7380 Résultats
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Titre:
Design by numbers
Design by numbers
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$44.95
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Résumé:
Most art and technology projects pair artists with engineers or scientists: the artist has the conception, and the technical person provides the know-how. John Maeda is an artist and a computer scientist, and he views the computer not as a substitute for brush and paint but as an artistic medium in its own right. Design By Numbers is a reader-friendly tutorial on both the(...)
$44.95
(disponible en magasin)
Résumé:
Most art and technology projects pair artists with engineers or scientists: the artist has the conception, and the technical person provides the know-how. John Maeda is an artist and a computer scientist, and he views the computer not as a substitute for brush and paint but as an artistic medium in its own right. Design By Numbers is a reader-friendly tutorial on both the(...)
Publication:
octobre 2001, Cambridge, Mass.
octobre 2001, Cambridge, Mass.
Titre:
Design by numbers
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$44.95
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Résumé:
Most art and technology projects pair artists with engineers or scientists: the artist has the conception, and the technical person provides the know-how. John Maeda is an artist and a computer scientist, and he views the computer not as a substitute for brush and paint but as an artistic medium in its own right. Design By Numbers is a reader-friendly tutorial on both the philosophy and nuts-and-bolts techniques of programming for artists. Practicing what he preaches, Maeda composed Design By Numbers using a computational process he developed specifically for the book. He introduces a programming language and development environment, available on the Web, which can be freely downloaded or run directly within any JAVA-enabled Web browser. Appropriately, the new language is called DBN (for "design by numbers"). Designed for "visual" people--artists, designers, anyone who likes to pick up a pencil and doodle--DBN has very few commands and consists of elements resembling those of many other languages, such as LISP, LOGO, C/JAVA, and BASIC. Throughout the book Maeda emphasizes the importance--and delights--of understanding the motivation behind computer programming, as well as the many wonders that emerge from well-written programs. Sympathetic to the "mathematically challenged," he places minimal emphasis on mathematics in the first half of the book. Because computation is inherently mathematical, the books second half uses intermediate mathematical concepts that generally do not go beyond high-school algebra. The reader who masters the skills so clearly set out by Maeda will be ready to exploit the true character of digital media design.
Design by numbers
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$44.95
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Résumé:
Most art and technology projects pair artists with engineers or scientists: the artist has the conception, and the technical person provides the know-how. John Maeda is an artist and a computer scientist, and he views the computer not as a substitute for brush and paint but as an artistic medium in its own right. Design By Numbers is a reader-friendly tutorial on both the philosophy and nuts-and-bolts techniques of programming for artists. Practicing what he preaches, Maeda composed Design By Numbers using a computational process he developed specifically for the book. He introduces a programming language and development environment, available on the Web, which can be freely downloaded or run directly within any JAVA-enabled Web browser. Appropriately, the new language is called DBN (for "design by numbers"). Designed for "visual" people--artists, designers, anyone who likes to pick up a pencil and doodle--DBN has very few commands and consists of elements resembling those of many other languages, such as LISP, LOGO, C/JAVA, and BASIC. Throughout the book Maeda emphasizes the importance--and delights--of understanding the motivation behind computer programming, as well as the many wonders that emerge from well-written programs. Sympathetic to the "mathematically challenged," he places minimal emphasis on mathematics in the first half of the book. Because computation is inherently mathematical, the books second half uses intermediate mathematical concepts that generally do not go beyond high-school algebra. The reader who masters the skills so clearly set out by Maeda will be ready to exploit the true character of digital media design.
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livres
livres
Publication:
octobre 2001, Cambridge, Mass.
octobre 2001, Cambridge, Mass.
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livres
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$42.00
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The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is(...)
$42.00
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Résumé:
The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is(...)
Titre:
icam print 02 december 2007 International confederation of architectural museums
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$42.00
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The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is only superficially a decisive issue. If one considers the lengths taken by the custodian's of Le Corbusier's estate to secure a suitable new home for what is without doubt a painting of artistic note, and so a market value and with it a place in an art history context, then it is worth waiting to see the place conceded on the art market one day to project-related sketches and drawings by contemporary star architects. The whole history of the conception and realisation of important works of architecture within a context of culture history ought to feature more prominently in the collection policy of icam members to ensure its suitability for research purposes. It remains to be seen what price is attributed to these comprehensive documents, these convolutes, in the competition between private collectors. This notwithstanding, the 'market' for collecting is just as crucial to icam members as the continuing debate on 'originals', and safeguarding them in times of digital architecture production. icamprint will focus increasingly on these and related issues, opening the discussion to all of the member institutions, to develop into an indispensable medium providing orientation on key issues for all icam members.
icam print 02 december 2007 International confederation of architectural museums
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$42.00
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Résumé:
The focus of this issue of icamprint is on the 'market' for private archives. After all, collecting and managing the documentation of architecture history to conform to academic and scientific standards is a complex business, and a core task for most icam members. In this context, whether or not the 'originals' by star architects have an artistic value on the market is only superficially a decisive issue. If one considers the lengths taken by the custodian's of Le Corbusier's estate to secure a suitable new home for what is without doubt a painting of artistic note, and so a market value and with it a place in an art history context, then it is worth waiting to see the place conceded on the art market one day to project-related sketches and drawings by contemporary star architects. The whole history of the conception and realisation of important works of architecture within a context of culture history ought to feature more prominently in the collection policy of icam members to ensure its suitability for research purposes. It remains to be seen what price is attributed to these comprehensive documents, these convolutes, in the competition between private collectors. This notwithstanding, the 'market' for collecting is just as crucial to icam members as the continuing debate on 'originals', and safeguarding them in times of digital architecture production. icamprint will focus increasingly on these and related issues, opening the discussion to all of the member institutions, to develop into an indispensable medium providing orientation on key issues for all icam members.
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livres
livres
Publication:
octobre 2007, Vienna
octobre 2007, Vienna
Sujet:
Muséologie
Muséologie
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livres
livres
Titre:
Architecture goes wild
Architecture goes wild
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In his writings, architect Kas Oosterhuis bridges the gap between theory and practice. His observations are based on the principle of concrete science fiction. He is convinced that every construct - hardware or software - that can be formulated as a consistent set of rules is realizable within the social constraints of our present-day culture. In his essay(...)
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In his writings, architect Kas Oosterhuis bridges the gap between theory and practice. His observations are based on the principle of concrete science fiction. He is convinced that every construct - hardware or software - that can be formulated as a consistent set of rules is realizable within the social constraints of our present-day culture. In his essay(...)
Titre:
Architecture goes wild
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$29.95
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In his writings, architect Kas Oosterhuis bridges the gap between theory and practice. His observations are based on the principle of concrete science fiction. He is convinced that every construct - hardware or software - that can be formulated as a consistent set of rules is realizable within the social constraints of our present-day culture. In his essay 'Space_Time_Volume' Kas Oosterhuis places himself in the local and temporary delamination point between the micro- and macroworlds. He speculates on a seamless continuity of these worlds where the instrumental human position is only one of many possible positions. Our perception of the universe is based on observations made by instruments. Language is seen as such an instrument. In 'Wild Bodies' Oosterhuis asserts that all true architecture inevitably will be programmed to perform in real time. This point of view is based on the observation that traditional fixed and static architecture is a highly unlikely state among all possible ones. An architectural construct is regarded as a body with real-time behaviour that is always in motion. Computer programs speak the new instrumental language in which potential new worlds are described. 'Automotive Styling' declares the human driver of the automobile to be the voluntary prisoner of the physical car-road communications network. In 'Vectorial Bodies' the human driver is nothing less than fuzzy software programming the car to lead it to his destinations. There is no place for romantic ideas such as freedom of movement, but there is the overwhelming desire of carbon-based life forms to exchange data with industrial and digital life forms.
Architecture goes wild
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In his writings, architect Kas Oosterhuis bridges the gap between theory and practice. His observations are based on the principle of concrete science fiction. He is convinced that every construct - hardware or software - that can be formulated as a consistent set of rules is realizable within the social constraints of our present-day culture. In his essay 'Space_Time_Volume' Kas Oosterhuis places himself in the local and temporary delamination point between the micro- and macroworlds. He speculates on a seamless continuity of these worlds where the instrumental human position is only one of many possible positions. Our perception of the universe is based on observations made by instruments. Language is seen as such an instrument. In 'Wild Bodies' Oosterhuis asserts that all true architecture inevitably will be programmed to perform in real time. This point of view is based on the observation that traditional fixed and static architecture is a highly unlikely state among all possible ones. An architectural construct is regarded as a body with real-time behaviour that is always in motion. Computer programs speak the new instrumental language in which potential new worlds are described. 'Automotive Styling' declares the human driver of the automobile to be the voluntary prisoner of the physical car-road communications network. In 'Vectorial Bodies' the human driver is nothing less than fuzzy software programming the car to lead it to his destinations. There is no place for romantic ideas such as freedom of movement, but there is the overwhelming desire of carbon-based life forms to exchange data with industrial and digital life forms.
Classification:
livres
livres
Publication:
mars 2001, Rotterdam
mars 2001, Rotterdam
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
Prix:
$49.50
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Résumé:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
Titre:
Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Warped space : art, architecture, and anxiety in modern culture
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$49.50
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
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livres
livres
Publication:
juin 2000, Cambridge, Mass.
juin 2000, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
The Shenzhen experiment
The Shenzhen experiment
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$50.00
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Shenzhen is ground zero for the economic transformation China has seen in recent decades. In 1979, driven by China’s widespread poverty, Deng Xiaoping supported a bold proposal to experiment with economic policies in a rural borderland next to Hong Kong. The site was designated as the City of Shenzhen and soon after became China’s first Special Economic Zone (SEZ). Four(...)
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Shenzhen is ground zero for the economic transformation China has seen in recent decades. In 1979, driven by China’s widespread poverty, Deng Xiaoping supported a bold proposal to experiment with economic policies in a rural borderland next to Hong Kong. The site was designated as the City of Shenzhen and soon after became China’s first Special Economic Zone (SEZ). Four(...)
Titre:
The Shenzhen experiment
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$50.00
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Shenzhen is ground zero for the economic transformation China has seen in recent decades. In 1979, driven by China’s widespread poverty, Deng Xiaoping supported a bold proposal to experiment with economic policies in a rural borderland next to Hong Kong. The site was designated as the City of Shenzhen and soon after became China’s first Special Economic Zone (SEZ). Four decades later, Shenzhen is a megacity of twenty million, an internationally recognized digital technology hub, and the world’s most successful economic zone. Some see it as a modern miracle city that seemingly came from nowhere, attributing its success solely to centralized planning and Shenzhen’s proximity to Hong Kong. The Chinese government has built hundreds of new towns using the Shenzhen model, yet none has come close to replicating the city’s level of economic success. But is it true that Shenzhen has no meaningful history? That the city was planned on a tabula rasa? That the region’s rural past has had no significant impact on the urban present? Juan Du unravels the myth of Shenzhen and shows us how this world-famous “instant city” has a surprising history—filled with oyster fishermen, villages that remain encased within city blocks, a secret informal housing system—and how it has been catapulted to success as much by the ingenuity of its original farmers as by Beijing’s policy makers. “The Shenzhen Experiment” is an important story for all rapidly urbanizing and industrializing nations around the world seeking to replicate China’s economic success in the twenty-first century.
The Shenzhen experiment
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Shenzhen is ground zero for the economic transformation China has seen in recent decades. In 1979, driven by China’s widespread poverty, Deng Xiaoping supported a bold proposal to experiment with economic policies in a rural borderland next to Hong Kong. The site was designated as the City of Shenzhen and soon after became China’s first Special Economic Zone (SEZ). Four decades later, Shenzhen is a megacity of twenty million, an internationally recognized digital technology hub, and the world’s most successful economic zone. Some see it as a modern miracle city that seemingly came from nowhere, attributing its success solely to centralized planning and Shenzhen’s proximity to Hong Kong. The Chinese government has built hundreds of new towns using the Shenzhen model, yet none has come close to replicating the city’s level of economic success. But is it true that Shenzhen has no meaningful history? That the city was planned on a tabula rasa? That the region’s rural past has had no significant impact on the urban present? Juan Du unravels the myth of Shenzhen and shows us how this world-famous “instant city” has a surprising history—filled with oyster fishermen, villages that remain encased within city blocks, a secret informal housing system—and how it has been catapulted to success as much by the ingenuity of its original farmers as by Beijing’s policy makers. “The Shenzhen Experiment” is an important story for all rapidly urbanizing and industrializing nations around the world seeking to replicate China’s economic success in the twenty-first century.
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livres
livres
Publication:
janvier 2020
janvier 2020
Classification:
vidéo
vidéo
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Description:
1 videodisc (116 min.) : sound, color ; 4 3/4 in. + 1 insert (6 pages ; 19 cm).
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1 videodisc (116 min.) : sound, color ; 4 3/4 in. + 1 insert (6 pages ; 19 cm).
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[United States] : Criterion Collection, ©2001.
[United States] : Criterion Collection, ©2001.
Titre:
Mon oncle / un film de Jacques Tati.
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Description:
1 videodisc (116 min.) : sound, color ; 4 3/4 in. + 1 insert (6 pages ; 19 cm).
Mon oncle / un film de Jacques Tati.
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Description:
1 videodisc (116 min.) : sound, color ; 4 3/4 in. + 1 insert (6 pages ; 19 cm).
Classification:
vidéo
vidéo
Publication:
[United States] : Criterion Collection, ©2001.
[United States] : Criterion Collection, ©2001.
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136 S. zahlr. Ill. 31 cm
Description:
136 S. zahlr. Ill. 31 cm
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Stuttgart München Dt. Verl.-Anst. 2002
Stuttgart München Dt. Verl.-Anst. 2002
Titre:
Farbe in der Architektur Gestaltungskriterien und Beispiele für den Wohnungsbau Armin Scharf
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136 S. zahlr. Ill. 31 cm
Farbe in der Architektur Gestaltungskriterien und Beispiele für den Wohnungsbau Armin Scharf
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136 S. zahlr. Ill. 31 cm
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livres
livres
Publication:
Stuttgart München Dt. Verl.-Anst. 2002
Stuttgart München Dt. Verl.-Anst. 2002
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livres
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$39.95
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Résumé:
As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices--"windows" full of moving images, texts, and icons--how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the(...)
$39.95
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As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices--"windows" full of moving images, texts, and icons--how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the(...)
Titre:
The virtual window : from Alberti to Microsoft
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$39.95
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As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices--"windows" full of moving images, texts, and icons--how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective--Alberti's metaphorical window--has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple "windows" coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
The virtual window : from Alberti to Microsoft
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$39.95
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As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices--"windows" full of moving images, texts, and icons--how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective--Alberti's metaphorical window--has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple "windows" coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
Classification:
livres
livres
Publication:
janvier 2006, Cambridge
janvier 2006, Cambridge
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$25.95
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The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of(...)
$25.95
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The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of(...)
Titre:
Stan Douglas : Every building on 100 West Hastings
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$25.95
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The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of Vancouver’s "emergence" as the terminus for the country’s national railroad, the buildings in the area have been in decline since the 1930s, when the locus of the city’s commerce began moving. But the "story" of the 100 block is not strictly one of global market forces, nor does it belong to those who, through whatever political stripe, lay claim to it. The book is based on a monumental-sized digital print of the 100 block of West Hastings Street by Stan Douglas who utilized current technologies to create a 16'×3' panorama of epic scope, photographing each building and compositing the individual prints to assume a fantastic, impossible perspective; which is reproduced in the book as a removable full-colour poster, 5½" tall and 30½" wide. Essays by Denise Olekszijuk, Nicholas Blomley, and Neil Smith use Douglas’s photograph as a template for assessing the state of Vancouver’s contested downtown eastside; its moral, economic and social implications. Ultimately, how can art affect society in a meaningful way? Scattered throughout the book are additional images highlighting Vancouver’s history as well as work from other artistic ventures that informed Douglas’s project. This book unravels the dynamics of history and sociology, combined with photography and art, to create a compelling and visually arresting document that informs our understanding of what makes a neighbourhood.
Stan Douglas : Every building on 100 West Hastings
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$25.95
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Résumé:
The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of Vancouver’s "emergence" as the terminus for the country’s national railroad, the buildings in the area have been in decline since the 1930s, when the locus of the city’s commerce began moving. But the "story" of the 100 block is not strictly one of global market forces, nor does it belong to those who, through whatever political stripe, lay claim to it. The book is based on a monumental-sized digital print of the 100 block of West Hastings Street by Stan Douglas who utilized current technologies to create a 16'×3' panorama of epic scope, photographing each building and compositing the individual prints to assume a fantastic, impossible perspective; which is reproduced in the book as a removable full-colour poster, 5½" tall and 30½" wide. Essays by Denise Olekszijuk, Nicholas Blomley, and Neil Smith use Douglas’s photograph as a template for assessing the state of Vancouver’s contested downtown eastside; its moral, economic and social implications. Ultimately, how can art affect society in a meaningful way? Scattered throughout the book are additional images highlighting Vancouver’s history as well as work from other artistic ventures that informed Douglas’s project. This book unravels the dynamics of history and sociology, combined with photography and art, to create a compelling and visually arresting document that informs our understanding of what makes a neighbourhood.
Classification:
livres
livres
Publication:
décembre 2002, Vancouver
décembre 2002, Vancouver
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$82.95
(disponible en magasin)
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Of all the visual arts, illustration shares a unique relationship with the written word, often serving to visualize, enhance, or respond to a text. "Reading Pictures" presents a global history of this versatile art form, linking its emergence to modern developments such as the illustrated news, recreational reading, and ad-driven consumer culture. From the advent of(...)
$82.95
(disponible en magasin)
Résumé:
Of all the visual arts, illustration shares a unique relationship with the written word, often serving to visualize, enhance, or respond to a text. "Reading Pictures" presents a global history of this versatile art form, linking its emergence to modern developments such as the illustrated news, recreational reading, and ad-driven consumer culture. From the advent of(...)
Titre:
Reading pictures: A history of illustration
Actions:
Prix:
$82.95
(disponible en magasin)
Résumé:
Of all the visual arts, illustration shares a unique relationship with the written word, often serving to visualize, enhance, or respond to a text. "Reading Pictures" presents a global history of this versatile art form, linking its emergence to modern developments such as the illustrated news, recreational reading, and ad-driven consumer culture. From the advent of the printing press in the mid-fifteenth century to the modernist artistic and cultural movements of the nineteenth and twentieth centuries, D. B. Dowd traces the development of illustration as an integral part of the reading experience. He examines the move from ancient scrolls to pamphlets and book forms, and a return to the scroll in electronic form on smartphones and tablets. His story begins with relief prints and woodcuts in ancient China and Japan before moving to printing and platemaking in early modern Europe. Dowd discusses how book and periodical publishing rose sharply with the innovations of wood engraving and lithography, leading to a boom in cultural literacy; and how the illustrated press reached its zenith between the 1860s and 1960s, as printed entertainment and the news of the world became commonplace in every household, bringing with them advertising, propaganda, and consumer culture. Richly illustrated with more than four hundred images spanning the iconic to the unexpected, Reading Pictures reframes the story of illustration within the broader histories of race, gender, literacy, and the transmission of cultural memory. It reveals how reading and looking have become increasingly integrated, and that, as images have become ever more prevalent today with the digital revolution, what is meant by literacy has evolved.
Reading pictures: A history of illustration
Actions:
Prix:
$82.95
(disponible en magasin)
Résumé:
Of all the visual arts, illustration shares a unique relationship with the written word, often serving to visualize, enhance, or respond to a text. "Reading Pictures" presents a global history of this versatile art form, linking its emergence to modern developments such as the illustrated news, recreational reading, and ad-driven consumer culture. From the advent of the printing press in the mid-fifteenth century to the modernist artistic and cultural movements of the nineteenth and twentieth centuries, D. B. Dowd traces the development of illustration as an integral part of the reading experience. He examines the move from ancient scrolls to pamphlets and book forms, and a return to the scroll in electronic form on smartphones and tablets. His story begins with relief prints and woodcuts in ancient China and Japan before moving to printing and platemaking in early modern Europe. Dowd discusses how book and periodical publishing rose sharply with the innovations of wood engraving and lithography, leading to a boom in cultural literacy; and how the illustrated press reached its zenith between the 1860s and 1960s, as printed entertainment and the news of the world became commonplace in every household, bringing with them advertising, propaganda, and consumer culture. Richly illustrated with more than four hundred images spanning the iconic to the unexpected, Reading Pictures reframes the story of illustration within the broader histories of race, gender, literacy, and the transmission of cultural memory. It reveals how reading and looking have become increasingly integrated, and that, as images have become ever more prevalent today with the digital revolution, what is meant by literacy has evolved.
Classification:
livres
livres
Publication:
avril 2026
avril 2026
Sujet:
Illustration
Illustration
