Anita Howarth Livres

Going beyond the cursory reasons behind why we capture images on the move, Politics of Gazeexplores our contemporary practices around visual imaging and brings original conceptualisations about why we constantly capture ourselves and our environments through digital technologies. Our technologically mediated 'everyday visuality' has moral and ethical implications for the ways in which we construct our worlds, understand world events, represent ourselves, commodify our environments and transact these with the wider world. Through these acts we constantly negotiate our sense of aesthetics, our notions of what is private and public, our depictions of the everyday and issues of security and conflict whilst constructing moral codes for a technologically-mediated society. This book argues that we have crafted a 'Glasshouse' society where the forms of gaze are open-ended, promising us empowerment while making us endlessly vulnerable. Politics of Gaze isa vital resource for New Media studies and related fields such as photography, technology studies, visual communications, journalism and sociology. Politics of Gaze isa vital resource for New Media studies and related fields such as photography, technology studies, visual communications, journalism and sociology.

I Can Say Bismillah Anywhere! instructs us that we should remember Allah all the time, no matter what we do.

I Can Wear Hijab Anywhere! explains the Hijab.

Focusing on the 'Jungle', one of Europe's most enduring refugee camps, the book examines its creation and dissolution within the framework of larger border politics. It explores the camp's portrayal as a threat and how this perception influenced its resurgence and eventual dismantling. Scholars interested in migration, border issues, and the refugee crisis will find this analysis particularly insightful.

This book investigates the relationship between the self and screen in the digital age, and examines how the notion of the self is re-negotiated and curated online. The chapters examine the production of the self in postmodernity through digital platforms by employing key concepts of ubiquity, the everyday, disembodiment and mortality. It locates self-production through ubiquitous imaging of the self and our environments with and through mobile technologies and in terms of its ‘embeddedness’ in our everyday lives. In this innovative text, Yasmin Ibrahim explores technology’s co-location on our corporeal body, our notions of domesticity and banality, our renewed relationship with the screen and our enterprise with capital as well as the role of desire in the formation of the self. The result is a richly interdisciplinary volume that seeks to examine the formation of the self online, through its renewed negotiations with personalised technologies and with the emergence of social networking sites.