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Books on the topic 'Visual Dialogue'

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Author: Grafiati
Published: 11 March 2023

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1

Rathore, Dharmendra. "Visual resonances": A dialogue in line and colour. New Delhi: Art Alive Gallery, 2002.

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2

Visual Faith: Art, Theology, and Worship in Dialogue. Grand Rapids, MI: Baker Academic, 2001.

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3

Witteveen, L. M. The voice of the visual: Visual learning strategies for problem analysis, social dialogue and mediated participation. Delft: Eburon, 2009.

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4

Duquette, Lise. L' étude de l'apprentissage du vocabulaire en contexte par l'écoute d'un dialogue scénarisé en français langue seconde. Québec: Centre international de recherche en aménagement linguistique, 1993.

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5

Women's spaces: Gender equity in the visual arts : women in dialogue = Kvinnliga rum : J̈ämställdhet i konsten : kvinnor i samtal. Cape Town: Arts and Media Access Centre, 2005.

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6

Art, Triton Museum of, ed. La voz: A contemporary visual dialogue of South Bay Mexican American artists = un diálogo visual de artistas México-Americanso del Sur de la Bahía : Triton Museum of Art, Santa Clara, California : May 4 - August 15, 1996. Santa Clara, Calif: Triton Museum of Art, 1996.

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7

G, Mazow Leo, Osthoff Simone, and Palmer Museum of Art (Pennsylvania State University), eds. Dialogue and diversity: Recent work by faculty in the School of Visual Arts at Penn State : June 28-September 18, 2005, Palmer Museum of Art, the Pennsylvania State University, University Park, Pennsylvania. University Park, PA: Palmer Museum of Art, the Pennsylvania State University, 2005.

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8

Rachel, Mason, and Eça, Teresa Torres Pereira de., eds. International dialogues about visual culture, education and art. Bristol, UK: Intellect, 2008.

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9

San Jose Institute of Contemporary Art. and Universidad Autónoma Metropolitana. Galería Metropolitana, eds. Visual dialogues of the eighties =: Diálogos visuales de los ochentas. San Jose, CA: San Jose Institute of Contemporary Art, 1985.

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10

Dialogues on perception. Cambridge, Mass: MIT Press, 1995.

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11

Visual dialogues, August 25--Sept. 24, 2012: Group show by 22 artists. Noida: Artlife Gallery, 2012.

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12

Spencer-Hall, Alicia. Medieval Saints and Modern Screens. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.

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This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.
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13

Felicity, Lunn, New Art Gallery Walsall, and Sainsbury Centre for Visual Arts., eds. Vivências: Dialogues between the works of Brazilian artists from 1960s-2002 : the New Art Gallery, Walsall, 5 April-9 June 2002 : Sainsbury Centre for Visual Art, University of East Anglia, Norwich, 2 July-1 September 2002. Walsall, UK: New Art Gallery, 2002.

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14

STRIKING POSES: CREATING A VISUAL DIALOGUE. MustSeeBooks, 2006.

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15

Visual Histories of Occupation: A Transcultural Dialogue. Bloomsbury Publishing Plc, 2021.

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16

Hospitals talking art: Recording the visual dialogue. Aberdeen: Centre for Research in Art & Design, Gray's School of Art, 1997.

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17

Visual Histories of Occupation: A Transcultural Dialogue. Bloomsbury Publishing Plc, 2022.

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18

Knight, Jonathan. The Creativity of Jonathan Knight A Visual Dialogue. Jonathan Knight, 1998.

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19

Yamada-Rice, Dylan, and Eve Stirling. Visual Methods with Children and Young People: Academics and Visual Industries in Dialogue. Palgrave Macmillan, 2015.

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20

Yamada-Rice, Dylan, and Eve Stirling. Visual Methods with Children and Young People: Academics and Visual Industries in Dialogue. Palgrave Macmillan, 2016.

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21

Finley, Toiya Kristen. Branching Story, Unlocked Dialogue: Designing and Writing Visual Novels. Taylor & Francis Group, 2022.

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22

Finley, Toiya Kristen. Branching Story, Unlocked Dialogue: Designing and Writing Visual Novels. Taylor & Francis Group, 2022.

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23

Finley, Toiya Kristen. Branching Story, Unlocked Dialogue: Designing and Writing Visual Novels. Taylor & Francis Group, 2022.

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24

Finley, Toiya Kristen. Branching Story, Unlocked Dialogue: Designing and Writing Visual Novels. CRC Press LLC, 2022.

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25

Finley, Toiya Kristen. Branching Story, Unlocked Dialogue: Designing and Writing Visual Novels. CRC Press LLC, 2022.

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26

Mapping Artsouthasia: A Visual and Cultural Dialogue Between Britain and South Asia. Shisha, 2003.

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27

Eye-Tracking in Interaction: Studies on the Role of Eye Gaze in Dialogue. Benjamins Publishing Company, John, 2018.

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28

Pravadelli, Veronica. Normative Desires and Visual Sobriety. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038778.003.0003.

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This chapter argues that in the mid-1930s, American cinema perfected a classical form that dominated till the end of the decade. This form arose out of a new convergence between lifestyle and film style: in ideological terms, the period supported normative and traditional images of femininity and masculinity, and its film style privileged unified narratives based on action, dialogue, and continuity editing. The return to traditional values is manifested by a renewed interest in masculinity: in contrast to the earlier period, which is dominated by female stars, the most popular figured in the second half of the 1930s are male stars, along with child and teenage actors. This trend influences the most important genres of the period: screwball comedy, adventure, and biopic.
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29

Dialogue and diversity: Recent work by faculty in the School of Visual Arts at Penn State. University Park, PA: Palmer Museum of Art, the Pennsylvania State University : Distributed by Penn State University Press, 2006.

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30

Falque, Ingrid, and Agnès Guiderdoni. Rethinking the Dialogue Between the Verbal and the Visual: Methodological Approaches to the Relationship Between Religious Art and Literature. BRILL, 2022.

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31

Art, Palmer Museum Of. Dialogue and Diversity: Recent Work by Faculty in the School of Visual Arts at Penn State: June 28-September 18, 2005, Palmer Museum of Art, t. Palmer Museum of Art Pennsylvania State Unive, 2005.

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32

Pollard, Natalie. Poetry, Publishing, and Visual Culture from Late Modernism to the Twenty-first Century. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852605.001.0001.

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This book examines why it is important to appreciate cultural artefacts such as poems, sculptures, and buildings not as static, perfected objects, but as meshworks of entangled, mutable, and trans-personal forces. Offering six such case studies across the long twentieth century, the book focuses on how poetic works activate closer appreciation of literature’s hybridity. The book analyses how such texts are collaborative, emergent, and between-categories, and shows why this matters. It focuses, first, on how printed poetry is often produced collaboratively, in dialogue with the visual and plastic arts; and second, how it comes about through entangled and emergent agencies. Both have been overlooked in contemporary scholarship. Although this proposal makes some trouble for established disciplinary modes of reception and literary classification, for this reason, it also paves the way for new critical responses. Chiefly, Fugitive Pieces encourages the development of modes of literary critical engagement which acknowledge their uncertainty, vulnerability, and provisionality. Such reading involves encountering poems as co-constituted through materials that have frequently been treated as extra-literary, and in some cases extra-human. Focusing on works by Djuna Barnes, David Jones, F.T. Prince, Ted Hughes, Denise Riley, and Paul Muldoon, Fugitive Pieces fosters closer attention to how literary works operate beyond the boundaries of artistic categorization and agency. It examines the politics of disciplinary criticism, and the tensions between anthropocentric understandings of value and intra-agential collaborative practices. Its purpose is to stimulate much-needed analysis of printed works as combinatorial and hybrid, passing between published versions and artforms, persons and practices.
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33

Kleege, Georgina. Dialogues with the Blind. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190604356.003.0007.

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This chapter surveys literary and theoretical representations pairing blindness and visual art. Jacques Derrida observes that when visual artists depict blindness they are in fact making reference to their own artistic process. The chapter examines fiction by Rudyard Kipling, Wilkie Collins, Raymond Carver, Lorrie Moore, Hilary Norman, Paul Auster, Tracy Chevalier, and others. While many of these representations follow the contours of the Hypothetical Blind Man, some authors use depictions of blindness to posit the power of language to capture the ephemeral nature of the visual. Authors update the stock character of the blind seer to offer readers a mirror image of themselves.
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34

Raine, Michael. A New Form of Silent Cinema. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0007.

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Ozu Yasujiro wanted to make a “new form” of silent cinema before it disappeared, something sophisticated in a fragile medium that was forced to do obvious things. His goal was to create, for the first and only time in Japanese cinema, films in which audible dialogue was displaced in favor of the intertitle as a form of “visual repartee.” After Western cinema switched to the talkie and while Japan was in the process of converting, Ozu took advantage of the transition from benshi-dialogue to actor-dialogue cinema to invent something like Hollywood silent film: a visual mode of narration with musical accompaniment and speech carried as intertitles. Ozu used the “sound version” to shut the benshi up, allowing emotion in An Inn in Tokyo to “float” as the unspoken disappointment behind banal dialogue, heard synaesthetically in the rhythm of alternating titles and images in a lyrical mise en scène.
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35

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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36

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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37

Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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38

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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39

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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40

translator, Brown Saskia, ed. Counterpoints: Dialogues between music and the visual arts. 2017.

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41

Junod, Philippe, and Saskia Brown. Counterpoints: Dialogues Between Music and the Visual Arts. Reaktion Books, Limited, 2017.

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42

(Editor), Teresa ECa, and Rachel Mason (Editor), eds. International Dialogues about Visual Culture, Education and Art. Intellect Ltd, 2008.

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43

Langin-Hooper, Stephanie M. Stronger at the Broken Places. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190614812.003.0006.

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Hellenistic Babylonian figurines with separately made and attached limbs are not a uniform corpus in terms of their iconography or subject matter, but all leave similar visual traces of fragmentation on an otherwise complete miniature body. Rather than interpreting these visual “breaks” as simply an unfortunate side effect of these figurines’ manufacture, the chapter argues that the appearance of broken places actually enriched these objects’ affect by fixating and intensifying user interest on otherwise overlooked body parts. Strikingly, the artificial poses and hyper-real actions of fragmented figurine limbs all operated in the liminal zones of cultural contestation between Greeks and Babylonians: banqueting, childhood, male and female nudity, and sexual attraction. By depicting some of these most difficult points of cross-cultural contention in the miniature scale (where they were less threatening) and in fragmented form (where they were visually interesting), such figurines offered avenues into cross-cultural dialogue and communication.
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44

Julesz, Bela. Dialogues on Perception. The MIT Press, 1994. http://dx.doi.org/10.7551/mitpress/2398.001.0001.

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An elucidation of ideas and insights generated by the paradigm of "early vision," presented in the form of dialogues. Renowned for his work in depth perception and pattern recognition, Bela Julesz originated the techniques—involving computer-generated random-dot stereograms, cinematograms, and textures—that resulted in the subfield of human psychology called "early vision." In this book, Julesz elucidates the ideas and insights generated by this exciting paradigm in a series of dialogues between Julesz the naif and Julesz the scientist. These playful, personal, deeply informed dialogues, though challenging, are never beyond the reach of the general scientific reader interested in brain research. Among the topics covered are stereopsis, motion perception, neurophysiology, texture and auditory perception, early vision, visual cognition, and machine vision. Julesz's work on early vision and focal attention is the basis of the discussions, but he is equally at ease recounting his debate with John Searle and describing his interactions with Salvador Dali. He also addresses creativity, mathematics, theories, metascientific questions, maturational windows, and cortical plasticity, relates his current work to past findings and ideas, and considers how some strategic questions can be solved with existing tools.
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45

Schoene, Adam. Sentimental Conviction: Rousseau’s Apologia and the Impartial Spectator. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422857.003.0009.

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Where Adam Smith’s The Theory of Moral Sentiments (1759) extends the domain of spectatorship beyond the ocular realm and claims that we must become the impartial spectators of our own character and conduct, Jean-Jacques Rousseau’s Rousseau juge de Jean-Jacques, Dialogues (1776) also attempts to probe beyond the visual surface to examine through careful study the constitution of another, who is actually himself. This chapter traces a Smithian sentiment in the radical division of the self dramatized in Rousseau’s fictional autobiographical Dialogues, emphasizing Rousseau’s attempt to liberate his own gaze and render an unbiased judgment upon himself. Although Rousseau does not write in direct discourse with Smith, he applies a strikingly similar rhetorical device to the spectator within the dialogic structure of his apologia. Reading Rousseau alongside Smith resituates the Dialogues not as a work of madness, as it has frequently been interpreted, but rather as an unrelenting struggle for justice.
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46

Maine, Fiona. Dialogic Readers: Children Talking and Thinking Together about Visual Texts. Taylor & Francis Group, 2015.

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47

Maine, Fiona. Dialogic Readers: Children talking and thinking together about visual texts. Routledge, 2015.

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48

Maine, Fiona. Dialogic Readers: Children Talking and Thinking Together about Visual Texts. Taylor & Francis Group, 2015.

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49

Maine, Fiona. Dialogic Readers: Children Talking and Thinking Together about Visual Texts. Taylor & Francis Group, 2015.

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50

Maine, Fiona. Dialogic Readers: Children Talking and Thinking Together about Visual Texts. Taylor & Francis Group, 2015.

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