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Books on the topic 'Visual mode'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Tate, Sharon Lee. The fashion handbook: A guide to your visual image. 2nd ed. New York, NY: HarperCollins, 1991.

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2

Visual design in dress. 3rd ed. Upper Saddle River, N.J: Prentice Hall, 1996.

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3

Visual design in dress. 2nd ed. Englewood Cliffs, N.J: Prentice-Hall, 1987.

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4

Foster, Vanda. A visual history of costume: The nineteenth century. London: Batsford, 1992.

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5

DeLong, Marilyn Revell. The way we look: A framework for visual analysis of dress. Ames: Iowa State University Press, 1987.

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6

Finkelstein, Joanne. The art of self invention: Image and identity in popular visual culture. London: I.B. Tauris, 2007.

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7

Fahlander, Fredrik. Chapter 12 The partial and the vague as a visual mode in Bronze Age rock art. Manchester: Manchester University Press, 2020.

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8

Panin, Giorgio. Model-Based Visual Tracking. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2011. http://dx.doi.org/10.1002/9780470943922.

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9

Hitoshi, Sasaki. Dual processing model of visual information: Cortical and subcortical processing. Hauppauge, N.Y: Nova Science Publishers, 2009.

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10

Panin, Giorgio. Model-based visual tracking: The OpenTL framework. Hoboken, N.J: Wiley, 2011.

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11

Neff, Michael. A visual model for blast waves and fracture. Toronto: University of Toronto, Dept. of Computer Science, 1998.

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12

Picturing model citizens: Civility in Asian American visual culture. Philadelphia: Temple University Press, 2012.

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13

Inc, VisionSmart. Development of lab model of automated visual lumber grading system. [Edmonton, Alta.]: Forestry Canada, Alberta Forest Service, 1989.

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14

Butler, Tracy Michelle. An intergrated model for planning the visual care of children. Birmingham: University of Birmingham, 1998.

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15

Djang, Rebecca. Similarity inheritance: A model of inheritance for declarative visual programming languages. [Corvallis, OR: Oregon State University, Dept. of Computer Science, 1999.

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16

Musical modes in visual forms: (a journey through the creative minds). Delhi, India: New Bharatiya Book Corporation, 2012.

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17

Djang, Rebecca W. Similarity inheritance: A new model of inheritance for spreadsheet VPLs. Corvallis, OR: Oregon State University, Dept. of Computer Science, 1998.

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18

Heikkilä, Tapio Arturri. A model-based approach to high-level robot control with visual guidance. Espoo, [Finland]: Technical Research Centre of Finland, 1990.

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19

Monadjemi, Peter. Jetzt lerne ich Visual Basic: [komplettes Starterkit - mit Visual Basic 6 Working Model und Website zum Buch ; Start ohne Vorwissen]. Mu nchen/Germany: Markt und Technik, 2003.

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20

Magill, Arthur W. Assessing public concern for landscape quality: A potential model to identify visual thresholds. Berkeley, Calif: U.S. Dept. of Agriculture, Forest Service, Pacific Southwest Research Station, 1990.

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21

Middleton, David B. Programming the Navier-Stokes computer: An abstract machine model and a visual editor. Hampton, Va: ICASE, 1988.

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22

Middleton, David. Programming the Navier-Stokes computer: An abstract machine model and a visual editor. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1988.

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23

DAO object model: The definitive reference. Sebastopol, CA: O'Reilly, 2000.

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24

Digital representations of the real world: How to capture, model, and render visual reality. Boca Raton: CRC Press, 2015.

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25

Drabenstott, Karen Markey. Subject access to visual resources collections: A model for computer construction of thematic catalogs. New York: Greenwood Press, 1986.

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26

Markey, Karen. Subject access to visual resources collections: A model for computer construction of thematic catalogs. New York: Greenwood, 1986.

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27

service), SpringerLink (Online, ed. Circuits in the Brain: A Model of Shape Processing in the Primary Visual Cortex. New York, NY: Springer-Verlag New York, 2009.

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28

Watkins, Raymond. Late Bresson and the Visual Arts. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983649.

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The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema. This study presents a revised and revitalized Bresson, comparing his late style to painterly innovations in color, light, and iconography from the Middle Ages to the present, to abstract painting in France after World War II, and to affinities with the avant-garde movements of Surrealism, Constructivism, and Minimalism. Drawing on media archeology, this study views Bresson's work through such allied visual arts practices as painting, photography, sculpture, theater, and dance.

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29

O'Dell, David D. The design and implementation of a visual user interface for a structured model management system. Monterey, California: Naval Postgraduate School, 1988.

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30

Sŏn, Kwi-hwa. Kwanggo model i chepʻum pʻumjil e michʻinŭn chigakchŏk yŏnghyang: Sŭngyongchʻa, sopʻa, chŏnchʻuk, kʻalla TVrŭl chungsim ŭro. [Korea: s.n.], 1986.

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31

Baldini, Massimo, Marica Spalletta, and M. Adelmann. La moda capelli: La storia, le teorie e i dati di tipo visuale. Roma: Armando, 2006.

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32

Shawwa, Farid N. Subjective comparison of visual display modes for a nap-of-earth mission in a helicopter simulator. Ottawa: National Library of Canada, 1993.

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33

Rougé, Daniel. Visual BASIC 6 : Mode d'emploi. Sybex, 1999.

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34

Foster, Vanda. Visual History of Costume: The Nineteenth Century (A Visual History of Costume). Quite Specific Media Group, 1986.

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35

Holzner, Steven. Ajax: Your visual blueprint for creating rich Internet applications (Visual Blueprint). Visual, 2006.

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36

Finkelstein, Joanne. The Art of Self Invention: Image and Identity in Popular Visual Culture. I. B. Tauris, 2008.

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37

The Art of Self Invention: Image and Identity in Popular Visual Culture. I. B. Tauris, 2008.

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38

Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle (Interfaces: Studies in Visual Culture). Dartmouth College Press, 2006.

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39

Dillman, Don A. Mail and Internet Surveys: The Tailored Design Method 2007 Update with New Internet, Visual, and Mixed-Mode Guide. Wiley, 2006.

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40

The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle (Interfaces: Studies in Visual Culture). Dartmouth College Press, 2006.

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41

Dillman, Don A. Mail and Internet Surveys: The Tailored Design Method -- 2007 Update with New Internet, Visual, and Mixed-Mode Guide. Wiley & Sons, Incorporated, John, 2006.

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42

Saalmann, Yuri B., and Sabine Kastner. Neural Mechanisms of Spatial Attention in the Visual Thalamus. Edited by Anna C. (Kia) Nobre and Sabine Kastner. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199675111.013.013.

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Neural mechanisms of selective attention route behaviourally relevant information through brain networks for detailed processing. These attention mechanisms are classically viewed as being solely implemented in the cortex, relegating the thalamus to a passive relay of sensory information. However, this passive view of the thalamus is being revised in light of recent studies supporting an important role for the thalamus in selective attention. Evidence suggests that the first-order thalamic nucleus, the lateral geniculate nucleus, regulates the visual information transmitted from the retina to visual cortex, while the higher-order thalamic nucleus, the pulvinar, regulates information transmission between visual cortical areas, according to attentional demands. This chapter discusses how modulation of thalamic responses, switching the response mode of thalamic neurons, and changes in neural synchrony across thalamo-cortical networks contribute to selective attention.

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43

Callahan, William A. Sensible Politics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071738.001.0001.

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Visual images are everywhere in international politics. But how are we to understand them? Callahan uses his expertise in theory and filmmaking to explore not only what visuals mean, but also how visuals can viscerally move and connect us in “affective communities of sense.” Sensible Politics explores the visual geopolitics of war, peace, migration, and empire through an analysis of photographs, films, and art. It then expands the critical gaze to consider how “visual artifacts”—maps, veils, walls, gardens, and cyberspace—are sensory spaces in which international politics is performed through encounters on the local, national, and world stages. Here “sensible politics” isn’t just sensory, but looks beyond icons and ideology to the affective politics of everyday life. This approach challenges the Eurocentric understanding of international politics by exploring the meaning and impact of visuals from Asia and the Middle East. Sensible Politics thus decenters our understanding of social theory and international politics by (1) expanding from textual analysis to highlight the visual and the multisensory; (2) expanding from Eurocentric investigations of IR to a more comparative approach that looks to Asia and the Middle East; and (3) shifting from critical IR’s focus on inside/outside and self/Other distinctions. It draws on Callahan’s documentary filmmaking experience to see critique in terms of the creative processes of social-ordering and world-ordering. The goal is to make readers not only think visually, but also feel visually—and to creatively act visually for a multisensory appreciation of politics.

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44

Tilley, Heather, and Jan Eric Olsén. Touching Blind Bodies: A Critical Inquiry into Pedagogical and Cultural Constructions of Visual Disability in the Nineteenth Century. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474400046.003.0014.

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Changing ideas on the nature of and relationship between the senses in nineteenth-century Europe constructed blindness as a disability in often complex ways. The loss or absence of sight was disabling in this period, given vision’s celebrated status, and visually impaired people faced particular social and educational challenges as well as cultural stereotyping as poor, pitiable and intellectually impaired. However, the experience of blind people also came to challenge received ideas that the visual was the privileged mode of accessing information about the world, and contributed to an increasingly complex understanding of the tactile sense. In this chapter, we consider how changing theories of the senses helped shape competing narratives of identity for visually impaired people in the nineteenth century, opening up new possibilities for the embodied experience of blind people by impressing their sensory ability, rather than lack thereof. We focus on a theme that held particular social and cultural interest in nineteenth-century accounts of blindness: travel and geography.

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45

Whitesell, Lloyd. Style Modes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0001.

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This chapter introduces a new index for the analysis of individual musical numbers, specifically in the genre of film musicals: “style mode,” which refers to background orientations of stylistic treatment in both sonic and visual design. It defines the genre’s primary style modes—ordinary, children’s, burlesque, razzle-dazzle, and glamour—by way of well-known examples and illustrates their effectiveness as analytical categories, providing insight into large-scale planning as well as the meanings projected within individual numbers. Because the projection of a style mode takes place independently of the musical “language” being spoken (e.g., jazz, blues, musical theater, rock), style modes are clearly distinguished from musical topics and idioms.

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46

Atkeson, Lonna Rae, and Alex N. Adams. Mixing Survey Modes and Its Implications. Edited by Lonna Rae Atkeson and R. Michael Alvarez. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190213299.013.35.

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Mixed mode surveys are defined as surveys that involve mixtures of different contact and response modes. They have become increasingly popular as a way to mitigate problems of coverage and response error related to single mode options. However, differences in survey mode, especially the presence or absence of an interviewer, may influence item response and nonresponse through social desirability, primacy or recency effects, and visual response. This chapter considers the advantages and disadvantages of various modes and of combining modes. Each research design should consider the costs, including “house” costs and costs to the respondent, and benefits of a mixed mode design before implementation.

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47

Aaron, Jane E., Cheryl E. Ball, and Kristin L. Arola. 40 Model Essays & ix visual exercises. Bedford/St. Martin's, 2005.

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48

HaCohen, Ruth. Between Generation and Suspension. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.13.

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The chapter discusses two modes of combining music and moving images that developed in modernism. The first mode, which the author termsgeneration, relates to a type of animated narrative film in which the music precedes the visual sequence which generates the will or thought (modality) that gives rise to the narrative action. “The Sorcerer’s Apprentice,” from the Disney filmFantasia, is examined as an example. In the second mode,suspension, the picture appears as if preceding the music, even if the creative order was different, or the work does not have an actual visual manifestation. The visual sequence, which appears as if deriving from the composer’s inner world, is characterized by minute occurrences, wishing to arouse as an atmosphere or “third consciousness.” The movement “Colors” from Schoenberg’sFive Pieces for an Orchestra, opus 16, is examined as an example alongside examples from film music.

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49

Woo, Lee Kang. Computational model of visual attention: Integrative approach. 2004.

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50

Panin, Giorgio. Model-Based Visual Tracking: The OpenTL Framework. Wiley & Sons, Incorporated, John, 2011.

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