Experience the afterlife in this lyrical, paranormal debut novel that will send your heart soaring. When Elliot finds herself dead for the third time, she knows she must have messed up, big-time. She doesn’t remember how she landed in the afterlife again, but she knows this is her last chance to get things right. Elliot just wants to move on, but first she will be forced to face her past and delve into the painful memories she’d rather keep buried. Memories of people she’s hurt, people she’s betrayed…and people she’s killed. As she pieces together the secrets and mistakes of her past, Elliot must find a way to earn the forgiveness of the person she’s hurt most and reveal the truth about herself to the two boys she loves…even if it means losing them both forever.
Deep beneath the sea off the cold Irish coast, Gaia is a young mermaid who dreams of being human... but at what terrible price? Hans Christian Andersen's dark original fairy tale is reimagined through a searing feminist lens, with the stunning, scalpel-sharp writing and world building that has won Louise her legions of devoted fans.
It is the largest and perhaps the most important organ of our body—it covers our fragile inner parts, defines our social identities, and channels our sensory experiences. And yet we rarely give a thought. With The Book of Skin, Steven Connor aims to change all that, offering an intriguing cultural history of skin. Connor first examines physical issues such as leprosy, skin pigmentation, cancer, blushing, and attenuations of erotic touch. He also explains why specific colors symbolize certain emotions, such as green for envy or yellow for cowardice, as well as why skin is the focus of destructive rage in many people’s violent fantasies. The Book of Skin then probes into how skin has been such a powerfully symbolic terrain in photography, religious iconography, cinema, and literature. From the Turin shroud to Ralph Ellison’s Invisible Man to plastic surgery, The Book of Skin expertly examines the role of skin in Western culture. A compelling read that penetrates well beyond skin-deep, The Book of Skin validates James Joyce’s declaration that “modern man has an epidermis rather than a soul.” “Richly conceived and elaborately thought out. No flicker of meaning has escaped Connor’s ferocious, all-seeing eye.”—Guardian
This book constitutes the refereed proceedings of the 9th International Conference on Advanced Concepts for Intelligent Vision Systems, ACIVS 2007, held in Delft, The Netherlands, August 2007. Coverage includes noise reduction and restoration, segmentation, motion estimation and tracking, video processing and coding, camera calibration, image registration and stereo matching, biometrics and security, medical imaging, image retrieval, as well as classification and recognition.
What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.
For the first time, David Katz's classic monograph The World of Touch has been translated into English. Regarded as one of the premiere experimental psychologists, Katz vigorously opposed the atomism and "tachistoscopic" mentality typical of the sensory psychology of his day. In The World of Touch, Katz sought to dispel the invidious distinction between the supposedly higher (e.g., vision, audition) and lower (e.g., touch) senses. To help touch regain its original prominence in the field, Katz demonstrated, through very simple, yet creative experiments, how fascinating the abilities of touch are, and how valuable the tactual stimulus can be in specifying objects, surfaces, substances, and events. In addition, Katz emphasized the importance of higher-order invariants in the perception of objects, and the holistic quality of perception in time as well as space.
INTERACT 2009 was the 12th of a series of INTERACT international c- ferences supported by the IFIP Technical Committee 13 on Human–Computer Interaction. This year,INTERACT washeld in Uppsala (Sweden), organizedby the Swedish Interdisciplinary Interest Group for Human–Computer Interaction (STIMDI) in cooperation with the Department of Information Technology at Uppsala University. Like its predecessors, INTERACT 2009 highlighted, both to the academic and to the industrial world, the importance of the human–computer interaction (HCI) area and its most recent breakthroughs on current applications. Both - perienced HCI researchers and professionals, as well as newcomers to the HCI ?eld, interested in designing or evaluating interactive software, developing new interaction technologies, or investigating overarching theories of HCI, found in INTERACT 2009 a great forum for communication with people of similar int- ests, to encourage collaboration and to learn. INTERACT 2009 had Research and Practice as its special theme. The r- son we selected this theme is that the research within the ?eld has drifted away from the practicalapplicability of its results and that the HCI practice has come to disregard the knowledge and development within the academic community.
