{"version":"1.0","provider_name":"The New Atlantis","provider_url":"https:\/\/www.thenewatlantis.com","author_name":"Brian","author_url":"https:\/\/www.thenewatlantis.com\/author\/brianshim","title":"The Image Culture","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"Y7NaT1SXU9\"><a href=\"https:\/\/www.thenewatlantis.com\/publications\/the-image-culture\">The Image Culture<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.thenewatlantis.com\/publications\/the-image-culture\/embed#?secret=Y7NaT1SXU9\" width=\"600\" height=\"338\" title=\"&#8220;The Image Culture&#8221; &#8212; The New Atlantis\" data-secret=\"Y7NaT1SXU9\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/*! This file is auto-generated *\/\n!function(c,l){\"use strict\";var e=!1,o=!1;if(l.querySelector)if(c.addEventListener)e=!0;if(c.wp=c.wp||{},c.wp.receiveEmbedMessage);else if(c.wp.receiveEmbedMessage=function(e){var t=e.data;if(!t);else if(!(t.secret||t.message||t.value));else if(\/[^a-zA-Z0-9]\/.test(t.secret));else{for(var r,s,a,i=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),n=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),o=0;o<n.length;o++)n[o].style.display=\"none\";for(o=0;o<i.length;o++)if(r=i[o],e.source!==r.contentWindow);else{if(r.removeAttribute(\"style\"),\"height\"===t.message){if(1e3<(s=parseInt(t.value,10)))s=1e3;else if(~~s<200)s=200;r.height=s}if(\"link\"===t.message)if(s=l.createElement(\"a\"),a=l.createElement(\"a\"),s.href=r.getAttribute(\"src\"),a.href=t.value,a.host===s.host)if(l.activeElement===r)c.top.location.href=t.value}}},e)c.addEventListener(\"message\",c.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",t,!1),c.addEventListener(\"load\",t,!1);function t(){if(o);else{o=!0;for(var e,t,r,s=-1!==navigator.appVersion.indexOf(\"MSIE 10\"),a=!!navigator.userAgent.match(\/Trident.*rv:11\\.\/),i=l.querySelectorAll(\"iframe.wp-embedded-content\"),n=0;n<i.length;n++){if(!(r=(t=i[n]).getAttribute(\"data-secret\")))r=Math.random().toString(36).substr(2,10),t.src+=\"#?secret=\"+r,t.setAttribute(\"data-secret\",r);if(s||a)(e=t.cloneNode(!0)).removeAttribute(\"security\"),t.parentNode.replaceChild(e,t);t.contentWindow.postMessage({message:\"ready\",secret:r},\"*\")}}}}(window,document);\n<\/script>\n","description":"When Hurricane Katrina struck the Gulf Coast of Mississippi, Alabama, and Louisiana in late August, images of the immense devastation were immediately available to anyone with a television set or an Internet connection. Although images of both natural and man-made disasters have long been displayed in newspapers and on television, the number and variety of images in the aftermath of Katrina reveals the sophistication, speed, and power of images in contemporary American culture. Satellite photographs from space offered us miniature before and after images of downtown New Orleans and the damaged coast of Biloxi; video footage from an array of...","thumbnail_url":"https:\/\/www.thenewatlantis.com\/wp-content\/uploads\/2020\/09\/social-share-default.png","thumbnail_width":930,"thumbnail_height":488}