We live in an image society. Since the turn of the 20th century if not earlier, Americans have been awash in a sea of images throughout the visual landscape. We have become highly image-conscious, attuned to first impressions and surface appearances, and deeply concerned with our own personal images – our looks, reputations, and the impressions we make on others. The advent of this image-consciousness has been a familiar subject of commentary by social and cultural historians, yet its legal implications have not been explored. This article argues that one significant legal consequence of the image society was the evolution of an area of law that I describe as the tort law of personal image. By the 1950s, a body of tort law – principally the privacy, publicity, and emotional distress torts, and a modernized defamation tort – had developed to protect a right to control one’s image and to be compensated for emotional and dignitary harms caused by interference with one’s public image. This law of image produced the phenomenon of the personal image lawsuit, in which individuals sued to vindicate or redress their images. The rise of personal image litigation over the course of the 20th century was driven by Americans’ increasing sense of protectiveness and possessiveness towards their public images and reputations. This article offers an overview of the development of the image torts and personal image litigation in the United States. It offers a novel, alternative account of the history of tort law by linking it to developments in American culture. It explains how the law became a stage for, and participant in, the modern preoccupation with personal image, and how legal models of personhood and identity in turn transformed understandings of the self. Through legal claims for libel, invasions of privacy, and other assaults to the image, the law was brought, both practically and imaginatively, into popular fantasies and struggles over personal identity and self-presentation.

Americans have long been obsessed with their images—their looks, public personas, and the impressions they make. This preoccupation has left its mark on the law. The twentieth century saw the creation of laws that protect your right to control your public image, to defend your image, and to feel good about your image and public presentation of self. These include the legal actions against invasion of privacy, libel, and intentional infliction of emotional distress. With these laws came the phenomenon of "personal image litigation"—individuals suing to vindicate their image rights. Laws of Image tells the story of how Americans came to use the law to protect and manage their images, feelings, and reputations. In this social, cultural, and legal history, Samantha Barbas ties the development of personal image law to the self-consciousness and image-consciousness that has become endemic in our media-saturated culture of celebrity and consumerism, where people see their identities as intertwined with their public images. The laws of image are the expression of a people who have become so publicity-conscious and self-focused that they believe they have a right to control their images—to manage and spin them like actors, politicians, and rock stars.

This book formalizes and analyzes the relations between multiple views of a scene from the perspective of various types of geometries. A key feature is that it considers Euclidean and affine geometries as special cases of projective geometry. Over the last forty years, researchers have made great strides in elucidating the laws of image formation, processing, and understanding by animals, humans, and machines. This book describes the state of knowledge in one subarea of vision, the geometric laws that relate different views of a scene. Geometry, one of the oldest branches of mathematics, is the natural language for describing three-dimensional shapes and spatial relations. Projective geometry, the geometry that best models image formation, provides a unified framework for thinking about many geometric problems are relevant to vision. The book formalizes and analyzes the relations between multiple views of a scene from the perspective of various types of geometries. A key feature is that it considers Euclidean and affine geometries as special cases of projective geometry. Images play a prominent role in computer communications. Producers and users of images, in particular three-dimensional images, require a framework for stating and solving problems. The book offers a number of conceptual tools and theoretical results useful for the design of machine vision algorithms. It also illustrates these tools and results with many examples of real applications.

Easy Company withstood the German Advance at the Battle of the Bulge and dashed Hitler's last hope for stopping the Allies' advance. They were able to do it because their leaders embaraced the Law of the Picture.

Next Generation Indie Book Awards, Best Non Fiction 2019 National Indie Excellence Award Winner Nautilus Book Awards, Gold #1 Amazon Best Seller in Architecture History & Periods Amazon Best Seller in Art Subjects & Themes Seeing the World Through Shape How do humans make sense of the world? In answer to this timeless question, award winning documentary filmmaker, Lois Farfel Stark, takes the reader on a remarkable journey from tribal ceremonies in Liberia and the pyramids in Egypt, to the gravity-defying architecture of modern China. Drawing on her experience as a global explorer, Stark unveils a crucial, hidden key to understanding the universe: Shape itself. The Telling Image is a stunning synthesis of civilization’s changing mindsets, a brilliantly original perspective urging you to re-envision history not as a story of kings and wars but through the lens of shape. In this sweeping tour through time, Stark takes us from migratory humans, who imitated a web in round-thatched huts and stone circles, to the urban ladder of pyramids and skyscrapers, organized by hierarchy and measurements, to today’s world of interconnected networks. ​In The Telling Image Stark reveals how buildings, behaviors, and beliefs reflect humans’ search for pattern and meaning. We can read the past and glimpse the future by watching when shapes shift. Stark’s beautifully illustrated book asks of all its readers: See what you think.

An understanding of psychology—specifically the psychology behind how users behave and interact with digital interfaces—is perhaps the single most valuable nondesign skill a designer can have. The most elegant design can fail if it forces users to conform to the design rather than working within the "blueprint" of how humans perceive and process the world around them. This practical guide explains how you can apply key principles in psychology to build products and experiences that are more intuitive and human-centered. Author Jon Yablonski deconstructs familiar apps and experiences to provide clear examples of how UX designers can build experiences that adapt to how users perceive and process digital interfaces. You’ll learn: How aesthetically pleasing design creates positive responses The principles from psychology most useful for designers How these psychology principles relate to UX heuristics Predictive models including Fitts’s law, Jakob’s law, and Hick’s law Ethical implications of using psychology in design A framework for applying these principles

APlusPhysics: Your Guide to Regents Physics Essentials is a clear and concise roadmap to the entire New York State Regents Physics curriculum, preparing students for success in their high school physics class as well as review for high marks on the Regents Physics Exam. Topics covered include pre-requisite math and trigonometry; kinematics; forces; Newton's Laws of Motion, circular motion and gravity; impulse and momentum; work, energy, and power; electrostatics; electric circuits; magnetism; waves; optics; and modern physics. Featuring more than five hundred questions from past Regents exams with worked out solutions and detailed illustrations, this book is integrated with the APlusPhysics.com website, which includes online question and answer forums, videos, animations, and supplemental problems to help you master Regents Physics essentials. "The best physics books are the ones kids will actually read." Advance Praise for APlusPhysics Regents Physics Essentials: "Very well written... simple, clear engaging and accessible. You hit a grand slam with this review book." -- Anthony, NY Regents Physics Teacher. "Does a great job giving students what they need to know. The value provided is amazing." -- Tom, NY Regents Physics Teacher. "This was tremendous preparation for my physics test. I love the detailed problem solutions." -- Jenny, NY Regents Physics Student. "Regents Physics Essentials has all the information you could ever need and is much easier to understand than many other textbooks... it is an excellent review tool and is truly written for students." -- Cat, NY Regents Physics Student

Since at least the Middle Ages, the laws of war have distinguished between combatants and civilians under an injunction now formally known as the principle of distinction. The principle of distinction is invoked in contemporary conflicts as if there were an unmistakable and sure distinction to be made between combatant and civilian. As is so brutally evident in armed conflicts, it is precisely the distinction between civilian and combatant, upon which the protection of civilians is founded, cannot be taken as self-evident or stable. Helen M. Kinsella documents that the history of international humanitarian law itself admits the difficulty of such a distinction. In The Image before the Weapon, Kinsella explores the evolution of the concept of the civilian and how it has been applied in warfare. A series of discourses—including gender, innocence, and civilization—have shaped the legal, military, and historical understandings of the civilian and she documents how these discourses converge at particular junctures to demarcate the difference between civilian and combatant. Engaging with works on the law of war from the earliest thinkers in the Western tradition, including St. Thomas Aquinas and Christine de Pisan, to contemporary figures such as James Turner Johnson and Michael Walzer, Kinsella identifies the foundational ambiguities and inconsistencies in the principle of distinction, as well as the significant role played by Christian concepts of mercy and charity. She then turns to the definition and treatment of civilians in specific armed conflicts: the American Civil War and the U.S.-Indian wars of the nineteenth century, and the civil wars of Guatemala and El Salvador in the 1980s. Finally, she analyzes the two modern treaties most influential for the principle of distinction: the 1949 IV Geneva Convention Relative to the Protection of Civilian Persons in Times of War and the 1977 Protocols Additional to the 1949 Conventions, which for the first time formally defined the civilian within international law. She shows how the experiences of the two world wars, but particularly World War II, and the Algerian war of independence affected these subsequent codifications of the laws of war. As recognition grows that compliance with the principle of distinction to limit violence against civilians depends on a firmer grasp of its legal, political, and historical evolution, The Image before the Weapon is a timely intervention in debates about how best to protect civilian populations.

Metaphysicians speak of laws of nature in terms of necessity and universality; scientists do so in terms of symmetry and invariance. This book argues that no metaphysical account of laws can succeed. The author analyses and rejects the arguments that there are laws of nature, or that we must believe that there are. He argues that we should discard the idea of law as an inadequate clue to science. After exploring what this means for general epistemology, the book develops the empiricist view of science as a construction of models to represent the phenomena. Concepts of symmetry, transformation, and invariance illuminate the structure of such models. A central role is played in science by symmetry arguments, and it is shown how these function also in the philosophical analysis of probability. The advocated approach presupposes no realism about laws or necessities in nature.

University Physics is a three-volume collection that meets the scope and sequence requirements for two- and three-semester calculus-based physics courses. Volume 1 covers mechanics, sound, oscillations, and waves. Volume 2 covers thermodynamics, electricity and magnetism, and Volume 3 covers optics and modern physics. This textbook emphasizes connections between between theory and application, making physics concepts interesting and accessible to students while maintaining the mathematical rigor inherent in the subject. Frequent, strong examples focus on how to approach a problem, how to work with the equations, and how to check and generalize the result. The text and images in this textbook are grayscale.