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Advances in the quality and accessibility of computer graphics has provided new pictorial displays and the tools with which to control them. These new display technologies have focused interest on how to design the static and dynamic images they produce to ensure effective communication. This book, based on the conference on Spatial Displays and Spatial instruments held at the Asilomar Conference Centre in 1987, focuses on the geometry of this communication. It is intended to be a source book of theoretical analysis, experimental demonstrations and practical examples from a range of contributors interested in pictorial communication, from medical artists to astronauts. The book offers the theoretical background and practical guidance needed by designers of contemporary 2D and 3D graphical computer interfaces. Its major contribution lies in its outlining of the elements of human perception and motor control which underlie the geometric design of head-mounted graphics for virtual reality displays.
This book explores the expressly pictorial type of visual archaeology, the transcribing of three-dimensional materiality into two-dimensional depictions, and its influential history within the discipline. The picturing of ancient sites and artifacts to convey information links visual reporting with the workings of the imagination and indicates that the study of antiquity has always had a hybrid identity: part artistic and part scientific. In examining expressly pictorial forms of visual story-telling about the past, this book looks beyond certain supposed "creative turns" and focuses instead on creative continuities, answering key questions about the power of picturing and its ability to not only inform documentary practices but actively structure those practices. How are prints, drawings, paintings and photographs able to collapse the three-dimensional world of the ancient past onto a flat page but also convey a sense of material reality? In contemporary practice, how do pictorial ways of seeing enable the interpretation of material remains but also shape the recognition of digital traces on a computer screen? Published illustrations, both historical and contemporary, are primary sources of evidence for answering such questions and identifying common patterns of pictorial information. This book provides a framework for scholars researching the visual culture of archaeology as well as the history of archaeology. It is also recommended for professionals in the fields of heritage studies, conservation and community archaeology.
Systematic observation is essential for educators to evaluate properly the effectiveness of curricula and to address the problems of individual students. This new third edition emphasizes early childhood, and focuses on those skills that will enable the observer to make appropriate, valid inferences and to arrive at decisions based on objective observation data gathered in natural learning environments and diverse educational settings. Includes new focuses on: Procedures for observing environmental factors that affect learning and behavior The importance of understanding the cultural and linguistic characteristics of children’s learning environmentsThe key role of observation in the assessment processThe forms of observation, with illustrative examplesThe exploration of reliability, sampling behavior, recording formats, summarizing observational outcomes, and validity Using photographs, sample worksheets, a simple format, and straight-forward language, the authors cite fascinating real-life examples from early childhood that can be applied to a variety of classroom experiences. “The Classroom Observer provides the foundation for learning how to watch children in systematic and child-focused ways. The authors make the critical and often underappreciated point that keen insight into children’s development may be learned, and that while many early childhood educators already watch children, much can be gained from systematic observation. I believe that this book provides a basis for critical reflection upon one’s own observation skills.” —From the Foreword by Jeanne Brooks-Gunn

This book is devoted to the study of the functional architecture of the visual cortex. Its geometrical structure is the differential geometry of the connectivity between neural cells. This connectivity is building and shaping the hidden brain structures underlying visual perception. The story of the problem runs over the last 30 years, since the discovery of Hubel and Wiesel of the modular structure of the primary visual cortex, and slowly cams towards a theoretical understanding of the experimental data on what we now know as functional architecture of the primary visual cortex. Experimental data comes from several domains: neurophysiology, phenomenology of perception and neurocognitive imaging. Imaging techniques like functional MRI and diffusion tensor MRI allow to deepen the study of cortical structures. Due to this variety of experimental data, neuromathematematics deals with modelling both cortical structures and perceptual spaces. From the mathematical point of view, neuromathematical call for new instruments of pure mathematics: sub-Riemannian geometry models horizontal connectivity, harmonic analysis in non commutative groups allows to understand pinwheels structure, as well as non-linear dimensionality reduction is at the base of many neural morphologies and possibly of the emergence of perceptual units. But at the center of the neurogeometry is the problem of harmonizing contemporary mathematical instruments with neurophysiological findings and phenomenological experiments in an unitary science of vision. The contributions to this book come from the very founders of the discipline.
The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book’s first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics.