Książki: „Visual transformation”

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Vaingast, Shai. Beginning Python visualization: Crafting visual transformation scripts. Berkeley, CA: Apress, 2009.

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Beginning Python visualization: Crafting visual transformation scripts. Berkeley, CA: Apress, 2009.

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The visual turn and the transformation of the textbook. Mahwah, N.J: L. Erlbaum Associates, 1998.

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Florin, Bo, Patrick Vonderau i Yvonne Zimmermann. Advertising and the Transformation of Screen Cultures. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989153.

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Advertising has played a central role in shaping the history of modern media. While often identified with American consumerism and the rise of the 'Information Society', motion picture advertising has been part of European visual culture since the late nineteenth century. With the global spread of ad agencies, moving image advertisements became a privileged cultural form to make people experience the qualities and uses of branded commodities, to articulate visions of a 'good life', and to incite social relationships. Abandoning a conventional delineation of fields by medium, country, or period, this book suggests a lateral view. It charts the audiovisual history of advertising by focussing on objects (products and services), screens (exhibition, programming, physical media), practices (production, marketing), and intermediaries (ad agencies). In this way, the book develops new historical, methodological, and theoretical perspectives.

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Shu zi mei jie xia de wen yi zhuan xing: Literature and art transformation under the digital medium. Beijing: Zhongguo she hui ke xue chu ban she, 2011.

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Maciejewski, Ross. Data representations, transformations, and statistics for visual reasoning. San Rafael, Calif. (1537 Fourth Street, San Rafael, CA 94901 USA): Morgan & Claypool, 2011.

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Argüelles, José. The transformative vision: Reflections on the nature and history of human expression. Fort Yates, ND: Muse, 1992.

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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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Transformations in design: A formal approach to stylistic change and innovation in the visual arts. Cambridge: Cambridge University Press, 1994.

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Valjakka, Minna, i Meiqin Wang, red. Visual Arts, Representations and Interventions in Contemporary China. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462982239.

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This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups.

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Reilly, Diane. The Cistercian Reform and the Art of the Book in Twelfth-Century France. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985940.

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This book is a study of the programmatic oral performance of the written word and its impact on art and text. Communal singing and reading of the Latin texts that formed the core of Christian ritual and belief consumed many hours of the Benedictine monk's day. These texts-read and sung out loud, memorized, and copied into manuscripts-were often illustrated by the very same monks who participated in the choir liturgy. The meaning of these illustrations sometimes only becomes clear when they are read in the context of the texts these monks heard read. The earliest manuscripts of Cîteaux, copied and illuminated at the same time that the new monastery's liturgy was being reformed, demonstrate the transformation of aural experience to visual and textual legacy.

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Ferreri, Mara. The Permanence of Temporary Urbanism. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462984912.

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Temporary urbanism has become a distinctive feature of urban life after the 2008 global financial crisis. This book offers a critical exploration of its emergence and establishment as a seductive discourse and as an entangled field of practice encompassing architecture, visual and performative arts, urban regeneration policies and planning. Drawing on seven years of semi-ethnographic research, it explores the politics of temporariness from a situated analysis of neighbourhood transformation, media representations and wider political and cultural shifts in austerity London. Through a longitudinal engagement with projects and practitioners, the book tests the power of aesthetic and cultural interventions and highlights tensions between the promise of vacant space re-appropriation and its commodification. Against the normalisation of ephemerality, it presents a critique of the permanence of temporary urbanism as a glamorisation of the anticipatory politics of precarity which are transforming cities, subjectivities and imaginaries of urban action.

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Beginning Python Visualization: Crafting Visual Transformation Scripts. Apress, 2014.

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Christopher, Carrell, Chapman, Richard, 1951 Apr. 6-, Seddon Peter i Third Eye Centre, red. The Visual arts in Glasgow: Tradition and transformation. Glasgow: Third Eye Centre in association with Arts Review Magazine, 1985.

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LaSpina, James A. The Visual Turn and the Transformation of the Textbook. Routledge, 2014. http://dx.doi.org/10.4324/9781410602633.

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Meta-Morphing: Visual Transformation and the Culture of Quick-Change. University of Minnesota Press, 1999.

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Meta-Morphing: Visual Transformation and the Culture of Quick-Change. University of Minnesota Press, 1999.

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Ancient Art of Transformation: Case Studies from Mediterranean Contexts. Oxbow Books, Limited, 2018.

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Magic Lens: Transformation of the Visual Arts in the Narrative World of Carlos Fuentes. University Press of the South, 2010.

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Jhaj, Sukhwant. Delivering on the Promise of Democracy: Visual Case Studies in Educational Equity and Transformation. Open Book Publishers, 2019.

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Magic Lens: Transformation ofb the Visual Arts in the Narrative World of Carlos Fuentes. University Press of the Southusedop, 2010.

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(Editor), Xavier Barral, i Marc Mostert (Editor), red. Image, Text and Script: Studies on the Transformations of Visual Literacy (C. 400 Ad - C. 800 Ad (Transformation of the Roman World). Brill Academic Pub, 2002.

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Grossberg, Stephen. The Visual World as Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0007.

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This chapter shows how visual illusions arise from neural processes that play an adaptive role in achieving the remarkable perceptual capabilities of advanced brains. It clarifies that many visual percepts are visual illusions, in the sense that they arise from active processes that reorganize and complete perceptual representations from the noisy data received by retinas. Some of these representations look illusory, whereas others look real. The chapter heuristically summarizes explanations of illusions that arise due to completion of perceptual groupings, filling-in of surface lightnesses and colors, transformation of ambiguous motion signals into coherent percepts of object motion direction and speed, and interactions between the form and motion cortical processing streams. A central theme is that the brain is organized into parallel processing streams with computationally complementary properties, that interstream interactions overcome these complementary deficiencies to compute effective representations of the world, and how these representations generate visual illusions.

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Evelev, John. Picturesque Literature and the Transformation of the American Landscape, 1835-1874. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894557.001.0001.

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This book examines the central role that the picturesque, a popular mode of scenery appreciation that advocated for an improved and manipulated natural landscape, played in the social, spatial, and literary history of mid-nineteenth-century America. It argues that the picturesque was not simply a landscape aesthetic, but also a discipline of seeing and imaginatively shaping the natural world that was widely embraced by bourgeois Americans to transform the national landscape in their own image. Through the picturesque, midcentury bourgeois Americans remade rural spaces into tourist scenery, celebrated the city streets as spaces of cultural diversity, created new urban public parks, and made suburban domesticity a national ideal. This picturesque transformation was promulgated in a variety of popular literary genres, all of which focused on landscape description and inculcated readers into the protocols of picturesque visual discipline as social reform. Many of these genres have since been dubbed “minor” or have even been forgotten in our literary history, but the ranks of the writers of this picturesque literature include those from the most canonical (Hawthorne, Melville, Thoreau, Emerson, and Poe) to major authors of the period who are now less familiar to us (such as Henry Wadsworth Longfellow, Lydia Maria Child, Nathaniel Parker Willis, and Margaret Fuller) to those who are now completely forgotten. Individual chapters of the book link picturesque literary genres to the spaces that the genres helped to transform and, in the process, create what is recognizably our modern American landscape.

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Heal, Bridget. Visual Commemoration. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.003.0007.

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Chapter 6 investigates images’ importance for Lutheran commemorative culture. It opens with a discussion of images produced for the Reformation centennials of 1617 and 1630, but focuses most of its attention on the commemoration of the dead, on the epitaphs and other memorial images produced for Lutheran patrons. These offer, it argues, a much richer insight into the diverse nature of Lutheran commemorative culture. The chapter presents two case studies of commemorative patronage amongst the Saxon nobility. It also investigates transformations in visual commemoration at a lower social level, focusing on the miners’ guilds in Saxony’s Erzgebirge. These examples modify our understanding of the function of Lutheran commemorative art, demonstrating that it fulfilled not only political but also emotional needs. They also help to explain the survival and restoration of medieval images that did not reflect Lutheran teaching.

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Way, Ruth. Somatic Awakenings. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039409.003.0008.

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In this chapter, the author talks about somatic awakenings by sharing the story of her transformative passage through somatic studies and how her study of somatics has directly influenced her both personally and in her roles as an artist and educator. Drawing on some of the leading practitioners, performers, and scholars such as Sondra Fraleigh, Pina Bausch, Thomas Hanna, and Anna Cooper Albright, the author explores the link between creativity in performance practice and guiding principles in somatic movement training. Her aim is to show how embodied knowledge can be realized as a creative tool for personal transformation and sociopolitical change. She also reflects on her collaboration with visual artist and fimmaker Russell Frampton in directing and producing dance films.

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Zilczer, Judith. American Rhapsody. Redaktor Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.5.

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The opening decades of the twentieth century saw painters renounce mimetic representation for the formal rigors and spiritual transcendence of visual art divorced from reproduction of the visible world. That they chose to do so in no small measure resulted from a profound shift in aesthetic values: music became the paradigm for visual art. While the concept of visual music gained international currency, this seductive aesthetic model had particular resonance in the United States. Between 1910 and 1930, leaders of the American avant-garde, such as Arthur Dove, Marsden Hartley, Georgia O’Keeffe, and Max Weber, experimented with musical ideas to forge a new abstract art. A comparative case study of the music pictures of these painters and the inter-media installations of contemporary artist Jennifer Steinkamp will illuminate the transformation of the modernist ideal of visual music in the postmodern era.

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1968-, Schneider Pablo, i Wedell Moritz, red. Grenzfälle: Transformationen von Bild, Schrift und Zahl. Weimar: Verlag und Datenbank für Geisteswissenschaften, 2004.

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Investigating the Visual as a Transformative Pedagogy in the Asia Region. Common Ground Publishing, 2018.

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Investigating the Visual as a Transformative Pedagogy in the Asia Region. Common Ground Publishing, 2019.

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Xu, Fang, i Brad Miller. Investigating the Visual as a Transformative Pedagogy in the Asia Region. Redaktorzy Ian McArthur i Rod Bamford. Common Ground Research Networks, 2018. http://dx.doi.org/10.18848/978-1-86335-027-3/cgp.

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Tobin, Claudia. Modernism and Still Life. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.001.0001.

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The late nineteenth and early twentieth centuries have been characterised as the ‘age of speed’ but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It proposes that still life can be understood not only as a genre of visual art but also as a mode of attentiveness and a way of being in the world. It ranges widely in its material, taking Cézanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris. Modernism and Still Life reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement. The still life emerges charged with animation, vibration and rhythm, an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.

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Cruz, Gabriela. Grand Illusion. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915056.001.0001.

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Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.

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Skrodzka, Aga, Xiaoning Lu i Katarzyna Marciniak, red. The Oxford Handbook of Communist Visual Cultures. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190885533.001.0001.

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The Oxford Handbook of Communist Visual Cultures critically examines and historically reconstructs the visual practices that have accompanied social transformations initiated by communist ideals in various parts of the world in the twentieth century. Bringing together diverse and broadly understood visual texts, including architecture, interior design, cartoons, computer games, fashion, photography, film and television, this volume explores how communism engages the visual. It is divided into five themed sections, focusing, respectively, on materiality; institutional factors and theoretical discourses; international and intercultural dimensions; visual production and strategic spectacles; and after-images, memory, and legacy of communist visual cultures. Thirty-two chapters written by an international team of scholars from their unique disciplinary perspectives investigate the ways in which communism uses visual aesthetics to articulate its value system and to implement its improvement project. The contributors ask how communist visual culture defines itself as a culture of specific media, specific forms, and specific practices. Supported by archival research and historical analysis, this volume is a call to examine the communist visual culture in a range of media and theoretical dimensions, toward a shared goal of reimagining it beyond the existing ways of thinking about it as a defunct project.

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Knight, Terry Weissman. Transformations in Design: A Formal Approach to Stylistic Change and Innovation in the Visual Arts. University of Cambridge ESOL Examinations, 2000.

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Wilson, Keeley. Attracting the Planets. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198777199.003.0005.

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In the late 1990s, after Nokia developed the first smartphone (the “Communicator”), executives became increasingly sensitive to the importance of operating systems, data communications, and multimedia. It was also becoming clear that more complex business models would be needed to tap in to new opportunities. This chapter describes and analyzes how Nokia managed this transformation. It describes the development of the Communicator smartphone, the establishment of the Symbian OS, and the creation of an innovative camera phone. As the nature of the industry was changing and becoming more complex, it also looks at how Nokia responded by engaging with a wider ecosystem to develop the visual radio concept. These examples highlight the challenges that the new world of software platforms and application ecosystems raised for Nokia.

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(Editor), Lynn S. Bustle, i Lynn Sanders-Bustle (Editor), red. Image, Inquiry, and Transformative Practice: Engaging Learners in Creative and Critical Inquiry Through Visual Representation (Counterpoints (New York, N.Y.), Vol. 203.). Peter Lang Publishing, 2003.

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Heal, Bridget. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.003.0011.

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The conclusion highlights the extent to which the research presented in this book changes our understanding of Lutheran confessional culture. It reiterates the book’s main structure and themes: Luther’s own understanding of images and the legacy that his writings and the images commissioned for them left to his successors; the era of uncertainty following his death; the renewal and transformation of piety in the seventeenth century; the age of the baroque. It once again emphasizes the importance of the Empire’s territorial divisions in shaping Lutheran culture, and it considers whether there was a distinctly Lutheran iconography or aesthetic. Finally, it draws attention to the variety of historical actors who helped shape Lutheran visual culture, from eminent theologians to ordinary parish pastors, and from princes and nobles to townsfolk.

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Golan, Amos. Prior Information. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199349524.003.0008.

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In this chapter I introduce and quantify prior information and show how to incorporate it into the info-metrics framework. The priors developed arise from fundamental properties of the system, from logical reasoning, or from empirical observations. I start the chapter with the derivation of priors for discrete distributions, which can be handled via the grouping property, and a detailed derivation of surprisal analysis. Constructing priors for continuous distributions is more challenging. That problem is tackled via the method of transformation groups, which is related to the mathematical concept of group theory. That method works for both discrete and continuous functions. The last approaches I discuss are based on empirical information. The close relationship between priors, treatment effects, and score functions is discussed and demonstrated in the last section. Visual illustrations of the theory and numerous theoretical and applied examples are provided.

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Tulloch, John, i Belinda Middleweek. Brutal Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0007.

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Chapter 5 begins with risk sociology’s understanding of intimacy as “a dogmatism for two” to explore an interdisciplinary mix of theory, including Tim Palmer’s analysis of the cinema of “brutal intimacy”; Tanya Modleski’s recognition of a current horror genre inflection of new desires for unleashing sexuality, violence, and control; Kelley Conway’s recognition of an authorship of considerable diversity in the context of films made by women about female sexuality in French culture; Raymond Williams’s concept of historical “structures of feeling”; Beck and Beck-Gernsheim’s “normal chaos of love”; and Giddens’s “transformation of intimacy.” Within these contexts, the films Twentynine Palms, Trouble Every Day, and Irréversible are analyzed textually, exploring genre, narrative, visual shot style, diegetic/non-diegetic sound, and spatial mapping (and the disruption of all these categories), with a particular focus on the road film Twentynine Palms.

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Leskinen, Maria V., i Eugeny A. Yablokov, red. All men and beasts, lions, eagles, quails… Anthropomorphic and Zoomorphic Representations of Nations and States in Slavic Сultural Discourse. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/0441-1.

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The book was compiled on the materials of the scientific conference “Anthropomorphic and zoomorphic representations of nations and states in the Slavic cultural discourse” (2019), held at the Institute of Slavic Studies of the Russian Academy of Sciences (Moscow) and devoted to the history of the nations’ personifications and generalized ethnic images in period of “imagined communities” formation. This process is reconstructing on verbal and visual sources and by methods of various disciplines. The historical evolution of such zoomorphic incarnations of nations as an Eagle (in the Polish patriotic poetry of the first third of the 19th cent), a Falcon (in the South Slavic and Czech cultures in the 19th cent), a Griffin (during the formation of the Cassubian ethnocultural identity) is considered. The animalistic national representations in the Estonian caricature of the interwar twenty years of the 20th cent., so as the functioning of the Bear’s allegory as a symbol of Russia in modern Russian souvenir products are analyzed. The originality of zoomorphic symbolism in Polish and Soviet cultures is shown оn the examples of para- and metaheraldic images in XXth cent. The transformation of the verbal and visual images of “Mother Russia” personifications in Russian Empire was reconstructed. The evolution of various allegories of ethnic “Self” and “Others” is presented by caricatures of 19th – 20th cent. in Slovenian periodic and in Russian “Satyricon” journal (1914–1918).

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Garipzanov, Ildar. Secular Monograms, Social Status, and Authority in the Late Roman World and Early Byzantium. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815013.003.0006.

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This chapter examines the use of monograms as graphic signs of imperial authority in the late Roman and early Byzantine empire, from its appropriation on imperial coinage in the mid-fifth century to its employment in other material media in the following centuries. It also overviews the use of monograms by imperial officials and aristocrats as visible signs of social power and noble identity on mass-produced objects, dress accessories, and luxury items. The concluding section discusses a new social function for late antique monograms as visible tokens of a new Christian paideia and of elevated social status, related to ennobling calligraphic skills. This transformation of monograms into an attribute of visual Christian culture became especially apparent in sixth-century Byzantium, with the cruciform monograms appearing in the second quarter of the sixth century and becoming a default monogrammatic form from the seventh century onwards.

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Lichtblau, Albert. Case Study: Opening Up Memory Space: The Challenges of Audiovisual History. Redaktor Donald A. Ritchie. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195339550.013.0020.

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The emergence of oral history was connected with a technical development—namely the possibility of recording human voices. The recording techniques developed rapidly. This article discusses the challenges faced while recording audiovisual history. In the 1980s expensive filmmaking began to be replaced by more affordable video formats, which took the technical development of oral history to a new audiovisual level. The paradigm shift generated by oral history in which historians began to generate their own primary sources announced another transformation of the way historians worked: taking leave of the written form and communicating scholarly results in audiovisual form. This article seeks to describe what the integration of the visual aspect means for oral historians in generating documents of remembrance. It elaborates on a few concrete examples of how integrating the camera's eye has shaped audiovisual history. A discussion on negotiation of remembrance followed by new methods and issues of videohistory concludes this article.

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Hsu, Madeline Y. The Wartime Transformation of Student Visitors into Refugee Citizens, 1943–1955. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691164021.003.0005.

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This chapter explores how the Chinese people present in America on temporary visas as students, technical trainees, diplomats, sailors, and so forth suddenly found themselves stranded by the Communist victory in the Chinese Civil War. For instance, C.Y. Lee, the author of Flower Drum Song, was rescued from refugee status by changes in immigration laws and procedures that allowed resident Chinese in good standing to receive permanent status. On behalf of this group of elite, highly educated Chinese, the State Department and Congress made accommodations rather than force such usefully trained workers to return to a now hostile state. Lee's transformation from student to refugee and then to legal immigrant mirrors that of thousands of other Chinese intellectuals who received American assistance to remain, enter the U.S. workforce, and become citizens.

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Chakravorty, Pallabi. This is How We Dance Now! Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.001.0001.

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How is cosmopolitan modernity performed in a liberalizing India? From the spectacular celebrity culture of dance television reality shows and Bollywood films to dance-making in the movie and TV studios, dance halls, rehearsals, and auditions in obscure corners of Mumbai and Kolkata, this book explores the voices, aspirations, and dance practices of a new generation of dancers and choreographers. As the old system of dance pedagogy is broken down by the growth of media, migration, and a deepening democracy, the concept of ‘remix’ has replaced it. It explains, in a word, both the new practices of bodily knowledge transmission and the new aesthetics of Indian dance. This book situates Bollywood dance and dance reality shows at the centre of the changing visual culture in India, and illuminates new and original intersections of ideas from the fields of anthropology, dance studies, philosophy, media studies, gender studies, and postcolonial theory. It tells the story of the transformation of Indian dance by drawing from the deep wells of theories from these fields, but also from the vantage point of intimate ethnographic eyes.

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Lippert, Amy DeFalco. Consuming Identities. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190268978.001.0001.

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Along with the rapid expansion of the market economy and industrial production methods, innovations including photography, lithography, and steam printing created a pictorial revolution in the nineteenth century. Consuming Identities: Visual Culture in Nineteenth-Century San Francisco explores the significance of that revolution in one of its vanguard cities: San Francisco, the revolving door of the gold rush and the hub of Pacific migration and trade. The proliferation of visual prints, ephemera, spectacles, and technologies transformed public values and perceptions, and its legacy was as significant as the print revolution that preceded it. In their correspondence, diaries, portraits, and reminiscences, thousands of migrants to the city by the Bay demonstrated that visual media constituted a central means by which to navigate the bewildering host of changes taking hold around them in the second half of the nineteenth century. Images themselves were inextricably associated with these world-changing forces; they were commodities, but they also possessed special cultural qualities that gave them new meaning and significance. Visual media transcended traditional boundaries of language and culture that had divided groups within the same urban space. From the 1848 conquest of California and the gold discovery to the disastrous earthquake and fire of 1906, San Francisco anticipated broader national transformations in the commodification, implementation, and popularity of images. For the city’s inhabitants and visitors, an array of imagery came to mediate, intersect with, and even constitute social interaction in a world where virtual reality was becoming normative.

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47

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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48

Brown, Richard H. Through The Looking Glass. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.001.0001.

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Through the Looking Glass examines John Cage’s interactions and collaborations with avant-garde and experimental filmmakers, and in turn seeks out the implications of the audiovisual experience for the overall aesthetic surrounding Cage’s career. As the commercially dominant media form in the 20th century, cinema transformed the way listeners were introduced to and consumed music. Cage’s quest to redefine music, intentionality, and expression reflects the similar transformation of music within the larger audiovisual experience of sound film. This study covers a wide variety of topics, ranging from Cage’s father, John Cage Sr.’s patents in infrared and military technology during World War II, theories of dance aesthetics, film and television theory, visual music, information technology, copyright, and the postwar position of the American Neo-Avant-Garde. This volume examines key moments in Cage’s career in which cinema either informed or transformed his position on the nature of sound, music, expression, and the ontology of the musical artwork. The examples point to moments of rupture within Cage’s own consideration of the musical artwork, pointing to new-found collision points that have a significant and heretofore unacknowledged role in Cage’s notions of the audiovisual experience and the medium-specific ontology of a work of art.

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49

Ashcroft, E. A., A. A. Faustini, R. Jaggannathan i W. W. Wadge. Multidimensional Programming. Oxford University Press, 1995. http://dx.doi.org/10.1093/oso/9780195075977.001.0001.

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This book describes a powerful language for multidimensional declarative programming called Lucid. Lucid has evolved considerably in the past ten years. The main catalyst for this metamorphosis was the discovery that Lucid is based on intensional logic, one commonly used in studying natural languages. Intensionality, and more specifically indexicality, has enabled Lucid to implicitly express multidimensional objects that change, a fundamental capability with several consequences which are explored in this book. The author covers a broad range of topics, from foundations to applications, and from implementations to implications. The role of intensional logic in Lucid as well as its consequences for programming in general is discussed. The syntax and mathematical semantics of the language are given and its ability to be used as a formal system for transformation and verification is presented. The use of Lucid in both multidimensional applications programming and software systems construction (such as a parallel programming system and a visual programming system) is described. A novel model of multidimensional computation--education--is described along with its serendipitous practical benefits for harnessing parallelism and tolerating faults. As the only volume that reflects the advances over the past decade, this work will be of great interest to researchers and advanced students involved with declarative language systems and programming.

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Patterson, Robert J., red. Black Cultural Production after Civil Rights. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.001.0001.

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Through its analysis of film, drama, fiction, visual culture, poetry, and other cultural -artifacts, Black Cultural Production after Civil Rights offers a fresh examination of how the historical paradox by which unprecedented civil rights gains coexist with novel impediments to collectivist black liberation projects. At the beginning of the 1970s, the ethos animating the juridical achievements of the civil rights movement began to wane, and the rise of neoliberalism, a powerful conservative backlash, the co-optation of “race-blind” rhetoric, and the pathologization and criminalization of poverty helped to retrench black inequality in the post-civil rights era. This book uncovers the intricate ways that black cultural production kept imagining how black people could achieve their dreams for freedom, despite abject social and political conditions. While black writers, artists, historians, and critics have taken renewed interest in the historical roots of black un-freedom, Black Cultural Production insists that the 1970s anchors the philosophical, aesthetic, and political debates that animate contemporary debates in African American studies. Black cultural production and producers help us think about how black people might achieve freedom by centralizing the roles black art and artists have had in expanding notions of freedom, democracy, equity, and gender equality. Black cultural production continues to engage in social critique and transformation and remains an important site for the (re)making of black politics.

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