Veteran TV news producer Matt Fallon has covered the local Philadelphia news market for years and has seen it all: murders, fires, and natural disasters. But while on a seashore vacation, a respite from the mayhem, the unthinkable happens: his own 10-year-old son disappears into thin air. Police soon discover the boy in a nearby motel room, only to find that he had been subjected to a horrific medical experiment. With little evidence and no suspects, Matt begins his own search for the perpetrators under the guise of doing a special news series for his flagging TV station, Philly4. Driven by fury to avenge his chronically ill son, Matt's probe leads him to a dark place, not only in the real world but also in the shadowy realm created by television news images. As his investigation gets nearer to the core of the crime and the danger increases, Matt discovers that his fury and hate doubleback on him!

In this pioneering book, Jonathan W. Hak offers insightful commentary on the authentication and interpretation of image-based evidence, setting out how it can be effectively used in international criminal prosecutions.

Principles of Vascular and Intravascular Ultrasound—a title in the Principles of Cardiovascular Imaging series—has everything you need to successfully obtain and interpret vascular ultrasound images. Stuart J. Hutchison—a premier cardiac imaging specialist—explains the dos and don’ts of ultrasound so you get the best images and avoid artifacts. Get only the coverage you need with clinically oriented, practical information presented in a consistent format that makes finding everything quick and easy. Focuses on clinically oriented and practical information so that you get only the coverage that you need. Explains how to obtain the best image quality and avoid artifacts through instructions on how to and how not to perform vascular ultrasound. Provides excellent visual guidance through high-quality images—many in color—that reinforce the quality of information in the text. Includes numerous tables with useful values and settings to help you master probe settings and measurements. Presents material in a consistent format that makes it easy to find information.

We are now confronted with a new type of uncanny experience, an uncanny evoked by parallel processing, aggregate data, and cloud-computing. The digital uncanny does not erase the uncanny feeling we experience as d j vu or when confronted with robots that are too lifelike. Today's uncanny refers to how non-human devices (surveillance technologies, algorithms, feedback, and data flows) anticipate human gestures, emotions, actions, and interactions, thus intimating that we are but machines and that our behavior is predicable precisely because we are machinic. It adds another dimension to those feelings in which we question whether our responses are subjective or automated - automated as in reducing one's subjectivity to patterns of data and using those patterns to present objects or ideas that would then elicit one's genuinely subjective-yet effectively preset-response. In fact, this anticipation of our responses is a feedback loop that we humans have produced by designing software that can study our traces, inputs, and moves. In this sense one could say that the digital uncanny is a trick we play on ourselves, a trick that we would not be able to play had we not developed sophisticated digital technologies. Digital Uncanny explores how digital technologies, particularly software systems working through massive amounts of data, are transforming the meaning of the uncanny that Freud tied to a return of repressed memories, desires, and experiences to their anticipation. Through a close reading of interactive and experimental art works of Rafael Lozano-Hemmer, Bill Viola, Simon Biggs, Sue Hawksley, and Garth Paine, this book is designed to explore how the digital uncanny unsettles and estranges concepts of "self," "affect," "feedback" and "aesthetic experience," forcing us to reflect on our relationship with computational media and by extension our relationship to each other and our experience of the world.

There are two driving questions informing this book. The first is where does our moral life come from? It presupposes that considering morality broadly is inadequate. Instead, different aspects need to be teased apart. It is not sufficient to assume that different virtues are bolted onto a vicious animality, red in tooth and claw. Nature and culture have interlaced histories. By weaving in evolutionary theories and debates on the evolution of compassion, justice and wisdom, it showa a richer account of who we are as moral agents. The second driving question concerns our relationships with animals. Deane-Drummond argues for a complex community-based multispecies approach. Hence, rather than extending rights, a more radical approach is a holistic multispecies framework for moral action. This need not weaken individual responsibility. She intends not to develop a manual of practice, but rather to build towards an alternative philosophically informed approach to theological ethics, including animal ethics. The theological thread weaving through this account is wisdom. Wisdom has many different levels, and in the broadest sense is connected with the flow of life understood in its interconnectedness and sociality. It is profoundly theological and practical. In naming the project the evolution of wisdom Deane-Drummond makes a statement about where wisdom may have come from and its future orientation. But justice, compassion and conscience are not far behind, especially in so far as they are relevant to both individual decision-making and institutions.

News media, movies, blogs and video games issue constant invitations to picture war, experience the thrill of combat, and revisit battles past. War, it's often said, sells. But what does it take to sell a war, and to what extent can news media be viewed as disinterested reporters of truth? Lively and highly readable, this book explores how wars have been reported, interpreted and perpetuated from the dawn of the media age to the present digital era. Spanning a broad geographical and historical canvas, Susan L. Carruthers provides a compelling analysis of the forces that shape the production of news and images of war – from state censorship to more subtle forms of military manipulation and popular pressure. This fully revised second edition has been updated to cover modern-day conflict in the post 9/11 epoch, including the wars in Iraq and Afghanistan. Rich in historical detail, The Media at War also provides sharp insights into contemporary experience, prompting critical reflection on western society's paradoxical attitudes towards war.

Art theory', understood as those forms of aesthetics, art history and criticism which began in the Enlightenment and culminated in 'high modernism', is now at an end. These essays, examining the interdependencies of advertising, film, painting and photography, constitute a call for a 'new art theory' - a practice of writing whose end is to contribute to a general 'theory of representations': an understanding of the modes and means of symbolic articulation of our forms of sociality and subjectivity.

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