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"This book contains basic instructions on how to net, using text and pictures, and easy patterns for diamond-mesh netting that use the plain netting stitch as well as some fancy stitches made with increases and decreases."--Preface.
Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies. Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes. Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.
Net Art Anthology aims to represent net art as an expansive, hybrid set of artistic practices that overlap with many media and disciplines. To accommodate this diversity of practice, Rhizome has defined "net art" as "art that acts on the network, or is acted on by it." Rhizome prefers the term "net art" because it has been used more widely by artists than "internet art," which is more commonly used by institutions, or "net.art," which usually evokes a specific mid-90s movement. The informality of the term "net art" is also appropriate not only to the critical use of the web as an artistic medium, but also informal practices such as selfies and Twitter poems.
Summary The Art of Unit Testing, Second Edition guides you step by step from writing your first simple tests to developing robust test sets that are maintainable, readable, and trustworthy. You'll master the foundational ideas and quickly move to high-value subjects like mocks, stubs, and isolation, including frameworks such as Moq, FakeItEasy, and Typemock Isolator. You'll explore test patterns and organization, working with legacy code, and even "untestable" code. Along the way, you'll learn about integration testing and techniques and tools for testing databases and other technologies. About this Book You know you should be unit testing, so why aren't you doing it? If you're new to unit testing, if you find unit testing tedious, or if you're just not getting enough payoff for the effort you put into it, keep reading. The Art of Unit Testing, Second Edition guides you step by step from writing your first simple unit tests to building complete test sets that are maintainable, readable, and trustworthy. You'll move quickly to more complicated subjects like mocks and stubs, while learning to use isolation (mocking) frameworks like Moq, FakeItEasy, and Typemock Isolator. You'll explore test patterns and organization, refactor code applications, and learn how to test "untestable" code. Along the way, you'll learn about integration testing and techniques for testing with databases. The examples in the book use C#, but will benefit anyone using a statically typed language such as Java or C++. Purchase of the print book includes a free eBook in PDF, Kindle, and ePub formats from Manning Publications. What's Inside Create readable, maintainable, trustworthy tests Fakes, stubs, mock objects, and isolation (mocking) frameworks Simple dependency injection techniques Refactoring legacy code About the Author Roy Osherove has been coding for over 15 years, and he consults and trains teams worldwide on the gentle art of unit testing and test-driven development. His blog is at ArtOfUnitTesting.com. Table of Contents PART 1 GETTING STARTED The basics of unit testing A first unit test PART 2 CORE TECHNIQUES Using stubs to break dependencies Interaction testing using mock objects Isolation (mocking) frameworks Digging deeper into isolation frameworks PART 3 THE TEST CODE Test hierarchies and organization The pillars of good unit tests PART 4 DESIGN AND PROCESS Integrating unit testing into the organization Working with legacy code Design and testability
In The Charisma Myth, Olivia Fox Cabane offered a groundbreaking approach to becoming more charismatic. Now she teams up with Judah Pollack to reveal how anyone can train their brain to have more eureka insights. The creative mode in your brain is like a butterfly. It's beautiful and erratic, hard to catch and highly valued as a result. If you want to capture it, you need a net. Enter the executive mode, the task-oriented network in your brain that help you tie your shoes, run a meeting, or pitch a client. To succeed, you need both modes to work together--your inner butterfly to be active and free, but your inner net to be ready to spring at the right time and create that "aha!" moment. But is there any way to trigger these insights, beyond dumb luck? Thanks to recent neuroscience discoveries, we can now explain these breakthrough moments--and also induce them through a series of specific practices. It turns out there's a hidden pattern to all these seemingly random breakthrough ideas. From Achimedes' iconic moment in the bathtub to designer Adam Cheyer's idea for Siri, accidental breakthroughs throughout history share a common origin story. In this book, you will learn to master the skills that will transform your brain into a consistent generator of insights. Drawing on their extensive coaching and training practice with top Silicon Valley firms, Cabane and Pollack provide a step-by-step process for accessing the part of the brain that produces breakthroughs and systematically removing internal blocks. Their tactics range from simple to zany, such as: · Imagine an alternate universe where gravity doesn’t exist, and the social and legal rules that govern it. · Map Disney’s Pocahontas story onto James Cameron’s Avatar. · Rid yourself of imposter syndrome through mental exercises. · Literally change your perspective by climbing a tree. · Stimulate your butterfly mode by watching a foreign film without subtitles. By trying the exercises in this book, readers will emerge with a powerful new capacity for breakthrough thinking.
After serving as a missionary and then foreign advisor to Qing officials from 1887 to 1911, John Ferguson became a leading dealer of Chinese art, providing the Metropolitan Museum of Art, the Cleveland Museum of Art, and other museums with their inaugural collections of paintings and bronzes. In multiple publications dating to the 1920s and 1930s, Ferguson made the controversial claim that China’s autochthonous culture was the basis of Chinese art. His two Chinese language reference works, still in use today, were produced with essential help from Chinese scholars. Emulating these “men of culture” with whom he lived and worked in Peking, Ferguson gathered paintings, bronzes, rubbings, and other artifacts. In 1934, he donated this group of over one thousand objects to Nanjing University, the school he had helped to found as a young missionary. This work offers a significant contribution to the history of Chinese art collection. John Ferguson learned from and worked with Qing dynasty collectors and scholars, and then Republican-era dealers and archeologists, while simultaneously supplying the objects he had come to know as Chinese art to American museums and individuals. He is an ideal subject to help us see the interconnections between increased Western interest in Chinese art and archeology in the modern era, and cultural change taking place in China.
Games are a unique art form. They do not just tell stories, nor are they simply conceptual art. They are the art form that works in the medium of agency. Game designers tell us who to be in games and what to care about; they designate the player's in-game abilities and motivations. In other words, designers create alternate agencies, and players submerge themselves in those agencies. Games let us explore alternate forms of agency. The fact that we play games demonstrates something remarkable about the nature of our own agency: we are capable of incredible fluidity with our own motivations and rationality. This volume presents a new theory of games which insists on games' unique value in human life. C. Thi Nguyen argues that games are an integral part of how we become mature, free people. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. We can pursue goals, not for their own value, but for the sake of the struggle. Playing games involves a motivational inversion from normal life, and the fact that we can engage in this motivational inversion lets us use games to experience forms of agency we might never have developed on our own. Games, then, are a special medium for communication. They are the technology that allows us to write down and transmit forms of agency. Thus, the body of games forms a "library of agency" which we can use to help develop our freedom and autonomy. Nguyen also presents a new theory of the aesthetics of games. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. They are unlike traditional artworks in that they are designed to sculpt activities - and to promote their players' aesthetic appreciation of their own activity.