While innumerable words have been written about individual paintings, there have been few attempts at extended analysis of a singular photographic image. This selection of essays addresses this startling omission by examining in depth key images from a history of photography dating from 1835 to the present.

The community of Zoar has been a tourist attraction since it was founded in 1817, due in part to its uncommon experiment in Christian communal living, its German heritage, and its location on the Ohio & Erie Canal. Unlike many 19th-century communal societies, Zoar did not discourage tourism and gawkers. As a result, there is an unusually rich photographic record of the community and its people as well as many descriptions and comments by writers who wished to share their impressions of this Old World town. Tourists snapped photos of themselves riding on haywagons, boating on Zoar Lake, and walking in the Zoar Separatists' symbolic garden. The Zoarites themselves got into the act as well, taking commercial photos of themselves and their town to be sold as postcards. Fernandez uses many previously unpublished photographs from the Ohio Historical Society's collections and captions them with the words of journalists, diarists, and other visitors. Today a restored village with a ten-museum complex operated by the Ohio Historical Society, Zoar has consciously maintained its German roots. Zoar continues to attract the curious individual, the traveler, the day-tripper, and the magazine a

Telling Images is a study of Chaucer's narrative art and its use of symbolic images in the visual arts of his time.

This book focuses on the methodologies, organization, and communication of digital image collection research that utilizes social media content. ("Image" is here understood as a cultural, conventional, and commercial—stock photo—representation.) The lecture offers expert views that provide different interpretations of images and their potential implementations. Linguistic and semiotic methodologies as well as eye-tracking research are employed to both analyze images and comprehend how humans consider them, including which salient features generally attract viewers' attention. This literature review covers image—specifically photographic—research since 2005, when major social media platforms emerged. A citation analysis includes an overview of co-citation maps that demonstrate the nexus of image research literature and the journals in which they appear. Eye tracking tests whether scholarly templates focus on the proper features of an image, such as people, objects, time, etc., and if a prescribed theme affects the eye movements of the observer. The results may point to renewed requirements for building image search engines. As it stands, image management already requires new algorithms and a new understanding that involves text recognition and very large database processing. The aim of this book is to present different image research areas and demonstrate the challenges image research faces. The book's scope is, by necessity, far from comprehensive, since the field of digital image research does not cover fake news, image manipulation, mobile photos, etc.; these issues are very complex and need a publication of their own. This book should primarily be useful for students in library and information science, psychology, and computer science.

William Taylor explores the use of local and regional shrines, and devotion to images of Christ and Mary, including Our Lady of Guadalupe, to get to the heart of the politics and practices of faith in Mexico before the Reforma.

Grammatology of Images radically alters how we approach images. Instead of asking for the history, power, or essence of images, Sigrid Weigel addresses imaging as such. The book considers how something a-visible gets transformed into an image. Weigel scrutinizes the moment of mis-en-apparition, of making an appearance, and the process of concealment that accompanies any imaging. Weigel reinterprets Derrida’s and Freud’s concept of the trace as that which must be thought before something exists. In doing so, she illuminates the threshold between traces and iconic images, between something immaterial and its pictorial representation. Chapters alternate between general accounts of the line, the index, the effigy, and the cult-image, and case studies from the history of science, art, politics, and religion, involving faces as indicators of emotion, caricatures as effigies of defamation, and angels as embodiments of transcendental ideas. Weigel’s approach to images illuminates fascinating, unexpected correspondences between premodern and contemporary image-practices, between the history of religion and the modern sciences, and between things that are and are not understood as art.

This volume constitutes the refereed proceedings of the International Symposium "Computational Modeling of Objects Represented in Images. Fundamentals, Methods and Applications", CompIMAGE 2010, held in Buffalo, NY, in May 2010. The 28 revised full papers presented were carefully reviewed and selected from 77 submissions. They are organized in topical sections on theoretical foundations of image analysis and processing; methods and applications on medical imaging, bioimaging, biometrics, and imaging in material sciences, as well as methods and applications on image reconstruction, computed tomography, and other applications.

This volume constitutes the refereed proceedings of the 11th International Workshop on Combinatorial Image Analysis, IWCIA 2006, held in Berlin, June 2006. The book presents 34 revised full papers together with two invited papers, covering topics including combinatorial image analysis; grammars and models for analysis and recognition of scenes and images; combinatorial topology and geometry for images; digital geometry of curves and surfaces; algebraic approaches to image processing, and more.

The first book to explore the role of images in philosophical thought and teaching in the early modern period Delving into the intersections between artistic images and philosophical knowledge in Europe from the late sixteenth to the early eighteenth centuries, The Art of Philosophy shows that the making and study of visual art functioned as important methods of philosophical thinking and instruction. From frontispieces of books to monumental prints created by philosophers in collaboration with renowned artists, Susanna Berger examines visual representations of philosophy and overturns prevailing assumptions about the limited function of the visual in European intellectual history. Rather than merely illustrating already existing philosophical concepts, visual images generated new knowledge for both Aristotelian thinkers and anti-Aristotelians, such as Descartes and Hobbes. Printmaking and drawing played a decisive role in discoveries that led to a move away from the authority of Aristotle in the seventeenth century. Berger interprets visual art from printed books, student lecture notebooks, alba amicorum (friendship albums), broadsides, and paintings, and examines the work of such artists as Pietro Testa, Léonard Gaultier, Abraham Bosse, Dürer, and Rembrandt. In particular, she focuses on the rise and decline of the "plural image," a genre that was popular among early modern philosophers. Plural images brought multiple images together on the same page, often in order to visualize systems of logic, metaphysics, natural philosophy, or moral philosophy. Featuring previously unpublished prints and drawings from the early modern period and lavish gatefolds, The Art of Philosophy reveals the essential connections between visual commentary and philosophical thought.