"Over 15 chapters, Dunaway transforms what we know about icons and events. Seeing Green is the first history of ads, films, political posters, and magazine photography in the postwar American environmental movement. From fear of radioactive fallout during the Cold War to anxieties about global warming today, images have helped to produce what Dunaway calls "ecological citizenship, " telling us that "we are all to blame." Dunaway heightens our awareness of how depictions of environmental catastrophes are constructed, manipulated, and fought over" -- Publisher information.
ICIAR 2004, the International Conference on Image Analysis and Recognition, was the ?rst ICIAR conference, and was held in Porto, Portugal. ICIAR will be organized annually, and will alternate between Europe and North America. ICIAR 2005 will take place in Toronto, Ontario, Canada. The idea of o?ering these conferences came as a result of discussion between researchers in Portugal and Canada to encourage collaboration and exchange, mainly between these two countries, but also with the open participation of other countries, addressing recent advances in theory, methodology and applications. The response to the call for papers for ICIAR 2004 was very positive. From 316 full papers submitted, 210 were accepted (97 oral presentations, and 113 - sters). The review process was carried out by the Program Committee members and other reviewers; all are experts in various image analysis and recognition areas. Each paper was reviewed by at least two reviewing parties. The high q- lity of the papers in these proceedings is attributed ?rst to the authors, and second to the quality of the reviews provided by the experts. We would like to thank the authors for responding to our call, and we wholeheartedly thank the reviewers for their excellent work in such a short amount of time. We are espe- ally indebted to the Program Committee for their e?orts that allowed us to set up this publication. We were very pleased to be able to include in the conference, Prof. Murat KuntfromtheSwissFederalInstituteofTechnology,andProf. Mario ́ Figueiredo, oftheInstitutoSuperiorT ́ ecnico,inPortugal.
Images of the Tropics critically examines Dutch colonial culture in the Netherlands Indies through the prism of landscape art. Susie Protschky contends that visual representations of nature and landscape were core elements of how Europeans understood the tropics, justified their territorial claims in the region, and understood their place both in imperial Europe and in colonized Asia during the nineteenth and early twentieth centuries. Her book thus makes a significant contribution to studies of empire, art and environment, as well as to histories of Indonesia and Europe. Surveying a rich visual culture developed over a period of some 350 years of Dutch colonial engagement with Indonesia Susie Protschky demonstrates how views of the archipelago’s environment were far from simple topographical souvenirs. Rather, this book reveals how images of the tropics visually articulated colonial attempts to legitimize and historicize what were in fact continually changing and contested claims to Dutch territorial sovereignty in the Indies. Further, colonial images of nature were routinely inflected with diverse cultural preoccupations, among them the constitution of gender, class and racial boundaries in Indies society; the tenor of sexual mores in the tropics; and the political role of religion in the archipelago. Landscape art thus indexed colonial views on a range of pressing social and political concerns.
The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.
"This learned and heavy volume should be placed on the shelves of every art historical library."—E. H. Gombrich, New York Review of Books "This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin "Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly "Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement
"A thoughtful treatise on how popular representations of nature, through entertainment and tourism, shape how we imagine environmental problems and their solutions"--Provided by publisher.
Walden Pond. The Grand Canyon.Yosemite National Park. Throughout the twentieth century, photographers and filmmakers created unforgettable images of these and other American natural treasures. Many of these images, including the work of Ansel Adams, continue to occupy a prominent place in the American imagination. Making these representations, though, was more than a purely aesthetic project. In fact, portraying majestic scenes and threatened places galvanized concern for the environment and its protection. Natural Visions documents through images the history of environmental reform from the Progressive era to the first Earth Day celebration in 1970, showing the crucial role the camera played in the development of the conservation movement. In Natural Visions, Finis Dunaway tells the story of how visual imagery—such as wilderness photographs, New Deal documentary films, and Sierra Club coffee-table books—shaped modern perceptions of the natural world. By examining the relationship between the camera and environmental politics through detailed studies of key artists and activists, Dunaway captures the emotional and spiritual meaning that became associated with the American landscape. Throughout the book, he reveals how photographers and filmmakers adapted longstanding traditions in American culture—the Puritan jeremiad, the romantic sublime, and the frontier myth—to literally picture nature as a place of grace for the individual and the nation. Beautifully illustrated with photographs by Ansel Adams, Eliot Porter, and a host of other artists, Natural Visions will appeal to a wide range of readers interested in American cultural history, the visual arts, and environmentalism.
This innovative volume provides a new analytic framework for understanding how meaning-making resources are deployed in images designed for knowledge building in school science. The framework enables analyses of science images from the perspectives of both their complexity and recognizability. Complexity deals with the technical and abstract knowledge of school science (technicality), evaluative dispositions in relation to that knowledge (iconization) and the condensation of the technical and dispositional meanings as ‘synoptic eyefuls’ in discipline-specific infographics (aggregation). Recognizability concerns the relationship between the appearance of phenomena in reality and the reconfiguration of this reality in images (congruence), the perceptibility or discernibility of the features and contexts of phenomena in images (explicitness), and how images engage their viewers (affiliation). The framework is illustrated by more than 100 images in colour in the e-book and black and white in the paper version and will inform research into multimodal literacy pedagogy that incorporates an understanding of the role of images in the teaching and learning of school science. This book will be of particular interest to scholars in multimodality, semiotics, literacy education and science education.
Self, Interaction, and Natural Environment helps us as individuals to understand environmental issues and to respond accordingly. Although it acknowledges that such issues exist on a worldwide scale, it sharpens our focus on the personal level. For example, it shows that most people do not consider the pollution they cause by operating cars or fertilizing lawns. Throughout the text, the author links ideas to both social concerns and everyday activities, helping readers to comprehend political decisions that involve the environment, as well as making them more aware of their own role in that respect.
First published in 1994. This book comprises a second edition of Human Geography, behavioural approaches, first published in 1984. The first edition attempted to synthesize the massive volume of geographical literature to have appeared mainly since 1960 concerned with both how people come to know the environment in which they live and with the way in which such knowledge influences subsequent ‘spatial behaviour’. As with the first edition, the rationale for, advantages of, and shortcomings with behavioural approaches are explored at length in both substantive chapters and in a number of detailed examinations of particular aspects of life in advanced Western society.
