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Books on the topic 'Image structure representation'
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1
Cervel, M. Sandra Peña. Topology and cognition: What image-schemas reveal about the metaphorical languages of emotions. Muenchen: Lincom Europa, 2003.
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Neretina, Tat'yana, and Tat'yana Orehova. Formation at students of pedagogical profile "image of the parent" in the process of professional training at the University. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1043103.
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In modern conditions of development of mankind, when, for various reasons endangered is the institution of the family, especially actual is a problem of formation of the growing person in the period of schooling parental position as an essential part not only of development but also the survival of humanity as a species. The solution to this problem in terms of the organization of Russian society goes along with the family on a school teacher. Hence the need to prepare future teachers for performing this task.
In the present monograph presents one approach to solving this problem through the formation of future teachers of "the way I parent," a deep awareness and understanding of the essence and structure of process of formation of own "image of the parent", the content of this phenomenon relevant content, development of representations about itself as about the parent, about other people and the world in General.
Intended for University students, primary school teachers, specialists in educational work, as well as for lecturers reading a course of lectures on subjects connected with pedagogy, psychology and ethic of family education.
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Chung, Simone Shu-Yeng, and Mike Douglass, eds. The Hard State, Soft City of Singapore. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463729505.
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With Singapore serving as the subject of exploration, The Hard State, Soft City of Singapore explores the purview of imaginative representations of the city. Alongside the physical structures and associated practices that make up our lived environment, and conceptualized space engineered into material form by bureaucrats, experts and commercial interests, a perceptual layer of space is conjured out of people’s everyday life experiences. While such imaginative projections may not be as tangible as its functional designations, they are nonetheless equally vital and palpable. The richness of its inhabitants’ memories, aspirations and meaningful interpretations challenges the reduction of Singapore as a Generic City. Taking the imaginative field as the point of departure, the forms and modes of intellectual and creative articulations of Singapore’s urban condition probe the resilience of cities and the people who reside in them, through the images they convey or evoke as a means for collective expressions of human agency in placemaking.
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Grenander, Ulf, and Michael I. Miller. Pattern Theory. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780198505709.001.0001.
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Pattern Theory provides a comprehensive and accessible overview of the modern challenges in signal, data, and pattern analysis in speech recognition, computational linguistics, image analysis and computer vision. Aimed at graduate students in biomedical engineering, mathematics, computer science, and electrical engineering with a good background in mathematics and probability, the text includes numerous exercises and an extensive bibliography. Additional resources including extended proofs, selected solutions and examples are available on a companion website. The book commences with a short overview of pattern theory and the basics of statistics and estimation theory. Chapters 3-6 discuss the role of representation of patterns via condition structure. Chapters 7 and 8 examine the second central component of pattern theory: groups of geometric transformation applied to the representation of geometric objects. Chapter 9 moves into probabilistic structures in the continuum, studying random processes and random fields indexed over subsets of Rn. Chapters 10 and 11 continue with transformations and patterns indexed over the continuum. Chapters 12-14 extend from the pure representations of shapes to the Bayes estimation of shapes and their parametric representation. Chapters 15 and 16 study the estimation of infinite dimensional shape in the newly emergent field of Computational Anatomy. Finally, Chapters 17 and 18 look at inference, exploring random sampling approaches for estimation of model order and parametric representing of shapes.
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Kuppers, Petra. Dancing Disabled. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.55.
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This chapter provides ways of linking phenomenology, feminist analysis, embodiment in dance, and corporeal representational politics. It engages Iris Marion Young’s argument about “Throwing Like a Girl,” addressing the pervasive structure at the heart of the meaning of femininity: the “disabling” object/subject bind that throws woman out of agency, and into the image. Using Young, Simone de Beauvoir, and Maurice Merleau Ponty as historical touchstones, the chapter shows how this agency/object bracket is at work in disability representation, and how examples of contemporary dance practice can fruitfully destabilize this scene. Dancers discussed include Gerda Koenig, a German dance artist and choreographer of DIN A 13, and Bill Shannon, a US dance artist.
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Asada, Minoru. Proprioception and body schema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199674923.003.0018.
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Proprioception is our ability to sense the position of our own limbs and other body parts in space, and body schema is a body representation that allows both biological and artificial agents to execute their actions based on proprioception. The proprioceptive information used by current artificial agents (robots) is mainly related to posture (and its change) and consists of joint angles (joint velocities) given a linked structure. However, the counterpart in biological agents (humans and other animals) includes more complicated components with associated controversies concerning the relationship between the body schema and the body image. A new trend of constructive approaches has been attacking this topic using computational models and robots. This chapter provides an overview of the biology of proprioception and body representation, summarizes the classical use of body schema in robotics, and describes a series of constructive approaches that address some of the mysteries of body representation.
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de Vignemont, Frédérique. Taxonomies of Body Representations. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198735885.003.0009.
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This chapter considers the relationship between body representations, action, and bodily experiences. It first clarifies the conceptual landscape of body representations and stresses the conceptual and empirical difficulties that the current body schema/body image taxonomy faces, difficulties that can be explained by their constant interaction but not only. There is indeed a lack of precise understanding of the functional role of the body schema as opposed to the body image. Instead of these unclear notions, the chapter proposes distinguishing different types of body representations on the basis of their direction of fit and of their spatial organization. On the one hand, there is a purely descriptive body map that represents well-segmented categorical body parts, in which one can localize one’s sensations. On the other hand, there is a body map that is both descriptive and directive (i.e. pushmi-pullyu representation), and that encodes structural bodily affordances for action planning and control.
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Rothermel, Dennis. Becoming-Animal Cinema Narrative. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0014.
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This chapter connects distinctive animal territories to specific uses of film language through a series of case studies, most notably Robert Bresson’s Au hasard Balthazar (1966), Michelangelo Frammartino’s Le Quattro Volte (2011), Bela Tarr’s The Turin Horse (2011), and Ang Lee’s Life of Pi (2012). Significantly, becoming-animal cannot be represented by conventional point-of-view and shot-reverse-shot editing (the structural mainstay of filmic suture), because it ties the animal to the conventional (and thus delimiting) human vectorial space of Deleuze’s action-image. Instead, inspired by Pier Paolo Pasolini’s seminal essay, ‘The “Cinema of Poetry”’, the chapter notes that all four filmmakers resort to a form of free-indirect discourse, whereby animality fills up the film from the inside as formative of the representation rather than rendering the subject within the structure of representation. Not unlike T.S. Eliot’s objective correlative, where the character’s subjectivity is presented objectively in and through the mise-en-scène as well as individual focalisation (in this case the character is also on-screen), animal perception is able to be expressed by a form of camera self-consciousness, what Deleuze calls ‘cinema a special kind of cinema where the camera makes itself felt.
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Clüver, Claus. Ekphrasis and Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.26.
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In discussing word-and-image interactions, ekphrasis and adaptation are frequently cited as major instances of intermedial transposition. Ekphrasis, redefined as “the verbal representation of real or fictive configurations composed in a non-kinetic visual medium,” can occur in literary and non-literary texts and represent two- and three-dimensional images. Some ekphrastic texts can be read as fully developed intermedial translations; others may render readers’ encounters with visual images that the text does not actually transpose at all. Ekphrasis is a descriptive monomedial mode of intermedial reference. In contrast, adaptations incorporate transmedial elements of the source texts transposed into a new medium. Verbal texts are most frequently adapted to plurimedial media, but also to such mixed-media forms as the comic book. Novelizations of films or videogames exemplify adaptation to the verbal medium. More common is the adaptation to literary texts of structural devices employed in other media, as in the musicalization of fiction.
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Birtwistle, Andy. Meaning and Musicality. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0009.
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The chapter critically reappraises the work of the British experimental filmmaker John Smith, drawing on analyses of key films and interview material to explore his use of sound, music and voice. Smith’s films often engage self-reflexively with how sound creates or accepts meaning within an audiovisual context. Influenced by structural film practice of the 1960s and 1970s, and underpinned by a Brechtian concern with the politics of representation, Smith’s often humorous work both foregrounds and deconstructs the sound-image relations at work in dominant modes of cinematic representation. This analysis of Smith’s work identifies the political dynamic of the filmmaker’s use of sound, and addresses what is at stake—for both Smith and his audience—in the self-reflexive concern with audiovisual modes of representation. Examined within this context are Smith’s creative focus on the production of meaning and how this relates to aspects of musicality and abstraction in his work.
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Beeston, Alix. In and Out of Sight. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.001.0001.
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This book reappraises the connections between modernist writing and photography in the light of new work in visual culture studies that emphasizes the interplay between still and moving images. Arguing for the importance of photography to the work of four major modernist authors—Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald—it proposes a new theory of composite literary form in the first half of the twentieth century. Segmented and reiterative, composite modernist writing is shaped by the figure of the woman-in-series, whose appearances and disappearances map its connective and disconnective structure. Understood in relation to the syntax of visual spacing in serial photography, the formal interstices that define modernist writing emerge as textual sites in which the dominant social and political order of modernity is negotiated and reshaped. These gaps signify both as marks of trauma, the wounds of representation according to typologies of race, gender, and class, and as a means for evading or defending against this trauma: a zone of withdrawal and recalcitrance for female characters. Moving in and out of sight, from presence to absence and back again, the woman-in-series in modernist writing destabilizes oppositions of power and vulnerability as they relate to the interactions of subjects and objects in the representational realm.
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Urban, Elizabeth. Hagar and Mariya. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190622183.003.0012.
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The chapter discusses representations of Hajar and Mariya, two prominent female figures from the early Islamic tradition, widely treated in Arabic-Islamic biographical dictionaries, Quranic exegeses, and Tales of the Prophets literature. It treats the varied images of both women, with a focus on two elements: Both women were slaves and both bore children to prophets. Islamic sources, penned almost exclusively by men, expunge nearly all other aspects of these women’s stories. But, slave women had an impact not just on family structures and notions of marriage and sexuality that people often associate with “women’s history,” but also on official, predominantly male-oriented ideologies. The two images informed the loftiest notions about who deserved to rule and who counted as a noble Arab.
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Kukla, Rebecca. Shame, Seduction, and Character in Food Messaging. Edited by Anne Barnhill, Mark Budolfson, and Tyler Doggett. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199372263.013.15.
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This chapter explores the rhetorical and ethical structure of our public communications and representations concerning food, eating, health, and obesity. Food messages in our culture are deeply contradictory and tension-ridden, leaving us with no “right” way to eat. Moreover, eating practices are routinely portrayed as having characterological significance, so there is no right kind of person to be, when it comes to food. Food messaging follows a broadly pornographic logic, in which images of shame, sin, disgust, temptation, risk, safety, perversion, pleasure, and recklessness are mixed together in a fundamentally incoherent way. Furthermore, these meanings are socially and materially scaffolded in important ways; one cannot just use willpower to ignore or overcome them but must cope with them as one navigates the world. Thus, people are left in a practically and ethically untenable situation when it comes to eating.
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Pinder, Kymberly N. Visualizing Christ Our Redeemer, Man Our Brother. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039928.003.0001.
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This book explores the visualization of religious imagery in public art for African Americans in Chicago between 1904 and the present. It examines a number of case studies of black churches whose pastors have consciously nurtured a strong visual culture within their congregation. It features examples of religious art associated with some of Chicago's most historically significant black churches and art in their neighborhoods. It considers how the arts interact with each other in the performance of black belief, explains how empathetic realism structures these interactions for a variety of publics, and situates public art within a larger history of mural histories. It also highlights the centrality of the visual in the formation of Black Liberation Theology and its role alongside gospel music and broadcasted sermons in the black public sphere. Finally, the book discusses various representations of black Christ and other black biblical figures, often imaged alongside black historical figures or portraits of everyday black people from the community.
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Roche, David. Quentin Tarantino. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819161.001.0001.
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An in-depth study of all Tarantino’s feature films to date (from Reservoir Dogs to The Hateful Eight), Quentin Tarantino: A Poetics and Politics of Cinematic Metafiction argues that, far from wallowing in narcissism and solipsism, a charge directed not only at Tarantino but at metafiction in general, these self-conscious fictions do more than just reflexively foreground their status as artefacts; they offer metacommentaries that engage with the history of cultural representations and exalt the aesthetic, ethical and political potential of creation as re-recreation and resignification. By combining cultural studies and neo-formalist approaches, this book seeks to highlight how intimately the films’ poetics and politics are intertwined. Each chapter explores a specific salient feature, some of which have drawn much academic attention (history, race, gender, violence), others less so (narrative structure, style, music, theatricality). Ultimately, Quentin Tarantino: Poetics and Politics of Cinematic Metafiction places Tarantino’s films firmly in the legacy of Hawks, Godard, Leone and the New Hollywood, and revises the image of cool purveyor of pop culture the American director cultivated at the beginning of his career by foregrounding the breadth and layeredness of the films’ engagement with cultural history, high and low, screen and print, American, East Asian and European. The films produced by the Tarantino team are formal invitations for viewers to similarly engage with, and reflect on, the material, and delight in doing so.
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White, Jonathan. Politics of Last Resort. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198791720.001.0001.
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Prominent in the EU’s recent transformations has been the tendency to advance extraordinary measures in the name of crisis response. From emergency lending to macro-economics, border management to Brexit, policies are pursued unconventionally and as measures of last resort. This book investigates the nature, rise, and implications of this politics of emergency as it appears in the transnational setting. As the author argues, recourse to this method of rule is an expression of the deeper weakness of executive power in today’s Europe. It is how policy-makers contend with rising socio-economic power and diminishing representative ties, seeking fall-back authority in the management of crises. In the structure of the EU they find incentives and few impediments. Whereas political exceptionalism tends to be associated with sovereign power, here it is power’s diffusion and functional disaggregation that spurs politics in the emergency mode. The effect of these governing patterns is not just to challenge and reshape ideas of EU legitimacy rooted in constitutionalism and technocracy. The politics of emergency fosters a counter-politics in its mirror image, as populists and others play with themes of necessity and claim the right to disobedience in extremis. The book examines the prospects for democracy once the politics of emergency takes hold, and what it might mean to put transnational politics on a different footing.