Bücher: „Visual links“

1

Jordan, Ian. Visual dyslexia: The missing links. London: J. Kingsley Publishers, 2001.

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2

Take five!: Links for language arts : 180 bell-ringers that build critical-thinking skills. Gainesville, Fla: Maupin House Pub., 2011.

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3

Goulty, George A. Visual amenity aspects of high voltage transmission. Taunton, Somerset, England: Research Studies Press, 1990.

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4

ill, Gibbon Rebecca, Hrsg. Outside the lines: Poetry at play. New York: G.P. Putnam's Sons, 2002.

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5

Remick, Kristy Mitchell. Eyes on track: A missing link to successful learning. Folsom, CA: JF's Pub., 2000.

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6

Reading between the lines: Claude Simon and the visual arts. Liverpool: Liverpool University Press, 1998.

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7

Kulpa, John S. Reducing the visual impact of overhead contact systems. Washington, D.C: National Academy Press, 1995.

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8

Lomas, Graham. Working together: The scope for improving working links between RNIB and local societies for the blind. London: RNIB, 1987.

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9

Mappings (Exhibition) (2003 New Delhi, India, Vadodara, India). Uttarayan, Baroda presents Mappings: A seminal exhibition of paintings and sculptures that explores exciting new links between the ancient cultures of India and Egypt : Sep. 30-Oct. 4, 2003, Visual Arts Gallery, India Habitat Centre, Lodhi Road, New Delhi, Oct. 17-Nov 3, 2003, Bayer ABS Limited Gallery, ABS Towers, Old Padra Road, Vadodara. Baroda: Uttarayan, 2003.

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10

Blackett, Norman. Developing understanding of trigonometry in boys and girls using a computer to link numerical and visual representations. [s.l.]: typescript, 1990.

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11

Visuos, a visuospatial operating software for knowledge work: User interface concepts for visual queries, knowledge management, process management, link management. Heidelberg: Synchron, 2003.

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12

Board, United States National Transportation Safety. Descent below visual glidepath and collision with terrain, Delta Air Lines flight 554, McDonnell Douglas MD-88, N914DL, LaGuardia Airport, New York, October 19, 1996. Washington, D.C: The Board, 1997.

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13

United States. National Transportation Safety Board. Descent below visual glidepath and collision with terrain, Delta Air Lines flight 554, McDonnell Douglas MD-88, N914DL, LaGuardia Airport, New York, October 19, 1996. Washington, D.C: The Board, 1997.

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14

Holste, Tom. Acts of drawings/lines of change: Marking stages of transformation in the work of Vic Joachim Smith : a retrospective exhibition, April 13 to May 15, 1985, the Main Art Gallery/Visual Arts Center, California State University, Fullerton. Fullerton: The Gallery, 1985.

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15

Jordan, Ian. Visual Aspects of Dyslexia: The Missing Links. Jessica Kingsley Pub, 2000.

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16

Picture Letters: Using Visual Links to Remember Letter Names. Literacy Links Publications, 1999.

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17

Universe in universe.: Visual arts, systematic directory of annotated links. Berlin: Pat Binder and Gerhard Haupt, 1997.

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18

Cohen, Marlene R., und John H. R. Maunsell. Neuronal Mechanisms of Spatial Attention in Visual Cerebral Cortex. Herausgegeben von Anna C. (Kia) Nobre und Sabine Kastner. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199675111.013.007.

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Attention is associated with improved performance on perceptual tasks and changes in the way that neurons in the visual system respond to sensory stimuli. While we now have a greater understanding of the way different behavioural and stimulus conditions modulate the responses of neurons in different cortical areas, it has proven difficult to identify the neuronal mechanisms responsible for these changes and establish a strong link between attention-related modulation of sensory responses and changes in perception. Recent conceptual and technological advances have enabled progress and hold promise for the future. This chapter focuses on newly established links between attention-related modulation of visual responses and bottom-up sensory processing, how attention relates to interactions between neurons, insights from simultaneous recordings from groups of cells, and how this knowledge might lead to greater understanding of the link between the effects of attention on sensory neurons and perception.

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19

Georgeson, Mark. The Graph-Paper Effect. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0107.

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Most visual illusions involve distorted or altered perception of objects or events or misinterpretation of image information. The discrepancy between what we experience and what is physically present in the world or in the retinal image can be large, surprising, and dramatic. It is much rarer to see things that simply are not there at all. Repetitive stimuli, such as grating patterns or flickering lights, can induce perception of a range of illusory geometric patterns, forms, and movements—during or after exposure to the inducing stimulus. This chapter describes one such illusory phenomenon—the graph-paper effect—a striking illusion of moving, oriented lines and edges; links it to a family of related effects; and offers a general theory for these effects in terms of neural inhibition and disinhibition at the level of the visual cortex.

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20

Tucker, Amy. Blurred Lines. Herausgegeben von Jay Williams. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199315178.013.35.

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Where writers like James, Howells, and Wharton disdained illustrations, regarding them as a distraction from the psychological realism of their fiction, Jack London welcomed the visual embellishment. He recognized how pictures helped sell books and magazines. Throughout his career he lobbied for favorite artists and criticized others, argued for the usefulness of pictures as reading guides and marketing tools, and requested pieces of original artwork for his private collection. His motivation, however, wasn’t strictly commercial. The discursive and visual elements surrounding any publication inevitably leave their impress on our experience of the work. In London’s case, they suggest a more collaborative relationship between texts and paratexts than has previously been recognized. Equally important, they point to a postmodern self-referentiality that becomes increasingly pronounced as London’s career progresses.

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21

Barrière, Jean-Baptiste, und Aleksi Barrière. When Music Unfolds into Image. Herausgegeben von Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.39.

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The authors reflect on their own experience of developing a specific form of multimedia live performance: the visual concert. The various video projects they realized for works by Finnish composer Kaija Saariaho serve as examples illustrating a more general aesthetic question: what can video art bring to music within the concert ritual? Answers are suggested first in a general assessment of the scientific (perception and cognition research) and cultural roots and parameters of cross-media art forms, and second in an analysis of the contemporary technological tools that allow the visual concert to move beyond the antiquated paradigms of synesthesia, synchronization, or aleatory autonomy of juxtaposed media, and thus to meet the challenges of contemporary music. These mostly unexplored links between new musical techniques and video art open new opportunities that expand the listener’s experience of music and suggest a practice that can become an art form of its own.

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22

Pouliot, Alison. Allure of Fungi. CSIRO Publishing, 2018. http://dx.doi.org/10.1071/9781486308583.

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Although relatively little known, fungi provide the links between the terrestrial organisms and ecosystems that underpin our functioning planet. The Allure of Fungi presents fungi through multiple perspectives – those of mycologists and ecologists, foragers and forayers, naturalists and farmers, aesthetes and artists, philosophers and Traditional Owners. It explores how a history of entrenched fears and misconceptions about fungi has led to their near absence in Australian ecological consciousness and biodiversity conservation. Through a combination of text and visual essays, the author reflects on how aesthetic, sensate experience deepened by scientific knowledge offers the best chance for understanding fungi, the forest and human interactions with them.

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23

Kleege, Georgina. Visible Braille, Invisible Blindness. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190604356.003.0004.

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The chapter analyzes the use of Braille and other tactile features in public spaces, such as elevators, and in such sites as the Franklin D. Roosevelt Memorial in Washington DC, and in the work of such artists as Ann Hamilton and Robert Graham. The chapter also does some close readings of tactile books that are intended to explain visual art to blind children and adults. The over-determined analogy that links the eyes of the sighted to the hands of the blind makes Braille in these sites more of a signifier of blindness than a true access tool. The chapter also includes some works by blind artists that seem to comment on how Braille is typically understood.

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24

Doquang, Mailan S. The True Vine. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190631796.003.0004.

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This chapter focuses on the messianic and Eucharistic aspects of monumental foliage, namely its function as a symbol of Christ as the true vine. It demonstrates that the botanical friezes articulating the borders of church portals not only thematically complemented (and at times amplified) central/figural scenes, but also functioned as signposts for the visual imagery inside buildings and the liturgy of the Mass. Thus, the chapter sheds new light on the dynamic interaction between sculpture, architecture, and the viewer, while also illuminating and complicating interconnections of edge and center, exterior and interior, and form and liturgy, links activated by the experiencing subject as he or she paused before portal imagery, crossed church thresholds, and circulated through interior spaces.

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25

Baker, Courtney R., Hrsg. Civil Rights and Battered Bodies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039485.003.0005.

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This chapter examines the publication of images depicting violence against people engaged in acts of nonviolent resistance, suggesting that these acts are deliberately choreographed dramatizations of racial injustice. It links the overarching goals of the civil rights movement to the enduring struggle for black humanity in America by focusing on the violence encountered during nonviolent actions and the aesthetics of their visual documentation through photography and documentary footage. The chapter highlights the strategy of nonviolent direct action that was taken up during the freedom rides, lunch-counter integrations, and marches of the 1960s as stark illustrations of the infringements upon black humanity and freedom of expression endured and indeed endorsed in the southern United States.

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26

Winston, Rabbi Pinchas. The Eternal Link A Visual Presentation of Jewish History. C.I.S. Publishers, 1990.

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27

Fracchia, Carmen. 'Black but Human'. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198767978.001.0001.

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The African presence in imperial Spain, of between 10-15 per cent of the population, was due to the institutionalization of the transatlantic slave trade that brought between seven- to eight hundred thousand Africans as slaves to Spain and Portugal. If we add those slaves born in these European territories and the three to four hundred thousand Moor, Berber and Turk slaves, there were approximately two million slaves living in the Iberian Peninsula during this period. The Afro-Hispanic proverb ‘Black but Human’ that provides part of the book’s title, serves as a lens through which to explore the ways in which certain visual representations of slavery both embody and reproduce hegemonic visions of subaltern groups, and at the same time provide material for critical and emancipatory practices by Afro-Hispanic slaves and ex-slaves themselves. It thus allows us to generate critical insights into the articulations of slave subjectivity by exploring the links between visual regimes and the early modern Spanish and New World discourses on slavery and human diversity. My book provides a complex new reading of neglected moments of artistic production in Hapsburg Spain establishing their importance as relays of power and resistance. We could claim that the ‘Black but Human’ topos encodes the multilayered processes through which a black emancipatory subject emerges and a ‘black nation’ forges a collective resistance, and the ways in which these moments are articulated visually by a range of artists. Thus, this proverb is the main thread of the six chapters of this book.

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28

Gilman, Daniel J. Lines of sight: An essay on mind, vision, and pictorial representation. 1988.

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29

Doquang, Mailan S. Paradise Found. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190631796.003.0003.

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This chapter inquires into the formal and metaphorical connections between medieval French churches and the paradisiacal garden. Drawing on textual and visual evidence, it demonstrates that monumental flora operated in tandem with organic motifs in other media, as well as with figural sculptures and the liturgy, to forge and promote links between sacred buildings and the earthly and celestial paradise. It explores the relationship between sculpted foliage and the Tree of Life, the hortus conclusus, and the Garden of Joseph of Arimathea (the location of Jesus’ rock-cut tomb and the site of the church of the Holy Sepulcher). The chapter concludes with an account of the possible negative connotations of vegetal motifs in church settings, which relate to the Fall and Expulsion of Adam and Eve from Eden.

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30

Lurie, Peter. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199797318.003.0006.

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This book concludes by relating its discussion of visualizing history to the media and the public response to the 9/11 terrorist attacks. It shows their overly mediated depiction to have a precedent in Civil War photography, and it avers the shared impulse to visualize attending each of these epochal historical events. The Conclusion reads Toni Morrison’s Beloved as offering a salutary “forgetful remembrance” of history in the novel’s model of “rememory” and as an alternative to historicist criticism, as well as to U.S. culture’s visual archiving of a supposedly accessible and remediable past. The discussion also links Morrison’s work to post-9/11 poetry and to contemporary and recent African-American cinema, which, like Beloved, shows the occasion and the need for a willful look forward for both racialized subjects and for the U.S. polity generally in a postdigital age.

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31

Gori, Simone. The Rotating Tilted Lines Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0066.

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This chapter describes the Rotating-Tilted-Lines illusion , which is a new motion illusion that arises in a circular pattern composed by black, radial lines tilted to the right and presented on a white background. When one approaches the stimulus pattern, the radial lines appear to rotate in the counterclockwise direction, whereas when one recedes from it, they appear to rotate clockwise. It is the simplest pattern able to elicit illusory rotatory motion in presence of physical radial expansion. This surprising misperception of motion seems to be a result of the competition between two motion processing units in the primary visual cortex (V1, V5)

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32

Associates, Liska +., Hrsg. Business graphics: 500 designs that link graphic aesthetics and business savvy. Gloucester, Mass: Rockport Pub., 2007.

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33

Mee, Nicholas. Celestial Tapestry. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851950.001.0001.

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Celestial Tapestry places mathematics within a vibrant cultural and historical context, highlighting links to the visual arts and design, and broader areas of artistic creativity. Threads are woven together telling of surprising influences that have passed between the arts and mathematics. The story involves many intriguing characters: Gaston Julia, who laid the foundations for fractals and computer art while recovering in hospital after suffering serious injury in the First World War; Charles Howard, Hinton who was imprisoned for bigamy but whose books had a huge influence on twentieth-century art; Michael Scott, the Scottish necromancer who was the dedicatee of Fibonacci’s Book of Calculation, the most important medieval book of mathematics; Richard of Wallingford, the pioneer clockmaker who suffered from leprosy and who never recovered from a lightning strike on his bedchamber; Alicia Stott Boole, the Victorian housewife who amazed mathematicians with her intuition for higher-dimensional space. The book includes more than 200 colour illustrations, puzzles to engage the reader, and many remarkable tales: the secret message in Hans Holbein’s The Ambassadors; the link between Viking runes, a Milanese banking dynasty, and modern sculpture; the connection between astrology, religion, and the Apocalypse; binary numbers and the I Ching. It also explains topics on the school mathematics curriculum: algorithms; arithmetic progressions; combinations and permutations; number sequences; the axiomatic method; geometrical proof; tessellations and polyhedra, as well as many essential topics for arts and humanities students: single-point perspective; fractals; computer art; the golden section; the higher-dimensional inspiration behind modern art.

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34

Steiner, Linda, Carolyn Kitch und Brooke Kroeger, Hrsg. Front Pages, Front Lines. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043109.001.0001.

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This book addresses the role of media, particularly periodicals, in the American women’s suffrage movement, and in public understandings of the campaign for a Constitutional amendment enfranchising women. Chapters deal with the rhetoric of pro- and antisuffrage activists as covered in the mainstream regional and national press; several chapters deal with suffragists’ own periodicals, as well as with other non-mainstream periodicals, including the black press and socialist and radical periodicals. These new studies offer fresh perspectives on relatively familiar suffrage narratives while exploring lesser-known aspects of the roles of journalism, publicity, visual communication, and external alliances with organizations and individuals. Taken collectively, the chapters clarify intersections of suffrage ideas with other social and political movements as well as differences by geography and culture. The essays are marked by attention to the movement’s long-term implications; to contemporary concepts such as social movement and countermovement strategies, status conflict, and the public sphere; and by sensitivity to race, class, and regional politics. As the historiography offered here makes clear, these issues were largely ignored in the first wave of suffrage research.

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35

Northrup, Peggy S. The Literacy Link: A Multisensory Approach to Sound-Symbol Connections. Thinking Publications, 2002.

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36

West, Chad, und Mike Titlebaum, Hrsg. Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.001.0001.

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Teaching School Jazz: Perspectives, Principles, and Strategies is an edited collection of suggested practices in school jazz education authored by a seasoned and diverse lineup of jazz educators with supporting research-based case studies woven into the narrative. It provides not only a wealth of school jazz teaching strategies but also, and perhaps as important, the jazz perspectives and principles from which they are derived. The first part of the book describes the current landscape of school jazz education and offers an overview of basic jazz concepts through the lenses of two expert, yet very different, school jazz educators. Parts II–VI constitute the heart and soul of the book, covering a vast and comprehensive set of topics central to school jazz education. Included throughout each chapter are references and links to audio, visual, and print resources for teaching school jazz that are downloadable from a related website. This text is an invaluable resource for preservice and in-service music educators who have no prior jazz experience, as well as for those who wish to expand their knowledge of jazz performance practice and pedagogy. The book may serve as a primary text for collegiate-level jazz pedagogy courses or as a supplemental text for general instrumental methods and pedagogy classes. Chapters begin with jazz case studies and contain a wealth of jazz-specific teaching material, lists of recommended artists for listening, and visual demonstrations of each chapter’s material.

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37

Chandler, Daniel, und Rod Munday. A Dictionary of Media and Communication. Oxford University Press, 2020. http://dx.doi.org/10.1093/acref/9780198841838.001.0001.

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Over 3,600 entries ‘…not only a dictionary of communication and media but also a liberal education that enables users to see interesting relationships between many of the concepts it discusses.’ Professor Arthur Asa Berger, San Francisco State University This authoritative and up-to-date A–Z offers points of connection between communication and media and covers all aspects of interpersonal, mass, and networked communication, including digital and mobile media, advertising, journalism, social media, and nonverbal communication. In this new edition, over 2,000 entries have been revised and more than 500 have been newly added to include current terminology and concepts such as artificial intelligence, cisgender, fake news, hive mind, use theory, and wikiality. It bridges the gap between theory and practice and contains many technical terms that are relevant to the communication industry, including dialogue editing, news aggregator and primary colour correction. Additional material includes a biographical notes appendix, and entries are complemented by approved web links which guide further reading. This is an indispensable guide for undergraduate students of media and communication studies and also for those taking related subjects such as television studies, video production, communication design, visual communication, marketing communications, semiotics, and cultural studies.

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38

Shiffrar, Maggie. The Aperture Problem. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0076.

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The accurate visual perception of an object’s motion requires the simultaneous integration of motion information arising from that object along with the segmentation of motion information from other objects. When moving objects are seen through apertures, or viewing windows, the resultant illusions highlight some of the challenges that the visual system faces as it balances motion segmentation with motion integration. One example is the barber pole Illusion, in which lines appear to translate orthogonally to their true direction of emotion. Another is the illusory perception of incoherence when simple rectilinear objects translate or rotate behind disconnected apertures. Studies of these illusions suggest that visual motion processes frequently rely on simple form cues.

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39

Duany, Jorge, Hrsg. Picturing Cuba. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.001.0001.

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This book delves into several defining moments of Cuba’s artistic evolution from a multidisciplinary perspective, including art history, architecture, photography, history, literary criticism, and cultural studies. Situating Cuban art within a wider social and historical context, fifteen prominent scholars and collectors scrutinize the enduring links between Cuban art and cultural identity. Covering the main periods in Cuban art (the colonial, republican, and postrevolutionary phases, as well as the contemporary diaspora), the contributors identify both the constant and changing elements and symbols in the visual representation of Cuba’s national identity. The essays collected in this volume provide insightful information and interpretation on the historical trajectory of Cuban and Cuban-American art. From colonial engravers to contemporary photographers, several generations of Cuban artists have been fascinated—perhaps even obsessed—with picturing Cuba’s landscapes, architecture, people, and customs. Each generation of artists focused on various tropes of Cuban identity, whether it was the tropical environment, the lights and colors of the island, certain human types, the fusion of European and African traditions, or the uprootedness produced by exile and resettlement in another country. Even when artists shed the attempt to represent their subject matter realistically, they sought to contribute to a longstanding national tradition in dialogue with a broader international scenario. The cumulative result of more than three centuries of Cuban art is a kaleidoscopic view of the island’s nature, population, culture, and history.

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40

Abolad. Handwriting Book: 4mm Dotted Lines in 16mm Lines, Tinted Handwriting Visual Stress Relief Exercise Books for Dyslexic Children - Cream Paper, 64 Pages 165x200m - Green Cover. Independently Published, 2020.

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41

Winner, Ellen. Color and Form. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.003.0005.

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This chapter addresses the philosophical puzzle of how abstract arrangement of forms and colors can communicate emotions. Research shows that adults as well as children perceive emotional properties in abstract art (thus not needing to rely on representational cues like weeping people). Our tendency to perceive emotions in abstract visual art is part of a broader tendency to perceive such connotations in simple lines and shapes, and indeed is not limited to art. We see expressive properties in rocks, trees, columns, cracks, drapery, and the like. Such perception is made possible by an isomorphism between physical and mental life: we droop when we are sad; we reach upward when we are striving. Thus, while our perception of emotion in music is in part due to music’s resemblance to speech prosody, our perception of emotion in visual art grows out of our ability to see expressive properties in all visual forms.

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42

Anstis, Stuart. Color and Luminance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0038.

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Color and luminance interact in many ways in the human visual system. For instance, the colors in an afterimage, which are due to adaptation of retinal cones, are especially vivid when test contours, presented after the adapting image, coincide with the blurred edges of the afterimage. A single colored adapting pattern can give rise to two differently colored afterimages, according to the position of black lines in the test field. This shows that colors seen by the low-acuity chromatic pathways will diffuse outward along, but not across, luminance contours. This is also true for real colors. Finally, flicker-augmented contrast shows that the visual system, when given a choice, will select the most salient color/luminance borders in a stimulus.

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43

Zieger, Susan. The Mediated Mind. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279821.001.0001.

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The latter half of the nineteenth century witnessed a mass media revolution in the widespread explosion of print; this book shows how the habits of consuming printed ephemera are still with us, even as pixels supersede paper. Trivial, disposable printed items, from temperance medals and cigarette cards to cartoons and even novels tell us much about nineteenth-century mediated experience, and our own. For a fresh perspective on media consumption, the book examines affect, a dynamic quality of human mind and body that links emotion to cognition, self to other, and self to environment. Affect shows how mass-mediated material began to dwell in the mind – less so the rational mind of egoistic cognition, than the embodied mind of daydreaming, reverie, and feeling. In such fugitive spaces, the sovereign individual gives way to community and inter-subjectivity as he or she recreates the social body. The book makes visible an array of positions, habitable by people of different classes, genders, ages, and sexualities, such as the mass live audience member, the enchanted viewer, the information “addict,” the self-fashioner, the collector, and the re-player of experience. These positions characterize an earlier moment in a genealogy of media consumption that endures today. The book describes them by putting disposable print forms into conversation with performance, visual culture, literary fantasy, and media theories. Demonstrating the recursive relations between affects and mass media, it reveals the cultural and psychological contours of ephemeral experience.

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44

Campos P., Raúl, Patricio Elgueta M., Jorge Catalán L., Mauricio Navarrete T., Juan Carlos Pinilla Suárez, Luis Vásquez V., Gonzalo Hernández C. und Karina Luengo Vergara. Tensiones admisibles de la madera aserrada de aromo (Acacia dealbata D. Link.) clasificada visualmente. INFOR, 2019. http://dx.doi.org/10.52904/20.500.12220/29175.

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El presente estudio tuvo como objetivo caracterizar la madera aserrada de Acacia dealbata, mediante clasificación visual, en dos grados de calidad (N°2 y mejor, y N°4 y mejor), según norma chilena NCh 1970/1 y la ejecución de ensayos físicos y mecánicos bajo norma chilena NCh 3028 para definir sus propiedades físicas y mecánicas asociadas. La muestra empleada para los ensayos constó de 699 piezas de 3,2 m o 4 m de largo y 2” x 4” de escuadría, obtenidas del área de Loncoche, Provincia de Cautín en la Región de Araucanía. Todos los ensayos fueron realizados en el Laboratorio de Madera Estructural del Instituto Forestal (LME-INFOR) en Concepción, laboratorio acreditado ISO 17025.

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45

Seidler, Douglas R. Digital Drawing for Designers. 6. Aufl. Bloomsbury Publishing Inc, 2021. http://dx.doi.org/10.5040/9781501362866.

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AutoCAD continues to dominate the two-dimensional drafting marketplace for architects and interior designers. Digital Drawing for Designers: A Visual Guide to AutoCAD 2021 is designed to help this community by using visual methods to lead to understanding. Starting with the building blocks of drawing (lines, circles, and arcs), the book progresses through architectural graphic standards, enabling students to create presentation and construction drawings that effectively communicate their design ideas. Advanced features such as annotative dimensions, annotative blocks, express tools, and linking drawings (XREFs) are also covered. Instructions are illustrated using language and concepts from manual drafting, facilitating a smooth transition to the digital environment for all designers, and shows just how your paper idea becomes a digital reality. Clear, concise, and above all visual, this AutoCAD guide gives you exactly what you need to become a pro at this program. New to this Edition: - Instructional graphics are updated to reflect AutoCAD 2021’s features and user interface - Backwards compatible with AutoCAD versions 14 through 2021 - Improved instruction on creating furniture plans, reflected ceiling plans, construction plans, and detailing - Updates for changes to AutoCAD web and mobile apps - Integrates instruction to draw, dimension, annotate, and print using the International system Units (SI), or metric system

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Rosen, Wendy. The hidden link between vision and learning: Why millions of learning disabled children are misdiagnosed. 2016.

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Warburton, Nigel. Photography. Herausgegeben von Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0036.

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Photography is the most widespread form of visual communication using still images. Since its invention the medium has not changed substantially, or at least not until the recent invention of digital photography. The uses to which photography has been put and the conventions surrounding those uses have, however, evolved significantly. Those analytic philosophers who have written about still photography have for the most part focused on quite a narrow range of topics. Their main concern has been to characterize the nature of the causal link between object photographed and photographic image.

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Duckett, Victoria. Nullius in Verba. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0002.

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This chapter challenges the notion that Sarah Bernhardt mouthed her lines on film due to her inability to act in a fittingly naturalistic way for film, and that her famous “golden voice” is brutally denied in a media that gives us the spectacle of an actress mouthing lines that we cannot hear. The chapter explains why an actress who was famous for her voice and gesture acts on silent film in terms of art nouveau acting, changes in visual literature, and the ongoing use of musical accompaniment—all of which allow us to reinterpret Bernhardt's relationship to the silent screen. It argues that Bernhardt's films record her gestural fame on the live stage, and that this fame was associated with her use of the spiral as a structuring device for action. It shows that the music that accompanied Bernhardt's films served the same purpose as it did on the live stage—to develop and expand the emotional resonance of her performance.

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Morikawa, Kazunori. Geometric Illusions in the Human Face and Body. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0026.

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Clothing and cosmetic makeup take advantage of visual illusions so as to make the human body and face look more attractive. This chapter lists such real-life geometric illusions and reviews studies that psychophysically measured them. These illusions include the Müller-Lyer illusion, the Helmholtz illusion, the Delboeuf illusion, the “bicolor” illusion, the “shape echo” illusion, and perceptual completion. Puzzling characteristics of these bodily illusions, which can be called “biological illusions,” are discussed. The ways in which geometric illusions in the human face and body differ from classical geometric illusions consisting of simple lines are also discussed, and the concept of “biological motion” as a separate field is proposed.

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Farriss, Nancy. Continuity and Convergence. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190884109.003.0012.

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Continuities in written doctrinal language contrast with semantic shifts within the indigenous speech community, revealed through petitions, testaments, trial testimony, and other records, as well as modern oral evidence. As the Mesoamerican cultural matrix has itself been modified by Christian practice and visual symbols, new associations have become attached to traditional linguistic resources. At the same time the Indians have reformulated and reinterpreted the Christian message along lines consonant with traditional cosmology and moral theology. Thus cultural gaps, and along with them linguistic gaps, have narrowed through the process of religious syncretism. Mutually reinforcing influences have converged in the creation of the particular variety of religious devotion defined as Mexican Christianity.

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