The highly anticipated follow up to Structura and Structura 2, Structura 3 is the newest collection of images from HALO art director, Sparth, which takes viewers on an amazing journey to imaginary lands. As with his prior best selling books, Structura 3 will not only share his fascinating artwork but will also have tips of the trade for creating believable digital environments and lands. Step-by-step tutorials will provide anyone with the educational tools necessary to design their own fantastical worlds. This next addition to the Structura library is not to be missed!

This best-selling Exercise Workbook is the perfect resource for learning and honing essential AutoCAD skills, whether you are a complete beginner, seeking to improve your 2D drawing skills, or simply interested in learning about the very latest updates. AutoCAD experts Shrock and Heather share their knowledge of the best use of this versatile program with students and instructors, including plenty of inside tips and numerous exercises to help users get comfortable and see real progress. Readers can download the provided templates used for drawings in the book from Industrial Press’s print or eBook website product pages. The new AutoCAD 2023 software builds on the features of the previous releases. Design changes include a reinvented icon on the main menus and revisions of the Model and Layout Tabs. A new button in the Count Palette, facilitating creation of a table tallying the elements in your drawing file, along with changes to the Recent Documents List and Floating File Tabs, make it easier than ever to keep track of multiple drawing files.   New and/or Improved Features in Beginning AutoCAD 2023: Options Dialog Box — If you make changes in any of the Options dialog box Tabs and attempt to close the dialog box before selecting the Apply and OK buttons, a warning message dialog box will appear. (Included in the Introduction) Recent Documents List — You can now remove a �le from the Recent Documents List in the Application Menu, making this handy list more applicable to your current AutoCAD projects. (Included in Lesson 1) Floating File Tabs — Thanks to continued improvements to the Floating File Tabs, you can Pin a Floating File Tab so that it remains on top of any other open or overlapping drawing �le windows. (Included in Lesson 2)

Chicago New Media, 1973-1992 chronicles the unrecognized story of Chicago's contributions to new media art by artists at the University of Illinois at Chicago's Electronic Visualization Laboratory, the School of the Art Institute of Chicago, and at Midway and Bally games. It includes original scholarship of the prehistory, communities, and legacy of the city's new media output in the latter half of the twentieth century along with color plate images of video game artifacts, new media technologies, historical photographs, game stills, playable video game consoles, and virtual reality modules. The featured essay focuses on the career of programmer and artist Jamie Fenton, a key figure from the era, who connected new media, academia, and industry. This catalog is a companion to the exhibition Chicago New Media 1973-1992, curated by Jon Cates, and organized by Video Game Art Gallery in partnership with Gallery 400 and the Electronic Visualization Laboratory. It is part of Art Design Chicago, a 2018 initiative of the Terra Foundation for American Art, with presenting partner The Richard H. Driehaus Foundation, to explore Chicago's art and design legacy.

Images can be studied in many ways-as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive-they move us to action, calm us, reveal the power of the divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents-human and non-human, material, geographic, and spiritual-become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe.

Over the last four decades video art has undergone numerous transformations. If in its early years, during the mid sixties, video was used by artists to record performances created in an isolated studio, it also offered an important creative environment which defined new spaces and an alternative language to the mass codes used by television. In the `80s video took on the form of a projected image that was capable of defining a totally new type of space inside which spectators could move while surrounded by a hypnotic electronic embrace. More recently with digital technology artists can compete with the magic of cinema and develop a singularly fertile exchange with it that has been fundamental in developing the poetic language of video works today.

Christian Metz is best known for applying Saussurean theories of semiology to film analysis. In the 1970s, he used Sigmund Freud's psychology and Jacques Lacan's mirror theory to explain the popularity of cinema. In this final book, Metz uses the concept of enunciation to articulate how films "speak" and explore where this communication occurs, offering critical direction for theorists who struggle with the phenomena of new media. If a film frame contains another frame, which frame do we emphasize? And should we consider this staging an impersonal act of enunciation? Consulting a range of genres and national trends, Metz builds a novel theory around the placement and subjectivity of screens within screens, which pulls in-and forces him to reassess-his work on authorship, film language, and the position of the spectator. Metz again takes up the linguistic and theoretical work of Benveniste, Genette, Casetti, and Bordwell, drawing surprising conclusions that presage current writings on digital media. Metz's analysis enriches work on cybernetic emergence, self-assembly, self-reference, hypertext, and texts that self-produce in such a way that the human element disappears. A critical introduction by Cormac Deane bolsters the connection between Metz's findings and nascent digital-media theory, emphasizing Metz's keen awareness of the methodological and philosophical concerns we wrestle with today.

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjines, Espinosa, Solanas); radical art and the avant-garde (Bunuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollain, Debord, Hermosillo, Isou, Kieslowski, Painleve, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

Since Ursula Andress's white-bikini debut in Dr No, 'Bond Girls' have been simultaneously celebrated as fashion icons and dismissed as 'eye-candy'. But the visual glamour of the women of James Bond reveals more than the sexual objectification of female beauty. Through the original joint perspectives of body and fashion, this exciting study throws a new, subversive light on Bond Girls. Like Coco Chanel, fashion's 'eternal' mademoiselle, these 'Girls' are synonymous with an unconventional and dynamic femininity that does not play by the rules and refuses to sit still; far from being the passive objects of the male gaze, Bond Girls' active bodies instead disrupt the stable frame of Bond's voyeurism. Starting off with an original re-assessment of the cultural roots of Bond's postwar masculinity, the book argues that Bond Girls emerge from masculine anxieties about the rise of female emancipation after the Second World War and persistent in the present day. Displaying parallels with the politics of race and colonialism, such tensions appear through sartorial practices as diverse as exoticism, power dressing and fetish wear, which reveal complex and often contradictory ideas about the patriarchal and imperial ideologies associated with Bond. Attention to costume, film and gender theory makes Bond Girls: Body, Gender and Fashion essential reading for students and scholars of fashion, media and cultural studies, and for anyone with an interest in Bond.

Library of Light brings together established and emerging practitioners who work with light, as material or subject, from theatre, music, performance, fine art, photography, film, public art, holography, digital media, architecture, and the built environment, together with curators, producers and other experts. Structured around twenty-five interviews and four thematic essays - Political Light, Mediating Light, Performance Light and Absent Light - the book aims to broaden our understanding of light as a creative medium and examines its impact on our cultural history and the role it plays in the new frontiers of art, design and technology. Illustrated with colour photographs and images of installations, sculptures, architectural projects, interventions in public space and works in virtual reality, the book includes interviews and contributions by: David Batchelor, Rana Begum, Robin Bell, Jason Bruges (Jason Bruges Studio), Anne Bean and Richard Wilson (The Bow Gamelan), Laura Buckley, Mario Caeiro, Paule Constable, Ernest Edmonds, Angus Farquhar (NVA), Rick Fisher, Susan Gamble and Michael Wenyon, Jon Hendricks, ISO Studio, Susan Hiller, Michael Hulls and Russell Maliphant, Cliff Lauson, Chris Levine, Michael Light, Joshua Lightshow, Liliane Lijn, Rafael Lozano-Hemmer, Manu Luksch, Mark Major (Speirs + Major), Helen Marriage (Artichoke), Anthony McCall, Gustav Metzger, Haroon Mirza, Yoko Ono, Katie Paterson, Andrew Pepper, Mark Titchner, Andi Watson.

There's simply no better resource for anyone learning about and/or teaching CAD software than the Beginning AutoCAD Exercise Workbook. Veteran AutoCAD experts and former instructors Shrock and Heather have packed the 2021 version with a vastly improved interior design layout, 30 in-depth lessons with hundreds of useful practice exercises, all new screenshots, along with tried and true features such as "CAD tips" and side-by-side metric/inch measurements. The detailed, step-by-step format makes mastering AutoCAD much easier, in or out of a formal classroom. Readers can download the provided templates used for drawings in the book from the Industrial Press website. New and/or Improved Features in Beginning AutoCAD 2021 Streamlined Trim and Extend command-Boundary edges are now selected automatically, making trimming or extending objects far more efficient. Revision Cloud enhancements-Users can use one value that measures the chord distance between the end points of each cloud arc to create more consistent revision clouds. Measure Geometry: Quick Measure-The area and perimeter of closed objects (and even multiple objects) can be measured with a simple click, all in one go. Beginning AutoCAD 2021 contains more content than ever before, yet has been redesigned and reduced by more than 100 pages, making it more manageable to read and carry. There's simply no better resource for anyone learning about and/or teaching CAD software than the Beginning AutoCAD Exercise Workbook. Veteran AutoCAD experts and former instructors Shrock and Heather have packed the 2021 version with a vastly improved interior design layout, 30 in-depth lessons with hundreds of useful practice exercises, all new screenshots, along with tried and true features such as "CAD tips" and side-by-side metric/inch measurements. The detailed, step-by-step format makes mastering AutoCAD much easier, in or out of a formal classroom. Readers can download the provided templates used for drawings in the book from the Industrial Press website. New and/or Improved Features in Beginning AutoCAD 2021 Streamlined Trim and Extend command-Boundary edges are now selected automatically, making trimming or extending objects far more efficient. Revision Cloud enhancements-Users can use one value that measures the chord distance between the end points of each cloud arc to create more consistent revision clouds. Measure Geometry: Quick Measure-The area and perimeter of closed objects (and even multiple objects) can be measured with a simple click, all in one go. Beginning AutoCAD 2021 contains more content than ever before, yet has been redesigned and reduced by more than 100 pages, making it more manageable to read and carry. Cheryl Shrock is a retired Professor and Chairperson of Computer Aided Design at Orange Coast College in California. The AutoCAD ExerciseWorkbooks are the result of both her teaching skills and her industry experience. She is an Autodesk (R) registered author. Steve Heather has more than 30 years of experience as a practicing mechanical engineer, and has taught AutoCAD to engineering and architectural students at the college level. He is a Beta Tester for Autodesk (R), testing the latest AutoCAD software, and a member of the AutoCAD (R) Customer Council.* Starting AutoCAD * Creating & Using a Template * Selecting a Command * Drawing Lines * Erase * Undo and Redo * Starting a New Drawing * Opening Multiple Files * Automatic Save * Circle * Rectangle * Grid and Increment Snap * Transparency * Object Snap * Zoom * Drawing Setup * Polygon * Ellipse * Point * Break * Trim * Extend * Move * Drag * Explode * Copy * Mirror * Fillet * Chamfer * Single & Multiline Text * Tabs & Indents * Columns * Paragraph & Line Spacing * Editing * Coordinate Input * Absolute Coordinates * Direct Distance Entry (DDE) * Measure Tools * Moving the Origin * Displaying the UCS Icon * Polar Coordinate Input * Dynamic Input* Polar Tracking * Using Polar Tracking & DDE * Polar Snap * Offset * Properties Palette * Quick Properties Panel * Array * Scale: Stretch: Rotate * Hatch Types * Editing Hatch Set Properties * Linear, Continue, & Baseline Dimensioning * Ignoring Hatch Objects * Editing Dimension Text Values * Modifying a Dimension Style * Dimension Breaks * Jogging a Dimension Line * Adjusting the Distance Between Dimensions * Dimensioning Diameters & Radii * Angular Dimensioning * Center Mark-Automatic & Manual * Centerline * Flip Arrow * Creating a Multileader Style * Special Text Characters * Dim Command... and much more!

Christian Metz is best known for applying Saussurean theories of semiology to film analysis. In the 1970s, he used Sigmund Freud's psychology and Jacques Lacan's mirror theory to explain the popularity of cinema. In this final book, Metz uses the concept of enunciation to articulate how films "speak" and explore where this communication occurs, offering critical direction for theorists who struggle with the phenomena of new media. If a film frame contains another frame, which frame do we emphasize? And should we consider this staging an impersonal act of enunciation? Consulting a range of genres and national trends, Metz builds a novel theory around the placement and subjectivity of screens within screens, which pulls in-and forces him to reassess-his work on authorship, film language, and the position of the spectator. Metz again takes up the linguistic and theoretical work of Benveniste, Genette, Casetti, and Bordwell, drawing surprising conclusions that presage current writings on digital media. Metz's analysis enriches work on cybernetic emergence, self-assembly, self-reference, hypertext, and texts that self-produce in such a way that the human element disappears. A critical introduction by Cormac Deane bolsters the connection between Metz's findings and nascent digital-media theory, emphasizing Metz's keen awareness of the methodological and philosophical concerns we wrestle with today.

Italian filmmaker Dario Argento's horror films have been described as a blend of Alfred Hitchcock and George Romero-psychologically rich, colorful, and at times garish, excelling at taking the best elements of the splatter and exploitation genres and laying them over a dark undercurrent of human emotions and psyches. Broken Mirrors/Broken Minds, which dissects such Argento cult films as Two Evil Eyes, The Bird with the Crystal Plumage, Suspiria, and Deep Red, includes a new introduction discussing Argento's most recent films, from The Stendahl Syndrome to Mother of Tears; an updated filmography; and an interview with Argento.

What happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regularity since the advent of the War on Terror, when drones began migrating into civilian platforms of film, photography, installation, sculpture, performance art, and theater. In this groundbreaking study, Thomas Stubblefield attempts not only to define the emerging genre of "drone art" but to outline its primary features, identify its historical lineages, and assess its political aspirations. Richly detailed and politically salient, this book is the first comprehensive analysis of the intersections between drones, art, technology, and power.

In Media Primitivism Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cisse's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do.

In a world increasingly dominated by the digital, the critical response to digital art generally ranges from hype to counterhype. Popular writing about specific artworks seldom goes beyond promoting a given piece and explaining how it operates, while scholars and critics remain unsure about how to interpret and evaluate them. This is where Roberto Simanowski intervenes, demonstrating how such critical work can be done.
"Digital Art and Meaning" offers close readings of varied examples from genres of digital art such as kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture. For instance, Simanowski deciphers the complex meaning of words that not only form an image on a screen but also react to the viewer's behavior; images that are progressively destroyed by the human gaze; text machines generating nonsense sentences out of a Kafka story; and a light show above Mexico City's historic square, created by Internet users all over the world.
Simanowski combines these illuminating explanations with a theoretical discussion that employs art philosophy and history to achieve a deeper understanding of each particular example of digital art and, ultimately, of the genre as a whole.