‎HORTON IVOR‎
‎VISUAL C++ 6‎

‎School of Visual Arts - Senior Library 2004‎

‎New York, School of Visual Arts, 2004. 5 books In-4, cloth cover, flat spine with black dots indicating the order of the books. Book 5 has 4 black dots and a cross on the first cover. White box with a representation of the books printed in black and gold on one side, and a cut-out portrait and a cross drawn in vector on the other side. Information about the book on the back of the box. Each year the School of Visual Arts in New York prints in a limited edition of the works of the graduate students of the design and advertising department and one of the professors of the school is selected to create the book. These are often internationally renowned graphic designers who are professors at the School of Visual Arts in NYC and, as for the editions of the Types Director Club, it must be an honor for a graphic designer to be selected to direct this type of edition. In our opinion, the 2004 edition by Carin Goldberg is certainly the most remarkable and moving, especially since the graphic designer left us in 2023. The book number 5 offers a visual exploration of Goldberg's student life combining fonts, calligraphy, vector shapes and naive drawing. Creating a style that is unique to her and certainly inspiring for a whole generation of students. The other 4 books present the work of students, we read them as we visit a contemporary art exhibition, between concept and curiosity. You will find attached in one of the books a CD-rom presenting works in motion design. In 2004 we are at the very beginning of the expansion of this animation discipline in art schools under After Effect and Premier and the artistic styles are very marked by the graphic capabilities of software and computers. There are the effects of texture and typography movement characteristic of the 2000s. Books from the School of Visual Arts - Senior Library are very rare to find. The 2018 version designed by Pentagram: https://www.pentagram.com/work/school-of-visual-arts-senior-library-2018/story The 2008 version designed by Poulin: http://www.poulinmorris.com/projects/publication/Exposed_School_of_Visual_Arts_Senior_Library.html The 2016 version designed by Scott Buschkuhl: https://hinterlandstudio.com/project/school-of-visual-arts/ An interview with Carin Goldberg in which she talks about this edition: https://bookdesigners.com/blog/carin-goldberg-2016 Page on the website of the International Graphic Alliance dedicated to this book: https://a-g-i.org/design/school-of-visual-arts-senior-library-2004 Condition : the box is damaged on the corners of one side ----------------------------- 5 livres In-4, couverture en toile, dos plat avec des points noirs indiquants l’ordre des livres. Le livre 5 présente 4 points noirs et une croix sur le premier plat. Coffret blanc avec une représentation des livres imprimés en noir et or d’un coté, et un portrait découpé et une croix dessinée en vectoriel de l’autre coté. Informations du livre sur le dos du coffret. Chaque année la School of Visual Arts de New-York, imprime dans une édition limitée, les travaux des étudiants dîplomés du département design et publicité et l'un des professeurs de l'école est sélectionné pour créer le livre. Ce sont souvent des graphistes de renommée internationale qui sont professeurs à la School of Visual Arts de NYC et, au même titre que pour les éditions du Types Director Club, ces éditions sont très prestigieuses. De notre avis, l’édition de 2004 de Carin Goldberg et certainement la plus remarquable et la plus émouvante, d’autant plus que la graphiste nous a quitté en 2023. Le livre 5 propose une exploration visuelle de Goldberg sur la vie d'étudiant associant polices de caractère, calligraphies, formes vectorielles et dessin naifs. Créant un style qui lui est propre et certainement inspirant pour tout une génération d’étudiants. Les 4 autres livres présentent les travaux d’étudiants, on les lit comme on visite une exposition d’art contemporain, entre concept et curiosité. Vous trouverez joint dans un des livres un CD-rom présentant des travaux en motion design. En 2004 nous sommes au tout début de l’expansion de cette discipline d’animation en école d'art sous After Effect et Premier et les styles artistiques sont très marqués par les capacités graphiques des logiciels et des ordinateurs. On y retourves les effets de texture et de mouvement de typograpie caractéristiques des années 2000. Les livres de la School of Visual Arts - Senior Library sont très rares à trouver. L'édition 2018 designée par Pentagram: https://www.pentagram.com/work/school-of-visual-arts-senior-library-2018/story L'édition 2008 designée par Poulin: http://www.poulinmorris.com/projects/publication/Exposed_School_of_Visual_Arts_Senior_Library.html L'édition 2016 designée par Scott Buschkuhl: https://hinterlandstudio.com/project/school-of-visual-arts/ Une interview de Carin Goldberg dans lequel elle cite cette édition: https://bookdesigners.com/blog/carin-goldberg-2016 Page sur le site de l’Alliance Graphique Internationale dédiée à ce livre: https://a-g-i.org/design/school-of-visual-arts-senior-library-2004 État : des coins sont abîmés sur un des cotés de la boite‎

‎Theology, Modernity, and the Visual Arts‎

‎, Brepols, 2024 Hardback, 330 pages, Size:225 x 300 mm, Illustrations:78 col., Language: English. ISBN 9782503607122.‎

‎Summary In an increasingly visual age, images are the new lingua franca and Christian theology must ask how it can be 'spoken' with nuance and integrity. This book brings together theologians, biblical scholars, art historians, and curators to consider what questions about Christ and modernity might be posed by the visual arts, and what truths about Christ and modernity they might ask us to face. Its authors explore modern and contemporary artists from Pablo Picasso to Kent Monkman and Paul C zanne to Cornelia Parker, addressing questions of theory, practice, and interpretation. Their contributions are orientated by an enquiring and critical focus on how modern and contemporary visual art coexists with, counters, illuminates, and serves Christianity. TABLE OF CONTENTS Introduction Art with Christianity Thinking with Christianity: A Grammar of Doubt and Belief in Contemporary Art (Jonathan Anderson) The Right Eyes: Curating a Theology of Modernist Painting (Daniel A. Siedell) Making Pain Incarnate: An Iconophilic Interpretation of Pablo Picasso's Guernica (Christina Carnes Ananias) Secularization as Realization? (Johann H. Claussen) Art instead of Christianity Missionary Position: Kent Monkman and Christianity (Matthew J. Milliner) Monochromes and Monotheisms: An Apophatic Dialogue with Ad Reinhardt (Aaron Rosen) Lines of the Sacred: Toward a Heterology of Drawing (Jeremy Biles) Squinting at the Invisible: Spiritual Seeing and the Art of Michael Simpson (Jennifer Sliwka) Inheriting the Mantle: Modern and Contemporary Art as the Inheritor of the Prophetic and Apocalyptic Tradition (C.A. Strine) Art about Christianity How About...? R.G. Collingwood, T.J. Clark, and the Conditions of a Haveable World (Ben Quash) Scandalous Particularity: Visual Depictions of Jesus in Modern Art (Rebekah Eklund) Optical Allusions? Exploring the Ambiguity of Biblical Texts in Modern and Contemporary Art (Christine E. Joynes) A Search for Symbols and Images Adequate to Our Predicament (Neil MacGregor) Strange Flesh: The Body of the Risen Jesus in the Art of Edward Knippers (W. David O. Taylor) Art for Christianity Showing People Jesus: Sight and the Visual Arts at Canterbury (Felicity Harley-McGowan) Vision and Mission: Making Art for a World in Danger (Frances Spalding) Re-Visiting Creation (Chlo Reddaway) Bibliography Index‎

‎Sources of Color Science , (Timaeus - On the soul ii - Sense and the sensible 2 - Meteorologica iii - New theory about light and colors - Opticks - Theory of colors and vision - Theory of light - On the theory of light and colors - Theory of compound colors - Theory of the perception of colors - The diagram of colors - Theory of compound colors, and the relations of the colors of the spectrum - On color vision - Physiological optics - Contribution to the physiology of visual sensations - Chromatic adaptation - Influence of adaptation on the effects produced by luminous stimuli - The optics of trichromatic photography - Outline of a theory of color measurement of daylight vision - Thresholds of color differences - Some problems of visual perception - Interpretation of quantitative data in visual problems - Measurability of sensations of hue, brightness, or saturation - Retinal structure and color vision - Laminar pattern of the lateral geniculate nucleus considered in relation to color vision)‎

‎The MIT Press Malicorne sur Sarthe, 72, Pays de la Loire, France 1970 Book condition, Etat : Bon hardcover, editor's binding, under editor's pink printed dust-jacket grand In-8 1 vol. - 292 pages‎

‎a few black and white text-figures 1st edition, 1970 Contents, Chapitres : Contents, Preface, x, Text, 282 pages - Plato : Timaeus - Aristotle : On the soul ii - Sense and the sensible 2 - Meteorologica iii - Isaac Newton : New theory about light and colors - Opticks - George Palmer : Theory of colors and vision - Theory of light - Thomas Young : On the theory of light and colors - Hermann Günter Grassmann : Theory of compound colors - James Clerk Maxwell : Theory of the perception of colors - The diagram of colors - Theory of compound colors, and the relations of the colors of the spectrum - On color vision - Herman von Helmholtz : Physiological optics - Johannes von Kries : Contribution to the physiology of visual sensations - Chromatic adaptation - Influence of adaptation on the effects produced by luminous stimuli - Frederic Eugene Ives : The optics of trichromatic photography - Erwin Schrödinger : Outline of a theory of color measurement of daylight vision - Thresholds of color differences - John Guild : Some problems of visual perception - Interpretation of quantitative data in visual problems - Lewis Fry Richardson : Measurability of sensations of hue, brightness, or saturation - Stephen Polyak : Retinal structure and color vision - Sir Wilfried E. Le Gros Clark : Laminar pattern of the lateral geniculate nucleus considered in relation to color vision near fine copy, minor wear on the top of the dust-jacket, with very small missing of paper on the top of the spine, the D-J remains nearly complete and fine, inside is fine, no markings‎

‎The Perception of the Visual World. - [PRESENTATION-COPY OF THE MODERN CLASSIC ON PERCEPTION]‎

‎Boston, etc., Houghton Mifflin, 1950. 4to. Original reddish-brown full cloth with black lettering to spine and front board. A bit of wear to extremities. Several pencil-underlinings in the text (presuambly Postman's). XII, (2), 235, (1), (6, -index) pp. Richly illustrated throughout. With presentation-insription to front free end-paper, as well as Leo Postman's ownership signature.‎

‎Excellent presentation-copy of the first edition of the most important work on perception since Helmholtz, Gibson's seminal classic, in which he rejected the theory of behaviorism and pioneered the idea that animals ""sampled"" information from the ""ambient"" outside world. Inscribed to Gibson's close friend, professor of psychology Leo Postman, one of the most dominant theoreticians of human memory: ""To Leo Postman/ You know all this already/ Jim Gibson"". American psychologist James Jerome Gibson (1904 -1979) is considered one of the most important 20th century psychologists in the field of visual perception. His classic work from 1950, ""The Perception of the Visual World"", Revolutionized the way of understanding visual perception and was responsible for the turn away from the otherwise dominating behaviorism. It is in this, his pioneering main work, that he presents his revolutionizing idea of animals ""sampling"" information from the outside world that surrounds them.Gibson is also famous for coining the term ""affordance"", which is the quality of an object or an environment that allows for an individual to perform an action (- a for the time unusually Aristotelian way of viewing objects, an example would be a tie which ""affords"" tying, or a knob that ""affords"" twisting). As Gibson's theories in psychology in general, the concept of ""affordance"" has been extremely influential in a large variety of fields: perceptual psychology, cognitive psychology, environmental psychology, industrial design, human-computer interaction (HCI), interaction design, instructional design and artificial intelligence.""The principal subject of this book is the visual perception of space. The essential question to be asked is this: How do we see the world around us? The question is at once a theoretical one, a factual one, and a practical one. The theories to be considered have to do with the history of philosophy and psychology. The applications extend to art, aviation, photography, and mountain-climbing. This book, however, is not a historical survey of the problem, nor a record of existing facts, nor a discussion of the applications. The intention is to formulate a consistent approach to the problem - a way of getting new facts and making new applications. [...] The writer has elected to study psychophysics rather than psychophysiologybecause he believes that it offers the more promising approach in the present state of our knowledge. [...] A psychophysics may sound to some readers like a contradiction in terms. This book undertakes, however, to justify and make possible such a science. "" (Gibson, in the Preface, pp. (vii)-viii). As is seen from Gibson's own preface, he himself viewed the work as revolutionary, which Hochberg also notes in is piece on Gibson: ""I believe [the] book was the most important work on perception since that of Helmholtz's volume three of Physiological Optics, approximately a century earlier. It was a comprehensive approach to the perception of surfaces, things, and movement through the environment, promarily the outcome of his observations and thoughts about the visual task involved in flying and landing aircraft. [...] The book was clearly intended to initiate a revolutionary moment. I believe that intention has, just as clearly, been successful. Some forty years after its publication, the book is still widely cited and controversial, the direct source of substantial current experimental research, and the starting point for more extreme departures from what had been the established way of thinking about perception."" (Julian Hochberg, ""James Jerome Gibson"", in: National Academy of Sciences Biographical memoirs 63, 1994, pp. 155-6). ""LEO JOSEPH POSTMAN, professor emeritus of psychology and a dominant figure in the study of human memory, died on April 22, 2004, of heart failure at his home in Marblehead, Massachusetts. He was 85.Postman was ""a major theoretician in the development of the theory of forgetting,"" said friend and colleague Donald Riley, professor emeritus of psychology. ""His contributions were monumental."" Postman was listed in a 2002 article in the Review of General Psychology as one of the 100 most eminent psychologists of the last century. ""Within the field of human memory, the range of his contributions has been vast,"" wrote one of his former students, Geoffrey Keppel, professor emeritus of psychology, in recommending Postman for the Berkeley Citation. Postman received the award, the highest honor given to University of California, Berkeley faculty and staff, upon his retirement in 1987.In 1961, Postman founded the Institute of Human Learning at Berkeley, which lives on today as the Institute for Cognitive and Brain Sciences, a center devoted to an interdisciplinary study of the mind and the brain.Postman primarily studied perception, learning, and memory. He participated in the beginnings of the ""new look"" school of perception that emphasized the role of cognitive factors such as emotions and expectations in determining what people perceive.His main interest, however, was forgetting. Based on studies he began in 1958, he became known as the principal spokesman for and architect of modern interference theory, the only comprehensive account of forgetting that exists today. The theory, Keppel wrote, holds that forgetting is the result of interference from a variety of sources, including past memories, various aspects of the current memory, and new memories acquired subsequently-that is, a dynamic interaction of the entire memory system, past and present. Postman was sensitive to the weaknesses of the theory, and spent the last part of his career investigating the mechanisms that conserve memory in the face of interference. Much of this research was conducted at the institute he founded and directed until 1977.Postman, who served as chair of the Department of Psychology for several years in the late 1950s, had a reputation for excellence in teaching, emphasizing clarity and organization.Born June 7, 1918, in St. Petersburg, Russia, Postman moved at an early age to New York City, obtaining his B.S. from the College of the City of New York in 1943 and his Ph.D. from Harvard University in 1946. He taught at Harvard from 1946 until 1950, interrupted by one year at Indiana University, and joined the Berkeley faculty in 1950.In his first years at Berkeley, Postman was recognized nationally as a major figure in the field of perception and the role of motivation in perception. His research shifted, however, and he embarked on a long series of studies on learning with and without the intent to learn (the latter being what is referred to as incidental learning). He later switched to the study of forgetting, which he pursued until his retirement.A member of the National Academy of Sciences and the American Psychological Association, he also served in 1968 as president of the Western Psychological Association, and in 1974 received the Warren Medal of the Society of Experimental Psychologists for outstanding achievement in experimental psychology."" (Robert Sanders, ""In Memoriam. Leo Postman""). ‎

‎Laus ADGFAD. 2. Disseny Grafic i Comunicacio Visual. Diseno Grafico y Comunicacion Visual. Graphic Design and Visual Communication.‎

‎Barcelona: ADGFAD, s. d. [1983] in-4, 307 pages, très nombreuses illustrations. Cartonnage d'éd., très bon état. Deuxième édition de l'association ADGFAD contenant une sélection de travaux de design et de publicité présentés pour les prix LAUS. Textes catalan, espagnol et anglais.‎

‎Laus ADGFAD. 2. Disseny Grafic i Comunicacio Visual. Diseno Grafico y Comunicacion Visual. Graphic Design and Visual Communication. (Barcelona: ADGFAD, s. d. [1983]). [M.C.: design, publicité, graphisme, affiches, Espagne]‎