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.

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.

Foreword; Committees; Tutorials; Classification; Neural structures; Visual perception; Visual computation; Spatial vision; Biological vision; Perceptual organization; Posters; Author index.

There has long been a need to introduce performing-arts enthusiasts and students to the fascinating field of iconography, both as manifested in art history and in its more pragmatic or applied forms. Yet relatively little systematic effort has been made to collect and interpret centuries of such visual evidence in the light of the best available art-historical information, combined with corroborating textual documentation and insights from the histories of performance disciplines. Aspiring iconographers of the performing arts need to be aware that there are often several levels of interpretation which great works of visual art will sustain. This book explores these levels of interpretation: a surface or literal reading, a deeper reading of the work which seeks to enter the mind of the artist and asks how and why he put a given work together, and the deepest reading of the work relating it to the artistic traditions and culture in which the artist lived. In expounding on these levels of iconographic interpretations four discourses by scholars active in the study of visual records are given in relation to traditions, techniques, and trends: performance in general (Katritzky), music (Heck), theatre (Erenstein), and dance (Smith). Effort is made to keep abreast of modern technology influencing iconographic representations as on the Internet and virtual reality.Thomas F. Heck is Professor of Musicology and Head of the Music and Dance Library at the Ohio State University.

Digital image processing technology has developed markedly over the last ten years, and more and more information is being conveyed through its display and analysis. The way in which image data is stored and processed is fundamental to all aspects of information technology. Examples include remote sensing using digital satellites; making diagnoses using conventional X-ray computed tomography; and research into the behavior of the human brain using magnetic resonance imaging. This book consists of twenty-one papers that collectively cover a broad range of image processing problems and the way in which their solutions are used in different areas of science and technology. The papers present details of the ways computers of varying processing power can be programmed to store images efficiently, resolve features and patterns that are either time consuming or impossible for humans to interpret, and develop machines that can "see" like humans. They also discuss a wide range of applications, including the use of lasers for studying dynamic behavior of mechanical components, and fractal geometry for recognizing patterns. The book will be useful to any engineer, scientist, and technologist interested in current research issues in image processing.

Generally, this book is a reflection of the relationship between religion and theater. Particularly, it looks at the relationship of Catholicism and performance or the embodied world of theater in opposition to the written text.--publisher.

With 46 papers from the November 2000 conference in Rio de Janeiro, this volume represents the work of computer scientists, artificial intelligence researchers, and engineers from around the world. They address issues like neurosymbolic processing, neural computation, scalars, CDMA and TCMA based neural nets, genetic algorithms, PARMA modeling, hierarchical neural models, web text mining, inverse kinematics problems in robot control, image compression, and morphological rules of similarity. Also included are abstracts of 24 other papers, originally written in Portugese or Spanish. Name index only. Annotation copyrighted by Book News, Inc., Portland, OR.