Suchergebnisse

There is a substantially higher incidence of carrier landing accidents at night than during the day. Disasterously low final approaches, a major source of night landing accidents, have been attributed to a visual illusion involving overestimation of altitude. In order to evaluate visual performance in related tasks, subjective judgements of the altitude of a luminous horizontal bar relative to eye level were obtained in total darkness and in the presence of a peripheral artificial horizon. Errors as large as 1° visual angle, corresponding to 8 ft at a range of 500 ft from touchdown, occur frequently, indicating the inadequacy of direct visual contact unaided by artificial display devices. The dramatic reduction in variability resulting from the presence of the artificial horizon demonstrates the importance of a visual frame of reference or structure.

The effects of some forms of environmental stress upon performance of a visual task are reviewed. In particular, attention has been directed toward those factors related to high-speed flight, high-altitude flight and exposure to extremes of radiation, both visible and non-visible. The major problems are presented and some general solutions are suggested.

This book outlines the principles and practices of arts-related inquiry and provides both suggestions about conducting research in the field as well as case study examples. The ideas presented here have emerged from the authors' own experiences of undertaking arts-related research and the challenges of implementing these approaches. The book therefore draws on personal research, practice and experience to address the concerns academics increasingly appear to be voicing about developing the scholarship and practice of arts-related research. There is a need for greater attention to, and clarity on, issues of theoretical positioning, methodology and methods when conducting robust and reputable arts-related research, which this book provides

Cover -- Copyright -- Title -- Contents -- Introduction -- 1. Components -- What is Theory? -- Saussure and Peirce -- Linguistic Signs -- Agreement -- Linguistic Community -- Grammatology and Deconstruction -- Portfolio -- Exercises -- 2. How Meaning Is Formed -- Categories of Signs -- Semiosis -- Unlimited Semiosis -- Value -- Syntagm -- Paradigm -- Codes -- Metaphor and Metonym -- Portfolio -- Exercises -- 3. Reading the Sign -- The Reader -- Barthes -- Denotation and Connotation -- Convention and Motivation -- Language and Speech -- Myth -- Portfolio -- Exercises -- 4. Text and Image -- Digital and Analogue Codes -- Advertising Writing -- The Three Messages -- Anchorage and Relay -- Portfolio -- Exercises -- 5. Official and Unofficial Language -- Habitus -- The Production of Legitimate Language -- Capital -- Rules -- The Competition for Cultural Legitimacy -- Major and Minor Language -- Authorised Language -- Unofficial Language -- Unofficial Codes -- Visual Dialect -- Portfolio -- Exercises -- 6. Symbolic Creativity -- Hyperinstitutionalization -- Play and Identity -- Portfolio -- Exercises -- 7. The Political Context of Signs -- The Semiotics of Modernism -- The Politics of Pictograms -- The Politics of the Alphabet -- Portfolio -- Exercises -- 8. Junk and Culture -- Dirt and Taboo -- Rubbish Theory -- Semiotic Categories of Objects -- Rubbish as a Resource -- Portfolio -- Exercises -- 9. Open Work -- What is Open Work -- Information and Meaning -- Openness and the Visual Arts -- Openness and Information -- Form and Openness -- Portfolio -- Exercises -- Bibliography -- Index -- Acknowledgements and Picture Credits.

Visual advertising has become common part of our daily life in the past few decades. It is not only used for commercial, political or social purposes, but also for the implementation of artistic strategies. Specific constructed artworks, exhibitions and art projects situated in a special/unconventional public spaces (context or semiosphere) are used as a tool to seek more spectators and spread different messages with critical, ironical, social connotations which leads to the deeper communication with spectators. They cannot avoid them because the messages interrupt their minds accidentally passing by the streets and so involve in the active interaction process. Art full of advertising strategies criticises the consumerist society created by advertising, and provokes the subject to take on an active position with respect to raised problems, i.e., it acts in the ideological field of contemporary/postmodern art.

This text proposes a reflection on art education, more specifically on plastic and visual expression and some of its main problems at a theoretical and practical level. Starting by analyzing the path of teaching and learning throughout history, we question today, its practices, between traditional teaching and the need to find alternative paths, appropriate to a world in permanent change. We try to understand the conception of art from which we started and its importance in educational practices, as well as the influence of the philosophical conception of the human being by teachers and educators, regarding the way they approach the educational proposals they develop.