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The Tactile Eye expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile—a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.
Today, the most progressive designers are working at the intersection of various creative disciplines. They are challenging existing design principles and defining them anew. Many designers from different areas are choosing to no longer work exclusively in two dimensions and are instead dealing intensively with space, material and physical products. The book Hidden Track investigated this development in 2005 and portrayed it in its breadth for the first time. Now, Tactile shows how graphic design is moving into three-dimensional objects and products and presents graphic design that works with space or the perception of space. The book focuses less on murals than on products, objects, installations and collage that demonstrate how designers are developing and implementing their ideas spatially from the very outset of a given project. Tactile proves that spatial innovation in graphic design is not limited to personal work or artistic endeavours for exhibition, but is being sought out more and more often by commercial clients, for example in store design. With its insight into this experimental field of graphic design, Tactile targets young, progressive designers as well as professionals from the fields of advertising, architecture and interior design. Because its topical content is compiled in a way that highlights the interesting multi-disciplinary interactions between the various works, Tactile also offers inspiration for creatives in fashion, lifestyle and art.
More Than Meets the Eye seeks to dismantle traditional understandings of blindness through scrutiny of philosophical speculation, scientific case studies, literary depictions, and museum access programs for the blind. It introduces blind and visually impaired artists whose work has shattered stereotypes and opened up new aesthetic possibilities for everyone.
Foundations of Low Vision: Clinical and Functional Perspectives, the ground-breaking text that highlighted the importance of focusing on the functional as well as the clinical implications of low vision, has been completely updated and expanded in this second edition. The revised edition goes even further in its presentation of how best to assess and support both children and adults with low vision and plan programs and services that optimize their functional vision and ability to lead productive and satisfying lives, based on individuals' actual abilities. Part 1, Personal and Professional Perspectives, provides the foundations of this approach, with chapters focused on the anatomy of the eye, medical causes of visual impairment, optics and low vision devices, and clinical low vision services, as well as psychological and social implications of low vision and the history of the field. Part 2 focuses on children and youths, providing detailed treatment of functional vision assessment, instruction, use of low vision devices, orientation and mobility, and assistive technology. Part 3 presents rehabilitation and employment issues for working-age adults and special considerations for older adults.
Inspired by the Montessori method of education this tactile book of textures engages children with the natural world through touch and encourages children to interact imaginatively with their environment. In this touch and feel book of textures, children can squish the sea sponge, scrape the rough tree bark, and touch the sheep's fluffy fleece while learning about the natural world around them. My World is an engaging series inspired by the Montessori method of education where each title features hands-on, practical learning. Enthusiastic young learners can explore many exciting topics presented in creative, unique formats.
A counting book depicting the colorful fish a child might see if he turned into a fish himself.
Cerebral visual impairment (also known as cortical visual impairment, or CVI) has become the most common cause of visual impairment in children in the United States and the developed world. Vision and the Brain is a unique and comprehensive sourcebook geared especially to professionals in the field of visual impairment, educators, and families who need to know more about the causes and types of CVI and the best practices for working with affected children. Expert contributors from many countries represent education, occupational therapy, orientation and mobility, ophthalmology, optometry, neuropsychology, psychology, and vision science, and include parents of children with CVI. The book provides an in-depth guide to current knowledge about brain-related vision loss in an accessible form to enable readers to recognize, understand, and assess the behavioral manifestations of damage to the visual brain and develop effective interventions based on identification of the spectrum of individual needs. Chapters are designed to help those working with children with CVI ascertain the nature and degree of visual impairment in each child, so that they can "see" and appreciate the world through the child's eyes and ensure that every child is served appropriately.
Through a series of detailed film case histories ranging from The Great Dictator to Hiroshima mon amour to The Lives of Others, The Aesthetics of Antifascist Film: Radical Projection explores the genesis and recurrence of antifascist aesthetics as it manifests in the WWII, Cold War and Post-Wall historical periods. Emerging during a critical moment in film history—1930s/1940s Hollywood— cinematic antifascism was representative of the international nature of antifascist alliances, with the amalgam of film styles generated in émigré Hollywood during the WWII period reflecting a dialogue between an urgent political commitment to antifascism and an equally intense commitment to aesthetic complexity. Opposed to a fascist aesthetics based on homogeneity, purity and spectacle, these antifascist films project a radical beauty of distortion, heterogeneity, fragmentation and loss. By juxtaposing documentation and the modernist techniques of surrealism and expressionism, the filmmakers were able to manifest a non-totalizing work of art that still had political impact. Drawing on insights from film and cultural studies, aesthetic and ethical philosophy, and socio-political theory, this book argues that the artistic struggles with political commitment and modernist strategies of representation during the 1930s and 40s resulted in a distinctive, radical aesthetic form that represents an alternate strand of post-modernism.
From typographic illustrator Marian Bantjes, I Wonder will make you think in new ways about art, design, beauty, and popular culture. This unique presentation features the elaborately crafted word pictures of Marian Bantjes, the most inventive and creative typographic illustrator of our time. Whether intricately hand-drawn or using computer illustration software, Bantjes's work crosses the boundaries of time, style, and technology. There is, however, another side to Bantjes's visual work: her thoughtful treatises on art, design, beauty, and popular culture that add a deeper dimension to the decorative nature of her best-known work. These reflections cover the cult of Santa, road-side advertising, photography and memory, the alphabet's letterforms, heraldry, and stars. Bantjes's writing style ranges from the playful to the confrontational, but it is always imbued with perspicacity, insight, and a sense of fun. Intended to inspire creatives of any persuasion, this is more than a collection of ideas: Bantjes has meticulously illustrated every page of the book in her inimitable style to create an accessible work of art that is far greater than the sum of its parts. Quirky, poignant, astute, funny--this beautiful book presents a compelling collection of observations on visual culture and design. In Stefan Sagmeister's telling words, Bantjes's work is his "favorite example of beauty facilitating the communication of meaning." This paperback edition is expanded with a new essay from the author.
Everyone knows the thrill of being transported by a film, but what is it that makes movie watching such a compelling emotional experience? In Moving Viewers, Carl Plantinga explores this question and the implications of its answer for aesthetics, the psychology of spectatorship, and the place of movies in culture. Through an in-depth discussion of mainstream Hollywood films, Plantinga investigates what he terms "the paradox of negative emotion" and the function of mainstream narratives as ritualistic fantasies. He describes the sensual nature of the movies and shows how film emotions are often elicited for rhetorical purposes. He uses cognitive science and philosophical aesthetics to demonstrate why cinema may deliver a similar emotional charge for diverse audiences.