Making tangible connections between theory and practice, ideas and form, this book encourages debate about the artistic, conceptual, and cultural significance of the way things look. What are the metaphysical concepts at the heart of design education, theory, and philosophy? Why do we assume that design is impossible to teach? This book challenges the traditional foundations of perception and takes an imaginative, radical approach, setting itself apart from the traditions of analytical philosophy, evolutionary psychology, and phenomenology which underpin much of current design theory and discourse. The new definition of perception produces startling consequences for conceptions of language, intelligence, meaning, the senses, emotions and subjectivity. This is an innovative, fresh view on design and how we can improve it for both practitioners and students in the architecture and design fields as well as philosophers.
The book argues that the "cutting-edge" work championed by today's art establishment worldwide differs so fundamentally from the "fine art" of the past that it does not qualify as "art" at all. Extensive evidence from art history, cross-cultural studies, neuroscience, philosophy, and cognitive psychology is presented in support of that argument. In addition, the author offers an in-depth appreciation of traditional art, including that created by contemporary painters and sculptors virtually ignored by today's critics, curators, and the mass media. The role played by art teachers, collectors, museums, and public officials in promoting today's "pseudo art" is also considered.
La Celestina, a Spanish literary masterpiece second only in importance to Don Quixote in Spanish literature, has been shaped by the inclusion of images from its very first edition in 1499. The subsequent five centuries were punctuated by many illustrated editions; imaginary portraits of the eponymous procuress Celestina by painters such as Murillo, Goya, and Picasso; and, more recently, screen and stage adaptations. Celestina became the prototype from which later representations of procuresses and bawds derived. The Image of Celestina sheds light on the visual culture that developed around La Celestina, including paintings, illustrations, and advertisements. Enrique Fernández examines La Celestina as a mixed-media text, incorporating methods from disciplines such as art history and women’s and cinema studies, and considers a variety of images including promotional posters, lobby pictures, and playbills of theatrical and cinematic adaptations of the book. Using a visual studies approach, The Image of Celestina ultimately illuminates the culture of Celestina, a mythical figure, who surpasses the literary text in which she originated.
The four-volume set CCIS 1580, CCIS 1581, CCIS 1582, and CCIS 1583 contains the extended abstracts of the posters presented during the 24th International Conference on Human-Computer Interaction, HCII 2022, which was held virtually in June - July 2022. The total of 1276 papers and 275 posters included in the 40 HCII 2021 proceedings volumes was carefully reviewed and selected from 5583 submissions. The posters presented in these four volumes are organized in topical sections as follows: Part I: user experience design and evaluation; visual design and visualization; data, information and knowledge; interacting with AI; universal access, accessibility and design for aging. Part II: multimodal and natural interaction; perception, cognition, emotion and psychophysiological monitoring; human motion modelling and monitoring; IoT and intelligent living environments. Part III: learning technologies; HCI, cultural heritage and art; eGovernment and eBusiness; digital commerce and the customer experience; social media and the metaverse. Part IV: virtual and augmented reality; autonomous vehicles and urban mobility; product and robot design; HCI and wellbeing; HCI and cybersecurity.
This substantial and ambitious dictionary explores the languages and cultures of visual studies. It provides the basis for understanding the foundations and motivations of current theoretical and academic discourse, as well as the different forms of visual culture that have come to organize everyday life.
A scientist recounts his global adventure documenting trilobite fossils in this full-color book perfect for armchair paleontologists. Distant relatives of modern lobsters, horseshoe crabs, and spiders, trilobites swam the planet’s prehistoric seas for 300 million years, from the Lower Cambrian to the end of the Permian eras—and they did so very capably. Trilobite fossils have been unearthed on every continent, with more than 20,000 species identified by science. One of the most arresting animals of our pre-dinosaur world, trilobites are also favorites among the fossil collectors of today, their crystalline eyes often the catalyst for a lifetime of paleontological devotion. And there is no collector more devoted—or more venerated—than Riccardo Levi-Setti. With The Trilobite Book, a much-anticipated follow-up to his classic Trilobites, Levi-Setti brings us a glorious and revealing guide to these surreal arthropods of ancient Earth. Featuring specimens from Bohemia to Newfoundland, California to the Tucson Gem and Mineral Show, and Wales to the Anti-Atlas Mountains of Morocco, Levi-Setti’s magnificent book reanimates these “butterflies of the seas” in 235 astonishing full-color photographs. All original, Levi-Setti’s images serve as the jumping-off point for tales of his global quests in search of these highly sought-after fossils; for discussions of their mineralogical origins, as revealed by their color; and for unraveling the role of the now-extinct trilobites in our planetary history. Sure to enthrall paleontologists with its scientific insights and amateur enthusiasts with its beautiful and informative images, The Trilobite Book combines the best of science, technology, aesthetics, and personal adventure. It will inspire new collectors for eras to come. Praise for The Trilobite Book “[The Trilobite Book]marries the intertwined story of [Levi-Setti’s] global hunt for specimens and trilobites’ place in prehistory with 235 superb color photographs of select fossils. Perhaps most astounding is the array found by Arkadiy Evdokimov in Russia: their preservation is exquisite, down to the rococo flourishes of curving spines and protuberant, complex eyes.” —Barbara Kiser, Nature “This gorgeous, well-researched book is a must-have for anyone interested in these prehistoric creatures.” —Carla Sinclair, Boing Boing
Public concern about the landscape, in particular its appearance, is increasing all the time. For those charged with managing, developing or conserving a wide range of landscapes it is a major task to take visual aspects into account. Elements of Visual Design in the Landsacpe presents a vocabulary of visual design, structured in a logical and easy to follow sequence. It is profusely illustrated using both abstract and real examples taken from a wide range of international locations together with cross referencing between related principles and case studies demonstrating how the principles can be applied in practice. The visual aspects of design have often been treated as 'cosmetic' and therefore not meriting attention or purely subjective and therefore open to personal preference. Few attempts have been made to explain how we see the landscape in any rational and structured way, and to demonstrate how visually creative design and management can be undertaken. This book aims to fill that gap.
In this, the only up-to-date critical work on still life painting in any language, Norman Bryson analyzes the origins, history and logic of still life, one of the most enduring forms of Western painting. The first essay is devoted to Roman wall-painting while in the second the author surveys a major segment in the history of still life, from seventeenth-century Spanish painting to Cubism. The third essay tackles the controversial field of seventeenth-century Dutch still life. Bryson concludes in the final essay that the persisting tendency to downgrade the genre of still life is profoundly rooted in the historical oppression of women. In Looking at the Overlooked, Norman Bryson is at his most brilliant. These superbly written essays will stimulate us to look at the entire tradition of still life with new and critical eyes.
