DigiCat Publishing presents to you this special edition of "Old Familiar Faces" by Theodore Watts-Dunton. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

The chapters in this volume put a human face on aging issues, and consider multiple dimensions of the aging experience with a focus on Japan.

Familiar Faces is a collection of playful poems addressed to different people like the Dentist, the Baritone, the Waiter, and many more. Readers of all ages will love this sweet series of jaunty and fun poems. Excerpt: Oh my author, do you hear the autumn calling? Does its message fail to reach you in your den, Where the ink that once so sluggishly was crawling...

An exploration of the rich and varied relationship between photography and the most recent Argentine dictatorship. Familiar Faces offers a diverse, theoretically rich, and empirically informed exploration of photography in Argentina’s memorial, political, and artistic landscape. During the country’s most recent civic-military dictatorship (1976–1983), 30,000 people were disappeared or killed by the state. Over the decades, vernacular and professional photographs have been central to the Argentine struggle for justice. They were used not only to protest the disappearances under the dictatorship and to denounce the authorities, but also as tools of political and social activism, and for remembering the disappeared. With contributions from leading Argentina-based anthropologists, ethnographers, curators, art scholars, media researchers, and photographers, Familiar Faces moves beyond the traditional considerations of representation, focusing instead on the ways in which photography is continuously reimagined as a tool of memory, mourning, and political and judicial activism. In so doing, it considers the diverse uses of press photography; artistic practice; photographs of the disappeared in domestic rituals; photographs of the inmates of torture centers; the reclamation of images taken by the dictatorial state for memorial and activist purposes. Written and published at a crucial moment in Argentine memory politics, Familiar Faces offers a geographically and formally diverse selection of case studies, with international as well as regional resonance. While firmly rooted in this national context, the book contributes to wider, global debates about the increasingly pervasive role of the photographic image in relation to state-sponsored, large-scale violence.

I am a thief. While travelling through a rather longish journey of life, I was fortunate enough to come across a variety of characters. There were moments with them that were worth stealing. I have stolen them and preserved carefully in a sacred corner of my heart. Now the time has come when it looks selfish that I have failed to share my treasure with the masses in general and the connoisseurs in particular. While going through the book, you are sure to come across the characters that you encounter in day-to-day life. All of them have a story. Some of these strike a chord in you. These are the things you preserve and that is reflected in you as well. Feelings are precious and make a permanent impression which you carry forward. This is the essence of literature. While I said this, there is no claim from my side that the works are of great literary value. It is my humble endeavour to share my stolen treasure with you so that I am no more tagged as 'selfish.' There are eleven short stories in this collection. The characters belong to different walks of life, and are mostly commoners; like you and me. But do the commoners not have uncommon stories? My success depends on whether you enjoy the stories. It is after all, the enjoyment that matters.

From a barrage of photons, we readily and effortlessly recognize the faces of our friends, and the familiar objects and scenes around us. However, these tasks cannot be simple for our visual systems--faces are all extremely similar as visual patterns, and objects look quite different when viewed from different viewpoints. How do our visual systems solve these problems? The contributors to this volume seek to answer this question by exploring how analytic and holistic processes contribute to our perception of faces, objects, and scenes. The role of parts and wholes in perception has been studied for a century, beginning with the debate between Structuralists, who championed the role of elements, and Gestalt psychologists, who argued that the whole was different from the sum of its parts. This is the first volume to focus on the current state of the debate on parts versus wholes as it exists in the field of visual perception by bringing together the views of the leading researchers. Too frequently, researchers work in only one domain, so they are unaware of the ways in which holistic and analytic processing are defined in different areas. The contributors to this volume ask what analytic and holistic processes are like; whether they contribute differently to the perception of faces, objects, and scenes; whether different cognitive and neural mechanisms code holistic and analytic information; whether a single, universal system can be sufficient for visual-information processing, and whether our subjective experience of holistic perception might be nothing more than a compelling illusion. The result is a snapshot of the current thinking on how the processing of wholes and parts contributes to our remarkable ability to recognize faces, objects, and scenes, and an illustration of the diverse conceptions of analytic and holistic processing that currently coexist, and the variety of approaches that have been brought to bear on the issues.

Speculative essays that probe the mythology of the face by the author of The Old Drift