This book comprises what may be called exercises in 'comparative cinema'. Its focus on endings, near-endings and 'late style' is connected with the author's argument that comparative criticism itself may constitute an endgame of criticism, arising at the moment at which societies or individuals relinquish primary adherence to one tradition or medium. The comparisons embrace different works and artistic media and primarily concern works of literature and film, though they also consider issues raised by the interrelationship of language and moving and still images, as well as inter- and intra-textuality. The works probed most fully are ones by Theo Angelopoulos, Ingmar Bergman, Harun Farocki, Theodor Fontane, Henry James, Krzysztof Kieslowski, Chang-dong Lee, Roman Polanski, Thomas Pynchon, and Paul Schrader, while the key recurrent motifs are those of dusk, the horizon, the labyrinth, and the ruin.

Programming.Architecture is a simple and concise introduction to the history of computing and computational design, explaining the basics of algorithmic thinking and the use of the computer as a tool for design and architecture.

Paul Coates, a pioneer of CAAD, demonstrates algorithmic thinking through projects and student work collated through his years of teaching students of computing and design. The book takes a detailed and practical look at what the techniques and philosophy of coding entail, and gives the reader many "glimpses under the hood" in the form of code snippets and examples of algorithms.

This is essential reading for student and professional architects and designers interested in how the development of computers has influenced the way we think about, and design for, the built environment.

Cinema, Religion and the Romantic Legacy surveys the ways in which notions of religion and spirituality have impinged upon the cinema. Cinema is conceived as a post-Romantic form for which religion and spirituality can be unified only problematically. While inspecting many of the well-established themes and topoi of writing on religion and film (such as films about priests and 'Christ-figures') it also seeks to problematize them, focusing primarily upon the issues of religious representation foregrounded by such European directors as Kieslowski and Godard. Coates draws on theories of theologians, philosophers and cultural and literary critics including: Otto, Kant, Schiller and Girard. Addressing the relationship between religion and spirituality from a film studies specialist's perspective, this book offers all those concerned with film, media or religious studies an invaluable examination of artistic interaction with the theological and aesthetic issues of representation and representability. Paul Coates is Reader in Film Studies at the University of Aberdeen, Scotland, and author of many books including: The Gorgon's Gaze (CUP), Film at the Intersection of High and Mass Culture (CUP), The Story of the Lost Reflection (Verso).

This book is an important study in the philosophy of the mind; drawing on the work of philosopher Wilfrid Sellars and the theory of critical realism to develop a novel argument for understanding perception and metaphysics.

This book challenges contemporary direct realist theories of perception and defends a version of the causal theory that the author locates in the critical realist tradition of which Wilfrid Sellars is the main recent exponent. The author highlights the difficulties direct realists face in providing a coherent positive account of their view. He develops an analysis of perceptual experience derived from the later writings of Sellars. According to this account experience involves both low-level concepts and a distinct sensory component. This view makes sense of the various notions of nonconceptual content appealed to in current discussion, and provides, in addition, solutions to the conceptual problems raised by recent experimental work on attention and change-blindness. An important feature of this theory is the dynamic navigational account of perception and action, which points to an underlying continuity between common sense, scientific and philosophical accounts of perceiving.

Programming.Architecture is a simple and concise introduction to the history of computing and computational design, explaining the basics of algorithmic thinking and the use of the computer as a tool for design and architecture.

Paul Coates, a pioneer of CAAD, demonstrates algorithmic thinking through projects and student work collated through his years of teaching students of computing and design. The book takes a detailed and practical look at what the techniques and philosophy of coding entail, and gives the reader many "glimpses under the hood" in the form of code snippets and examples of algorithms.

This is essential reading for student and professional architects and designers interested in how the development of computers has influenced the way we think about, and design for, the built environment.

Dive into game development and create great multiplayer online games with Pro Android Web Game Apps. This hands-on guide covers both the theory and practice of browser game development for the Android platform. You'll use cutting-edge technologies to make game engines in your browser, establish real-time server communication, and create amazing gaming experiences with artificial intelligence and rich media. Bring your knowledge of HTML and JavaScript to the next level with Pro Android Web Game Apps. You are guided through exciting projects that give you firsthand experience with core game app development concepts. You'll start with a blank HTML page, and by the end of the book, have the skills needed to create a multiplayer online game with rich graphics, sound, animation, and more-even if you have no previous games development or server-side experience.

Film at the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayistic speculative tradition of Walter Benjamin and Thedor Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such film makers as Neil Jordan, Chris Marker and Georges Franju. This work also reflects on kitsch, the star system, racial and gender stereotypes and the nature of audience participation. While defining the conditions under which the symbiotic relationship between high and mass culture can be cross-fertilising, the study stresses their inevitably contradictory characteristics.

The Gorgon's Gaze is an interdisciplinary study of recurrent themes in German cinema as it has developed since the early twentieth century. Focusing on pertinent films of the pre- and post-World War II eras, Paul Coates explores the nature of expressionism, which is generally agreed to have ended with the advent of sound cinema, and its persistence in the styles of such modern masters of Film noir as Orson Welles and Ingmar Bergman. In considering the possibility of homologies between the necessary silence of pre-sound cinema and the widespread modernist aspiration to an aesthetic of silence, Coates relates theories of the sublime, the uncanny, and the monstrous to his subject. He also reflects upon problems of representability and the morality of representation of events that took place during the Nazi era.

The Gorgon's Gaze is an interdisciplinary study of recurrent themes in German cinema as it has developed since the early twentieth century. Focusing on pertinent films of the pre- and post-World War II eras, Paul Coates explores the nature of expressionism, which is generally agreed to have ended with the advent of sound cinema, and its persistence in the styles of such modern masters of Film noir as Orson Welles and Ingmar Bergman. In considering the possibility of homologies between the necessary silence of pre-sound cinema and the widespread modernist aspiration to an aesthetic of silence, Coates relates theories of the sublime, the uncanny, and the monstrous to his subject. He also reflects upon problems of representability and the morality of representation of events that took place during the Nazi era.

This book comprises what may be called exercises in 'comparative cinema'. Its focus on endings, near-endings and 'late style' is connected with the author's argument that comparative criticism itself may constitute an endgame of criticism, arising at the moment at which societies or individuals relinquish primary adherence to one tradition or medium. The comparisons embrace different works and artistic media and primarily concern works of literature and film, though they also consider issues raised by the interrelationship of language and moving and still images, as well as inter- and intra-textuality. The works probed most fully are ones by Theo Angelopoulos, Ingmar Bergman, Harun Farocki, Theodor Fontane, Henry James, Krzysztof Kieslowski, Chang-dong Lee, Roman Polanski, Thomas Pynchon, and Paul Schrader, while the key recurrent motifs are those of dusk, the horizon, the labyrinth, and the ruin.

Cinema and Colour: The Saturated Image is a major new critical study of the use of colour in cinema. Using the dialectic of colour and monochrome as a starting point, Paul Coates explores the symbolic meanings that colour bears in different cultures, and engages with a range of critical approaches to filmic colour, building on the work of such theorists as Sergei Eisenstein, Rudolf Arnheim and Stanley Cavell. Coates also provides close analyses of films by directors such as Antonioni, Bergman, Godard, Hitchcock, Hou Hsiao-Hsien, Sirk, Kieslowski, Tarkovsky, Von Trier and Zhang Yimou. Coates' focus is on films that deliberately exploit the rich multiplicity of cultural meanings and associations ascribed to colour, including All That Heaven Allows, Deux ou trois choses que je sais d'elle, The Double Life of Veronique, The Flight of the Red Balloon, Red Desert, Schindler's List, Silent Light, Solaris, The Three Colours Trilogy and The Wizard of Oz.

What are phenomenal qualities, the qualities of conscious experiences? How do the phenomenal aspects of conscious experiences relate to brain processes? To what extent do experiences represent the things around us, or the states of our own bodies? Are phenomenal qualities subjective, belonging to inner mental episodes of some kind, and merely dependent on our brains? Or should they be seen as objective, belonging in some way to the physical things in the world around us? Are they physical properties at all? The problematic nature of phenomenal qualities makes it hard to understand how the mind is related to the physical world. There is no settled view about these issues, which concern some of the deepest, and most central, problems in philosophy. Fourteen original papers, written by a team of distinguished philosophers and psychologists and set in context by a full introduction, explore the ways in which phenomenal qualities fit in with our understanding of mind and reality. The topics covered include: phenomenal concepts, the relation of sensory qualities to the modalities, the limits of current theories about physical matter; problems about the nature of perceptual experience, projectivism, and the extent to which perception is direct; non-conceptual content, the representational nature of pain experience, and the phenomenology of thought; and issues relating to empirical work on synaesthesia, psychological theories of attention, and prospects for unifying the phenomenal array with neurophysiological accounts of the brain. This volume offers an indispensable resource for anyone wishing to understand the nature of conscious experience.

"The Red and the White: The Cinema of People's Poland" takes a fascinating look at the history of Polish cinema from 1945 to 1989. Exploring how Poland was affected by the political, social and cultural upheavals throughout those eras. Poland has produced a number of successful and highly regarded directors. Paul Coates pays particular attention to the work of Krzysztof Kieslowski and Andrzej Wajda while placing them within the wider context of Polish cinema. This volume includes unique primary archival research into the role of state-sponsored censorship and coverage of Polish-Jewish representations in film. Films discussed include Europa, Europa, Eroica, Ashes and Diamonds, and Decalogue Eight.

Cinema and Colour: The Saturated Image is a major new critical study of the use of colour in cinema. Using the dialectic of colour and monochrome as a starting point, Paul Coates explores the symbolic meanings that colour bears in different cultures, and engages with a range of critical approaches to filmic colour, building on the work of such theorists as Sergei Eisenstein, Rudolf Arnheim and Stanley Cavell. Coates also provides close analyses of films by directors such as Antonioni, Bergman, Godard, Hitchcock, Hou Hsiao-Hsien, Sirk, Kieslowski, Tarkovsky, Von Trier and Zhang Yimou. Coates' focus is on films that deliberately exploit the rich multiplicity of cultural meanings and associations ascribed to colour, including All That Heaven Allows, Deux ou trois choses que je sais d'elle, The Double Life of Veronique, The Flight of the Red Balloon, Red Desert, Schindler's List, Silent Light, Solaris, The Three Colours Trilogy and The Wizard of Oz.

Cinema, Religion and the Romantic Legacy surveys the ways in which notions of religion and spirituality have impinged upon the cinema. Cinema is conceived as a post-Romantic form for which religion and spirituality can be unified only problematically. While inspecting many of the well-established themes and topoi of writing on religion and film (such as films about priests and 'Christ-figures') it also seeks to problematize them, focusing primarily upon the issues of religious representation foregrounded by such European directors as Kieslowski and Godard. Coates draws on theories of theologians, philosophers and cultural and literary critics including: Otto, Kant, Schiller and Girard. Addressing the relationship between religion and spirituality from a film studies specialist's perspective, this book offers all those concerned with film, media or religious studies an invaluable examination of artistic interaction with the theological and aesthetic issues of representation and representability. Paul Coates is Reader in Film Studies at the University of Aberdeen, Scotland, and author of many books including: The Gorgon's Gaze (CUP), Film at the Intersection of High and Mass Culture (CUP), The Story of the Lost Reflection (Verso).