Digital images are an integral part of all media, including television, film, photography, animation, video games, data visualization, and the Internet. In the digital world, spectators become navigators wending their way through a variety of interactive experiences, and images become spaces of visualization with more and more intelligence programmed into the very fabric of communication processes. In How Images Think, Ron Burnett explores this new ecology, which has transformed the relationships humans have with the image-based technologies they have created. So much intelligence has been programmed into these image-dependent technologies that it often seems as if images are “thinking”; ascribing thought to machines redefines our relationship with them and enlarges our ideas about body and mind. Burnett argues that the development of this new, closely interdependent relationship marks a turning point in our understanding of the connections between humans and machines.

After presenting an overview of visual perception, Burnett examines the interactive modes of new technologies - including computer games, virtual reality, digital photography, and film - and locates digital images in a historical context. He argues that virtual images occupy a “middle space,” combining the virtual and the real into an environment of visualization that blurs the distinctions between subject and object—part of a continuum of experiences generated by creative choices by viewers, the results of which cannot be attributed either to images or to participants.

Ron Burnett is President of Emily Carr Institute of Art + Design in Vancouver, and Artist/Designer at the New Media Innovation Center. He is the author of Cultures of Vision: Images, Media, and the Imaginary and the editor of Explorations in Film Theory.

If asked, most people would agree that there are deep connections between technology and the modern world, and even that technology is the truly distinctive feature of modernity. Until recently, however, there has been surprisingly little overlap between technology studies and modernity theory. The goal of this ambitious book is to lay the foundations for a new interdisciplinary field by closely examining the co-construction of technology and modernity.

The book is divided into three parts. Part I lays the methodological groundwork for combining studies of technology and modernity, while integrating ideas drawn from feminism, critical theory, philosophy, sociology, and socioeconomics. Part II continues the methodological discussion, focusing on specific sociotechnical systems or technologies with prominent relations to modernity. Part III introduces practical and political issues by considering alternative modes of technology development and offering critiques of modern medicine, environmental technology, international development, and technology policy. The book as a whole suggests a broad research program that is both academic and applied and that will help us understand how contemporary societies can govern technologies instead of being governed by them.

Thomas J. Misa is Associate Professor of History at Illinois Institute of Technology.

Philip Brey is Associate Professor and Vice Chair of the Department of Philosophy at the University of Twente, the Netherlands.

Andrew Feenberg is Canada Research Chair in Philosophy in the School of Communications at Simon Fraser University.