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1

Grasskamp, Anna Katharina. Art and Ocean Objects of Early Modern Eurasia. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463721158.

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During the early modern period, objects of maritime material culture were removed from their places of origin and traded, collected and displayed worldwide. Focusing on shells and pearls exchanged within local and global networks, this monograph compares and connects Asian, in particular Chinese, and European practices of oceanic exploitation in the framework of a transcultural history of art with an understanding of maritime material culture as gendered. Perceiving the ocean as mother of all things, as womb and birthplace, Chinese and European artists and collectors exoticized and eroticized
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2

Llewelyn-Bowen, Laurence. Display: Using everyday objects to create great interiors. Collins & Brown, 2000.

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3

The lives of Chinese objects: Buddhism, imperialism and display. Berghahn Books, 2011.

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4

The art of display: Creating style with decorative objects. Mitchell Beazley, 2002.

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5

Salisbury, Frank B. The Utah UFO display: A biologist's report. 2nd ed. CFI, 2010.

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6

Salisbury, Frank B. The Utah UFO display: A scientist's report. 2nd ed. CFI, 2010.

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7

Junior, Hicks Joseph, ed. The Utah UFO display: A biologist's report. 2nd ed. CFI, 2010.

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8

R, Lee L., Lee L. R, and British Museum, eds. Selection of materials for the storage or display of museum objects. British Museum, 2004.

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9

Booth, W. Themes familiar: Research and display in the primary school using everyday objects. Belair, 1987.

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10

Abdelmalek, Nabih N. A computer vision system for matching 3-D range data objects. National Research Council Canada, Division of Electrical Engineering, 1987.

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11

Fan, Ting-Jun. Describing and Recognizing 3-D Objects Using Surface Properties. Springer New York, 1990.

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12

Munson, Steven Alfred. Integrated support for manipulation and display of 3D objects for the Command and Control Workstation of the Future. Naval Postgraduate School, 1989.

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13

Inc, ebrary, ed. Blender 2.5 materials and textures cookbook: Over 80 great recipes to create life-like Blender objects. Packt Pub. Ltd., 2011.

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14

Light for art's sake: Lighting for artworks and museum displays. Butterworth-Heinemann, 2007.

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15

Roosen-Runge, P. H. The virtual display case: Making museum image assets safely visible : a report prepared for the Canadian Heritage Information Network. 2nd ed. Canadian Heritage Information Network, 1998.

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16

Ng, Jenna. The Post-Screen Through Virtual Reality, Holograms and Light Projections. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723541.

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Screens are ubiquitous today. They display information; present image worlds; are portable; connect to mobile networks; mesmerize. However, contemporary screen media also seek to eliminate the presence of the screen and the visibilities of its boundaries. As what is image becomes increasingly indistinguishable against the viewer’s actual surroundings, this unsettling prompts re-examination about not only what is the screen, but also how the screen demarcates and what it stands for in relation to our understanding of our realities in, outside and against images. Through case studies drawn from
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17

Dubin, Steven C. Displays of power: Memory and amnesia in the American museum. New York University Press, 1999.

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18

Garrido, José M. Alice: The programming language. Jones and Bartlett Pub., 2008.

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19

Garrido, José M. Alice: The programming language. Jones and Bartlett Pub., 2008.

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20

Displays of power: Controversy in the American Museum from the Enola Gay to Sensation. New York University Press, 1999.

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21

Herbert, Charles W. An introduction to programming using Alice. Thomson Course Technology, 2007.

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22

Herbert, Charles W. An introduction to programming using Alice. Thomson Course Technology, 2007.

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23

Dann, Wanda. Learning to program with Alice: Beta version. Pearson/Prentice Hall, 2005.

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24

Dann, Wanda. Learning to program with Alice. Pearson/Prentice Hall, 2007.

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25

Stephen, Cooper, and Pausch Randy, eds. Learning to program with Alice. Pearson Education, 2008.

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26

Stephen, Cooper, and Pausch Randy, eds. Learning to program with Alice. Pearson Prentice Hall, 2006.

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27

Fujimoto, Kiyoshi. Backscroll Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0065.

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Human vision recognizes the direction of a human, an animal, and objects in translational motion, even when they are displayed in a still position on a screen as filmed by a panning camera and with the background erased. Because there is no clue to relative motion between the object and the background, the recognition relies on a facing direction and/or movements of its internal parts like limbs. Such high-level object-based motion representation is capable of affecting lower-level motion perception. An ambiguous motion pattern is inserted to the screen behind the translating object. Then the
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28

Shiffrar, Maggie, and Christina Joseph. Paths of Apparent Human Motion Follow Motor Constraints. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0077.

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The phenomenon of apparent motion, or the illusory perception of movement from rapidly displayed static images, provides an excellent platform for the study of how perceptual systems analyze input over time and space. Studies of the human body in apparent motion further suggest that the visual system is also influenced by an observer’s motor experience with his or her own body. As a result, the human visual system sometimes processes human movement differently from object movement. For example, under apparent motion conditions in which inanimate objects appear to traverse the shortest possible
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29

Neuschel, Kristen B. Living by the Sword. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501753336.001.0001.

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This book sharpens the readers' knowledge of swords as it traverses through a captivating 1,000 years of French and English history. The book reveals that warrior culture, with the sword as its ultimate symbol, was deeply rooted in ritual long before the introduction of gunpowder weapons transformed the battlefield. The book argues that objects have agency and that decoding their meaning involves seeing them in motion: bought, sold, exchanged, refurbished, written about, displayed, and used in ceremony. Drawing on evidence about swords in the possession of nobles and royalty, the book explores
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30

Celant, Germano. Haim Steinbach: Object and Display. Gregory R. Miller & Co., 2016.

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31

Graves, Margaret S. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0007.

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The conclusion places the art of the object into an expanded field, where it is shown to be contiguous with other visual and verbal artforms including architecture, painting, poetry, and rhetoric. It locates the peak of the allusive object in the pre-Mongol Middle East and speculates about its decline in the later medieval and early modern periods. It also considers the change in meaning that the subjects of the book have undergone as they transition from being objects of use to objects of display. The conclusion ends with final consideration of the nature of allusion and its implications for
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32

Llewelyn-Bowen, Laurence. Display: Using Everyday Objects to Create Great Interiors. Collins & Brown, 2001.

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33

Escudier, Marcel. Hydrostatic force exerted on a submerged surface. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198719878.003.0005.

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In this chapter it is shown how to calculate the force which arises due to the hydrostatic pressure distributed over a submerged surface or object. The vertical component of force is shown to be equal in magnitude to the weight of fluid which would occupy the volume directly above the surface and to act vertically downwards through the centroid of this volume. For a curved surface, the magnitude of the horizontal component of the hydrostatic force is shown to equal the hydrostatic force on the projection of the surface onto a vertical plane. This force is equal to the product of the area of th
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34

Kress, Berthold. Studies on the Iconography of Universities in the Holy Roman Empire: Images on Seals and Maces. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827344.003.0003.

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This chapter provides an iconographic overview on how the universities of the Holy Roman Empire displayed their authority. It will focus on two aspects. The first is the development of iconographic formulae that can convey the constitution and activity of a university or one of its faculties; and the second is the role of coats of arms or other political signs that indicate the relation between the university and the rulers of the territory in which it was situated. A seventeenth-century legal treatise on insignia gives a long list of the signs of the head of a university: maces (Sceptra), rob
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35

Riggs, Christina. 2. Egypt on display. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199682782.003.0002.

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Museums have played an important role in shaping how we think about ancient Egyptian culture. When the Napoleonic wars ended and European governments established links with Muhammad Ali, the viceroy of Egypt, the collection of objects for worldwide museums took off. ‘Egypt on display’ looks at the key objects held in collections today: shabtis (‘servant statuettes’); the Rosetta Stone; statues of the goddess Sekhmet; mummies; and the temple of Dendur, now in New York. Artwork on statues and coffins, and the architecture and decoration of a temple expressed their symbolic importance. But did th
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36

Obsession, Compulsion, Collection: On Objects, Display Culture, and Interpretation. Banff Centre Press, 2004.

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37

Salisbury, Frank B. The Utah UFO Display : A Biologist's Report. New Library Press.Net, 2001.

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38

Gao, Yue, and Qionghai Dai. View-Based 3-D Object Retrieval. Elsevier Science & Technology Books, 2014.

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39

Graves, Margaret S. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0001.

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The introduction outlines the art of the object in medieval Islam and introduces several of the book’s key concepts. It aligns architecture and the plastic arts, and shows how points of commonality between these “arts of the third dimension” are drawn allusively in the medieval Islamic context, relying not on direct morphological likeness but on indirect models of representation. It also discusses the implications of miniaturization and draws distinctions between the allusive artworks under discussion and representational objects like architectural maquettes or votive models. The introduction
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40

House Beautiful Collections on Display: Decorating with Your Favorite Objects (House Beautiful). Hearst, 2003.

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41

Booth, W. Themes Familiar Research And Display In The Primary School Using Everyday Objects. Belair Publications, 1987.

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42

Rascaroli, Laura. Framing. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0008.

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Essay films performatively display the process of thinking; hence, issues of textual and contextual framing are at the center of their practice. To frame is to detach an object from its background and, thus, to carve a gap between object and world. The chapter starts from a discussion of Irina Botea’s Picturesque (2012): an argument centered on the tourist image is predicated on a dual recourse to the frame—first intended as the literal operation of mise en cadre and then as narrative, ideological, and cultural framing. It goes on to show that the specificity of the essay film is to be sought
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43

O'Prey, Lizzie. Box Frame Magic: Creating Collections for Shadow Box Displays. 2nd ed. David & Charles Publishers, 2003.

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44

Anderson, Maxwell L. Antiquities. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190614928.001.0001.

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The destruction of ancient monuments and artworks by the Taliban in Afghanistan and the Islamic State in Iraq and Syria has shocked observers worldwide. Yet iconoclastic erasures of the past date back at least to the mid-1300s BCE, during the Amarna Period of ancient Egypt’s 18th dynasty. Far more damage to the past has been inflicted by natural disasters, looters, and public works. Art historian Maxwell Anderson’s Antiquities: What Everyone Needs to Know® analyzes continuing threats to our heritage, and offers a balanced account of treaties and laws governing the circulation of objects; the h
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45

Selection of Materials for the Storage or Display of Museum Objects (Occasional Papers). British Museum Press, 1996.

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46

J, Tarr Michael, and Bülthoff Heinrich H, eds. Object recognition in man, monkey, and machine. MIT Press, 1998.

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47

Neer, Richard, ed. Conditions of Visibility. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198845560.001.0001.

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We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what
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48

Boudreau, Joseph F., and Eric S. Swanson. Graphics for physicists. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198708636.003.0010.

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While the visualization of data is critical for many scientific applications, the development of programs to render geometrical forms in real time, providing interactive control over viewpoint and angle, animation, and/or user interaction, can be complicated for a scientist. The need to master unfamiliar technology such as graphics engines, windowing software, and graphical user interfaces constitute major challenges. An introduction to the graphical display of data using the Coin3d toolkit for object modeling and rendering is given. The Qt library for graphical user interfacing and the SoQt p
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49

Themes Familiar: Research and Display in the Primary School Using Everyday Objects (Belair Series). Belair Publications, 1994.

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50

R, Severson Gary, United States. Dept. of Energy. Nevada Operations Office, and Geological Survey (U.S.), eds. Optical, noncontact, automated experimental techniqes for three-dimensional reconstruction of object surfaces using projection moire, stereo imaging, and phase-measuring profilometry. U.S. Dept. of the Interior, U.S. Geological Survey, 1996.

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