Technology companies claim to connect people through touchscreens, but by conflating physical contact with emotional sentiments, they displace the constructed aspects of devices and women and other oppressed individuals’ critiques of how such technologies function. Technology companies and device designers correlate touchscreens and online sites with physical contact and emotional sentiments, promising unmediated experiences in which the screen falls away in favor of visceral materiality and connections. While touchscreens are key elements of most people’s everyday lives, critical frameworks for understanding the embodied experiences of using them are wanting. In Touch Screen Theory, Michele White focuses on the relation between physically touching and emotionally feeling to recenter the bodies and identities that are empowered, produced, and displaced by these digital technologies and settings. Drawing on detailed cases and humanities methods, White shows how and why gender, race, and sexuality should be further analyzed in relation to touchscreen use and design. White delves into such details as how women are informed that their bodies and fingernails are not a fit for iPhones, how cellphone surfaces are correlated with skin and understood as erotic, the ways social networks use heart buttons and icons to seem to physically and emotionally connect with individuals, how online references to feminine and queer feelings are resisted by many men, and how women producers of autonomous sensory meridian response (ASMR) videos use tactile strategies and touch screens to emotionally bond with viewers. Proposing critical methods for studying touchscreens and digital engagement, Touch Screen Theory expands a variety of research areas, including digital and internet cultures, hardware, interfaces, media and screens, and popular culture.

Technology companies claim to connect people through touchscreens, but by conflating physical contact with emotional sentiments, they displace the constructed aspects of devices and women and other oppressed individuals’ critiques of how such technologies function. Technology companies and device designers correlate touchscreens and online sites with physical contact and emotional sentiments, promising unmediated experiences in which the screen falls away in favor of visceral materiality and connections. While touchscreens are key elements of most people’s everyday lives, critical frameworks for understanding the embodied experiences of using them are wanting. In Touch Screen Theory, Michele White focuses on the relation between physically touching and emotionally feeling to recenter the bodies and identities that are empowered, produced, and displaced by these digital technologies and settings. Drawing on detailed cases and humanities methods, White shows how and why gender, race, and sexuality should be further analyzed in relation to touchscreen use and design. White delves into such details as how women are informed that their bodies and fingernails are not a fit for iPhones, how cellphone surfaces are correlated with skin and understood as erotic, the ways social networks use heart buttons and icons to seem to physically and emotionally connect with individuals, how online references to feminine and queer feelings are resisted by many men, and how women producers of autonomous sensory meridian response (ASMR) videos use tactile strategies and touch screens to emotionally bond with viewers. Proposing critical methods for studying touchscreens and digital engagement, Touch Screen Theory expands a variety of research areas, including digital and internet cultures, hardware, interfaces, media and screens, and popular culture.

The touchscreen belongs to a century-long history of hands-on media practices and touchable art objects. This media-archaeological excavation examines the nature of our sensual involvement with media and invites the reader to think about the touchscreen beyond its technological implications. In six chapters, the book questions and historicizes both aspects of the touchscreen, considering "touch" as a media practice and "screen" as a touchable object.

Discusses the history and evolution of touch screens and describes how they work, where they are used today, and possible future developments in the field.

This handbook offers a comprehensive description of the science, technology, economic and human interface factors associated with the displays industry. With expert contributions from over 150 international display professionals and academic researchers, it covers all classes of display device and discusses established principles, emergent technologies, and particular areas of application.

Touch screen tablets have greatly expanded the technology accessible to preschoolers, toddlers and even infants, given that they do not require the fine motor skills required for using traditional computers. Many parents and educators wish to make evidence-based decisions regarding young children’s technology use, yet technological advancements continue to occur faster than researchers can keep up with. Accordingly, despite touch screen tablets entering society more than 5 years ago, we are in the infancy of research concerning interactive media and children. The topic has gained traction in the past couple of years. For example theoretical papers have discussed how interactive media activities differ from physical toys and passive media (Christakis, 2014), and how educational apps development should utilise the four “pillars” of learning (Hirsh-Pasek et al., 2015). Yet there has been little experimental research published on young children and touch screen use.

This is the first of a two-volume set (CCIS 373 and CCIS 374) that constitutes the extended abstracts of the posters presented during the 15th International Conference on Human-Computer Interaction, HCII 2013, held in Las Vegas, USA, in July 2013, jointly with 12 other thematically similar conferences. The total of 1666 papers and 303 posters presented at the HCII 2013 conferences was carefully reviewed and selected from 5210 submissions. These papers address the latest research and development efforts and highlight the human aspects of design and use of computing systems. The papers accepted for presentation thoroughly cover the entire field of human-computer interaction, addressing major advances in knowledge and effective use of computers in a variety of application areas. The extended abstracts were carefully reviewed and selected for inclusion in this two-volume set. The papers included in this volume are organized in the following topical sections: HCI design approaches, methods and techniques; usability methods, techniques and studies; universal access and eInclusion; multimodal and ambient interaction; cognitive and psychological aspects of interaction; perception and interaction; ergonomic and human modelling issues; capturing gaze, biosignals and brainwaves; development environments; product design, marketing and advertisement.

In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself. These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years -- sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists. From this emerges a materialist theory -- an embodied, erotic relationship to art and to the world. Marks's approach leads to an appreciation of the works' mortal bodies: film's volatile emulsion, video's fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.

Supplementary Brexit Trade and Cooperation Agreement Content Available. See inside first page/back cover of the book for access details. Maintain your understanding of the rules governing road transport operators in the UK, Ireland and Europe to ensure the safe and legal operation of your fleet. Lowe's Transport Manager's and Operator's Handbook 2021 is the complete guide to the operational rules and guidelines governing the UK, Ireland and the EU's road transport operators. Written and designed for transport managers, fleet operators, owner-driver hauliers and those working in the sector, this book contains all the relevant and technical detail required to run a compliant, safe and efficient transport operation. Now in its 51st edition Lowe's Transport Manager's and Operator's Handbook 2021 remains an essential resource to stay informed on the most pressing issues facing the transport industry. It covers all aspects relating to goods vehicles and their operators from vehicle registration, maintenance and load management (including abnormal and dangerous loads) to professional competence, operator training and driver testing. Road traffic law is explained alongside how to ensure safety on the road and at work. Meeting operating standards, keeping up to date with the latest industry changes and complying with the law, all while running sustainable transport operations, has never been simpler with the help of this guide.

What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectator’s mind, body and senses. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from its beginnings to the present—from neo-realist and modernist theories to psychoanalytic, ‘apparatus,’ phenomenological and cognitivist theories, and including recent cross-overs with philosophy and neurology. This new and updated edition of Film Theory: An Introduction through the Senses has been extensively revised and rewritten throughout, incorporating discussion of contemporary films like Her and Gravity, and including a greatly expanded final chapter, which brings film theory fully into the digital age.