This introduction takes as its central armature Karen Barad’s agential realism to provide a framework for understanding the essays brought together in this Special Issue under the rubric of pictures of conflict. The intention is to move the discussion with regard to picture making forward to more fully embrace the pictorial and the physical, the historical and institutional processes within apparatuses of picture-making. The attempt in ‘Ghost stories’ through the concept of a visual apparatus, is to shed new light and thinking on pictures as material objects; how they act and feed into our subjectivities, experiences and realities and to account for their currency, duration, affectivity and authority beyond transparent representation or symbolic meaning. In order to achieve this, Barad’s agential realism is inflected by insights from Malafouris’s (2013) material engagement theory; W.J.T. Mitchell’s (2005) image theory; Jens Eder and Charlotte Klonk’s (2017) image operations; Mondzian’s (2005) understanding of the economy of the image, as well as the ontological concerns of new German art history and image science exemplified in the work of Hans Belting (1996, 2011) and Horst Bredekamp (2017), for example. In this framework, the worlds pictures create, and the subjectivities they produce, are not understood to precede the phenomena they depict. The picture, as the outcome of the apparatus which produces it, makes an ‘observational cut’ that simultaneously excludes and includes certain elements from its frame. As such, it has to be comprehended as party to processes which are both ethical and political. A fact which is particularly important during times of conflict and war.

Twitter is used by a substantial minority of the populations of many countries to share short messages, sometimes including images. Nevertheless, despite some research into specific images, such as selfies, and a few news stories about specific tweeted photographs, little is known about the types of images that are routinely shared. In response, this article reports a content analysis of random samples of 800 images tweeted from the UK or USA during a week at the end of 2014. Although most images were photographs, a substantial minority were hybrid or layered image forms: phone screenshots, collages, captioned pictures, and pictures of text messages. About half were primarily of one or more people, including 10% that were selfies, but a wide variety of other things were also pictured. Some of the images were for advertising or to share a joke but in most cases the purpose of the tweet seemed to be to share the minutiae of daily lives, performing the function of chat or gossip, sometimes in innovative ways.

Heritage, Ideology, and Identity in Central and Eastern Europe: Contested Pasts, Contested Presents. Ed. Matthew Rampley. Heritage Matters, vol. 6. Rochester, N.Y.: Boydell and Brewer, 2012. viii, 206 pp. Notes. Index. Illustrations. Photographs. $95.00, hard bound. - Volume 72 Issue 2