Psychoanalysis: Use psychoanalytical lens (much of Lacan) to study images and audience of images and their gazes. Watch one of those art shows with an expert and a picture behind them and you could be forgiven for thinking images do have a truth that is perfectly transcribable into a verbal description overflowing with adjectives. There are also many situations in which enormous care is taken to establish digital images as representational. While it certainly can’t be accused of lacking creative energy, I got the feeling that as a creative intervention, The Kitchen occupies a similar relation to urban change in cities like London and New York, and many more, as do the Great Cities novels.

It’s kind of heroic public art/messaging, but more suburban and, as Roland also showed with his image of a ‘family barbecue in a redwood valley’, with very traditional social content: white straight families, in Roland’s example. All images are produced – they are made in one way or another and how they are made has something important to say about the meaning of the image.

I've been interviewing women with young children about their photos for a long time, and more recently I've looked at the politics and ethics of family snaps moving into more public arenas of display when the people they picture are the victims of violence. Rather, there is a wall-size screen with a selection of aerial urban views of exactly the same kind that property developers now frequently use to sell their apartments: a view from on high of a city at dusk, lit buildings twinkling like urban fairy lights. This move away from visuals in general, towards images is made to clarify the difference between pictures and other visuals.

The next two chapters look at Foucault and his ideas of intertextuality, discourse and institutional power and surveillance. Professor Gillian Rose joined the School of Geography and the Environment in 2017, moving here from The Open University. This session focuses on the multiplicity of the everyday experiencing of digitally mediated cities, exploring the deepening relationships between diverse digital technologies and different forms of urban life and living. This chapter is situated to discuss the field of visual culture and front loads much of the theoretical framework that will be used in the following chapters. And no mention, textual or visual, of the Patwin tribe who lived on the land when the Spanish arrived.

Firstly, there is the problem she highlights in the very first line of this book, “There’s an awful lot of hype around ‘the visual’ these days. Given all the discussion about feminism and gender swirling around Barbie, the lack of discussion about Oppenheimer‘s view of masculinity is disappointing, to put it mildly, especially given that several of the masculine figures the film works through have have appeared recently in various discussions of AI. She gives a short, general summary of the “rise” of ocularcentrism in modernism and its evolution into simulacra in postmodern era).