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Art for Animals
Animal rights activists today regularly use visual imagery in their efforts to shape the public’s understanding of what it means to be “kind,” “cruel,” and “inhumane” toward animals. Art for Animals explores the early history of this form of advocacy through the images and the people who harnessed their power.
Following in the footsteps of earlier-formed organizations like the RSPCA and ASPCA, animal advocacy groups such as the Victoria Street Society for the Protection of Animals from Vivisection made significant use of visual art in literature and campaign materials. But, enabled by new and improved technologies and techniques, they took the imagery much further than their predecessors did, turning toward vivid, pointed, and at times graphic depictions of human-animal interactions. Keri Cronin explains why the activist community embraced this approach, details how the use of such tools played a critical role in educational and reform movements in the United States, Canada, and England, and traces their impact in public and private spaces. Far from being peripheral illustrations of points articulated in written texts or argued in impassioned speeches, these photographs, prints, paintings, exhibitions, “magic lantern” slides, and films were key components of animal advocacy at the time, both educating the general public and creating a sense of shared identity among the reformers.
Uniquely focused on imagery from the early days of the animal rights movement and filled with striking visuals, Art for Animals sheds new light on the history and development of modern animal advocacy.
eBook
Visual collaboration : a powerful toolkit for improving meetings, projects, and processes
\"Drawing and sketching ideas in groups is a smarter way of thinking, communicating, and working. The core method of the book, FIVE DESIGNLOOPS, gives leaders simple drawing tools, techniques and examples of visual collaboration, that can be implemented, in any context, including meetings, strategy sessions, project planning, innovating, business plans, etc. For example, draw your strategy and hang it in the lunch room or next to the coffee machine. A good drawing is a catalyst for good dialog. It can drive engagement and ownership. Visual Collaboration offers business leaders, entrepreneurs, facilitators, designers and change agents a method and tools to: develop visual languages for any context visualize any process and project formulate engaging questions develop templates for any situation, presentation or important conversation mapping skills and setting improvement targets Since many people haven't done any drawing since they were children, the authors have developed a simple and practical method by which ANYONE will be able to draw almost anything. We need to be agile, robust, and sustainable- but what exactly does it look like when we are? Can you draw it? Drawing forces us to be specific. When we draw together, we learn together, and with a world in constant change, our ability to learn together is an absolute necessity for success. Over 300,000 have seen their video (Bigger Picture's Guide to Graphic Facilitation). Author videos are seen by 5,000 new viewers every month. Speaking engagements 3 to 7 times a month for audiences of between 20 and 1,200 attendees, reaching over 10,000 attendees a year. The book will be a core part of our course package. Our business model is based on partnerships with large organizations who wish to change the way they work. Our clients, such as Maersk, Novo Nordisk, LEGO and Schindler Group implement projects, processes and communities of practice, with the book as an integral part, resulting in stable growth of users and readers\"-- Provided by publisher.
Book
The Semiotics of Emoji
Shortlisted for the BAAL Book Prize 2017 Emoji have gone from being virtually unknown to being a central topic in internet communication. What is behind the rise and rise of these winky faces, clinking glasses and smiling poos? Given the sheer variety of verbal communication on the internet and English's still- controversial role as lingua mundi for the web, these icons have emerged as a compensatory universal language. The Semiotics of Emoji looks at what is officially the world's fastest-growing form of communication. Emoji, the colourful symbols and glyphs that represent everything from frowning disapproval to red-faced shame, are fast becoming embedded into digital communication. Controlled by a centralized body and regulated across the web, emoji seems to be a language: but is it? The rapid adoption of emoji in such a short span of time makes it a rich study in exploring the functions of language. Professor Marcel Danesi, an internationally-known expert in semiotics, branding and communication, answers the pertinent questions. Are emoji making us dumber? Can they ultimately replace language? Will people grow up emoji literate as well as digitally native? Can there be such a thing as a Universal Visual Language? Read this book for the answers.
eBook
Visual communication : understanding images in media culture
A theoretical and empirical toolkit for analysing and understanding media and mediated images - from branding and PR, to tweets and selfies. It explores a range of approaches to visual analysis, while also providing a hands-on guide to applying methods to your own work.
Book
The Medieval Salento
Located in the heel of the Italian boot, the Salento region was home to a diverse population between the ninth and fifteenth centuries. Inhabitants spoke Latin, Greek, and various vernaculars, and their houses of worship served sizable congregations of Jews as well as Roman-rite and Orthodox Christians. Yet the Salentines of this period laid claim to a definable local identity that transcended linguistic and religious boundaries. The evidence of their collective culture is embedded in the traces they left behind: wall paintings and inscriptions, graffiti, carved tombstone decorations, belt fittings from graves, and other artifacts reveal a wide range of religious, civic, and domestic practices that helped inhabitants construct and maintain personal, group, and regional identities.The Medieval Salentoallows the reader to explore the visual and material culture of a people using a database of over three hundred texts and images, indexed by site. Linda Safran draws from art history, archaeology, anthropology, and ethnohistory to reconstruct medieval Salentine customs of naming, language, appearance, and status. She pays particular attention to Jewish and nonelite residents, whose lives in southern Italy have historically received little scholarly attention. This extraordinarily detailed visual analysis reveals how ethnic and religious identities can remain distinct even as they mingle to become a regional culture.
eBook
The Printed and the Built
This title explores the intricate relationship between architecture and printed media in the fast-changing nineteenth century. Publication history is a rapidly expanding scholarly field which has profoundly influenced architectural history in recent years. Yet, while groundbreaking work has been done on architecture and printing in the Renaissance, the Enlightenment, and the twentieth century, the nineteenth century has received little attention. This is the omission that 'The Printed and the Built' seeks to address, thus filling a significant gap in the understanding of architecture's cultural history.
eBook
The Camera and the Press
Before most Americans ever saw an actual daguerreotype, they encountered this visual form through written descriptions, published and rapidly reprinted in newspapers throughout the land. InThe Camera and the Press, Marcy J. Dinius examines how the first written and published responses to the daguerreotype set the terms for how we now understand the representational accuracy and objectivity associated with the photograph, as well as the democratization of portraiture that photography enabled. Dinius's archival research ranges from essays in popular nineteenth-century periodicals to daguerreotypes of Americans, Liberians, slaves, and even fictional characters. Examples of these portraits are among the dozens of illustrations featured in the book.The Camera and the Presspresents new dimensions of Nathaniel Hawthorne'sThe House of the Seven Gables, Herman Melville'sPierre, Harriet Beecher Stowe'sUncle Tom's Cabin, and Frederick Douglass'sThe Heroic Slave. Dinius shows how these authors strategically incorporated aspects of daguerreian representation to advance their aesthetic, political, and social agendas. By recognizing print and visual culture as one, Dinius redefines such terms as art, objectivity, sympathy, representation, race, and nationalism and their interrelations in nineteenth-century America.
eBook