The event occurs in time; the aftermath concerns the traces, which are frozen into images, objects, re-presentations. Traditionally, art history accommodates only the aftermath. A different
perspective on the visual arts is opened up when scholars insist on exploring the status of the event itself, allowing temporality to remain in place. By focusing on the event, recognition
of the traces becomes all the more evident, producing enhanced emphasis on the notion of representation itself. This book opens up debates on art history and theory to a broad range of
perspectives, offering fresh approaches to art history and media culture alongside diverse investigations into cross-cultural and non-Western art practices. The essays draw together a
wide and regionally diverse range of scholars from numerous areas, including film and documentary studies, philosophy, intellectual and cultural history, media theory and performance
studies, as well as art history and theory.
