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Books on the topic 'Figure-ground'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Chen, Rong. English inversion: A ground-before-figure construction. Hawthorne, N.Y: Mouton de Gruyter, 2003.

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2

Pind, Jörgen L. Edgar Rubin and psychology in Denmark: Figure and ground. Cham: Springer, 2014.

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3

Jr, Fain William H., and Newman Morris, eds. Figure/ground: A design conversation with Scott Johnson and Bill Fain. Los Angeles: Balcony Press, 2003.

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4

Thiering, Martin. Spatial semiotics and spatial mental models: Figure-ground asymmetries in language. Berlin: De Gruyter Mouton, 2015.

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5

McMillan, Ian. Space, place, life: A figure ground, a memorable image, and a poem. [United Kingdom]: Academy of Urbanism, 2006.

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6

Figure and ground: Rembrandt to Mondriaan : landscape and people in Netherlands art 1520-1920. Cork: Crawford Municipal Art Gallery, 2005.

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7

Schaefer-Simmeren, Henry. Consciousness of artistic form: A comparison of the visual, gestalt art formations of children, adolescents, and layman adults with historical art, folk art, and aboriginal art. Edited by Schaefer-Simmern Gertrude, Abrahamson Roy E, and Fein Sylvia. Berkeley, CA: Gertrude Schaefer-Simmern Trust, 2003.

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8

Roger, Hargreaves. Richard Renaldi: Figure and Ground. Aperture, 2006.

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9

Kogo, Naoki, and Raymond van Ee. Neural Mechanisms of Figure-ground Organization. Edited by Johan Wagemans. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199686858.013.35.

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10

Wagemans, Johan, and Naoki Kogo. Perceptual Multistability in Figure–Ground Organization. Edited by Sergei Gepshtein, Larry Maloney, and Manish Singh. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199829347.013.4.

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11

Self, Matthew W., and Pieter R. Roelfsema. The Neural Mechanisms of Figure-ground Segregation. Edited by Johan Wagemans. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199686858.013.036.

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12

Figure Ground: Paintings And Drawings of Ivan Eyre. Winnipeg Art Gallery, 2005.

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13

Pind, Jörgen L. L. Edgar Rubin and Psychology in Denmark: Figure and Ground. Springer, 2014.

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14

M, Buergel Roger, Noack Ruth, and Miami Art Central, eds. How do we want to be governed?: Figure and ground. Miami, Fla: Miami Art Central, 2004.

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15

Peterson, Mary A. Low-level and High-level Contributions to Figure–Ground Organization. Edited by Johan Wagemans. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199686858.013.059.

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16

(Editor), Morris Newman, and Joseph Giovannini (Introduction), eds. Figure/Ground: A Design Conversation with Scott Johnson and Bill Fain. Princeton Architectural Press, 2005.

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17

Dolan, Thomas Francis Barry. Legibility of figure/ground colour combinations for the electronic display of text. 1987.

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18

Marino, Lori Ann. Mental rotation of alphanumeric characters as a function of head and body spatial orientation. 1989.

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19

Pinna, Baingio. On the Watercolor Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0057.

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The watercolor illusion is a long-range assimilative spread of color emanating from a thin colored line running contiguous to a darker chromatic contour and imparting a figure-ground effect across a large area. The watercolored figure appears evenly colored by an opaque light veil of chromatic tint (coloration effect), with a clear surface color property spreading from the lighter edges. At the same time, the watercolored figure manifests a strong figure-ground organization and a solid figural appearance comparable to a rounded surface segregated in depth which extends out from the flat surface. The complementary region appears as a hole or empty space. The phenomenal properties of coloration and figure-ground effects and their relationship are described and demonstrated. The watercolor illusion and its main effects are discussed in the light of parallel mechanisms. Boundary and surface dynamics are processed by the boundary contour system and by the feature contour system.

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20

Caplovitz, Gideon P., Alex Boswell, and Kyle Killebrew. The Bar-Cross-Ellipse Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0012.

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This chapter describes a multistable stimulus that reveals the complexity of visual processing that underlies the determination of an object’s form and motion. The stimulus is constructed by placing an ellipse on a uniform background and then partially occluding it with four squares, each with the same color as the background. When the ellipse is made to rotate, it can be perceived in any of four distinct ways, and, over time, the percept will switch between them. Each percept corresponds to a distinct figure-ground segmentation that is determined on the basis of contour ownership and how different sources of motion information are assigned to contours and integrated over space and time.

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21

Consciousness of Artistic Form: A Comparison of the Visual, Gestalt Art Formations of Children, Adolescents, and Layman Adults With Historical Art, Folk Art, and Aboriginal Art. Gertrude Schaefer-Simmern Trust, 2003.

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22

Schaefer-Simmern, Henry, Gertrude Schaefer-Simmern, Roy E. Abrahamson, and Sylvia Fein. Consciousness of Artistic Form: A Comparison of the Visual, Gestalt Art Formations of Children, Adolescents, and Layman Adults With Historical Art, Folk Art, and Aboriginal Art. Gertrude Schaefer-Simmern Trust, 2003.

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23

Hanaway-Oakley, Cleo. Fin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0006.

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This concluding chapter briefly turns to Joyce’s final work, Finnegans Wake (1939). Joyce’s cacophonous ‘book of the dark’, with its many references to cinema, forms the centre of a discussion of the emergence of sound film. The importance of touch in both silent and sound film is restated through reference to the film criticism of Bryher, Dorothy Richardson, and Gertrude Stein, and Chaplin’s City Lights (1931), a late silent film focusing on Chaplin’s relationship with a blind flower-seller. The complex interrelationship between sound and image in both film and Finnegans Wake is contemplated through gestalt theory and multi-perspectival ‘figure–ground images’. The chapter concludes by returning to Ulysses, to consider the never-produced Reisman–Zukofsky screenplay and the ways in which the film would, and would not, have affirmed a phenomenological reading of Joyce’s text.

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24

Glanville, Peter John. Symmetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198792734.003.0005.

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Chapter 5 determines the semantic typology of patterns III and VI, sometimes termed the vowel-lengthening patterns. It asserts that verbs formed in these patterns are symmetrical predicates, denoting relations consisting of two complementary forces. It shows that the difference between the two patterns results from the interplay between an underlying symmetric relation and a figure–ground orientation in which one of the participant roles involved is made more prominent than the other. The chapter divides verbs formed in pattern III into verbs of resistance, risk, competition, interaction, and co-action, and those formed in pattern VI into reciprocal verbs, feigning verbs, chaining verbs, and verbs of progressive change. It argues that an account based on a common symmetric structure is able to unite this diverse range of verbs within one analysis, and it offers data from other languages to support this claim.

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25

Githire, Njeri. Cannibal Love. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038785.003.0002.

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This chapter examines the juxtaposition of cannibalism and sexual appetites in Maryse Condé's Histoire de la femme cannibale (hereinafter referred to as Story, reflecting the 2007 English translation) and Andrea Levy's Small Island (2004). It argues that while the ideologically fraught figure of the cannibal has long offered a fertile ground on which to construct a counter-hegemonic aesthetic of Caribbean discourses, few if any writers explore the equation between two major constructs—the sexual and alimentary transgressions—that define the cannibal. Story and Small Island evidence that (post)imperial panics have consistently framed a range of (post)colonial conflicts in the vocabulary of alimentary and sexual deviance as a ploy to mask these very same appetites in the (neo)imperial venture. In Small Island, cannibalism is a hidden theme that lurks beneath the surface of seemingly mundane and insignificant moments of encounter. In Story, Condé deconstructs the presumed benevolence of France toward Guadeloupe through an astute critique of the dominant imagery of France as mother who nurtures and sustains her children.

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26

Sasso, Eleonora. The Pre-Raphaelites and Orientalism. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474407168.001.0001.

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The book redefines the task of interpreting the East in the late nineteenth century, weaving together literary, linguistic, and cognitive analyses of Pre-Raphaelite paintings, illustrations and writings. It takes as a starting point Edward Said’s Orientalism (1978) in order to investigate the latent and manifest traces of the East in Pre-Raphaelite literature and culture. As the book demonstrates, the Pre-Raphaelites and their associates appeared to be the most eligible representatives of a profoundly conservative manifestation of the Orient, of its mystic aura, criminal underworld and feminine sensuality. As readers of Edward Lane’s and Richard F. Burton’s translations of the Arabian Nights, John Ruskin, D.G. Rossetti, Christina Rossetti, William Morris, Algernon Swinburne, Aubrey Beardsley, and Ford Madox Ford were deeply affected by the stories of Aladdin, Sinbad and Ali Baba (and the less known Hasan, Anime, and Parisad), whose parables of magic, adventure and love seem to be haunting their Pre-Raphaelite imagination. Through cognitive linguistics and its wide range of approaches (conceptual metaphors, scripts and schemas, prominence, figure, ground, parables, prototypes, deixis and text world theory), which provide an illuminating framework for discussing the blend of East and West in Pre-Raphaelite paintings, illustrations and writings, this book demonstrates how Ruskin, the Rossetti brothers, Morris, Swinburne, Beardsley and Ford took property from the stories of the Arabian Nights and reused them in another remediations.

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27

Block, Marcelline, and Jennifer Kirby, eds. ReFocus: The Films of Michel Gondry. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.001.0001.

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The acclaimed French auteur behind the mind-bending modern classic Eternal Sunshine of the Spotless Mind (2004), for which he won an Academy Award for Best Original Screenplay, Michel Gondry has directed innovative, ground-breaking films and documentaries, episodes of the acclaimed television show Kidding and some of the most influential music videos in the history of the medium. In this book, a range of international scholars offers a comprehensive study of this significant and influential figure, covering his French and English-language films and videos, and framing Gondry as a transnational and transcultural auteur whose work provides insight into both French/European and American cinematic and cultural identity. With detailed case studies of films such as Eternal Sunshine of the Spotless Mind (2004), Dave Chappelle’s Block Party (2005), The Science of Sleep (2006), Be Kind Rewind (2008), Mood Indigo (2013) and Microbe & Gasoline (2015), the book examines significant themes throughout Gondry’s filmography including surrealism, adaptation, memory, dreams, play and African-American identity. The book compares Gondry to other filmmakers including Wes Anderson and Jean Vigo, allowing for an understanding of how Gondry’s films might compare with both his global contemporaries and his predecessors in French and international cinema. Furthermore, the book demonstrates how Gondry’s work in narrative film, documentary and music video represents significant innovation in narrative, visual aesthetic, and genre.

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28

Archer-Parré, Caroline, and Malcolm Dick, eds. James Watt (1736-1819). Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620818.001.0001.

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James Watt (1736-1819) was a pivotal figure of the Enlightenment and Industrial Revolution. His career as a scientific instrument maker, inventor and engineer developed in Scotland, the land of birth. His prominence as a scientist, technologist and businessman was forged in the Birmingham area. His pumping and rotative steam engines represent the summit of technological achievement in the late-eighteenth and early-nineteenth centuries which led to future developments in locomotive and steamship design and mechanical engineering such as the steam hammer. This is the traditional picture of James Watt. After his death, his son, James Watt junior, projected his father’s image through commissioning sculptures, medals, paintings and biographies which celebrated his reputation as a ‘great man’ of industry and science. Though some academic appraisals have sought to move beyond the heroic image of Watt, there is still a tendency to focus on his steam technology. This collection of ten chapters breaks new ground by looking at Watt in new ways: by exploring his philosophical and intellectual background; the relevance of his Greenock environment; the influence of his wives, Peggy and Ann; Watt’s political fears and beliefs; his links with other scientists such as Thomas Beddoes, Davies Giddy, Humphry Davy, Joseph Black and James Keir; Watt and the business of natural philosophy; his workshop in the Science Museum and what it reveals; the myth or reality of his involvement with organ making and the potential of Birmingham’s Watt Papers for further exploration of his personality, family and domestic and business activities.

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29

O'Hara, Alexander. Columbanus and Shunning. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190857967.003.0007.

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Although it is easy to read our patchy evidence about Columbanus as depicting a lone Irish figure with his deviant Easter tradition battling against a continental ecclesiastical hierarchy comprising bishops and the pope, this paper’s close reading and contextualization of the evidence provides a more nuanced picture. It reveals extensive common ground between the high Christian standards of both Columbanus and Gregory the Great, over against the laxity of the Gallic episcopate, and then focuses on the issue of “shunning,” or withholding oneself from relations with Christians one perceives as sinful, although they have not been excommunicated. A second section examines the Insular background to this, focusing on Gildas’s writings. Finally the third section turns to Columbanus’s dealings with the Merovingians, using the Insular tradition of shunning as a way of re-reading Jonas’s account of how relations between Columbanus and the royal court soured, ending in his exile. Encounters between Columbanus and those with whom he came into contact on the continent have been characterized as confrontation and controversy, reflecting one important aspect of his relations with leading figures. This perception of Columbanus arises from the patchy nature of historical sources. This chapter interrogates the few available sources and tries to place them in context and understand the issues surrounding them. First it investigates his relationship with Gregory the Great, raising the issue of “shunning,” or withholding oneself from relations with Christians one perceives as sinful, although they have not been excommunicated. Then it turns to Columbanus’s dealings with the Merovingians leading up to his exile, using the awareness of shunning as a way of re-reading Jonas’s account of how relations between Columbanus and the royal court soured, ending in his exile.

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