In Camera Geologica Siobhan Angus tells the history of photography through the minerals upon which the medium depends. Challenging the emphasis on immateriality in discourses on photography, Angus focuses on the inextricable links between image-making and resource extraction, revealing how the mining of bitumen, silver, platinum, iron, uranium, and rare earth elements is a precondition of photography. Photography, Angus contends, begins underground and, in photographs of mines and mining, frequently returns there. Through a materials-driven analysis of visual culture, she illustrates histories of colonization, labor, and environmental degradation to expose the ways in which photography is enmeshed within and enables global extractive capitalism. Angus places nineteenth-century photography in dialogue with digital photography and its own entangled economies of extraction, demonstrating the importance of understanding photography’s complicity in the economic, geopolitical, and social systems that order the world.

Focusing on the Mediterranean region from 2015 onwards, this volume explores photography’s engagement with displacement, a process that denotes the environmental and social breakdown of places and the forced mobility of people. The ongoing proliferation of photography of the displaced plays a crucial role in shaping opinions, by sensitising the public to the despair of displacement and hardening them to the trope through repeated exposure. Through a range of images by both established and amateur photographers, as well as ethnographic notes that draw from interviews with actors who are either displaced or working with the displaced, Parvati Nair questions the extent to which photography opens a space of possibility for the displaced in the face of globally dominant ideological drives that lead to the Anthropocene. Chapters focus on key aspects of this mass phenomenon, such as the question of crises no longer as exception but as historical process, the lived experiences of protracted relegation to borders and exposure to possible death, the prevalence of domicide and the spread of encampments, and the question of hope for the future. The book will be of interest to scholars in photography theory, migration and refugee studies, art history, Mediterranean studies, and political science.

This is the first book in English reviewing and updating the geology of the whole Apennines, one of the recent most uplifted mountains in the world. The Apennines are the place from which Steno (1669) first stated the principles of geology. The Apennines also represent amongst others, the finding/testing sites of processes and products like volcanic eruptions, earthquakes, olistostromes and mélanges (argille scagliose), salinity crisis, geothermal fluids, thrust-top basins, and turbidites (first represented in a famous Leonardo's painting). As such, the Apennines are a testing and learning ground readily accessible and rich of any type of field data. A growing literature is available most of which is not published in widely available journals. The objective of the book is to provide a synthesis of current data and ideas on the Apennines, for the most part simply written and suitable for an international audience. However, sufficient details and in-depth analyses of the various complex settings have been presented to make this material useful to professional scholars and to students of senior university courses.

Accompanying CD-ROM contains plates (chiefly maps) in Adobe Acrobat files, and contents in pdf format.

This book presents contributions from MegaTalks 2, (Portugal, 2015), part of the MegaGeo project which aimed to analyse the raw material economy in the construction of megalithic tombs in multiple territories, showing the representation of several prehistoric communities that raised them and their relationship with the surrounding areas.

Title available in Digital Reprint form on CD-ROM