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Les nombreuses images qui nous environnent sont « bonnes à regarder », donc « bonnes à penser » ; certaines possèdent une force politique propre. Elles sont capables de révéler un événement et d'en témoigner. Les images disponibles sont sans cesse renouvelées par le biais du documentaire, comme dans le cas du très médiatisé conflit israélo-palestinien, ou par l'exhumation d'archives inédites relatant la contestation du régime communiste politique et la naissance du syndicat Solidarnosc. Les images politiques ou partisanes sont parfois destinées à saturer l'espace médiatique et à éteindre toute critique. L'espace public est aussi capable d'accueillir des images de fiction, comme celles de The Looming Tower, qui entendent à la fois informer les spectateurs sur les questions d'espionnage et lutter contre le discours complotiste. Il existe enfin tout un écosystème d'images, amateur ou prises par des photoreporters, qui enregistrent le réel, pour faire la preuve de violences policières, de guerres ou du dérèglement climatique partout dans le monde.

Visual communication --- Visual sociology

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Contemporary global culture, rooted in neoliberalism and free market forces, increasingly emphasises appearance over substance. People and organisations are judged by image and reputation while social media encourages and enables us to develop our own public persona. This book explores the rise of promotional communication with a particular focus on public relations (PR) and its role. Organisations, from local charities to multinational corporations, employ professional PR staff to manage promotional communication, and even public institutions must position themselves in the marketplace to secure funding and approval. To what extent has PR contributed to this culture and its darker aspects of false narratives and fake news? This book posits that the antidote to this trend of diminishing substance is 'depth communication' which builds on the best theory and practice to develop forms of communication built on dialogue with self and others, and offers a counterargument to the superficiality distorting our collective culture. Proposing a new foundation for the conceptualization of public relations, this book has profound implications for both public relations and will interest all scholars of the changing communication environment.

Public relations. --- Visual communication. --- Superficiality.

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This book explores continuity and ruptures in the historical use of visual representations in science and related disciplines such as art history and anthropology. The book also considers more recent developments that attest to the unprecedented importance of scientific visualizations, such as video recordings, animations, simulations, graphs, and enhanced realities. The volume collects historical reflections concerned with the use of visual material, visualization, and vision in science from a historical perspective, ranging across multiple cultures from antiquity until present day. The focus is on visual representations such as drawings, prints, tables, mathematical symbols, photos, data visualizations, mapping processes, and (on a meta-level) visualizations of data extracted from historical sources to visually support the historical research itself. Continuity and ruptures between the past and present use of visual material are presented against the backdrop of the epistemic functions of visual material in science. The function of visual material is defined according to three major epistemic categories: exploration, transformation, and transmission of knowledge.

Science --- Visual communication in science. --- History.

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"Argues that our contemporary treatment of the image as a circulating object was forged by three 20th century institutions: the museum, the library, and the stock photography agency"-- How the image collection, organized and made available for public consumption, came to define a key feature of contemporary visual culture.The origins of today's kaleidoscopic digital visual culture are many. In this book, Diana Kamin traces the sharing of photographs to an image economy developed throughout the twentieth century by major institutions. Picture-Work examines how three of these institutions—the New York Public Library, the Museum of Modern Art, and the stock agency H. Armstrong Roberts Inc.—defined the public's understanding of what the photographic image is, while building vast collections with universalizing ambitions. Highlighting underexplored figures, such as the first rights and reproduction manager at MoMA Pearl Moeller and visionary NYPL librarian Romana Javitz, and underexplored professional practices, Diana Kamin demonstrates how bureaucratic work communicates ideas about images to the public.

Visual sociology --- Visual communication --- Signs and symbols --- Visual sociology. --- Visual communication. --- Signs and symbols.

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In Ontologies and Natures: Knowledge about Health in Visual Culture, Fernando Gonzalez Rodriguez argues that visual culture offers insights into how societies perceive the role of nature in pursuits to cure and care for the human body. By using a set of visual surfaces and artefacts as entry points the book sheds light on ideas about nature as a healing source.

Communication in public health --- Visual communication in science