The Image Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of The Image book. This book definitely worth reading, it is an incredibly well-written.
The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.
"Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how images, pictures, and paintings are conceptualized. Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.
Author : Daniel Morgan Publisher : Univ of California Press Page : 305 pages File Size : 50,8 Mb Release : 2021-08-17 Category : Performing Arts ISBN : 9780520344259
The Lure of the Image shows how a close study of camera movement challenges key assumptions underlying a wide range of debates within cinema and media studies. Highlighting the shifting intersection of point of view and camera position, Daniel Morgan draws on a range of theoretical arguments and detailed analyses across cinemas to reimagine the relation between spectator and camera—and between camera and film world. With sustained accounts of how the camera moves in films by Fritz Lang, Guru Dutt, Max Ophuls, and Terrence Malick and in contemporary digital technologies, The Lure of the Image exposes the persistent fantasy that we move with the camera within the world of the film and examines the ways that filmmakers have exploited this fantasy. In so doing, Morgan provides a more flexible account of camera movement, one that enables a fuller understanding of the political and ethical stakes entailed by this key component of cinematic style.
The Image Processing Handbook by John C. Russ,F. Brent Neal Pdf
Consistently rated as the best overall introduction to computer-based image processing, The Image Processing Handbook covers two-dimensional (2D) and three-dimensional (3D) imaging techniques, image printing and storage methods, image processing algorithms, image and feature measurement, quantitative image measurement analysis, and more. Incorporating image processing and analysis examples at all scales, from nano- to astro-, this Seventh Edition: Features a greater range of computationally intensive algorithms than previous versions Provides better organization, more quantitative results, and new material on recent developments Includes completely rewritten chapters on 3D imaging and a thoroughly revamped chapter on statistical analysis Contains more than 1700 references to theory, methods, and applications in a wide variety of disciplines Presents 500+ entirely new figures and images, with more than two-thirds appearing in color The Image Processing Handbook, Seventh Edition delivers an accessible and up-to-date treatment of image processing, offering broad coverage and comparison of algorithms, approaches, and outcomes.
Work and the Image by Valerie Mainz,Griselda Pollock Pdf
This title was first published in 2000. Published in two volumes, "Work and the Image" addresses a critical theme in contemporary social and cultural debates whose place in visual representation has been neglected. Ranging from Greek pottery to contemporary performance, and exploring a breadth of geo-national perspectives including those of France, Britain, Hungary, Soviet Russia, the Ukraine, Siberia and Germany, the essays provide a challenging reconsideration of the image of work, the meaning of the work process, and the complex issues around artistic activity as itself a form of work even as it offers a representation of labour. With a shared focus on the 20th century, the era of modernity and its postmodern aftermath, the essays in this volume examine the diverse ways in which the social relations of work in industrial societies from both capitalist and socialist regimes were publicly and privately mediated by changing forms of visual representation. The authors discuss traditional analyses of the image of the worker in the light of contemporary critical theories that address the question of the subjectivity of the worker in relation to class, gender, nationhood and the concept of modernity.
For two thousand years, Christians have been intrigued by the somewhat enigmatic Imago Dei references in the book of Genesis. Much theological ink has been spilled mulling over the significance and meaning of these words: "Let us make humanity in our image, according to our likeness . . . " In The Liberating Image, J. Richard Middleton takes on anew the challenge of interpreting the Imago Dei. Reflecting on the potential of the Imago Dei texts for developing an ethics of power rooted in compassion, he relates its significance to the Christian community's distinct calling in an increasingly violent world. The Liberating Image introduces a relevant, scholarly take on an important Christian doctrine. It will appeal to all Christians seeking to better understand what it means to be made in God's image.
Men should be brave, daring, cool under fire and honourable. Who says so? This book by a major US historian sets out to show how our idea of manliness evolved and how long these qualities have been the norm.
The Image of Christ in Modern Art by Richard Harries Pdf
The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of ’the break’, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent.
"The Church as the Image of the Trinity" by Kevin J. Bidwell Pdf
A resurgence of Trinitarian interest gained momentum in the twentieth century and it is showing little sign of abating in the twenty-first century. This research endeavors to critically evaluate Miroslav Volf's ecclesial model for "the church as the image of the Trinity," one that he presents with the English title, After Our Likeness. Volf proposes a social doctrine of the Trinity, one that is heavily influenced by the theological writings of Jurgen Moltmann, and he puts forward that this nonhierarchical Trinity should be reflected in the structures and theology of the church. If Volf is correct, then a radical reshaping is needed for the church to conform to an egalitarian pattern, one that is "after the likeness" (Gen 1:26) of an egalitarian God. In this critical examination, Kevin J. Bidwell begins by stating the theological influences that are pertinent to Volf's thesis in After Our Likeness and the assumptions that undergird and inform his whole theological paradigm. An important theological excursus is offered to assess the theology of John Smyth, the first English Baptist, who is Volf's representative figure for the location of his own ecclesiology, the Free Church. A critical analysis follows of Volf's engagement with his two chosen dialogue partners who represent both Western and Eastern theological traditions: Joseph Ratzinger and John D. Zizioulas. Volf presents five theses for "the church as the image of the Trinity," which could be labeled as Volf's Free Church in the image of Volf's revised doctrine of the Trinity. This monograph offers extensive insight into the contemporary debate on the doctrine of the Trinity, but it also assesses many aspects of ecclesiology from both Eastern and Western perspectives.
Richard Brody's Everything is Cinema: The Working Life of Jean-Luc Godard is a landmark biography of one of the great controversial geniuses of world cinema.
Aby Warburg and the Image in Motion by Philippe-Alain Michaud Pdf
A compelling analysis of the work of art historian Aby Warburg and its radical implications for the study of visual images Aby Warburg (1866–1929) is best known as the originator of the discipline of iconology and as the founder of the institute that bears his name. His followers included some of the celebrated art historians of the twentieth century, such as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the decipherment and interpretation of symbolic material. As Philippe-Alain Michaud demonstrates in this important book, Warburg’s project was remote from any positivist or neo-Kantian ambitions. Nourished on the work of Friedrich Nietzsche and Jacob Burckhardt, Warburg fashioned a “critical iconology” to reveal the irrationality of the image in Western culture. Opposing the grand teleological narratives of art inaugurated by Giorgio Vasari, Warburg’s method operated through historical anachronisms and discontinuities. Using procedures of “montage-collision” he brought together pagan artifacts with masterpieces of Florentine Renaissance art, the astrology of the ancient Near East with the Lutheran Reformation, Mannerist festivals with the sacred dances of Native Americans. Michaud insists that for Warburg, the practice of art history was not only the recognition of the radical heterogeneity of objects but the discovery within the art work itself of lines of fracture, contradictions, tensions, and the energies of magic, empathy, totemism, and animism. Michaud provides us with a book that not only is about Warburg but also extends his intuitions and discoveries into analyses of other categories of imagery like the daguerreotype, the chronophotography of Étienne-Jules Marey, early cinema, and the dances of Loïe Fuller. This edition also includes a foreword by Georges Didi-Huberman and texts by Warburg not previously translated into English. Chosen as one of the best art books of 2004 by the Washington Post and Bookforum.
Psychology of the Image outlines a theoretical framework bringing together the semiotic concepts developed by Charles Peirce, the sociological insights of Ervin Goffman and the psychoanalytic ideas of Jacques Lacan. Image studies in fashion, advertising, photography, film studies and psychology have been influenced by these theorists in significant ways. The framework presented helps the reader understand how these ideas relate to the study of different domains of the image: the internal imagery of dreams, external images such as the photograph and image processes which span both contexts, e.g., images we have about ourselves. The topics discussed are organised into three themes. The first considers mental imagery, including sound and dreams. The second addresses the interdependent nature of internal and external images, e.g., the gendered self and social identity. In the third theme, attention turns to external images including television, film, photography, the computer and the internet. Psychology of the Image will be of interest to undergraduates, postgraduates, lecturers and researchers in the fields of psychology, media studies and sociology.
A young woman's coming of age, a romantic love story, and a spiritual journey—each infused with the lessons of history. In the Image is an extraordinary first novel illuminated by spiritual exploration, one that remembers "a language, a literature, a held hand, an entire world lived and breathed in the image of God." Bill Landsmann, an elderly Jewish refugee in a New Jersey suburb with a passion for travel, is obsessed with building his slide collection of images from the Bible that he finds scattered throughout the world. The novel begins when he crosses paths with his granddaughter's friend, Leora, and continues by moving forward through her life and backward through his, revealing the unexpected links between his family's past and her family's future. Not just a first novel but a cultural event—a wedding of secular and religious forms of literature—In the Image neither lives in the past nor seeks to escape it, but rather assimilates it, in the best sense of the word, honoring what is lost and finding, among the lost things, the treasures that can renew the present. Reading group guide included.