In The Age of Total Images, art historian Ana Peraica focuses on the belief that the shape of the planet is two-dimensional which has been reawakened in the late 20th and early 21st centuries, and the ways in which these ‘flat Earth’ conspiracy theories are symptomatic of post-digital image culture. Such theories, proven to be false both in Antiquity and Modernity, but once held to be true in the Medieval Period, have influenced a return to a kind of ‘New Medievalism’. By tracing visual representations of the planet across Western history and culture, Peraica provides support for a media-based explanation behind ...

Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master ...

Politics of Feelings/Economies of Love emerged out of a reading initiative by a group of cultural workers, artists and curators, gathered under the name k.r.u.ž.o.k. (kružok stands for an intimate social circle). The publication brings about a set of reflections on the possible relation between ideology and social emotions, sexuality and nationalism, love and emotional community within nationalist and/or market fundamentalism. In attempts to find out how these issues were tackled in film, visual arts and architecture, we are trying to draw some new lines of understanding love as a tissue in which political, social, ideological and economic meanings are inscribed. This publication is ...

Victims’ Symptom is a collection of interviews, essays, artists’ statements and glossary definitions, which was originally launched as a Web project (http://victims.labforculture.org). Produced in 2007, the project brought together cases related to past and current sites of conflict such as Srebrenica, Palestine, and Kosovo reporting from different (and sometimes conflicting) international viewpoints. The Victims Symptom Reader collects critical concepts in media victimology and addresses the representation of victims in economies of war.

The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media. After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution ...