Over on her blog Visual/Method/Culture, Prof. Gillian Rose has offered a preview of the changes and additions to the fourth edition of her essential Visual Methodologies book. Gillian lists seven things, here’s an excerpt:
I’ve been working on the fourth edition of Visual Methodologies on and off since January, squeezing it in the gaps between way too many other projects. As a result, it’s rather hard to have an overview of the beast (also because I seem to find it impossible to delete any more than a few sentences and a handful of references from each new edition). But I’m now facing the final run-through of the whole thing, when of course it will be lovingly burnished into a seamless whole, cough cough.
1) one big change (for me at least) is that I’ve added a fourth site to the framework that structures the book. Editions one, two and three were based on the idea that there are three sites at which the meaning/affects of images are made: the site of the production of the image, the image itself, and its audiencing. The fourth edition adds the site – or, better, routes – of an image’s circulation to that list. This was so discussion could focus on how different methods might approach the online platforms that now host and distribute so many images, and through which so much of social life is mediated and performed.
2) adding the site of circulation to the book also gives a framework for introducing debates about ‘convergence culture’ and whether it deals with questions of power adequately or not. It seems to me that one way that ‘power’ in a largely digital visual culture can be thought through is by asking about the ‘power geometries’ that structure its circulations: what sorts of patterns are there in those circulations and how to they structure certain forms of agency while mitigating against others? The Guardian’s recent report on the languages of the Internet is a great example of mapping those circulations to show their situatedness and partiality.
I recommend reading the whole post!