Photographic creation involves an interaction between the viewer and the image, combining perception and personal construction, rather than a representation of something already existing.

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A photographic history of Tehran from the nineteenth century to the present time is presented with emphasis on the ramifications of modernisation within the urban realm.

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This paper examines the visual and its aesthetic primacy, whether art or not, combined with the shock and awe of technology, especially, notions of photography as a compelling, dominant aesthetic.

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I argue that the key to making sense of Jim Morrison is to stop trying to document his life and to focus on our cultural responses to the Morrison story.

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Reports on an experimental course in which students constructed ten visual and verbal projects for purposes of exploring and 'healing' a personal trauma, such as death, anxiety, or fear.

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An argument is forwarded that Parigi’s stage designs for La Flora played a major role.

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An examination of the subsumation of traditional architectural orders by the proliferation of the image in a branded and globalised urban condition.

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Research on recent films indicates that male and female detectives use and understand photographs quite differently in pursuit of the truth and meaning.

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The paper examines the politics of historical investigation through still images and its relation to contemporary filmic representations of migrants in Imbert's No Pasarán, Album Souvenir.

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Exploration of the interplay of methods and techniques generally accepted as belonging to either the pictorial arts or architecture.

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