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Books on the topic 'Artefact design'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Blackler, Alethea. Intuitive interaction with complex artefacts: Empirically-based research. Saarbrücken: VDM, Verlag Dr. Müller, 2008.

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2

Pizzocaro, Silvia. In evoluzione: Per una storia quasi naturale degli artefatti. Milano: Edizioni Unicopli, 2015.

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3

Design Systems with Users in Mind: the Role of Cognitive Artefacts (Colloquium) (1995 Savoy Place, London). Design systems with usersin mind: The role of cognitive artefacts. London: IEE, 1995.

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4

Weinstock, Michael. TS, artefacts and instruments: [material forms and formulations of thought. London: Architectural Association, 1998.

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5

Kroes, Peter. Technical Artefacts: Creations of Mind and Matter: A Philosophy of Engineering Design. Dordrecht: Springer Netherlands, 2012.

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6

Benjamín, Villegas Jiménez, ed. Artefactos: Objetos artesanales de Colombia. Bogotá: Villegas Editores, 1992.

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7

Daviau, P. M. Michèle. Excavations at Tall Jawa, Jordan: The Iron Age Artefacts. Boston: Brill, 2002.

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8

Interaktion mit virtuellen Agenten?: Zur Aneignung eines ungewohnten Artefakts. Stuttgart: Lucius & Lucius, 2010.

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9

Benjamin, Villegas Jiménez, ed. Artefactos: Colombian crafts from the Andes to the Amazon. New York: Rizzoli, 1992.

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10

Benjamin, Villegas Jiménez, ed. Artefactos: Colombian crafts from the Andes to the Amazon. 2nd ed. Bogatá, Columbia: Villegas Editores, 2000.

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11

Boucher, Bruce, and Andreas Beyer. Piero De'Medici, "Il Gottoso" (1416-69) (ARTEfact). Wiley-VCH, 1993.

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12

Swift, Ellen. Roman Artefacts and Society. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198785262.001.0001.

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In this book, Ellen Swift uses design theory, previously neglected in Roman archaeology, to investigate Roman artifacts in a new way, making a significant contribution to both Roman social history and our understanding of the relationships that exist between artefacts and people. Based on extensive data collection and the close study of artefacts from museum collections and archives, the book examines the relationship between artefacts, everyday behavior, and experience. The concept of "affordances"--features of an artefact that make possible, and incline users towards, particular uses for functional artifacts--is an important one for the approach taken. This concept is carefully evaluated by considering affordances in relation to other sources of evidence, such as use--wear, archaeological context, the end--products resulting from artifact use, and experimental reconstruction. Artifact types explored in the case studies include locks and keys, pens, shears, glass vessels, dice, boxes, and finger-rings, using material mainly drawn from the north-western Roman provinces, with some material also from Roman Egypt. The book then considers how we can use artefacts to understand particular aspects of Roman behavior and experience, including discrepant experiences according to factors such as age, social position, and left- or right-handedness, which are fostered through artifact design. The relationship between production and users of artifacts is also explored, investigating what particular production methods make possible in terms of user experience, and also examining production constraints that have unintended consequences for users. The book examines topics such as the perceived agency of objects, differences in social practice across the provinces, cultural change and development in daily practice, and the persistence of tradition and social convention. It shows that design intentions, everyday habits of use, and the constraints of production processes each contribute to the reproduction and transformation of material culture.

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13

Nagasawa, Yujin. Conceptual, Historical, and Cognitive Roots of Perfect Being Theism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198758686.003.0002.

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This chapter provides a precise definition of perfect being theism and compares it with alternatives such as atheism, polytheism, pantheism, and panentheism. The chapter then considers the historical and cognitive roots of perfect being theism. It argues, contrary to what is widely believed, that perfect being theism is not Anselm’s invention or an unnatural, scholarly artefact. The chapter then explains the philosophical merits of holding perfect being theism and considers the relationship between perfect being theism and prominent arguments for the existence of God, such as the cosmological argument and the design argument. It concludes with a discussion of three types of arguments against perfect being theism.

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14

Swift, Ellen. Roman Artefacts and Society: Design, Behaviour, and Experience. Oxford University Press, 2020.

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15

A Philosophy of Technology: From Technical Artefacts to Sociotechnical Systems. Morgan & Claypool Publishers, 2011.

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16

Learning Through Art and Artefacts (Art & Design for Learning S.). Hodder Arnold H&S, 1994.

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17

Kroes, Peter, and Peter-Paul Verbeek. The Moral Status of Technical Artefacts. Springer, 2014.

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18

Kroes, Peter, and Peter-Paul Verbeek. The Moral Status of Technical Artefacts. Ingramcontent, 2014.

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19

Kroes, Peter, and Peter-Paul Verbeek. The Moral Status of Technical Artefacts. Springer, 2016.

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20

Technical Artefacts Creations Of Mind And Matter A Philosophy Of Engineering Design. Springer, 2012.

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21

Kroes, Peter. Technical Artefacts : Creations of Mind and Matter: A Philosophy of Engineering Design. Springer, 2012.

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22

Kroes, Peter. Technical Artefacts : Creations of Mind and Matter: A Philosophy of Engineering Design. Springer, 2014.

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23

(Portugal), Fundação de Serralves, ed. Design para a cidade: Exposição de situações, artefactos e ideias. [Porto]: Centro Português de Design, 1991.

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24

Villegas, Liliana. Artefactos: Objetos artesanales de Colombia. Villegas Editores, 2007.

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25

Villegas, Benjamin, and Lilina Villegas. Artefactos : Colombian Crafts from the Andes to the Amazon. Villegas Editores, 2001.

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26

Reese, David S., Paul-Eugene Dion, P. M. Michele Daviau, David Hemsworth, and Neil Mirau. Excavations at Tall Jawa, Jordan: The Iron Age Artefacts (Culture and History of the Ancient Near East). Brill Academic Publishers, 2002.

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27

Stevenson, Jane. Baroque between the Wars. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.001.0001.

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This book re-examines the arts in the 1920s and 1930s, arguing that rather than being dominated by modernism, the period saw a dialogue between modern baroque—eclectic, playful, and open to influence from popular culture—and modernism, which was theory-driven, didactic, and exclusive, features which suggest that it was essentially a neoclassical movement. Thus the period is characterized by the ancient competition between baroque and classical forms of expression. The author argues that both forms were equally valid responses to the challenge of modernity by setting painting and literature in the context of ‘minor arts’ such as interior design, photography, fashion, ballet, and flower arranging, and by highlighting the social context and sexual politics of creative production. The chapters of the book pursue a set of interconnected themes, focused by turns on artists, artefacts, clients, places, and publicists, in order to test and explore the central idea.

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28

Kemp, Sandra, and Jenny Andersson, eds. Futures. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780198806820.001.0001.

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This co-edited collection of essays examines the increasing centrality of futures and futures-thinking in all disciplines. It provides theoretical perspectives on constructions of futurity, across the arts, humanities, and social sciences, opening up multidisciplinary conversations between them. Bringing together emerging perspectives on the future from diverse disciplinary perspectives including critical theory, design, anthropology, sociology, politics, and history, the book examines the ways in which the future can be an object of empirical study, a subject for theorization, and an orientation for practice in the real world. The book examines historical and contemporary forms of futures knowledge, the methodologies and technologies of futures expertise, and the role played by different institutions in legitimizing, deploying, and controlling anticipatory practices. Contributors challenge and debate the varied ways in which futures are conjured and constructed, as objects of art and imagination as well as of science and geopolitics. Chapters explore issues as diverse as the utopian imagination, history and philosophy, literary and political manifestos, artefacts and design fictions, and forms of technological and financial forecasting, big data, climate-modelling, and scenarios. The book positions the future as a question of power, of representations and counter-representations, and forms of struggle over future imaginaries. Forms of futures-making depend on complex processes of envisioning and embodiment. Each chapter investigates the critical vocabularies, genres, and representational methods—narrative, quantitative, visual, and material—of futures-making as deeply contested fields in cultural and social life.

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29

Prendergast, Thomas, and Stephanie Trigg. Affective medievalism. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526126863.001.0001.

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This book destabilises the customary disciplinary and epistemological oppositions between medieval studies and modern medievalism. It argues that the twinned concepts of “the medieval” and post-medieval “medievalism” are mutually though unevenly constitutive, not just in the contemporary era, but from the medieval period on. Medieval and medievalist culture share similar concerns about the nature of temporality, and the means by which we approach or “touch” the past, whether through textual or material culture, or the conceptual frames through which we approach those artefacts. Those approaches are often affective ones, often structured around love, abjection and discontent. Medieval writers offer powerful models for the ways in which contemporary desire determines the constitution of the past. This desire can not only connect us with the past but can reconnect present readers with the lost history of what we call the medievalism of the medievals. In other words, to come to terms with the history of the medieval is to understand that it already offers us a model of how to relate to the past. The book ranges across literary and historical texts, but is equally attentive to material culture and its problematic witness to the reality of the historical past.

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30

Williams, J. Robert G. The Metaphysics of Representation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850205.001.0001.

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What is representation? How do the more primitive aspects of our world come together to generate it? How do different kinds of representation relate to one another? This book identifies the metaphysical foundations for representational facts. The story told is in three parts. The most primitive layer of representation is the ‘aboutness’ of sensation/perception and intention/action, which are the two most basic modes in which an individual and the world interact. It is argued that we can understand how this kind of representation can exist in a fundamentally physical world so long as we have an independent, illuminating grip on functions and causation. The second layer of representation is the ‘aboutness’ of (degrees of) belief and desire, whose representational content goes far beyond the immediate perceptable and manipulable environment. It is argued that the correct belief/desire interpretation of an agent is the one which makes their action-guiding states, given their perceptual evidence, most rational. The final layer of representation is the ‘aboutness’ of words and sentences, human artefacts with representational content. It is argued that one can give an illuminating account of the conditions under which a compositional interpretation of a public language like English is correct by appeal to patterns emerging from the attitudes conventionally expressed by sentences. The three-layer metaphysics of representation resolves long-standing underdetermination puzzles, predicts and explains patterns in the way that concepts denote, and articulates a delicate interactive relationship between the foundations of language and thought.

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31

Hobbs, Simon. Cultivating Extreme Art Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427371.001.0001.

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The use of hard-core sex and brutal violence in films such as Antichrist, Romance and Irreversible has been branded by many as an unsophisticated attempt to attract audiences. These accusations of gimmickry have been directed towards a range of extreme art films, however they have rarely been explored in detail. This book therefore seeks to investigate the validity of these claims by considering the extent to which these often infamous sequences of extremity inform the commercial identity of the film. Through close textual analysis of various paratexts, the book examines how sleeve designs, blurbs, and special features manage these extreme reputations, and the extent to which they exploit the supposed value of extremity. The book positions the tangible home video product as a bearer of meaning, capable of defining the public persona of the film. The book explores the ways home video artefacts communicate to both highbrow and lowbrow audiences by drawing from contradicting marketing traditions, as well as examining the means through which they breach long-standing taste distinctions. Including case studies from both art cinema and exploitation cinema – such as Cannibal Holocaust, Salò, Or the 120 Days of Sodom, Weekend and Antichrist – the book explores the complicated dichotomies between these cinematic traditions, offering a fluid history of extreme art cinema while challenging existing accounts of the field. Ultimately, the book argues that extremity – far from being a simple marketing tool – is a complex and multifaceted commercial symbol.

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32

Hughes, Jim. Introduction to Intra-Operative and Surgical Radiography. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198813170.001.0001.

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This book is designed to be both a quick guide and a reference text for radiographers and other staff who perform imaging during surgical procedures. Over 40 of the most common procedures are covered in detail, from initial setup to sending final images, with sections on patient positioning, C-arm approach, anatomy, surgical hardware, and alternative techniques. These include cases related to orthopaedics, urology, paediatrics, neurology, and other branches of medicine. Each chapter covers both surgical and imaging techniques, to give the radiographer a better idea of what is required in terms of imaging and technique, along with comprehensive positioning graphics and accompanying high-quality radiograph images. The techniques and methods demonstrated are fully explained, and will allow staff to confidently perform imaging for procedures not covered in the text. Also included are sections on the practical skills required for working in theatres (such as team work and safe practice), infection control, radiation protection, exposures, and image quality, as well as discussions about the function, systems, and usage of intraoperative imaging equipment. This includes both image intensifier (II) systems and the newer flat-panel detector systems. Image artefacts and the effects of under- and overexposure are also covered, with examples of radiograph images and details on how to remedy them. Each chapter is separated by specialty and body region for quick reference and ease of navigation, while key points and imaging considerations are highlighted in each procedure for emphasis.

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