Selective Eye ®, is of the career photography of Jason Hailey - his pioneering works in abstract color photography which presage a focus of contemporary art on environmental issues, and advertising projects of people and products, celebrities, industrial/automotive and calendar models; it spans a thirty period from 1955-1985. Included are Hailey's commentaries on art philosophy and photography, as well pictures of family, friends, and life activities. The book showcases the adventurous life of being a creative photographer. Jason is grateful for a rewarding profession career and hopes through this work to inspire others towards advancing the art and craft of contemporary photography.

In Selective Eye: An Architect's Notebook, David Martin takes us along on a life-long journey of discovery that begins with his distinguished architectural legacy, and his early personal family and educational influences. Sharing his memorable visual and verbal impressions of his wide-ranging travels, through Asia, Europe, the American Southwest, Mexico, the Middle East, the South Pacific, and the Caribbean, David's journey concludes with valuable insights into the conception, design and realisation process in architecture, the MADWORKSHOP Foundation, his distinguished career as a teacher, and his plans for the future. A testament to the fact that David is an extremely talented watercolorist and photographer with a not-so-secret passion for automotive and furniture design, his watercolors have been exhibited throughout the United States and are presented here, for the first time, as a collection in print form.In Selective Eye: An Architect's Notebook, David Martin takes us along on a life-long journey of discovery that begins with his distinguished architectural legacy, and his early personal family and educational influences. Sharing his memorable visual and verbal impressions of his wide-ranging travels, through Asia, Europe, the American Southwest, Mexico, the Middle East, the South Pacific, and the Caribbean, David's journey concludes with valuable insights into the conception, design and realization process in architecture, the MADWORKSHOP Foundation, his distinguished career as a teacher, and his plans for the future. A testament to the fact that David is an extremely talented watercolorist and photographer with a not-so-secret passion for automotive and furniture design, his watercolors have been exhibited throughout the United States and are presented here, for the first time, as a collection in print form.In Selective Eye: An Architect's Notebook, David Martin takes us along on a life-long journey of discovery that begins with his distinguished architectural legacy, and his early personal family and educational influences. Sharing his memorable visual and verbal impressions of his wide-ranging travels, through Asia, Europe, the American Southwest, Mexico, the Middle East, the South Pacific, and the Caribbean, David's journey concludes with valuable insights into the conception, design and realization process in architecture, the MADWORKSHOP Foundation, his distinguished career as a teacher, and his plans for the future. A testament to the fact that David is an extremely talented watercolourist and photographer with a not-so-secret passion for automotive and furniture design, his watercolours have been exhibited throughout the United States and are presented here, for the first time, as a collection in print form. AUTHOR: David C. Martin, FAIA, a third-generation architect, continues his family's legacy of major involvement in the architectural planning and civic life of Southern California.

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.

Visual attention is a relatively new area of study combining a number of disciplines: artificial neural networks, artificial intelligence, vision science and psychology. The aim is to build computational models similar to human vision in order to solve tough problems for many potential applications including object recognition, unmanned vehicle navigation, and image and video coding and processing. In this book, the authors provide an up to date and highly applied introduction to the topic of visual attention, aiding researchers in creating powerful computer vision systems. Areas covered include the significance of vision research, psychology and computer vision, existing computational visual attention models, and the authors' contributions on visual attention models, and applications in various image and video processing tasks. This book is geared for graduates students and researchers in neural networks, image processing, machine learning, computer vision, and other areas of biologically inspired model building and applications. The book can also be used by practicing engineers looking for techniques involving the application of image coding, video processing, machine vision and brain-like robots to real-world systems. Other students and researchers with interdisciplinary interests will also find this book appealing. Provides a key knowledge boost to developers of image processing applications Is unique in emphasizing the practical utility of attention mechanisms Includes a number of real-world examples that readers can implement in their own work: robot navigation and object selection image and video quality assessment image and video coding Provides codes for users to apply in practical attentional models and mechanisms

Images of Jamaica and the Bahamas as tropical paradises full of palm trees, white sandy beaches, and inviting warm water seem timeless. Surprisingly, the origins of those images can be traced back to the roots of the islands’ tourism industry in the 1880s. As Krista A. Thompson explains, in the late nineteenth century, tourism promoters, backed by British colonial administrators, began to market Jamaica and the Bahamas as picturesque “tropical” paradises. They hired photographers and artists to create carefully crafted representations, which then circulated internationally via postcards and illustrated guides and lectures. Illustrated with more than one hundred images, including many in color, An Eye for the Tropics is a nuanced evaluation of the aesthetics of the “tropicalizing images” and their effects on Jamaica and the Bahamas. Thompson describes how representations created to project an image to the outside world altered everyday life on the islands. Hoteliers imported tropical plants to make the islands look more like the images. Many prominent tourist-oriented spaces, including hotels and famous beaches, became off-limits to the islands’ black populations, who were encouraged to act like the disciplined, loyal colonial subjects depicted in the pictures. Analyzing the work of specific photographers and artists who created tropical representations of Jamaica and the Bahamas between the 1880s and the 1930s, Thompson shows how their images differ from the English picturesque landscape tradition. Turning to the present, she examines how tropicalizing images are deconstructed in works by contemporary artists—including Christopher Cozier, David Bailey, and Irénée Shaw—at the same time that they remain a staple of postcolonial governments’ vigorous efforts to attract tourists.