This volume discusses the role of comics in the formation of a modern sense of nationhood in Latin America and the rise of a collective Latino identity in the USA. It is one of the first attempts--in English and from a cultural studies perspective--to cover Latin/o American comics with a fully continental scope. Specific cases include cultural powerhouses like Argentina, Brazil, and Mexico, as well as the production of lesser-known industries, like Chile, Cuba, and Peru.

Paying attention to the historically specific dimensions of objects such as the photograph, the illustrated magazine and the collection, the contributors to this volume offer new ways of thinking about nineteenth-century practices of reading, viewing, and collecting, revealing new readings of Wordsworth, Shelley, James and Wilde, among others.

This edited collection explores the relationship between urban space, architecture and the moving image. Drawing on interdisciplinary approaches to film and moving image practices, the book explores the recent developments in research on film and urban landscapes, pointing towards new theoretical and methodological frameworks for discussion.

In this collection of essays, a range of scholars from different disciplines look through the prism of technology at the much-debated notion of cultural memory, analysing how the past is shaped or unsettled by cultural texts including visual art, literature, cinema, photographs and souvenirs.

Art for art's sake addresses the relationship between art and life. Although it has long been argued that aestheticism aims to de-humanize art, this volume seeks to consider the counterclaim that such de-humanization can also lead to re-humanization and to a deepened relationship between the aesthetic sphere and the world at large.

Examining multiple modes of spatio-temporal and geometric figurations of life, the author explores how relationships between space, geometry and aesthetics generate productive expressions of subjectivity, developed through Kant's 'reflective subject' and 'geometric' texts by Plato and others towards Deleuze's philosophy of sense.

This book focuses on Christina and Dante Gabriel Rossetti, it demonstrates the interconnectedness of their friendships and creativity, giving information about literary composition and artistic output, publication and exhibition, and details literary and artistic influences. It draws on many unpublished sources, including letters and diaries.

By looking at the later Wordsworth's ekphrastic writings about visual art and his increased awareness of the printed dimension of his work, Simonsen calls attention to what is uniquely exciting about this neglected body of work, and argues that it complicates traditional understandings of Wordsworth based on his so-called Great Decade.

This book investigates how architectural design advances as a result of the rapid developments in 3D Printing. As this technology become more powerful, faster and cheaper, novel workflows are becoming available and revolutionizing all stages of the design process, from early spatial concepts, to subsequent project development, advanced manufacturing processes, and integration into functional buildings. Based on a literature review and case studies of ten built projects, the book discusses the implications of the ongoing manufacturing revolution for the field of architecture.

This book re-conceives Christina Rossetti's poetic identity by exposing the androcentric bias inherent in the histories of the Rossetti family and of Pre-Raphaelitism, by turning new attention to the Rossetti women, and by reconstituting a female and religious community for Rossetti's writing. Drawing on extensive archival research, Mary Arseneau investigates how Rossetti's religious faith sustains her poetic practice and authorizes her cultural and aesthetic critique; the result is a re-evaluation and re-contextualization of the whole range of Rossetti's writing.

Over the last four decades, John Dewey's pragmatist philosophy has formed an intellectual core in design research, underpinning Donald Schoen's theory of reflective practice, the experiential perspective in HCI and the democratic commitments of participatory design. Taking these existing connections as a starting point, Brian Dixon explores how deeper alignments may be drawn between Dewey's insights and contemporary design research's concern with practice, meaning and collaboration. Chapter by chapter, a fresh intellectual approach is revealed, one which recognises the transformative power of doing, making and knowing as a force for positive change in the world. We see that, for Dewey, experience comes first. It connects us to surrounding world and the society of which we are part; good things can happen and new realities are possible-we just have to work for them. The implications for design research are vast. We are offered a new way of understanding designerly knowledge production, as well as the methodological implications of adopting Deweyan pragmatism in design research. Taken as a whole, Dewey and Design not only draws out the value of Dewey's work for design research but also, crucially, offers a clear articulation of the value of design itself.

Scientific research into Asian Art reveals a small but important part of the whole, helping to bring back to life the artists and artisans of the area. Scientific research into works of Asian art at the Freer Gallery began with R.J. Gettens in 1951. The papers presented in this text are a celebration of 50 years research in this field at the Freer.

Already in the century before photography's emergence as a mass medium, a diverse popular visual culture had risen to challenge the British literary establishment. The bourgeois fashion for new visual media - from prints and illustrated books to theatrical spectacles and panoramas - rejected high. Romantic concepts of original genius and the sublime in favor of mass-produced images and the thrill of realistic effects. In response, the literary elite declared the new visual media an offense to Romantic idealism. 'Simulations of nature,' Coleridge declared, are 'loathsome' and 'disgusting.' The Shock of the Real offers a tour of Romantic visual culture, from the West End stage to the tourist-filled Scottish Highlands, from the panoramas of Leicester Square to the photography studios of Second Empire Paris. But in presenting the relation between word and image in the late Georgian age as a form of culture war, the author also proposes an alternative account of Romantic aesthetic ideology - as a reaction not against the rationalism of the Enlightenment but against the visual media age being born.

Evil Children in Religion, Literature and Art explores the genesis, development, and religious significance of a literary and iconographic motif, involving a gang of urchins, usually male, who mock or assault a holy or eccentric person, typically an adult. Originating in the biblical tale of Elisha's mockery (2 Kings 2.23-24), this motif recurs in literature, hagiography, and art, from antiquity up to our own time, strikingly defying the conventional Judeo-Christian and Romantic image of the child as a symbol of innocence.

Examines how both artist and writer in the Victorian era responded to the shared challenges, assumptions, and dilemmas of their time, often unaware that the same problems were being confronted in the kindred media. The placing of such writers as Dickens, G.Eliot, Hopkins, and Henry James within the context of Victorian painting, architecture, and interior design offers fresh insights into their works, as well as reassessments of such themes as the mid-century representation of the Fallen Woman or the impact of commodity culture upon contemporary aesthetic standards.

From the worship of sacred mountains, stones, trees, and tools, divine art brought under its sway forms as diverse as music, dance, painting, sculpture, and architecture. These photos and text are brilliant records of the history and evolution of divine art.

What can a WWII-era tank teach us about design? What does a small, blue flower tell us about audiences? What do drunk, French marathon-runners show us about software? In 40+ chapters and stories, you will learn the ways in which UX has influenced history and vice versa, and how it continues to change our daily lives. This book enables you to participate fully in discussions about UX, as you discover the fundamentals of user experience design and research. Rather than grasp concepts through a barrage of facts and figures, you will learn through stories. Poisonous blowfish, Russian playwrights, tiny angels, Texas sharpshooters, and wilderness wildfires all make an appearance. From Chinese rail workers to UFOs, you will cover a lot of territory, because the experiences that surround you are as broad and varied as every age, culture, and occupation. You will start by covering the principles of UX before going into more diverse topics, including: being human, the art of persuasion, and the murky waters of process. Every day, people gather around conference tables, jump onto phone calls, draw on whiteboards, stare at computer monitors, and try to build things - we all create. Increasingly, what we create is something digital. From apps to web sites, and from emails to video games, often the sole evidence of an experience appears on an illuminated screen. We design tiny worlds that thrive or perish at the whim of a device's on/off button. With this book you will be ready. What You'll Learn Master the fundamentals of UX Acquire the skills to participate intelligently in discussions about UX design and research Understand how UX impacts business, including product, pricing, placement, and promotion as well as security, speed, and privacy Who This Book Is For Professionals who work alongside UX designers and researchers, including but not limited to: project managers, graphic designers, copyeditors, developers, and human resource professionals; and business, marketing, and computer science students seeking to understand how UX affects human cognition and memory, product pricing and promotion, and software security and privacy.

An examination of the ways in which the artists and writers of the 1940s developed and extended approaches from earlier English romanticism to provide a direct and compassionate response to the reality of contemporary destruction.

The period between the Revolution of 1917 and Stalin's coming to power in the early 1930s was one of the most exciting for all branches of the arts in Russia. This study tries to show how the diversity of the Soviet arts of the 1920s continued the major trends of the pre-Revolutionary years.

Ten amazing curves personally selected by one of today's most important math writers Curves for the Mathematically Curious is a thoughtfully curated collection of ten mathematical curves, selected by Julian Havil for their significance, mathematical interest, and beauty. Each chapter gives an account of the history and definition of one curve, providing a glimpse into the elegant and often surprising mathematics involved in its creation and evolution. In telling the ten stories, Havil introduces many mathematicians and other innovators, some whose fame has withstood the passing of years and others who have slipped into comparative obscurity. You will meet Pierre Bezier, who is known for his ubiquitous and eponymous curves, and Adolphe Quetelet, who trumpeted the ubiquity of the normal curve but whose name now hides behind the modern body mass index. These and other ingenious thinkers engaged with the challenges, incongruities, and insights to be found in these remarkable curves-and now you can share in this adventure. Curves for the Mathematically Curious is a rigorous and enriching mathematical experience for anyone interested in curves, and the book is designed so that readers who choose can follow the details with pencil and paper. Every curve has a story worth telling.

Walead Beshty is a carefully curated guide to key bodies of work by the acclaimed conceptual artist presented in collaboration with Thomas Dane Gallery in London, Turin and Naples. One of today’s leading conceptual artists, Los Angeles-based Walead Beshty (b. 1976, London) works across photography, sculpture and words. Beshty’s art is expansive and best described as an ongoing conversation, to which this monograph is his next articulation. Through a deconstructing lens, Walead Beshty explores every exhibition and project the artist has presented in collaboration with Thomas Dane Gallery in London, Turin and Naples. The monograph offers a guide to some of the artist’s key bodies of work. Uncovering processes is central to Beshty’s art. He deliberately incorporated marks made by oxidation and human touch into his FedEx copper works and Copper Surrogate works, as well as photographing the many individuals involved in his exhibitions in Industrial Portraits. The work that has gone into this substantial new monograph, which features contributions from publisher Francis Atterbury, book designer Billie Temple and Thomas Dane partner Francois Chantala, is, quite literally, laid bare. Also presented is an insightful essay by leading professor of Juridical Sociology at Univer¬sity of Campania Luigi Vanvitelli, Carlo De Rita. Adopting a semiotic approach to books as ‘not just a thing you hold, but something held in common’, Walead Beshty embraces the archetypal format, tropes and conventions of a traditional – if unorthodox – book, employing printing and publishing practices seldom seen in contemporary bookmaking. It reflects on what an artist’s monograph might represent as it explores the contingencies that allow art to function. Walead Beshty is itself another carefully curated exhibition of his work.