History of the Book in America: Volume 4: Print in Motion: The Expansion of Publishing and Reading in the United States, 1880-1940

The first comprehensive history in English of film at the Bauhaus, exploring practices that experimented with film as an adaptable, elastic “polymedium.” With Design in Motion, Laura Frahm proposes an alternate history of the Bauhaus—one in which visual media, and film in particular, are crucial to the Bauhaus’s visionary pursuit of integrating art and technology. In the first comprehensive examination in English of film at the Bauhaus, Frahm shows that experimentation with film spanned a range of Bauhaus practices, from textiles and typography to stage and exhibition design. Indeed, Bauhausler deployed film as an adaptable, elastic “polymedium,” malleable in shape and form, unfolding and refracting into multiple material, aesthetic, and philosophical directions. Frahm shows how the encounter with film imbued the Bauhaus of the 1920s and early 1930s with a flexible notion of design, infusing painting with temporal concepts, sculptures with moving forms, photographs with sequential aesthetics, architectural designs with a choreography of movement. Frahm considers, among other things, student works that explored light and the transparent features of celluloid and cellophane; weaving practices that incorporate cellophane; experimental films, social documentaries, and critical reportage by Bauhaus women; and the proliferation of film strips in posters, book covers, and other typographic work. Viewing the Bauhaus’s engagement with film through a media-theoretic lens, Frahm shows how film became a medium for “design in motion.” Movement and process, rather than stability and fixity, become the defining characteristics of Bauhaus educational, aesthetic, and philosophical ethos.

Geannot. filmogr. - Met cred., ind. - Ook aanwezig als :Motion pictures from the Library of Congress paper print collection 1894-1912 / by Kemp R. Niver, ed. by Bebe Bergsten - Berkeley [etc.] : University of California Press, 1967. - XXII, 402 p. ; 29 cm.

Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.

An eminent psychologist offers a major new theory of human cognition: movement, not language, is the foundation of thought When we try to think about how we think, we can't help but think of words. Indeed, some have called language the stuff of thought. But pictures are remembered far better than words, and describing faces, scenes, and events defies words. Anytime you take a shortcut or play chess or basketball or rearrange your furniture in your mind, you've done something remarkable: abstract thinking without words. In Mind in Motion, psychologist Barbara Tversky shows that spatial cognition isn't just a peripheral aspect of thought, but its very foundation, enabling us to draw meaning from our bodies and their actions in the world. Our actions in real space get turned into mental actions on thought, often spouting spontaneously from our bodies as gestures. Spatial thinking underlies creating and using maps, assembling furniture, devising football strategies, designing airports, understanding the flow of people, traffic, water, and ideas. Spatial thinking even underlies the structure and meaning of language: why we say we push ideas forward or tear them apart, why we're feeling up or have grown far apart. Like Thinking, Fast and Slow before it, Mind in Motion gives us a new way to think about how--and where--thinking takes place.

Creative solutions without the filler. That is what you get from this practical guide to enhancing your titles, motion graphics and visual effects with Motion. Step-by-step instruction is concisely described and lavishly illustrated. The downloadable resources show the techniques at work so you can take them and run.

"Everything is contradictory," Hegel declares in Science of Logic. In this analysis of one of the most difficult and neglected topics in Hegelian studies, Songsuk Susan Hahn tackles the status of contradiction in Hegel's thought. Properly philosophical thinking in the Hegelian mode recognizes that contradiction pervades all organic forms of life. Contradiction in Motion presents Hegel's doctrine of contradiction, once widely dismissed, as one deserving serious consideration. The book argues that contradiction is not a sign of error or incoherence, but rather plays an important role in the development of Hegel's system. The first part of the book sets up Hegel's logic of organic wholes in such a way as to motivate his claim that everything is contradictory. Hahn explores how Hegel tests his abstract logical and methodological apparatus against the more concrete, unmanageable aspects of empirical nature. The second and third parts of the book examine the extent to which Hegel's organic model informs his aesthetics and ethics. Hahn reveals the privileged role of art forms in expressing our consciousness of organic unity and shows how Hegel's organic-holistic conception of cognition and nature, with its distinctively contradictory stance, can be incorporated coherently into his ethics.

On dance and culture

An illustrated chronicle of the migrations--forced and voluntary--into, out of, and within the United States that have created the current black population.

art direction and film narrative