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A general introduction provides background information on the history of fans and on this collection in particular, while detailed descriptions and spcially commissioned color photography highlights aspects of design and manufacture.
The acclaimed bestseller about visual problem solving-now bigger and better "There is no more powerful way to prove that we know something well than to draw a simple picture of it. And there is no more powerful way to see hidden solutions than to pick up a pen and draw out the pieces of our problem." So writes Dan Roam in The Back of the Napkin, the international bestseller that proves that a simple drawing on a humble napkin can be more powerful than the slickest PowerPoint presentation. Drawing on twenty years of experience and the latest discoveries in vision science, Roam teaches readers how to clarify any problem or sell any idea using a simple set of tools. He reveals that everyone is born with a talent for visual thinking, even those who swear they can't draw. And he shows how thinking with pictures can help you discover and develop new ideas, solve problems in unexpected ways, and dramatically improve your ability to share your insights. Take Herb Kelleher and Rollin King, who figured out how to beat the traditional hub-and-spoke airlines with a bar napkin and a pen. Three dots to represent Dallas, Houston, and San Antonio. Three arrows to show direct flights. Problem solved, and the picture made it easy to sell Southwest Airlines to investors and customers. Now with more color, bigger pictures, and additional content, this new edition does an even better job of helping you literally see the world in a new way. Join the teachers, project managers, doctors, engineers, assembly-line workers, pilots, football coaches, marine drill instructors, financial analysts, students, parents, and lawyers who have discovered the power of solving problems with pictures.
This book offers an analysis of archaeological imagery based on new materialist approaches. Reassessing the representational paradigm of archaeological image analysis, it argues for the importance of ontology, redefining images as material processes or events that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. Featuring contributions from archaeologists, Egyptologists, anthropologists and artists, it highlights the multiple role of images in prehistoric and historic societies, while demonstrating that scholars need to recognise their dynamic and changeable character.
Since the 1960s, an international group of artists has embraced slide projection as a dynamic alternative to the tradition of painting, blending aspects of photography, film, and installation art. Slide Show is the first in-depth examination of how slides evolved into one of the most exciting art forms of our time. Essays by leading scholars and 200 color illustrations provide visual, historical, and critical insight into this unique medium.
Director Babak Ebrahimian examines and explores the similarities and differences between cinema and theater, and in doing so, defines a new theater form that uses film theories and aesthetics as its foundation.
Archaeological and anthropological investigations of depictions seldom extend beyond a single culture or a single geographical location, although there is a powerful factor common to all depictions, the factor of human perception. In this volume an attempt is made to show how this factor affects both creation and recognition of depictions, how, in common with everyday vision of the environment, typical contours are derived and used, not merely to depict individually readily recognisable models, but also how by concatenation they lead to such a splendid figure as Australian Kakadu crocodiles, or by distortion to creation of illusions of pictorial depth, such as is evoked by Leonardo da Vinci’s perspective and by inverted (Byzantine) perspective thought by some to be an aberration. Bartel’s studies show that pictorial depth is often achieved to the artist’s, and many a viewer’s, but not to geometer’s satisfaction by partial distortion, and Chinese masterpieces embody, side by side, ‘normal’ and inverted perspective. The visual process is universally uniform (if it were not, one would not be able to recognise an Altamira bison as a bison) and its foibles can be freely exploited. Its best known exploiter is probably Cezanne. His pictures are admired by many and puzzle many. Strzemiński postulated that they compound distinct lines of sight, thus endorsing primacy of central vision, a concept thought by Gombrich to be of greater import to geometers than to artists.
This thought-provoking and original book argues that hyperimages—calculated displays of images on walls or pages—have played a major role in the history of art. In exhibitions, illustrated art books, and classrooms, artworks or their photographic reproductions are arranged as calculated ensembles that have their own importance. In this volume, Felix Thürlemann develops a theory of this type of image use, arguing that with each new gathering of images, an art object is reinterpreted. These hyperimages have played a major role in the history of art since the seventeenth century, and the main actors of the art world are all hyperimage creators. In part because the hyperimage is not permanently available, this interplay of images has been largely unexplored. Through case studies organized within three groups of producers—collectors and curators, art historians, and artists—Thürlemann proposes a theory of the hyperimage, explores the semiotic nature of this plural image use, and discusses the arrangement and interpretation of such pictures in order to illuminate the phenomenon of Western image culture from the beginning of the seventeenth century until today. His analysis of the ways in which images are assembled and associated provides a crucial context for the explosive present-day deployment of images on digital devices.
The group of poems were written in Nova Scotia, Canada and contain the inspiration of a land and sea that have affected me deeply. Although not the place in which my husband and I reside most of the year, it has become very dear. .An old house, a pebbled beach and a new environment have given us, in unexpected ways, gifts allowing us both to come to terms with a life lived, while also bestowing upon us a gift of new beginnings. This group of poems, then, is dedicated to our new home and the landscape and seascape that we now share where there are no boundaries between time and space, beginnings and endings, where all things appear to exist simultaneously: on the horizon, within the sea and upon the land, and where, most important of all, life seems good.