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Books on the topic 'Projected image'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Screen/space: The projected image in contemporary art. Manchester, UK: Manchester University Press, 2011.

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2

Dia Center for the Arts. and Kunstmuseum Luzern, eds. Projected images: 1972-1994. New York: Dia Center for the Arts, 1995.

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3

Tony, Szczepanek, ed. Images of projects. Burlington, VT: Gower, 2009.

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4

Majumder, Aditi. Practical multi-projector display design. Wellesley, Mass: A K Peters, 2007.

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5

Singleton, Nerida. Nerida Singleton's découpage project kit book: With images, papers and projects. Rozelle, NSW, Australia: Sally Milner Pub., 1994.

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6

1950-, Besant Derek Michael, and Nickle Arts Museum, eds. EastEnd: A collaborative image + text project. Indianapolis, Ind: Dog Ear Press, 2007.

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7

Alexander, Darsie. Slide Show: Projected Images in Contemporary Art. University Park, PA: Pennsylvania State University Press, 2005.

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8

J, Sammon Michael, Seul Michael, and Seul Michael, eds. Practical algorithms for image analysis: Description, examples, programs, and projects. 2nd ed. Cambridge: Cambridge University Press, 2008.

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9

Thiessen, Dennis. Project 95+: Image of the future teacher. [Toronto: Faculty of Education, University of Toronto?], 1992.

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10

King, Julie Adair. Digital photo projects for dummies. Hoboken, N.J: Wiley, 2007.

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11

Paul, Rohde, and Shaw Heather, eds. The body project: A dissonance-based eating disorder prevention intervention. 2nd ed. New York, NY: Oxford University Press, 2013.

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12

White, Edward T. Building meaning: Analysis and design for image-sensitive projects. Tallahassee, Fla: Architectural Media, 1996.

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13

Willett, Edward. AOL's picture this!: Fun & easy photo projects. Sterling, VA: America Online, 1999.

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14

Rodríguez, Alicia. Imagen & sonido. Barcelona: Parramón, 2003.

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15

Webster, Henry deF. Cellular neuroscience: Projects and images, 1957-1997. Baltimore, MD: Gateway Press, Inc., 2006.

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16

P, Coyle Harold, Shapiro Irwin I, Stroud Sharon M, and Harvard-Smithsonian Center for Astrophysics, eds. Project IMAGE--Investigative Materials About Global Environments: A manual of image-based activities concerning our planet. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1998.

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17

Photo op: 52 inspirational projects for the adventurous image-maker. Burlington, MA: Focal Press/Elsevier, 2010.

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18

How to build a corporation's identity and project its image. Lexington, Mass: Lexington Books, 1988.

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19

Rising signs: The astrological guide to the image we project. Wellingborough: Aquarian Press, 1989.

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20

Ageless prose: A study of the media-projected images of aging. New York: Garland Pub., 1994.

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21

Group, Primary Research. The survey of library & museum digitization projects. 2nd ed. New York: Primary Research Group, 2013.

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22

Katherine, Presnell, ed. The body project: Promoting body acceptance and preventing eating disorders : facilitator's guide. Oxford: Oxford University Press, 2007.

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23

Brandes, Horst G. Hawaii Superpave Demonstration Project: Measurement of asphalt mix design parameters using image analysis. [Honolulu, HI]: Dept. of Civil Engineering, College of Engineering, University of Hawaii, 2004.

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24

Mind Articulation Project Symposium (1st 1998 Tokyo, Japan). Image, language, brain: Papers from the First Mind Articulation Project Symposium. Cambridge, Mass: MIT Press, 2000.

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25

Webster, Henry De Forest. Cellular neuroscience: Projects and images, 1957 -1997. alibris id. [Place of publication not identified]: Gateway Press, Inc, 2006.

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26

Shiel, Arthur. Library material digitisation demonstrator project. [London]: British Library Research and Development Dept., 1993.

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27

Ward, David. Rubber stamp sourcebook: A complete guide to images, projects, resources. 2nd ed. Seattle, WA: Cornucopia Press, 1999.

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28

Ward, David. Rubber stamp sourcebook: A complete guide to images, projects, resources. Seattle, WA: Cornucopia Press, 1995.

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29

Goodman, Douglas S. Optics demonstrations with the overhead projector. Washington, D.C: Optical Society of America, 2000.

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30

Iles, Chrissie. Into the Light: The Projected Image in American Art, 1964-1977. Whitney Museum of American Art, 2002.

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31

Into the Light: The Projected Image in American Art, 1964-1977 (Whitney Museum of American Art Books). Whitney Museum, 2001.

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32

Yue, Genevieve. Girl Head. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289554.001.0001.

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For decades, feminist film analysis has been focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? In Girl Head: Feminism and Film Materiality, Genevieve Yue explores how gender and sexual difference have been deeply embedded within film materiality. Though the industrial practices she examines are typically hidden from view, they are no less gendered than the images projected onscreen. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. Yue develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. In this original work of feminist media history, Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen.

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33

Project Image. Kendall/Hunt Publishing Company, 1997.

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34

Ansari, Emily Abrams. The Disillusioned Nationalist. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.003.0004.

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This chapter looks at the Cold War experience of leading Americanist composer Roy Harris. Harris is a complicated case because although he held politically progressive views, he participated in creating an image for himself that aligned with a more conservative, exceptionalist nationalism. This contradiction between his personal politics and the politics his image projected was mostly sustainable during the 1930s and 1940s, when leftist attitudes and exceptionalist nationalism were not considered entirely incompatible. But during the first decades of the Cold War, a period in which Harris felt increasingly alienated from mainstream American values, it engendered a personal and aesthetic crisis. This crisis is assessed through an examination of Harris’s writings, music, and cultural diplomacy work during this period, including an analysis of his Symphony no. 11 (1967).

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35

Halle, Randall. The Film Apparatus. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0002.

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This chapter illustrates how the discussion of cinematic apparatus was international and in many instances foundational for the establishment of film studies as a discipline. Apparatus offered a means to consider precisely the study of film as more than formal analysis of the projected image; it sought to arrive at a more comprehensive discussion of cinema. The production of the image was understood not simply as an industrial tale, but as a matter of signification, social relations, modes of production, methods of projection, space of reception, and subjective effects on spectators. In the 1960s, the discourse on the apparatus was connected to the quest for revolutionary forms. By the 1980s, the debates regarding apparatus theory became bogged down by considerations of ideology and an overwhelming focus on psychoanalytic models.

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36

Hunt and Kendall. Project Images. Kendall/Hunt Publishing Company, 1996.

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37

Concentrator testing using projected images. [Washington, DC]: National Aeronautics and Space Administration, 1991.

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38

Practical Multi-projector Display Design. A K Peters Ltd, 2007.

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39

Winter, Mark, and Tony Szczepanek. Images of Projects. Routledge, 2017. http://dx.doi.org/10.4324/9781315252698.

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40

Winter, Mark, and Tony Szczepanek. Images of Projects. Taylor & Francis Group, 2017.

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41

Winter, Mark, and Tony Szczepanek. Images of Projects. Taylor & Francis Group, 2017.

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42

James Coleman: Projected images, 1972-1994. New York: Dia Center for the Arts, 1995.

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43

Katharina Sieverding : Testcuts: Projected Data Images. DuMont, 2011.

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44

Coleman, James, Lynne Cooke, and Benjamin Buchloh. James Coleman: Projected Images 1972-1994. Dia Art Foundation, 1995.

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45

Ghini, Studio Iosa, ed. Car corporate image: Project in Miami. Milano: Electa, 2002.

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46

The Tattoo Project Body Art Image. Schiffer Publishing, 2012.

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47

J, Barron Billy, and United States. National Aeronautics and Space Administration., eds. Project ICON: Research in image management and access. [Houston, Tex.]: Research Institute for Computing and Information Systems, University of Houston-Clear Lake, 1992.

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48

Dahlgren, Anna. Travelling Images. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526126641.001.0001.

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Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.

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49

Optical Digital Image Storage System: Project report. [Washington, DC]: National Archives and Records Administration, Archival Research and Evaluation Staff, 1991.

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50

Digital Photo Projects For Dummies. New York: John Wiley & Sons, Ltd., 2007.

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