The organization of the page as a technological device and our acquisition of information from it were subjects of keen interest to psychologists and designers a century ago. Research on the topics proceeded briskly for more than a quarter of a century then, and was brought together in the still useful survey and analysis of them all that E. B. Huey published in 1908 as "The psychology and pedagogy of reading, with a review of the history of reading and writing and of methods, texts, and hygiene in reading. " Research on the psychological aspects of literacy tended to diminish after that peak, but research on design and on the technology of presenting infor mation has flourished apace meanwhile. Perhaps somewhat stimulated by the reissue of Huey's book by MIT Press in 1968, psychologists have returned to the study of literacy. The symposium that the present volume reports was an effort to bring together again psychologists interested in literacy and related forms of information acquisition, graphics designers, and engineers actively involved in the development and deployment of the newer technology. During this century, psychologists, graphics designers, and engineers have lost much of the mutual communication that their joint enterprise should encourage. The design of machines has often followed the convenience of packaging, the design of displays has often followed the designer's personal esthetic.

The second symposium on processing visible language constituted a different "mix" of participants from the first. Greater emphasis was given to the design of language, both in its historical development and in its current display; and to practical questions associated with machine-implementation oflanguage, in the interactions of person and computer, and in the characteristics of the physical and environmental objects that affect the interaction. Another change was that a special session on theory capped the proceedings. Psychologists remained heavily involved, however, both as contributors to and as discussants of the work pre sented. The motivation of the conferences remains one of bringing together graphic designers, engineers, and psychologists concerned with the display and acquisition of visible language. The papers separately tended to emphasize the one of the three disciplines that mark their authors' field of endeavor, but are constructed to be general rather than parochial. Moreover, within the three disciplines, papers emphasized either the textual or the more pictorial aspects. For example, a session on writing systems ranged from principles that seem to characterize all such systems to specific papers on ancient Egyptian writing, modern Korean, and English shorthand. The complementary session on the nontextual media opened with a discussion of general principles of pictorial communication and included papers on communicating instructions, general information, or religious belief through designs and other pictorial forms, as well as a discussion. of misrepresentation.

Within every picture is a hidden language that conveys a message, whether it is intended or not. This language is based on the ways people perceive and process visual information. By understanding visual language as the interface between a graphic and a viewer, designers and illustrators can learn to inform with accuracy and power. In a time of unprecedented competition for audience attention and with an increasing demand for complex graphics, Visual Language for Designers explains how to achieve quick and effective communications. New in paperback, this book presents ways to design for the strengths of our innate mental capacities and to compensate for our cognitive limitations. Visual Language for Designers includes: —How to organize graphics for quick perception —How to direct the eyes to essential information —How to use visual shorthand for efficient communication —How to make abstract ideas concrete —How to best express visual complexity —How to charge a graphic with energy and emotion

The new edition of an introduction to computer programming within the context of the visual arts, using the open-source programming language Processing; thoroughly updated throughout. The visual arts are rapidly changing as media moves into the web, mobile devices, and architecture. When designers and artists learn the basics of writing software, they develop a new form of literacy that enables them to create new media for the present, and to imagine future media that are beyond the capacities of current software tools. This book introduces this new literacy by teaching computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. Written by Processing's cofounders, the book offers a definitive reference for students and professionals. Tutorial chapters make up the bulk of the book; advanced professional projects from such domains as animation, performance, and installation are discussed in interviews with their creators. This second edition has been thoroughly updated. It is the first book to offer in-depth coverage of Processing 2.0 and 3.0, and all examples have been updated for the new syntax. Every chapter has been revised, and new chapters introduce new ways to work with data and geometry. New “synthesis” chapters offer discussion and worked examples of such topics as sketching with code, modularity, and algorithms. New interviews have been added that cover a wider range of projects. “Extension” chapters are now offered online so they can be updated to keep pace with technological developments in such fields as computer vision and electronics. Interviews SUE.C, Larry Cuba, Mark Hansen, Lynn Hershman Leeson, Jürg Lehni, LettError, Golan Levin and Zachary Lieberman, Benjamin Maus, Manfred Mohr, Ash Nehru, Josh On, Bob Sabiston, Jennifer Steinkamp, Jared Tarbell, Steph Thirion, Robert Winter

The bibliography offers information on research about writing and written language over the past 50 years. No comprehensive bibliography on this subject has been published since Sattler's (1935) handbook. With a selection of some 27,500 titles it covers the most important literature in all scientific fields relating to writing. Emphasis has been placed on the interdisciplinary organization of the bibliography, creating many points of common interest for literacy experts, educationalists, psychologists, sociologists, linguists, cultural anthropologists, and historians. The bibliography is organized in such a way as to provide the specialist as well as the researcher in neighboring disciplines with access to the relevant literature on writing in a given field. While necessarily selective, it also offers information on more specialized bibliographies. In addition, an overview of norms and standards concerning 'script and writing' will prove very useful for non-professional readers. It is, therefore, also of interest to the generally interested public as a reference work for the humanities.

Written by two highly experienced teachers in the field of document design, Designing Visual Language, 2/e offers useful strategies and tools for document design of all types. A chief goal of the text is to enable students to extend the rhetorical approach they employ in writing and editing courses to the creation of various forms of visual communication. The text focuses on the kinds of situations and practical documents that occur in the workplace and blends this focus with a rhetorical approach that ties design to the audience, purpose, and context of messages.

Remarkable progress is being made in spoken language processing, but many powerful techniques have remained hidden in conference proceedings and academic papers, inaccessible to most practitioners. In this book, the leaders of the Speech Technology Group at Microsoft Research share these advances -- presenting not just the latest theory, but practical techniques for building commercially viable products.KEY TOPICS: Spoken Language Processing draws upon the latest advances and techniques from multiple fields: acoustics, phonology, phonetics, linguistics, semantics, pragmatics, computer science, electrical engineering, mathematics, syntax, psychology, and beyond. The book begins by presenting essential background on speech production and perception, probability and information theory, and pattern recognition. The authors demonstrate how to extract useful information from the speech signal; then present a variety of contemporary speech recognition techniques, including hidden Markov models, acoustic and language modeling, and techniques for improving resistance to environmental noise. Coverage includes decoders, search algorithms, large vocabulary speech recognition techniques, text-to-speech, spoken language dialog management, user interfaces, and interaction with non-speech interface modalities. The authors also present detailed case studies based on Microsoft's advanced prototypes, including the Whisper speech recognizer, Whistler text-to-speech system, and MiPad handheld computer.MARKET: For anyone involved with planning, designing, building, or purchasing spoken language technology.

Originally published in 1981, this volume is the edited proceedings of a conference held at the Learning Research and Development Center of the University of Pittsburgh in September 1979. The 15 chapters share a number of common issues. These include the role of contextual influences on lexical access, specific models of lexical access and word pronunciation, speech and visual processes in reading, the role of knowledge in comprehension, and sources of skill difference and skill development.

Information Design provides citizens, business and government with a means of presenting and interacting with complex information. It embraces applications from wayfinding and map reading to forms design; from website and screen layout to instruction. Done well it can communicate across languages and cultures, convey complicated instructions, even change behaviours. Information Design offers an authoritative guide to this important multidisciplinary subject. The book weaves design theory and methods with case studies of professional practice from leading information designers across the world. The heavily illustrated text is rigorous yet readable and offers a single, must-have, reference to anyone interested in information design or any of its related disciplines such as interaction design and information architecture, information graphics, document design, universal design, service design, map-making and wayfinding.