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The first comprehensive intellectual history of alphabet studies.
Inventing the Alphabet provides the first account of two-and-a-half
millennia of scholarship on the alphabet. Drawing on decades of
research, Johanna Drucker dives into sometimes obscure and esoteric
references, dispelling myths and identifying a pantheon of
little-known scholars who contributed to our modern understandings
of the alphabet, one of the most important inventions in human
history. Beginning with Biblical tales and accounts from antiquity,
Drucker traces the transmission of ancient Greek thinking about the
alphabet's origin and debates about how Moses learned to read. The
book moves through the centuries, finishing with contemporary
concepts of the letters in alpha-numeric code used for global
communication systems. Along the way, we learn about magical and
angelic alphabets, antique inscriptions on coins and artifacts, and
the comparative tables of scripts that continue through the
development of modern fields of archaeology and paleography. This
is the first book to chronicle the story of the intellectual
history through which the alphabet has been "invented" as an object
of scholarship.
Throughout the 20th century, there were increasing numbers of
artists who chose to work within a fine art aesthetic (i.e.,
expressive, communicative, innovative, unique) while simultaneously
embracing qualities associated with craft production (i.e.,
intimacy, materiality, labor, ritual). At the periphery of their
world loomed issues of status, gender, community, and economics.
This fluid situation made for an exciting mix of ideas that helped
perpetuate an ongoing debate within an art world no longer as
monothematic as it appeared in print. Objects and Meaning expands
upon a national conversation questioning how various academic
disciplines and cultural institutions approach and assign meaning
to artist-made objects in postmodern North America. Although most
of the discourse since the mid 20th century revolved around the
split between art and craft, the contributors to this collection of
essays take a broader view, examining the historical, cultural, and
theoretical perspectives that defined the parameters of that
conversation. Their focus is on issues concerning works that
appeared to 'cross over' from mainstream art to an amorphous and
pluralistic aesthetic milieu that has yet to be defined. The essays
collected for this volume, loosely organized into three
groupings_Historical Contexts, Cultural Systems, and Theoretical
Frames_contribute to a deeper understanding of the meaning of
objects and how that meaning comes to be defined. Although the
style of writing in this collection ranges from passionate
conviction to cool observation with points of view from different
professional backgrounds, each essay reflects original ideas
introduced into the cultural dialogue during this period.
The Digital Humanities Coursebook provides critical frameworks for
the application of digital humanities tools and platforms, which
have become an integral part of work across a wide range of
disciplines. Written by an expert with twenty years of experience
in this field, the book is focused on the principles and
fundamental concepts for application, rather than on specific tools
or platforms. Each chapter contains examples of projects, tools, or
platforms that demonstrate these principles in action. The book is
structured to complement courses on digital humanities and provides
a series of modules, each of which is organized around a set of
concerns and topics, thought experiments and questions, as well as
specific discussions of the ways in which tools and platforms work.
The book covers a wide range of topics and clearly details how to
integrate the acquisition of expertise in data, metadata,
classification, interface, visualization, network analysis, topic
modeling, data mining, mapping, and web presentation with issues in
intellectual property, sustainability, privacy, and the ethical use
of information. Written in an accessible and engaging manner, The
Digital Humanities Coursebook will be a useful guide for anyone
teaching or studying a course in the areas of digital humanities,
library and information science, English, or computer science. The
book will provide a framework for direct engagement with digital
humanities and, as such, should be of interest to others working
across the humanities as well.
The Digital Humanities Coursebook provides critical frameworks for
the application of digital humanities tools and platforms, which
have become an integral part of work across a wide range of
disciplines. Written by an expert with twenty years of experience
in this field, the book is focused on the principles and
fundamental concepts for application, rather than on specific tools
or platforms. Each chapter contains examples of projects, tools, or
platforms that demonstrate these principles in action. The book is
structured to complement courses on digital humanities and provides
a series of modules, each of which is organized around a set of
concerns and topics, thought experiments and questions, as well as
specific discussions of the ways in which tools and platforms work.
The book covers a wide range of topics and clearly details how to
integrate the acquisition of expertise in data, metadata,
classification, interface, visualization, network analysis, topic
modeling, data mining, mapping, and web presentation with issues in
intellectual property, sustainability, privacy, and the ethical use
of information. Written in an accessible and engaging manner, The
Digital Humanities Coursebook will be a useful guide for anyone
teaching or studying a course in the areas of digital humanities,
library and information science, English, or computer science. The
book will provide a framework for direct engagement with digital
humanities and, as such, should be of interest to others working
across the humanities as well.
"A Fresh Look at the History of Graphic Design"" ""Graphic Design
History, 2nd" edition is a critical approach to the history of
graphic design. Organized chronologically, the book demonstrates
the connection to the current practices of graphic arts, visual
expression, and design with its engaging narrative and special
features. With new images, chapter revisions, and features like
Tools of the Trade, the authors stay true to connecting what
designers do every day to a history of innovative graphic forms and
effects. The MySearchLab with eText provides students and
professors a new and exciting way to view "Graphic Design History."
Instructor PowerPoints featuring nearly all of the images from the
text make class preparation easier than ever with this new edition.
A better teaching and learning experienceThis program will provide
a better teaching and learning experience- for you and your
students. Here's how:
- "Personalize Learning" -- The new MySearchLab delivers proven
results in helping students succeed, provides engaging experiences
that personalize learning, and comes from a trusted partner with
educational expertise and a deep commitment to helping students and
instructors achieve their goals.
- "Improve Critical Thinking "-- Chapters are framed by critical
issues and historical themes so that students can fully grasp an
understanding of the history of graphic design.
- "Engage Students "-- Timelines and images with detailed
captions easily highlight relevant information for students.
- "Support Instructors "-- New MySearchLab with eText and high
resolution PowerPoint are available for this text.
Note: MySearchLab with eText does not come automatically packaged
with this text. To purchase MySearchLab with eText, please visit
www.mysearchlab.com or you can purchase a ValuePack of the text +
MySearchLab with eText (at no additional cost).ValuePack ISBN-10:
0205867715 / ValuePack ISBN-13: 9780205867714
In our current screen-saturated culture, we take in more
information through visual means than at any point in history. The
computers and smart phones that constantly flood us with images do
more than simply convey information. They structure our
relationship to information through graphical formats. Learning to
interpret how visual forms not only present but produce knowledge,
says Johanna Drucker, has become an essential contemporary skill.
Graphesis provides a descriptive critical language for the analysis
of graphical knowledge. In an interdisciplinary study fusing
digital humanities with media studies and graphic design history,
Drucker outlines the principles by which visual formats organize
meaningful content. Among the most significant of these formats is
the graphical user interface (GUI)--the dominant feature of the
screens of nearly all consumer electronic devices. Because so much
of our personal and professional lives is mediated through visual
interfaces, it is important to start thinking critically about how
they shape knowledge, our behavior, and even our identity.
Information graphics bear tell-tale signs of the disciplines in
which they originated: statistics, business, and the empirical
sciences. Drucker makes the case for studying visuality from a
humanistic perspective, exploring how graphic languages can serve
fields where qualitative judgments take priority over quantitative
statements of fact. Graphesis offers a new epistemology of the ways
we process information, embracing the full potential of visual
forms and formats of knowledge production.
A captivating portrait of futurist artist Iliazd infused with the
reflections of his accidental biographer on the stickiness of the
genre. The poet Ilia Zdanevich, known in his professional life as
Iliazd, began his career in the pre-Revolutionary artistic circles
of Russian futurism. By the end of his life, he was the publisher
of deluxe limited edition books in Paris. The recent subject of
major exhibitions in Moscow, his native Tbilisi, New York, and
other venues, the work of Iliazd has been prized by bibliophiles
and collectors for its exquisite book design and innovative
typography. Iliazd collaborated with many major figures of modern
art-Pablo Picasso, Sonia Delaunay, Max Ernst, Joan Miro, Natalia
Goncharova, and Mikhail Larionov, among others. His 1949 anthology,
The Poetry of Unknown Words, was the first international anthology
of experimental visual and sound poetry ever published. The list of
contributors is a veritable "Who's Who" of avant-garde writing and
visual art. And Iliazd's unique hands-on engagement with book
production and design makes him the ideal case study for
considering the book as a modern art form. Iliazd is the first
full-length biography of the poet-publisher, as well as the first
comprehensive English-language study of his life and work. Johanna
Drucker weaves two stories together: the history of Iliazd's work
as a modern artist and poet, and the narrative of the author's
encounter with his widow and other figures in the process of
researching his biography. Drucker's reflection on what a
biographical project entails addresses questions about the
relationship between documentary evidence and narrative, between
contemporary witnesses and retrospective accounts. Ultimately,
Drucker asks how we should understand the connection between the
life of an artist and their work. Enriched with photographs from
the Iliazd archive and a wealth of primary documents, the book is a
vivid account of a unique contributor to modernism-and to the way
we continue to reevaluate the history of twentieth-century culture.
Accounts of Drucker's research during the mid-1980s in the personal
archive of Madame Helene Zdanevich, the poet's widow, lend the
narrative an incredible intimacy. Drucker recounts how, sitting in
the studio that Iliazd occupied from the late 1930s until his death
in 1975, she was drawn into the circle of scholars who had made him
their focus and were doing foundational work on his significance.
She also coped with the difference between the widow's view of the
artist as a man she loved and Drucker's own perception of Iliazd's
significance within a critical approach to history. Iliazd is at
once a rich study of a significant figure and a thoughtful
reflection on the way a biography creates an encounter with its
always absent subject.
Early in this century, Futurist and Dada artists developed
brilliantly innovative uses of typography that blurred the
boundaries between visual art and literature. In this text, Johanna
Drucker shows how later art criticism has distorted our
understanding of such works. She argues that Futurist, Dadaist, and
Cubist artists emphasized materiality as the heart of their
experimental approach to both visual and poetic forms of
representation; by mid-century, however, the tenets of New
Criticism and High Modernism had polarized the visual and the
literary. Drucker suggests a methodology closer to the actual
practices of the early avant-garde artists, based on a re-reading
of their critical and theoretical writings. After reviewing
theories of signification, the production of meaning, and
materiality, she analyzes the work of four poets active in the
typographic experimentation of the 1910s and 1920s: Ilia Zdanevich,
Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara.
"Theorizing Modernism" is a re-reading of the modernist
tradition in the visual arts that provides a unique view of the
history of modern art and art criticism.
Concentrating on canonical critical texts and images, the book
examines modern art through a rhetoric of representation rather
than through formalist criticism or the history of the
avant-garde.
An analysis of visual epistemology in the digital humanities, with
attention to the need for interpretive digital tools within
humanities contexts.In the several decades since humanists have
taken up computational tools, they have borrowed many techniques
from other fields, including visualization methods to create
charts, graphs, diagrams, maps, and other graphic displays of
information. But are these visualizations actually adequate for the
interpretive approach that distinguishes much of the work in the
humanities? Information visualization, as practiced today, lacks
the interpretive frameworks required for humanities-oriented
methodologies. In this book, Johanna Drucker continues her
interrogation of visual epistemology in the digital humanities,
reorienting the creation of digital tools within humanities
contexts. Drucker examines various theoretical understandings of
visual images and their relation to knowledge and how the specifics
of the graphical are to be engaged directly as a primary means of
knowledge production for digital humanities. She draws on work from
aesthetics, critical theory, and formal study of graphical systems,
addressing them within the specific framework of computational and
digital activity as they apply to digital humanities. Finally, she
presents a series of standard problems in visualization for the
humanities (including time/temporality, space/spatial relations,
and data analysis), posing the investigation in terms of innovative
graphical systems informed by probabilistic critical hermeneutics.
She concludes with a final brief sketch of discovery tools as an
additional interface into which modeling can be worked.
Johanna Drucker's sweet dream is for a new and more positive
approach to contemporary art. Calling for a revamping of the
academic critical vocabulary used to discuss art into one more
befitting current creative practices, Drucker argues that
contemporary art is fully engaged with material culture--yet still
struggling to escape the oppositional legacy of the early
twentieth-century avant-garde. Drucker shows that artists today are
aware of working within the ideologies of mainstream culture and
have replaced avant-garde defiance with eager complicity. Finding
their materials at flea markets or exploring celebrity culture,
contemporary artists have created a vibrantly participatory
movement that exudes enthusiasm and affirmation--all while critics
continue to cling to an outmoded vocabulary of opposition and
radical negativity that defined modernism's avant-garde. At the
cutting edge of new media research, Drucker surveys a wide range of
exciting contemporary artists, demonstrating their clear departure
from the past and petitioning viewers and critics to shift their
terms and sensibilities as well. Sweet Dreams is a testament to the
creative processes and self-conscious heterogeneity of art today as
well as a revolutionary effort to solicit collaboration that will
encourage the production of imaginative thought and contribute to
contemporary life.
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Digital_Humanities (Paperback)
Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd Presner, Jeffrey Schnapp
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R918
Discovery Miles 9 180
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Ships in 10 - 15 working days
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A visionary report on the revitalization of the liberal arts
tradition in the electronically inflected, design-driven,
multimedia language of the twenty-first century. Digital_Humanities
is a compact, game-changing report on the state of contemporary
knowledge production. Answering the question "What is digital
humanities?," it provides an in-depth examination of an emerging
field. This collaboratively authored and visually compelling volume
explores methodologies and techniques unfamiliar to traditional
modes of humanistic inquiry-including geospatial analysis, data
mining, corpus linguistics, visualization, and simulation-to show
their relevance for contemporary culture. Written by five leading
practitioner-theorists whose varied backgrounds embody the
intellectual and creative diversity of the field,
Digital_Humanities is a vision statement for the future, an
invitation to engage, and a critical tool for understanding the
shape of new scholarship.
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