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Flows of Reading: Engaging with Texts
Erin Reilly, Ritesh Mehta, Henry Jenkins
A living workbook encouraging reflection on how reading matters in everyday life.
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Holy Terrors: Latin American Women Perform
Edited by Diana Taylor and the Hemispheric Institute
Re-animating a print book as a multimedia publication with expanded capabilities.
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What is Performance Studies?
Edited by Diana Taylor with Marcos Steuernagel, Henry Castillo + Alexei Taylor
A multimodal exploration of a vibrant interdisciplinary field.
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“Publishing The Art Bulletin: Past, Present, and Future”
Thelma K. Thomas
A celebration of the one-hundredth anniversary of the first issue of The Art Bulletin.
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The Nature of Dreams
Seth Rogoff
This book collects and analyzes over 150 media files in a lively exploration of dream-like moments in literature, film, visual art, and music.
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The Nicest Kids in Town
Matthew F. Delmont
The history of American Bandstand re-examined, with direct access to archival video.
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Filmic Texts and the Rise of the Fifth Estate
Virginia Kuhn
Scalar enables the careful, sustained analysis of film and video clips in an article that explores the meaning and value of such analysis.
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The Knotted Line
Direction and Painting by Evan Bissell, Design and Programming by Erik Loyer
A richly interactive visual interface combined with a deep pedagogical resource, both powered by Scalar.
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We Are All Children of Algeria: Visuality and Countervisuality 1954-2011
Nicholas Mirzoeff
Nicholas Mirzoeff explores uses Scalar and the metaphor of the march to experiment with rhetorical structures.
A selection of projects authored with Scalar.
We Are All Children of Algeria: Visuality and Countervisuality 1954-2011 Nicholas Mirzoeff
Noted visual culture theorist Nicholas Mirzoeff takes Scalar in an experimental direction by embedding the metaphor of the march into the structure of his essay “‘We Are All Children of Algeria’: Visuality and Countervisuality 1954-2011.” Mirzoeff’s text, richly interspersed with archival footage, film clips, and to-camera videos, explores the history and continuing significance of revolution and decolonization in contemporary Algeria. Scalar’s support for multiple intersecting paths is invoked as Mirzoeff begins his text with a figurative “mic check”—a page which introduces the project’s multiple paths, which wind their way through various permutations of the subject at hand before converging at a final page entitled “Platform.” Here, the reader is advised that they have reached “the destination but not the terminus” and is then asked, “Where is the Algeria in the work that you do?”
