The book offers a fresh new theory and history of art from the perspective of this epoch‑defining mobility. The image has been understood in many ways, but it is rarely understood to be fundamentally in motion. The original and materialist approach is what defines “Theory of the Image” and what allows it to offer the first kinetic history of the Western art tradition. In this book, Thomas Nail further develops his larger philosophy of movement into a comprehensive kinesthetic of the moving image from prehistory to the present. The book concludes with a vivid analysis of the contemporary digital image and its hybridity, ultimately outlining new territory for research and exploration across aesthetics, art history, cultural theory, and media studies.
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