through mass media and social media, those that we encounter in museums and galleries. Although all the artists she examines express their relation to images uniquely, they also offer a vantage point on today's productive-consumptive image circuits in which billions of us are caught. This unregulated, all-encompassing image performativity, Harbison writes, puts us to work, for free, in the service of global corporate expansion. Harbison offers a three-part interpretive framework for understanding this new proximity to images as it is negotiated by these artworks, a detailed outline of a set of connected practices—and a declaration of the value of art in an economy of attention and a crisis of representation.

The book examines the evolution and current state of corporate social responsibility (CSR), using a five-stage maturity model: defensive, charitable, promotional, strategic and transformative CSR. The first four stages are dubbed CSR 1.0 and characterise most current CSR practice, while the fifth stage is named CSR 2.0 (also transformative or systemic CSR) and describes emergent and future CSR practices. Reasons are given why CSR 1.0 approaches have failed to have any significant impact on the most serious global social, environmental and ethical challenges. The emergent CSR 2.0 will then be explored in detail by elaborating on five principles underlying the new approach, including: creativity, scalability, responsiveness, glocality and circularity. A four-part DNA Model is also introduced, covering value creation, good governance, societal contribution and ecological integrity, which provides the basis for defining and measuring CSR 2.0. Finally, a 70-question CSR 2.0 self-assessment diagnostic tool developed by the author is presented, with sample data to show how the tool can be used for future research and practitioner application.

This book demonstrates how data from participatory visual methods can take people and communities beyond ideological engagement, initiating new conversations and changing perspectives, policy debates, and policy development. These methods include, for example, photo-voice, participatory video, drawing/mapping, and digital storytelling. Organised around a series of tools that have been used across health, education, environmental, and sociological research, Participatory Visual Methodologies illustrates how to maintain participant engagement in decision-making, navigate critical issues around ethics, track policies, and maximize the potential of longitudinal studies. Tools discussed include: Pedagogical screenings Digital dialogue devices Upcycling and ‘speaking back’ interventions Participant-led policy briefs An authoritative and accessible guide to how participatory visual methods and arts-based methods can influence social change, this book will help any postgraduate researcher looking to contribute to policy dialogue.

The SPELIT POWER MATRIX is a leadership tool for untangling the organizational environment from a social, political, economic, legal, intercultural and technical view. The SPELIT analysis method was developed for adult learners to have a framework for determining and formulating the answer to the question: What is? There is a need to analyze the environment in all organizations, whether you are entering a new organization or to benchmark the existing organization. The purpose of this text is to show how perceptive leaders can analyze environments in preparation for possible future action. We demonstrate how the methodology aligns with previous theories regarding environmental scanning and produces a workable framework for the perceptive leader. The SPELIT POWER MATRIX is intended for practitioners doing a market analysis or diagnosis prior to implementing transitions, benchmarking in anticipation of an intervention, and can be used by undergraduate students and seasoned practitioners.