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1
ADMINISTRATION, FEDERAL AVIATION. Runway visual range (RVR), program management plan, project implementation plan. [Washington, D.C.?]: Dept. of Transportation, Federal Aviation Administration, 1988.
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2
Valjakka, Minna, and Meiqin Wang, eds. 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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Wood, Joanne Mary. The investigation of the sensitivity gradient of the visual field, as a function of stimulus dynamic range, in thenormal and abnormal eye. Birmingham: Aston University. Department of Vision Sciences, 1987.
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4
Levi, Pavle. Jolted Images. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462983618.
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Jolted Images brings together a large cast of mainstream and avant-garde cineastes, artists, photographers, comics creators, poets, and more, to reflect on a wide range of phenomena from the realms of cinema and visual culture in the Yugoslav region, broader Europe, and North America. Far from a staid monograph, the book takes a cue from filmmaker Du¿an Makavejev, who once wrote that there are times when it is necessary "to jolt art, no matter what the outcome"; to that end, the book infuses its analysis with playful, creative transfiguration of the material at hand.
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Tuhbatullina, Leysan, Lyudmila Safina, and Venera Hammatova. Propaedeutics (basics of composition). ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1020434.
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The textbook presents the theoretical foundations of building a harmonious composition, describes the three main laws of composition (the law of integrity, the law of balance and the law of dominance), and considers the elements and means of harmonizing the composition. A separate Chapter is devoted to the issues of color in the composition, and offers options for creating harmonious color solutions. Semiotic aspects are considered, characteristics and features of creating signs-icons, signs-indexes and signs-symbols are given. One of the chapters is devoted to visual illusions in composition.
It is intended for University students studying in the direction 54.03.01 "Design", teachers, as well as for a wide range of artists, designers and Amateurs interested in creating a harmonious composition.
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Sacks, Oliver W. Kan de jian de mang ren: 7 ge gu shi, rang ni kan jian da nao, xin ling yu shi jue de qi miao shi jie. Taibei Shi: Tian xia yuan jian chu ban gu fen you xian gong si, 2012.
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7
Pisters, Patricia. Filming for the Future. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789462980310.
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Louis Van Gasteren was one of the most prolific filmmakers in the history of the Netherlands, with a resume that includes nearly eighty documentaries and two feature films-to say nothing of artworks and books. Filming for the Future offers an extended exploration of Van Gasteren's work and audio-visual world. Patricia Pisters introduces us to a filmmaker who always had his camera ready and was relentless in filming a wide range of topics and events of national and international importance. Fascinated by technology, deeply engaged with politics, and intensely occupied by the traumatic effects of war, Van Gasteren assembled an unparalleled record of life in twentieth-century Amsterdam and beyond. Filming for the Future will be an invaluable source of documentation and analysis of one of the key filmmakers of our time. The book is accompanied by 3 DVDs by 7 films by Van Gasteren: A New Village on New Land (1960), The House (1961), A Matter of Level (1990), The Price of Survival (2003), Hans Life before Death (1983), Changing Track (2009) and Nema Aviona za Zagreb (2012).
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translator, Chen Meiying, ed. 1 ri 5 fen zhong nuan yan cao, shi li jiu hui hao hui lai: Xiao chu yan bu xu leng, ti sheng shi li, rang da nao bian nian qing de shi li xun lian. Taibei Shi: Shang Zhou chu ban, 2016.
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9
Manual of Runway Visual Range Observing and Reporting Practices. International Civil Aviation Organization, 2005.
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10
C, Burnham David, United States. Federal Aviation Administration. Navigation and Landing Product Team., Scientific and Engineering Solutions, Inc., and John A. Volpe National Transportation Systems Center (U.S.), eds. United States experience using forward scattermeters for runway visual range. Washington, DC: U.S. Dept. of Transportation, Federal Aviation Administration, Navigation and Landing Product Team, 1997.
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11
A, Whitaker Leslie, Kendall Robert R, and Armstrong Laboratory (U.S.). Aircrew Training Research Division, eds. An information processing classification of beyond-visual-range air intercepts. Williams Air Force Base, AZ: Armstrong Laboratory, Human Resources Directorate, Aircrew Training Research Division, 1993.
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12
O’Hanlon, James C., Thomas E. White, and Kate D. L. Umbers. Visual communication. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797500.003.0011.
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The diverse ecological niches that insects occupy have led to the immense variation we observe in the structure of their compound eyes and the visual signals that insects can produce. The modular structure of the compound eye, through which insects receive visual information, is a highly adaptable structure capable of impressive feats of image resolution, colour perception, and motion detection, in a range of varying light environments. Additionally, the insect exoskeleton, through which insects produce visual signals and cues, is a dynamic canvas producing a diversity of shapes, textures, pigments, and structural colours. This chapter attempts to present the diversity resultant from millennia of selective pressure in a variety of contexts, including conspecific assessment, prey capture, and predator avoidance.
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Long Range Lateral Interaction in the On and Off Visual Pathways of Humans. Storming Media, 2004.
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14
Madary, Michael. Visual Phenomenology. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035453.001.0001.
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The main argument of the book is as follows: (1) The descriptive premise: The phenomenology of vision is best described as an ongoing process of anticipation and fulfillment. (2) The empirical premise: There are strong empirical reasons to model vision using the general form of anticipation and fulfillment. (AF) Conclusion: Visual perception is an ongoing process of anticipation and fulfillment. The book consists of three parts and an appendix. The first part of the book makes the case for premise (1) based on descriptive claims about the nature of first-person experience. The initial support for (1) in Chapter 2 is based on the fact that visual experience has the general features of being perspectival, temporal, and indeterminate. Chapter 3 includes an argument for (1) based on the possibility of surprise when appearances do not change as we expect, and Chapter 4 contains a discussion of the content of visual anticipations. The second part of the book focuses on empirical support. Chapter 5 covers a range of evidence from perceptual psychology that motivates premise (2). Chapter 6 turns to evidence from neuroscience, including recent work in predictive coding. The seventh chapter shows how evidence for the two-visual systems hypothesis can be re-interpreted in support of (2). The third part of the book turns to general methodological questions (Chapter 8) and the relationship between visual perception and social cognition (Chapter 9). The appendix addresses the ways in which Husserlian phenomenology relates to the main theme of the book.
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O’Mahony, Mike. The Visual Turn in Sport History. Edited by Robert Edelman and Wayne Wilson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199858910.013.35.
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The representation of sport in visual culture has generated a valuable research resource that, until recently, has been underutilized and undertheorized. Recent interventions, drawing on developments within other academic disciplines including art history, film, and media studies have, however, opened up opportunities for sport historians to engage with a wide range of sport-related visual artifacts. This chapter offers insights into how sport historians can effectively engage with this wide range of visual material. It deploys specific case studies to reveal potential opportunities and strategies to enable sport historians to treat visual materials as complex forms of documentation that can thus enhance an engagement with the complexities of sport’s past and present. It also reflects on how the recent expansion of the sport museum as a repository for, and means of displaying, this material provides a context for the future expansion of sport history studies into the field of visual culture.
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Herdin, Thomas, Maria Faust, and Guo-Ming Chen, eds. De-Westernizing Visual Communication and Cultures. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748906933.
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This edited volume gives voice to pluralised avenues from visual communication and cultural studies regarding the Global South and beyond, including examples from China, India, Cambodia, Brazil, Mexico and numerous other countries. Defining visual communication and culture as an umbrella term that encompasses imagery studies, the moving image and non-verbal visual communication, the first three chapters of the book describe de-Westernisation discourse as a way to strengthen emic research and the Global South as both a geographical concept and, even more so, a category of diversity and pluralism. The subsequent regional case study-based chapters draw on various emic theories and methodologies and find a complex arrangement of visuality between sociocultural and sociopolitical practices and institutions. This book targets a wide range of scholars: academics with expertise in (regional) visual studies as well as researchers, students and practitioners working on the Global South and de-Westernisation. With contributions by Jan Bajec, Sarah Corona Berkin, Ivana Beveridge, Birgit Breninger, Guo-Ming Chen, Uttaran Dutta, Maria Amália Vargas Façanha, Maria Faust, Hiroko Hara, Thomas Herdin, Thomas Kaltenbacher, Fan Liang, Xin Lu, C.S.H.N.Murthy, Ana Karina de Oliveira Nascimento, Simeona Petkova, Radmila Radojevic, Renata Wojtczak
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Shapiro, Arthur G., and Dejan Todorovic, eds. The Oxford Compendium of Visual Illusions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.001.0001.
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Visual illusions cut across academic divides and popular interests: on the one hand, illusions provide entertainment as curious tricks of the eye; on the other hand, scientific research related to illusory phenomena has given generations of scientists and artists deep insights into the brain and principles of mind and consciousness. Numerous thinkers (including Aristotle, Descartes, Da Vinci, Escher, Goethe, Galileo, Helmholtz, Maxwell, Newton, and Wittgenstein) have been lured by the apparent simplicity of illusions and the promise that illusory phenomena can elucidate the puzzling relationship between the physical world and perceptual reality. Over the past thirty years, advances in imaging and electrophysiology have dramatically expanded the range of illusions and enabled new forms of analysis, thereby creating new and exciting ways to consider how the brain constructs the perceptual world. The Oxford Compendium of Visual Illusions is a collection of over one hundred chapters about illusions, displayed and discussed by the researchers who invented and conducted research on the illusions. Chapters include full-color images, associated videos, and extensive references. The book is divided into eleven sections: first, a presentation of general history and viewpoints on illusions, followed by sections on geometric, color, motion, space, faces, and cross-category illusions. The book will be of interest to vision scientists, neuroscientists, psychologists, physicists, philosophers, artists, designers, advertisers, and educators curious about applied aspects of visual perception and the brain.
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Gatzia, Dimitria Electra, and Berit Brogaard, eds. The Epistemology of Non-Visual Perception. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190648916.001.0001.
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Most of the research on the epistemology of perception has focused on visual perception. This is hardly surprising given that most of our knowledge about the world is attributable to our visual experiences. This edited volume is the first to instead focus on the epistemology of non-visual perception—hearing, touch, taste, and cross-sensory experiences. Drawing on recent empirical studies of emotion, perception, and decision-making, it breaks new ground on discussions of whether perceptual experience can yield justified beliefs and how to characterize those beliefs. The Epistemology of Non-Visual Perception explores questions not only related to traditional sensory perception, but also to proprioceptive, interoceptive, multisensory, and event perception, expanding traditional notions of the influence that conscious non-visual experience has on human behavior and rationality. Contributors investigate the role that emotions play in decision-making and agential perception and what this means for justifications of belief and knowledge. They analyze the notion that some sensory experiences, such as touch, have epistemic privilege over others, as well as perception’s relationship to introspection, and the relationship between action, perception, and belief. They engage with topics in aesthetics and the philosophy of art, exploring the role that artworks can play in providing us with perceptional knowledge of emotions. The essays collected here, written by top researchers in their respective fields, offer perspectives from a wide range of philosophical disciplines and will appeal to scholars interested in philosophy of mind, epistemology, and philosophical psychology, among other topics.
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Pastel Painter's Pocket Palette: Practical Visual Advice on How to Create over 600 Pastel Colors from a Small Basic Range. North Light Books, 1992.
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20
Skrodzka, Aga, Xiaoning Lu, and Katarzyna Marciniak, eds. 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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Baker, David, and Lucy Green. Disability Arts and Visually Impaired Musicians in the Community. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.1.
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This chapter reports on a multifaceted ‘disability arts scene’ in music worldwide that comprises visually impaired (i.e., blind and partially sighted) instrumentalists, singers, composers, producers, and others across a range of musical styles and genres. Some such musicians work alone but are usually deeply involved in networks. Others join community music ensembles that can be made up of musicians with a range of disabilities including visual impairments, or that consist entirely of visually impaired people. When promoting their community music participation, some visually impaired musicians draw on the history and traditions of the blind in music across the world, and thus exists the lore concerning special dispensations in the absence of sight. Yet there are also visually impaired musicians who distance themselves from that self-identity. The chapter explores how members of this unique socio-musical group consider the aforesaid ‘scene’ and its integral community music, and how their interpretations correspond or clash; it introduces key matters of accessibility, independent mobility, identity, musical approach and media, notions of discrimination, and social inclusion.
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Murphy, Kaitlin M. Mapping Memory. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282548.001.0001.
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In Mapping Memory: Visuality, Affect, and Embodied Politics in the Americas, Kaitlin M. Murphy analyzes a range of visual memory practices that have emerged in opposition to political discourses and visual economies that suppress certain subjects and overlook past and present human rights abuses. From the Southern Cone to Central America and the US-Mexico borderlands, and across documentary film, photography, performance, memory sites, and new media, she compares how these visual texts use memory as a form of contemporary intervention. Interweaving visual and performance theory with memory and affect, Murphy develops new frameworks for analyzing how visual culture performs as an embodied agent of memory and witnessing. She argues that visuality is inherently performative; and analyzing the performative elements, or strategies, of visual texts—such as embodiment, reperformance, reenactment, haunting, and the performance of material objects and places—elucidates how memory is both anchored into and extracted from specific bodies, objects, and places. Murphy progressively develops the theory of memory mapping, defined as the visual process of representing the affective, sensorial, polyvocal, and temporally layered relationship between past and present, anchored within the specificities of place. Ultimately, by exploring how memory is “mapped” across a range of sites and mediums, Murphy argues that memory mapping is a visual strategy for producing new temporal and spatial arrangements of knowledge and memory that function as counter-practices to official narratives that often neglect or designate as transgressive certain memories or experiences.
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Crouch, Robert, Alan Charters, Mary Dawood, and Paula Bennett, eds. Ophthalmological emergencies. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199688869.003.0013.
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A whole range of ophthalmological emergencies can present to emergency and urgent care settings, from minor eye infections to sight-threatening injuries. The assessment of the patient with an eye problem is covered in detail. This chapter covers the whole range of ophthalmic problems, including those that are primarily an ophthalmological problem and others which are part of a wider systemic illness. The nursing assessment and management of minor and major eye injuries are discussed. Visual field signs and symptoms and their assessment and management are also covered in detail.
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Frisken, Amanda. Graphic News. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252042980.001.0001.
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This book explores sensationalism as it took hold of U.S. media between 1870 and 1900. During this period, print news publishers became adept at translating stories about sex, crime, and violence into emotion-based pictures. Analysis of significant episodes in media history shows how a range of news media producers engaged with the sensational style. As they pioneered the art of visual journalism, news publishers conveyed racial, class, and gender anxieties in a complex dialogue with audiences that established precedents for modern media. Prominent cases – obscenity litigation, anti-Chinese violence, the Ghost Dance, Jim Crow-era lynching, and domestic violence – demonstrate how efforts to maximize the dramatic power of the news transformed everyday reporting and established standards for visual journalism. Commercial newspaper editors exploited sensationalism’ economic benefits, while marginalized groups and social activists experimented with its power to challenge negative stereotyping and mobilize their own constituencies. By the 1890s, a wide range of publications had come to embrace, adapt, and expand the sensational style through news illustration – albeit in different ways for different audiences. The patterns prevalent in entertainment publications infiltrated the commercial dailies, and even low-budget political news sheets: few publications could afford to resist borrowing from the sensational toolkit. As sensationalism increasingly pervaded visual journalism, the very nature of the news changed.
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O’Neal, M. Angela. A Lady with a Headache in the Second Trimester. Edited by Angela O’Neal. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190609917.003.0014.
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This case illustrates a typical presentation of idiopathic intracranial hypertension (IIH) during pregnancy. The diagnostic criteria, complications, and treatment of the condition during pregnancy are explored. The major complication of IIH is visual loss. The International Headache Society 2013 criteria for idiopathic intracranial hypertension are: that the headache should remit after the CSF pressure is in the normal range, CSF pressure is greater than 250 mm, and the majority of patients have papilledema and other symptoms, which may include visual obscurations, pulsatile tinnitus, double vision, and neck or back pain. IIH treatment includes weight control, high-volume lumbar punctures, and medications.
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Frédéric Gilles, Sourgens, Duggal Kabir, and Laird Ian A. Part IV Proving Your Case, 9 Documentary Evidence and Document Production. Oxford University Press, 2018. http://dx.doi.org/10.1093/law/9780198753506.003.0009.
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This chapter provides an overview of issues relating to documentary evidence and document production. In any investor-state arbitration case, each party is responsible for producing the evidence required to prove its case. This evidence can be introduced either through the production of documentary evidence or through witness testimony. Similarly, a party may need certain documents from opposing counsel. Here, the fundamental understanding of the term ‘document’ is not restricted merely to ‘paper’—to actual documents written in words. Documentary evidence can appear in a wide range of styles (such as drawings, emails, pictures, charts, graphs, and many more) and a wide range of forms (physical, audio, visual, electronic, and more).
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Guest, Harriet. A Motley Assembly. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0010.
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This chapter takes a single song, Dibdin’s ‘A Voyage to Margate’, and examines its social resonances. It begins with an account of what the song can tell us about the way the seaside resort of Margate figured in the popular imagination, and then moves into a study of the mutually reinforcing domains of song and visual culture, from slip songs and street ballads, through graphic satire and finely produced drolls, to aspirational mezzotint engravings based on oil paintings by George Morland. The author describes a feedback loop between song culture and visual iconography in which songs borrowed tropes from graphic satires, which were then illustrated across a range of print media, and were later reabsorbed into song culture in further parodies and adaptations.
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Garipzanov, Ildar. Graphic Signs of Authority in Late Antiquity and the Early Middle Ages, 300-900. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815013.001.0001.
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This book presents a cultural history of graphic signs such as the sign of the cross, christograms, monograms, and other graphic devices, examining how they were employed to relate to and interact with the supernatural world, and to represent and communicate secular and divine authority in the late antique Mediterranean and early medieval Europe. It analyses its graphic visual material with reference to specific historical contexts and to relevant late antique and early medieval texts as a complementary way of looking at the cultural, religious, and socio-political transition from the late Graeco-Roman world to that of medieval Europe. This monograph treats such graphic signs as typologically similar forms of visual communication, reliant on the visual-spatial ability of human cognition to process object-like graphic forms as proxies for concepts and abstract notions—an ability that is commonly discussed in modern visual studies with reference to categories such as visual thinking, graphic visualization, and graphicacy. Thanks to this human ability, the aforementioned graphic signs were actively employed in religious and socio-political communication in the first millennium ad. This approach allows for a synthetic study of graphic visual evidence from a wide range of material media that have rarely been studied collectively, including various mass-produced items and unique objects of art, architectural monuments, and epigraphic inscriptions, as well as manuscripts and charters. As such, this book will serve as a timely reference tool for historians, art historians, archaeologists, epigraphists, manuscript scholars, and numismatists as well as the informed general public.
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Brogaard, Berit. Other Arguments from ‘Look’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495251.003.0006.
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The notion of phenomenal look has been invoked in various contexts to argue for a range of philosophical positions. Chisholm appealed to his non-comparative looks to argue for the theory of appearing. Jackson made appeal to this notion in an argument for the sense-datum theory. More recently, Susanna Siegel and Susanna Schellenberg have provided arguments that rest on the notion of phenomenal looks to argue for the view that visual experience has content. And Kathrin Glüer has invoked this notion to argue for the view that visual experiences are beliefs with phenomenal-look contents. In this chapter, the author provides an overview of these arguments and offers some reasons for thinking that only the arguments in favor of what Siegel has called ‘the weak content view’ succeed.
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Leigh, R. John, and David S. Zee. The Neurology of Eye Movements. Oxford University Press, 2015. http://dx.doi.org/10.1093/med/9780199969289.001.0001.
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This new edition comprises a modern synthesis of the anatomical, physiological, and pharmacological substrate for eye movements, including current views on the reflexive and voluntary control of gaze. This synthesis is based on electrophysiological and inactivation studies in macaque, and behavioural studies in humans that incorporate functional imaging and transcranial magnetic stimulation (TMS) in normals, and clinicopathological studies in patients with neurological, visual, or vestibular disorders. Sophisticated experimental paradigms have been applied to both species to explore aspects of cognition, memory, volition, and reward. This large body of research has demonstrated the power of eye movements as experimental tools. The second part of this online resource applies this synthesis to the clinical and laboratory evaluation of patients with abnormal eye movements due to a broad range of disorders - from muscular dystrophy, and genetic disorders, to dementia, including visual and vestibular conditions.
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Georgeson, Mark. The Graph-Paper Effect. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0107.
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Most visual illusions involve distorted or altered perception of objects or events or misinterpretation of image information. The discrepancy between what we experience and what is physically present in the world or in the retinal image can be large, surprising, and dramatic. It is much rarer to see things that simply are not there at all. Repetitive stimuli, such as grating patterns or flickering lights, can induce perception of a range of illusory geometric patterns, forms, and movements—during or after exposure to the inducing stimulus. This chapter describes one such illusory phenomenon—the graph-paper effect—a striking illusion of moving, oriented lines and edges; links it to a family of related effects; and offers a general theory for these effects in terms of neural inhibition and disinhibition at the level of the visual cortex.
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Martin, Graham R. Birds Underwater: A Paucity of Information. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199694532.003.0007.
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Entering beneath the water surface produces a radical change in perceptual challenges. The eye is no longer able to focus adequately and, with increasing depth, light levels decrease and the spectral properties of ambient light narrows with the result that visual resolution decreases rapidly and colour cues are lost. Diving to depth is rapid which means that perceptual challenges change constantly. This results in a paucity of visual information and olfaction and hearing cannot be used to complement this loss. Amphibious foragers must rely upon minimal cues and very specialized foraging behaviours; some ducks may forage for sessile prey using touch sensitivity in the bill, cormorants use a technique in which they trigger an escape response from a fish which they catch at very short range, while penguins and auks may rely upon minimal cues from photophores on fish and random encounters with prey.
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Warburton, Nigel. Photography. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0036.
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Photography is the most widespread form of visual communication using still images. Since its invention the medium has not changed substantially, or at least not until the recent invention of digital photography. The uses to which photography has been put and the conventions surrounding those uses have, however, evolved significantly. Those analytic philosophers who have written about still photography have for the most part focused on quite a narrow range of topics. Their main concern has been to characterize the nature of the causal link between object photographed and photographic image.
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Fracchia, Carmen. 'Black but Human'. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198767978.001.0001.
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The African presence in imperial Spain, of between 10-15 per cent of the population, was due to the institutionalization of the transatlantic slave trade that brought between seven- to eight hundred thousand Africans as slaves to Spain and Portugal. If we add those slaves born in these European territories and the three to four hundred thousand Moor, Berber and Turk slaves, there were approximately two million slaves living in the Iberian Peninsula during this period. The Afro-Hispanic proverb ‘Black but Human’ that provides part of the book’s title, serves as a lens through which to explore the ways in which certain visual representations of slavery both embody and reproduce hegemonic visions of subaltern groups, and at the same time provide material for critical and emancipatory practices by Afro-Hispanic slaves and ex-slaves themselves. It thus allows us to generate critical insights into the articulations of slave subjectivity by exploring the links between visual regimes and the early modern Spanish and New World discourses on slavery and human diversity. My book provides a complex new reading of neglected moments of artistic production in Hapsburg Spain establishing their importance as relays of power and resistance. We could claim that the ‘Black but Human’ topos encodes the multilayered processes through which a black emancipatory subject emerges and a ‘black nation’ forges a collective resistance, and the ways in which these moments are articulated visually by a range of artists. Thus, this proverb is the main thread of the six chapters of this book.
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Raper, Daniel M. S., and John A. Jane. Craniopharyngiomas. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190696696.003.0025.
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Craniopharyngiomas (CPs) are rare tumors arising from the developmental Rathke’s pouch and present in a bimodal distribution peaking at 5 to 14 and 50 to 74 years. Symptoms at onset include visual loss, headache, and hypopituitarism. Most tumors contain solid and cystic components, and fluid within the cyst usually contains cholesterol crystals. Histopathology is classified into adamantinomatous (most common in children) and papillary (almost exclusively in adults) subtypes. Magnetic resonance imaging is the definitive diagnostic modality for sellar and suprasellar lesions. In addition to imaging, formal visual evaluation and detailed endocrinologic workup are a critical aspect of preoperative assessment. The role of radical surgical resection, versus decompression combined with radiotherapy, remains controversial. The most common complications of surgical and radiotherapeutic treatments include pituitary stalk and hormonal deficiencies, along with cerebrospinal fluid leak. As 5-year overall survival for patients with CP is in the range of 55% to 85%, CP remains a challenging condition to treat and requires a multidisciplinary approach.
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Lippmann, Morton, and Richard B. Schlesinger. Effects of Contaminants on Environmental Quality. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190688622.003.0007.
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This chapter reviews the potential for adverse environmental effects which may occur due to chemical pollutants. These include biological effects in domestic animals and livestock, ornamental plants, and crops and forests, and disruptions of terrestrial and aquatic ecosystems. They also include safety issues, such as atmospheric visual range reductions due to light-scattering particles, health issues such as stratospheric ozone reduction caused by fluorocarbons, aesthetic nuisances, and economic issues related to chemical odorants and foliar damage of commercial vegetation. The role of air pollution in climate change is also presented using an historical perspective, as is the potential environmental effects of such change.
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Carroll, Maureen. The Material Culture of Infancy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199687633.003.0004.
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Chapter 4 explores the range of things that infants used and with which they were surrounded in daily life, even though much of the physical evidence for them comes from funerary contexts. These include items related to their nourishment, such as feeding bottles, but also objects meant to entertain and to protect them, such as toys and apotropaic jewellery. Effigies of swaddled infants dedicated in sanctuaries in Italy and Gaul provide important insight into the clothing and textiles worn by infants. Visual depictions of children provide further information about their infantile possessions and companions, including pets.
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Pravadelli, Veronica. The Early Thirties. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038778.003.0002.
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This chapter examines the early sound period. From a formal perspective, the dominant film style has an affinity with silent cinema; it is filled with superimpositions, extended dissolves, elaborate optical effects, and a wide range of “attractions.” Consequently, the films of this period rely heavily on visual rather than verbal devices. The chapter then argues that between the end of the 1920s and the early 1930s, American cinema privileges plots of female emancipation and images of the New Woman. The figure of the New Woman, combined with the aesthetic of attractions, can be interpreted in light of the “modernity thesis.”
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Crowley, Patrick, and Shirley Jordan, eds. What Forms Can Do. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620658.001.0001.
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The chapters in this book respond to important questions about the formal properties of French literary texts and the agency of form. A central feature of twentieth- and twenty-first century French and Francophone writing has been the exploration of how cultural forms (literary, philosophical and visual) create distinctive semiotic environments and at the same time engage with external realities. The aim of this volume is to explore how the formal properties of a range of texts inflect our reading of them and, through that exploration, to renew the engagement with form that has been a key feature of French cultural production and of analysis in French studies.
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Trimble, Jennifer. Communicating with Images in the Roman Empire. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0007.
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This chapter explores how the size, diversity, and connectivity of the Roman Empire in the first centuries CE fostered developments in image communication in a civilization in which levels of visual literacy, especially among city populations, should be considered quite well developed. At the same time, a full grasp of a monument’s iconography was not essential for effective communication at a range of levels. A remarkable, seemingly modern phenomenon of the period is the proliferation and stability of image use, enabling complex, varied interplays of empire and place to be articulated in all segments of society, with or without the involvement of the authorities.
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Rohman, Carrie. Choreographies of the Living. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.001.0001.
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Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.
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Brundin, Abigail, Deborah Howard, and Mary Laven. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816553.003.0001.
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The importance of the Italian Renaissance home as a fundamental unit of society and a dynamic site of cultural activity is often acknowledged. This book turns instead to consider the religious dimensions of domestic life. The introduction discusses the pre-existing scholarship out of which The Sacred Home has grown, paying particular attention to the divergent historiographies relating to the early modern household in Protestant and Catholic Europe. Here the rationale behind the chronological and geographical framework of the book is explained, and the nature of its interdisciplinary approach is outlined. By drawing on a wide range of textual, visual, and material sources, The Sacred Home explores domestic devotion across the spectrum of Italian Renaissance society.
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Arnold, Dana. Art History: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198831808.001.0001.
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Art history encompasses the study of the history and development of painting, sculpture, and the other visual arts. Art History: A Very Short Introduction considers the issues, debates, and artefacts that make up art history. It explores the emergence of social histories of art and, using a wide range of images, it discusses key aspects of the discipline including how we write about, present, read, and look at art, and the impact this has on our understanding of art history. This second edition includes a new chapter on global art histories, considering how the traditional emphasis on periods and styles in art originated in Western art and can obscure other critical approaches and artwork from non-Western cultures.
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Thomas, Sophie. Word and Image. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.40.
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This chapter examines the numerous places where words and images combine or collide in Romantic literature and culture, such as in book production and illustration; in poetry, painting, and theories of the two as ‘sister arts’; in ekphrastic literary texts; in prints and annuals; and in exhibitions and galleries. The chapter explores the historical and artistic context for a range of dynamic experiments that raise conceptual questions about visual and verbal representation, and the nature of the connections between them. At the same time, it unsettles the apparently dual nature of a relationship that in fact often includes objects and places, or extends into other media and forms. Writers and artists discussed include Blake, Wordsworth, Beaumont, Gillray, and Turner.
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Misri, Deepti. “This Is Not a Performance!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038853.003.0006.
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This chapter explores a set of visual representations deployed by the Association of Parents of Disappeared Persons (APDP),the now iconic women-led organization that draws attention to the enforced disappearances of Muslim men, judged “anti-nationals” en masse by the Indian state. The APDP members utilize a performative repertoire in their public protests, such as recognizable iconography—“branding” the organization into the public eye through the use of badges, headscarves, and banners; and the insistence that “This is Not a Performance (tamasha)!” The chapter looks at some graphic and cinematic practices that have accreted around the APDP's protests, placing this range of countervisual practices against the scopic regime of the Indian state.
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Canepa, Matthew. Cross-Cultural Communication in the Hellenistic Mediterranean and Western and South Asia. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0014.
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This chapter deals with West–Asian cross-cultural interaction that developed during the Hellenistic period in the aftermath of Alexander’s conquest of the Persian Empire as the land and sea routes between the Mediterranean and India opened up. Despite their constant warfare, the kings that dominated this region established diplomatic ties influenced by a rich range of linguistic, visual, spatial, and ritual idioms. Canepa views Mauryan pillars and inscribed edicts issued by the emperor Aśoka as responses both to local South Asian traditions of religion and empire, and also to those of the Achaemenids and Seleucids. The cross-cultural interaction of this period not only transformed contemporary worldviews and traditions, but also formed the basis for future exchanges among the Romans, Arsacids, Kuṣāṇas, and Sasanians.
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Lamm, Kimberly. Addressing the other woman. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526121264.001.0001.
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This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman,’ a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.
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Baker, Catherine. Making War on Bodies. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474446181.001.0001.
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This vibrant collection of essays reveals the intimate politics of how people with a wide range of relationships to war identify with, and against, the military and its gendered and racialised norms. It synthesises three recent turns in the study of international politics: aesthetics, embodiment and the everyday, into a new conceptual framework. With case studies covering 20th- and 21st-century conflicts on four different continents, from the Middle East and post-socialist Europe to the USA, Britain, Australia and Cuba, and diverse methodological examples including autoethnography, visual analysis, fashion history, and digital media research, this volume helps us to understand how militarism permeates society and how far the practices of militarism can be re-appropriated or even turned against military and state power.
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Mayfield, Enid. Flora of the Otway Plain and Ranges 2. CSIRO Publishing, 2013. http://dx.doi.org/10.1071/9780643098077.
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This visually superb and informative field guide is the second volume of Flora of the Otway Plain and Ranges, and covers more than 480 species of Daisies, Heaths, Peas, Saltbushes, Sundews, Wattles and other shrubby and herbaceous Dicotyledons. The illustrated family key is unique and covers 75 families and over 200 genera. Each species is illustrated and labels provide a clear key to identification for botanists and amateurs alike.
The Otway region of Victoria, with its temperate rainforests, mountain ash forests, heathlands, plains and coastal dunes, has an extraordinarily rich and diverse flora.
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Estanove, Laurence, Adrian Grafe, Andrew McKeown, and Claire Hélie, eds. 21st-Century Dylan. Bloomsbury Publishing Inc, 2021. http://dx.doi.org/10.5040/9781501363726.
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Bob Dylan has constantly reinvented the persona known as “Bob Dylan,” renewing the performance possibilities inherent in his songs, from acoustic folk, to electric rock and a late, hybrid style which even hints at so-called world music and Latin American tones. Then in 2016, his achievements outside of performance – as a songwriter – were acknowledged when he was awarded the Nobel Literature Prize. Dylan has never ceased to broaden the range of his creative identity, taking in painting, film, acting and prose writing, as well as advertising and even own-brand commercial production. The book highlights how Dylan has brought his persona(e) to different art forms and cultural arenas, and how they in turn have also created these personae. This volume consists of multidisciplinary essays written by cultural historians, musicologists, literary academics and film experts, including contributions by critics Christopher Ricks and Nina Goss. Together, the essays reveal Dylan’s continuing artistic development and self-fashioning, as well as the making of a certain legitimized Dylan through critical and public recognition in the new millennium. This volume seeks to reflect the range of Bob Dylan’s multiple activities, the ‘late style’ of his creativity and his personae in all their later variety, from the Time Out of Mind album (1997) up to the release in March 2020 of ‘Murder Most Foul’. Bob Dylan (born 1941) is perhaps best-known as a singer and songwriter whose major impact occurred several decades ago. His achievements as a songwriter and master of language were – provocatively? – acknowledged when he was awarded the 2016 Nobel Literature Prize. However, Dylan has never ceased to broaden the range of his creative identity, especially through intermediality, taking in painting, film, acting, radio-presenting and prose writing, as well as advertising and even own-brand commercial production, either reinforcing or calling into question his perceived authenticity. The book highlights how Dylan has brought his persona(e) to different art forms and cultural arenas, and how they in turn have also created these personae. Chronicles, Volume One, his autobiography, charts his beginnings as a folk singer and the later recording of the Oh Mercy album. In terms of his identity as a visual artist, while Dylan’s Revisionist Art exhibition focused on his reworkings of magazine covers, the Brazil Series paintings show him extending his visual creativity to cultural spaces beyond the United States. Dylan has constantly reinvented the persona known as ‘Bob Dylan’.