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List for March 7, 1844, is the list for September 10, 1842, amended in manuscript.
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Diagrams 2000 is dedicated to the memory of Jon Barwise. Diagrams 2000 was the ?rst event in a new interdisciplinary conference series on the Theory and Application of Diagrams. It was held at the University of Edinburgh, Scotland, September 1-3, 2000. Driven by the pervasiveness of diagrams in human communication and by the increasing availability of graphical environments in computerized work, the study of diagrammatic notations is emerging as a research ?eld in its own right. This development has simultaneously taken place in several scienti?c disciplines, including, amongst others: cognitive science, arti?cial intelligence, and computer science. Consequently, a number of di?erent worksho...
This is an open access book. Time is an exceptional dimension with high relevance in medicine, engineering, business, science, biography, history, planning, or project management. Understanding time-oriented data via visual representations enables us to learn from the past in order to predict, plan, and build the future. This second edition builds upon the great success of the first edition. It maintains a brief introduction to visualization and a review of historical time-oriented visual representations. At its core, the book develops a systematic view of the visualization of time-oriented data. Separate chapters discuss interaction techniques and computational methods for supporting the vi...
Literature is ostensibly a sequential and thus temporal medium, and painting a static and spatial one; yet writers like George Sand and Emile Zola have attempted repeatedly to represent visual and spatial phenomena in literary texts, just as painters like Eugene Delacroix and Claude Monet have sought consistently to capture effects of time and movement on canvas. The incorporation of elements from one artistic medium into another creates a dynamic interplay of image and ideology, both between art forms and within individual texts and paintings, which constitutes the crux of this book. Each chapter involves the detailed analysis of a text and a painting, related through topic, theme, and technique. By juxtaposing the works of ten major writers and ten painters of comparable stature, the book explores the various modalities and layers of meaning in nineteenth-century French art, both verbal and visual, and proposes ways of reading the ambivalent artifacts of "modernity." Illustrated.