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Results by Library of Congress Code
Books near "Meat, Modernity, and the Rise of the Slaughterhouse", Library of Congress TS1963.M385
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Harnessing the Technicolor Rainbow: Color Design in the 1930s
By Scott Higgins
University of Texas Press, 2007
Library of Congress TR853.H54 2007 | Dewey Decimal 778.5342
Like Dorothy waking up over the rainbow in the Land of Oz, Hollywood discovered a vivid new world of color in the 1930s. The introduction of three-color Technicolor technology in 1932 gave filmmakers a powerful tool with which to guide viewers’ attention, punctuate turning points, and express emotional subtext. Although many producers and filmmakers initially resisted the use of color, Technicolor designers, led by the legendary Natalie Kalmus, developed an aesthetic that complemented the classical Hollywood filmmaking style while still offering innovative novelty. By the end of the 1930s, color in film was thoroughly harnessed to narrative, and it became elegantly expressive without threatening the coherence of the film’s imaginary world. Harnessing the Technicolor Rainbow is the first scholarly history of Technicolor aesthetics and technology, as well as a thoroughgoing analysis of how color works in film. Scott Higgins draws on extensive primary research and close analysis of well-known movies, including Becky Sharp, A Star Is Born, Adventures of Robin Hood, and Gone with the Wind, to show how the Technicolor films of the 1930s forged enduring conventions for handling color in popular cinema. He argues that filmmakers and designers rapidly worked through a series of stylistic modes based on the demonstration, restraint, and integration of color—and shows how the color conventions developed in the 1930s have continued to influence filmmaking to the present day. Higgins also formulates a new vocabulary and a method of analysis for capturing the often-elusive functions and effects of color that, in turn, open new avenues for the study of film form and lay a foundation for new work on color in cinema.
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Moving Color: Early Film, Mass Culture, Modernism
Yumibe, Joshua
Rutgers University Press, 2012
Library of Congress TR853.Y86 2012 | Dewey Decimal 777
Color was used in film well before The Wizard of Oz. Thomas Edison, for example, projected two-colored films at his first public screening in New York City on April 23, 1896. These first colors of early cinema were not photographic; they were applied manually through a variety of laborious processes—most commonly by the hand-coloring and stenciling of prints frame by frame, and the tinting and toning of films in vats of chemical dyes. The results were remarkably beautiful.
Moving Color is the first book-length study of the beginnings of color cinema. Looking backward, Joshua Yumibe traces the legacy of color history from the beginning of the nineteenth century to the cinema of the early twentieth century. Looking forward, he explores the implications of this genealogy on experimental and contemporary digital cinemas in which many colors have become, once again, vividly unhinged from photographic reality. Throughout this history, Moving Color revolves around questions pertaining to the sensuousness of color: how color moves us in the cinema—visually, emotionally, and physically.
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Widescreen Cinema
John Belton
Harvard University Press, 1992
Library of Congress TR855.B46 1992 | Dewey Decimal 778.534
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The Empire of Effects: Industrial Light and Magic and the Rendering of Realism
Julie A. Turnock
University of Texas Press, 2022
Library of Congress TR858 | Dewey Decimal 777
Just about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It is a realism invented by Hollywood—by one company specifically: Industrial Light & Magic.
The Empire of Effects shows how the effects company known for the puppets and space battles of the original Star Wars went on to develop the dominant aesthetic of digital realism. Julie A. Turnock finds that ILM borrowed its technique from the New Hollywood of the 1970s, incorporating lens flares, wobbly camerawork, haphazard framing, and other cinematography that called attention to the person behind the camera. In the context of digital imagery, however, these aesthetic strategies had the opposite effect, heightening the sense of realism by calling on tropes suggesting the authenticity to which viewers were accustomed. ILM’s style, on display in the most successful films of the 1980s and beyond, was so convincing that other studios were forced to follow suit, and today, ILM is a victim of its own success, having fostered a cinematic monoculture in which it is but one player among many.
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Making Believe: Screen Performance and Special Effects in Popular Cinema
Bode, Lisa
Rutgers University Press, 2017
Library of Congress TR858.B63 2017 | Dewey Decimal 791.43024
In the past twenty years, we have seen the rise of digital effects cinema in which the human performer is entangled with animation, collaged with other performers, or inserted into perilous or fantastic situations and scenery. Making Believe sheds new light on these developments by historicizing screen performance within the context of visual and special effects cinema and technological change in Hollywood filmmaking, through the silent, early sound, and current digital eras.
Making Believe incorporates North American film reviews and editorials, actor and crew interviews, trade and fan magazine commentary, actor training manuals, and film production publicity materials to discuss the shifts in screen acting practice and philosophy around transfiguring makeup, doubles, motion capture, and acting to absent places or characters. Along the way it considers how performers and visual and special effects crew work together, and struggle with the industry, critics, and each other to define the aesthetic value of their work, in an industrial system of technological reproduction. Bode opens our eyes to the performing illusions we love and the tensions we experience in wanting to believe in spite of our knowledge that it is all make believe in the end.
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The Zoom: Drama at the Touch of a Lever
Hall, Nick
Rutgers University Press, 2018
Library of Congress TR858.H345 2018 | Dewey Decimal 777.9
From the queasy zooms in Alfred Hitchcock’s Vertigo to the avant-garde mystery of Michael Snow’s Wavelength, from the excitement of televised baseball to the drama of the political convention, the zoom shot is instantly recognizable and highly controversial. In The Zoom, Nick Hall traces the century-spanning history of the zoom lens in American film and television. From late 1920s silent features to the psychedelic experiments of the 1960s and beyond, the book describes how inventors battled to provide film and television studios with practical zoom lenses, and how cinematographers clashed over the right ways to use the new zooms. Hall demonstrates how the zoom brought life and energy to cinema decades before the zoom boom of the 1970s and reveals how the zoom continues to play a vital and often overlooked role in the production of contemporary film and television.
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Disappearing Tricks: Silent Film, Houdini, and the New Magic of the Twentieth Century
Matthew Solomon
University of Illinois Press, 2010
Library of Congress TR858.S655 2010 | Dewey Decimal 778.8
Disappearing Tricks revisits the golden age of theatrical magic and silent film to reveal how professional magicians shaped the early history of cinema. Where others have called upon magic as merely an evocative metaphor for the wonders of cinema, Matthew Solomon focuses on the work of the professional illusionists who actually made magic with moving pictures between 1895 and 1929.
The first to reveal fully how powerfully magic impacted the development of cinema, the book combines film and theater history to uncover new evidence of the exchanges between magic and filmmaking in the United States and France during the silent period. Chapters detailing the stage and screen work of Harry Houdini and Georges Méliès show how each transformed theatrical magic to create innovative cinematic effects and thrilling new exploits for twentieth-century mass audiences. The book also considers the previously overlooked roles of anti-spiritualism and presentational performance in silent film.
Highlighting early cinema's relationship to the performing body, visual deception, storytelling, and the occult, Solomon treats cinema and stage magic as overlapping practices that together revise our understanding of the origins of motion pictures and cinematic spectacle.
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Hidden in Plain Sight: An Archaeology of Magic and the Cinema
Williamson, Colin
Rutgers University Press, 2015
Library of Congress TR858.W63 2015 | Dewey Decimal 777
What does it mean to describe cinematic effects as “movie magic,” to compare filmmakers to magicians, or to say that the cinema is all a “trick”? The heyday of stage illusionism was over a century ago, so why do such performances still serve as a key reference point for understanding filmmaking, especially now that so much of the cinema rests on the use of computers?
To answer these questions, Colin Williamson situates film within a long tradition of magical practices that combine art and science, involve deception and discovery, and evoke two forms of wonder—both awe at the illusion displayed and curiosity about how it was performed. He thus considers how, even as they mystify audiences, cinematic illusions also inspire them to learn more about the technologies and techniques behind moving images. Tracing the overlaps between the worlds of magic and filmmaking, Hidden in Plain Sight examines how professional illusionists and their tricks have been represented onscreen, while also considering stage magicians who have stepped behind the camera, from Georges Méliès to Ricky Jay.
Williamson offers an insightful, wide-ranging investigation of how the cinema has functioned as a “device of wonder” for more than a century, while also exploring how several key filmmakers, from Orson Welles to Christopher Nolan and Martin Scorsese, employ the rhetoric of magic. Examining pre-cinematic visual culture, animation, nonfiction film, and the digital trickery of today’s CGI spectacles, Hidden in Plain Sight provides an eye-opening look at the powerful ways that magic has shaped our modes of perception and our experiences of the cinema.
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Discorrelated Images
Shane Denson
Duke University Press, 2020
Library of Congress TR860.D46 2020
In Discorrelated Images Shane Denson examines how computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema. Denson analyzes works ranging from the Transformers series and Blade Runner 2049 to videogames and multimedia installations to show how what he calls discorrelated images—images that do not correlate with the abilities and limits of human perception—produce new subjectivities, affects, and potentials for perception and action. Denson's theorization suggests that new media theory and its focus on technological development must now be inseparable from film and cinema theory. There's more at stake in understanding discorrelated images, Denson contends, than just a reshaping of cinema, the development of new technical imaging processes, and the evolution of film and media studies: discorrelated images herald a transformation of subjectivity itself and are essential to our ability to comprehend nonhuman agency.
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Digital Cinema
Stephen Prince
Rutgers University Press, 2019
Library of Congress TR860.P78 2018 | Dewey Decimal 777
Digital Cinema considers how new technologies have revolutionized the medium, while investigating the continuities that might remain from filmmaking’s analog era. In the process, it raises provocative questions about the status of realism in a pixel-generated digital medium whose scenes often defy the laws of physics. It also considers what these changes might bode for the future of cinema. How will digital works be preserved and shared? And will the emergence of virtual reality finally consign cinema to obsolescence?
Stephen Prince offers a clear, concise account of how digital cinema both extends longstanding traditions of filmmaking and challenges some fundamental assumptions about film. It is essential reading for anyone interested in understanding how movies are shot, produced, distributed, and consumed in the twenty-first century.
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Exposing the Film Apparatus
Edited by Giovanna Fossati and Annie van den Oever
Amsterdam University Press, 2016
Library of Congress TR878.E97 2016 | Dewey Decimal 777.0284
Film archives have long been dedicated to preserving movies, and they’ve been nimble in recent years in adapting to the changing formats and technologies through which cinema is now created and presented. This collection makes the case for a further step: the need to see media technologies themselves as objects of conservation, restoration, presentation, and research, in both film archives and film studies. Contributors with a wide range of expertise in the film and media world consider the practical and theoretical challenges posed by such conservation efforts and consider their potential to generate productive new possibilities in research and education in the field.
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Our Movie Heritage
McGreevey, Tom
Rutgers University Press, 1997
Library of Congress TR886.3.M37 1997 | Dewey Decimal 778.580973
ÒOur Movie Heritage is both a vividly illustrated encyclopedia and a suspense story replete with heroes and heroines and an imperiled treasure of such great worth that one feels impelled to ride to its rescue.ÓÑOlivia deHavillandÒThis book reads like a suspense story. Will we care enough, it asks, to save the rest of our great movie heritage before itÕs too late? For all of us who love the movies there can only be one answer.ÓÑFay Kanin, chair of the National Film Preservation Board
Our Movie Heritage should be read by anyone interested in motion picture history. Without film preservation, there can be no valid film history. Documents, autobiographies, oral histories, and secondary sources are of importance, but viewing the actual films preserved or restored to a state comparable to the way they were originally viewed is of inestimable importance.Rudy Behlmer, film historian and author of Memo from David O. Selznick
Our Movie Heritage is an enticing, up to the minute account of the complex National Film preservation effort, and should be read by anyone interested in our rich cinematic heritage.Mary Lea Bandy, chief curator, The Museum of Modern Art
Imagine an America without any images of itself no Judy Garland in the Wizard of Oz, no Orson Welles in Citizen Kane, and no Bogart and Bergman in Casablanca. Movies are an extraordinary personal and collective history of the American people. Unfortunately, over 90 percent of America's silent films are already lost to us, and more than half of the American feature films made before 1950 no longer exist. Whether it is a piece of cellulose nitrate exposed in 1910 or a strip of Eastman Color acetate stock produced in the 1970s all film self-destructs. Rapidly.
Our Movie Heritage is a highly readable and informative view of the world of film preservation, showing the work being done to save our national treasure trove of film history. Full of tales of discovery and rescue, the book is an urgent plea for preservation. Our Movie Heritage describes the race against time currently under way both in the public and private sectors in order to salvage what is left in vaults, theaters, and private collections. The book explains the basics of film preservation, covering the who, what, when, where, and how of the field, with top archivists and film restoration experts expressing their concerns and hopes for the future of movies. This beautifully produced book, with over one hundred pictures of top stars, directors, and film people, is itself a treasure that showcases the importance of this legacy.
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Cinema Babel: Translating Global Cinema
Abe Mark Nornes
University of Minnesota Press, 2007
Library of Congress TR886.7.N67 2007 | Dewey Decimal 778.52344
The original foreign film—its sights and sounds—is available to all, but the viewer is utterly dependent on a translator and an untold number of technicians who produce the graphic text or disconnected speech through which we must approach the foreign film. A bad translation can ruin a film’s beauty, muddy its plot, and turn any joke sour.
In this wide-ranging work, Abé Mark Nornes examines the relationships between moving-image media and translation and contends that film was a globalized medium from its beginning and that its transnational traffic has been greatly influenced by interpreters. He discusses the translation of film theory, interpretation at festivals and for coproductions, silent era practice, “ talkies,” subtitling, and dubbing.
Nornes—who has written subtitles for Japanese cinema—looks at the ways misprision of theory translations produced stylistic change, how silent era lecturers contributed to the construction of national cinemas, how subtitlers can learn from anime fans, and how ultimately interpreters can be, in his terms, “traders or traitors.”
Abé Mark Nornes is associate professor of Asian languages and cultures and film and video studies at the University of Michigan. He is the author of Japanese Documentary Film (Minnesota, 2003) and Forest of Pressure (Minnesota, 2007).
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Turn on the Words!: Deaf Audiences, Captions, and the Long Struggle for Access
Harry G. Lang
Gallaudet University Press, 2021
Library of Congress TR886.9L34 2021 | Dewey Decimal 777.55
The story of how captioning came into the lives of deaf and hard of hearing people has not been told with any detail, though captions are one of the greatest technological advancements in the effort to improve access to films, television, and other video content for both deaf and hearing audiences. In Turn on the Words!, Harry G. Lang documents the struggles and strategies over nearly a century to make spoken communication accessible through the use of captioning technology.
Lang describes the legislation, programs, and people who contributed great ingenuity and passion over decades to realize widespread access to captions, one breakthrough at a time. He also chronicles the resistance to captioned films from Hollywood studios and others, and the Deaf and hearing activists who championed the right to access. Deaf, hard of hearing, disabled, and English-as-a-second-language audiences now experience improved access to the educational, occupational, and cultural benefits of film and television programming. The struggle continues as deaf audiences advocate for equal access in a variety of settings such as movie theaters and online video-sharing platforms. This is a history of technological innovation, as well as a testament to the contributions of the Deaf community to the benefit of society as a whole.
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Going Solo: Doing Videojournalism in the 21st Century
G. Stuart Smith
University of Missouri Press, 2011
Library of Congress TR895.S65 2011 | Dewey Decimal 778.59
The traditional model of video news reporting has always had two separate roles: reporting and videography. For years, however, small-market news outlets have relied on “one-man bands”—individual reporters who shoot and edit their own video—for stories and footage. Lately, as the journalism landscape has evolved, this controversial practice has grown more and more popular. With the use of video constantly expanding, many large-market TV stations, networks, and newspaper Web sites are relying on one person to carry out a job formerly executed by two. News outlets now call these contributors VJs, digital journalists, backpack journalists, or mobile journalists. But no matter what they are called, there’s no denying the growing significance of solo videojournalists to the media landscape.
Going Solo: Doing Videojournalism in the 21st Century details the controversy, history, and rise of this news genre, but its main objective is to show aspiring videojournalists how to learn the craft. While other textbooks depict the conventional reporter-and-videographer model, Going Solo innovates by teaching readers how to successfully juggle the skills traditionally required of two different people.
Award-winning journalist G. Stuart Smith begins by describing how and why the media’s use of solo videojournalists is growing, then delves into the controversy over whether one person can cover a story as well as two. He illuminates how, together, the downsizing of the media, downturn in the economy, and growth of video on the Web have led to the rise of the solo videojournalist model. Going Solo profiles TV stations and newspaper Web operations across the country that are using the model and offers helpful advice from VJs in the field. The book presents useful guidelines on how to multitask as a reporter-videographer: conducting interviews, shooting cover video, and writing and editing a good video story. Readers will also learn how to produce non-narrated stories and market themselves in a competitive field.
Smith, who started his career as a “one-man band,” insightfully covers an area of journalism that, despite its growing market demand, has received little academic attention. Going Solo: Doing Videojournalism in the 21st Century is useful for students learning the basics and those already in the field who need to upgrade their skills. By presenting industry know-how and valuable tips, this unique guidebook can help any enterprising videojournalist create a niche for him- or herself in the increasingly fragmented news media market.
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Sound Design and Science Fiction
By William Whittington
University of Texas Press, 2007
Library of Congress TR897.W47 2007 | Dewey Decimal 791.43024
Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design.
This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema.
The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry's technological and aesthetic advancements with sound.
Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.
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Animation
Curtis, Scott
Rutgers University Press, 2019
Library of Congress TR897.5.A55 2019 | Dewey Decimal 776.6
From the earliest motion pictures and cartoons of the 1900s, to the latest 3D animated feature and CGI blockbuster, animation has always been a part of the cinematic experience. While the boundaries between animation and live-action have often been carefully tended, the ubiquity of contemporary computer imaging certainly blurs those lines, thereby confirming the importance of animation for the history of American cinema. The last installment of the acclaimed Behind the Silver Screen series, Animation explores the variety of technologies and modes of production throughout the history of American animation: the artisanal, solitary labors of early animators such as Winsor McCay, or of independent animators such as Mary Ellen Bute; the industrial assembly lines of Hollywood studio-unit animation; the parsimonious production houses of the post-studio, post-war era; the collaborative approach of boutique animation and special-effect houses. Drawing on archival sources, this volume provides not only an overview of American animation history, but also, by focusing on the relationship between production and style, a unique approach to understanding animation in general.
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Spectacular Digital Effects: CGI and Contemporary Cinema
Kristen Whissel
Duke University Press, 2014
Library of Congress TR897.7.W493 2014 | Dewey Decimal 777.7
By developing the concept of the "digital effects emblem," Kristen Whissel contributes a new analytic rubric to cinema studies. An "effects emblem" is a spectacular, computer-generated visual effect that gives stunning expression to a film's key themes. Although they elicit feelings of astonishment and wonder, effects emblems do not interrupt narrative, but are continuous with story and characterization and highlight the narrative stakes of a film. Focusing on spectacular digital visual effects in live-action films made between 1989 and 2011, Whissel identifies and examines four effects emblems: the illusion of gravity-defying vertical movement, massive digital multitudes or "swarms," photorealistic digital creatures, and morphing "plasmatic" figures. Across films such as Avatar, The Matrix, the Lord of the Rings trilogy, Jurassic Park, Titanic, and Crouching Tiger, Hidden Dragon, these effects emblems heighten the narrative drama by contrasting power with powerlessness, life with death, freedom with constraint, and the individual with the collective.
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Meta-Morphing: Visual Transformation and the Culture of Quick-Change
Vivian Sobchack
University of Minnesota Press, 2000
Library of Congress TR897.75.M48 2000 | Dewey Decimal 700.415
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Editing and Special/Visual Effects
Keil, Charlie
Rutgers University Press, 2016
Library of Congress TR899.E325 2016 | Dewey Decimal 777.55
Most moviegoers think of editing and special effects as distinct components of the filmmaking process. We might even conceive of them as polar opposites, since effective film editing is often subtle and almost invisible, whereas special effects frequently call attention to themselves. Yet, film editors and visual effects artists have worked hand-in-hand from the dawn of cinema to the present day.
Editing and Special/Visual Effects brings together a diverse range of film scholars who trace how the arts of editing and effects have evolved in tandem. Collectively, the contributors demonstrate how these two crafts have been integral to cinematic history, starting with the “trick films” of the early silent era, which astounded audiences by splicing in or editing out key frames, all the way up to cutting-edge effects technologies and concealed edits used to create the illusions. Throughout, readers learn about a variety of filmmaking techniques, from classic Hollywood’s rear projection and matte shots to the fast cuts and wall-to-wall CGI of the contemporary blockbuster.
In addition to providing a rich historical overview, Editing and Special/Visual Effects supplies multiple perspectives on these twinned crafts, introducing readers to the analog and digital tools used in each craft, showing the impact of changes in the film industry, and giving the reader a new appreciation for the processes of artistic collaboration they involve.
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Grand Designs: Labor, Empire, and the Museum in Victorian Culture
Lara Kriegel
Duke University Press, 2007
Library of Congress TS57.K65 2007 | Dewey Decimal 745.20941
With this richly illustrated history of industrial design reform in nineteenth-century Britain, Lara Kriegel demonstrates that preoccupations with trade, labor, and manufacture lay at the heart of debates about cultural institutions during the Victorian era. Through aesthetic reform, Victorians sought to redress the inferiority of British crafts in comparison to those made on the continent and in the colonies. Declaring a crisis of design and workmanship among the British laboring classes, reformers pioneered schools of design, copyright protections, and spectacular displays of industrial and imperial wares, most notably the Great Exhibition of 1851. Their efforts culminated with the establishment of the South Kensington Museum, predecessor to the Victoria and Albert Museum, which stands today as home to the world’s foremost collection of the decorative and applied arts. Kriegel’s identification of the significant links between markets and museums, and between economics and aesthetics, amounts to a rethinking of Victorian cultural formation. Drawing on a wide range of sources, including museum guidebooks, design manuals, illustrated newspapers, pattern books, and government reports, Kriegel brings to life the many Victorians who claimed a stake in aesthetic reform during the middle years of the nineteenth century. The aspiring artists who attended the Government School of Design, the embattled provincial printers who sought a strengthened industrial copyright, the exhibition-going millions who visited the Crystal Palace, the lower-middle-class consumers who learned new principles of taste in metropolitan museums, and the working men of London who critiqued the city’s art and design collections—all are cast by Kriegel as leading cultural actors of their day. Grand Designs shows how these Victorians vied to upend aesthetic hierarchies in an imperial age and, in the process, to refashion London’s public culture.
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The Electric Car: Development and future of battery, hybrid and fuel-cell cars
Mike H. Westbrook
The Institution of Engineering and Technology, 2001
Library of Congress TS156.8.A87 | Dewey Decimal 628.8
This book covers the development of electric cars from their early days to pure electric, fuel-cell and new hybrid models in production. It covers the latest technological issues faced by automotive engineers working on electric cars, including charging, infrastructure, safety and costs, as well as making predictions about future developments and vehicle numbers. Considerable work has gone into electric car and battery development in the last ten years, with the prospect of substantial improvements in range and performance in battery cars as well as in hybrids and those using fuel cells. The book comprehensively covers this important subject and will be of particular interest to engineers working on electric vehicle design, development and use, as well as managers interested in the key business factors vital for the successful transfer of electric cars into the mass market.
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Computer Control of Real-Time Processes
S. Bennett
The Institution of Engineering and Technology, 1990
Library of Congress TS156.8.C635 1990 | Dewey Decimal 629.8312
This book provides an introduction to many aspects of computer control. It covers techniques or control algorithm design and tuning of controllers; computer communications; parallel processing; and software design and implementation. The theoretical material is supported by case studies covering power systems control, robot manipulators, liquid natural as vaporisers, batch control of chemical processes; and active control of aircraft.
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Bronx Ecology: Blueprint for a New Environmentalism
Allen Hershkowitz; Foreword by Maya Lin
Island Press, 2002
Library of Congress TS161.H46 2002 | Dewey Decimal 363.705250974728
"The Bronx Community Paper Company teaches us that we have the power, if we muster the will, creativity, and cooperation, to recover lost pieces of America's environment, return them to good health, protect other lands and resources from being destroyed, and even create environmentally friendly jobs in the process." —President Bill Clinton
In 1991, frustrated by the failure of lawmakers to produce meaningful progress on environmental issues, Allen Hershkowitz, a scientist with the Natural Resources Defense Council (NRDC) opted for an innovative approach. Resolving to put market forces to work for the environment, Hershkowitz devised a plan to develop a world-scale recycled-paper mill on the site of an abandoned rail yard in the South Bronx.
Created in collaboration with colleagues at NRDC, the private sector, government, unions, and community groups, and with a building designed by renowned architect and designer Maya Lin, the Bronx Community Paper Company (BCPC) was intended to put the ideas of industrial ecology to work in a project that not only avoided exacerbating environmental problems but actually remediated them. One of the primary goals of the project was to show that environmental protection, job production, social assistance, economic development, and private-sector profitability can work together in a mutually supportive fashion.
Unfortunately, it didn't quite turn out like that.
In Bronx Ecology, Hershkowitz tells the story of the BCPC from its earliest inception to its final demise nearly ten years later. He describes the technical, economic, and competitive barriers that arose throughout the project as well as the decisive political and legal blows that doomed their efforts to secure financing, ultimately killing the project.
Interwoven with the BCPC tale is Hershkowitz's vision for a new, engaged environmentalism, complete with principles for a new era of industrial development that combines social and environmental responsibility with a firm commitment to profit-making. As Hershkowitz explains, while the project was never built, its groundbreaking collaboration can hardly be considered a failure. Rather the BCPC, in the words of veteran environmental journalis.
Philip Shabecoff, "can be seen as the beginning of a learning process for entrepreneurial environmentalism, a pathway to a new approach in the 21st century." Bronx Ecology offers a compelling vision of that exciting new pathway.
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Discovering Design: Explorations in Design Studies
Edited by Richard Buchanan and Victor Margolin
University of Chicago Press, 1995
Library of Congress TS171.4.D57 1995 | Dewey Decimal 745.2
Discovering Design reflects the growing recognition that the design of the everyday world deserves attention not only as a professional practice but as a subject of social, cultural, and philosophic investigation. Victor Margolin, cofounder and an editor of the journal Design Issues, and Richard Buchanan, also an editor of the journal, bring together eleven essays by scholars in fields ranging from psychology, sociology, and political theory to technology studies, rhetoric, and philosophy. The essayists share the editors' concern, first made clear in Margolin's Design Discourse: History, Theory, Criticism, with the the development of design studies as a field of interdisciplinary research.
The contributors (Gianfranco Zaccai, Albert Borgmann, Richard Buchanan, Augusto Morello, Tufan Orel, Nigel Cross, Victor Margolin, Langdon Winner, Carl Mitcham, Tony Fry, and Ezio Manzini) focus on three broad themes that form a sequence of fundamental issues: how to shape design as a subject matter, how to distinguish the activity of designing in the complex world of action, and how to address the basic questions of value and responsibility that persistently arise in the discussion and practice of design. The editors' introduction provides a useful overview of these questions and offers a multidisciplinary framework for design studies. The essays discuss such topics as the relation of aesthetics to technology, the place of design in social action, the role of the consumer in design decisions, and the need for ethical practice in contemporary design. Manzini's concluding essay shows how the issue of ethics should connect responsible behavior to decisions made every day in the manufacture of objects.
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Deep Design: Pathways To A Livable Future
David Wann
Island Press, 1996
Library of Congress TS171.4.W36 1996 | Dewey Decimal 601
In Deep Design, David Wann explores a new way of thinking about design, one that asks "What is our ultimate goal?" before the first step has even been taken. Designs that begin with such a question -- whether in products, buildings, technologies, or communities -- are sensitive to living systems, and can potentially accomplish their mission without the seemingly unavoidable side effects of pollution, erosion, congestion, and stress. Such "deep designs" meet the key criteria of renewability, recyclability, and nontoxicity. Often based on natural systems, they are easy to understand and implement, and provide more elegant approaches to getting the services and functions we need. Wann presents information gleaned from interviews with more than fifty innovative designers in a wide variety of fields, and describes numerous case studies that explain the concept and practice of deep design.
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Beyond the Makerspace: Making and Relational Rhetorics
Ann Shivers-McNair
University of Michigan Press, 2021
Library of Congress TS171.57.S55 2021 | Dewey Decimal 372.89
Makerspaces—local workshops that offer access to and training on fabrication technologies, often with a focus on creativity, education, and entrepreneurship—proliferated in the 2010s, popping up in cities across the world. Beyond the Makerspace is a longitudinal, ethnographically informed study of a particular Seattle makerspace that begins in 2015 and ends with the closing of the space in 2018. Examining acts of making with objects, tools, words, and relationships, Beyond the Makerspace reads making as a kind of rhetoric, or meaning-making work, and argues that acts of making things are rhetorical in the sense that they are culturally situated and that they mark boundaries of what counts as making and who counts as maker. By focusing on a particular makerspace over time, Shivers-McNair attends to a changing cohort of makerspace regulars as they face challenges of bringing their vision of inclusivity and diversity to fruition, and offers an examination of how makers are made (and unmade, and remade) in a makerspace.
Beyond the Makerspace contributes not only to our understanding of making and makerspaces, but also to our understanding of how to study making—and meaning making, more broadly—in ways that examine and intervene in the marking of difference. Thus, the book examines what (and whose) values and practices we are taking up when we identify as makers or when we turn a writing classroom or a library space into a makerspace.
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Out of Stock: The Warehouse in the History of Capitalism
Dara Orenstein
University of Chicago Press, 2019
Library of Congress TS189.6.O74 2019 | Dewey Decimal 388.0440973
In Out of Stock, Dara Orenstein delivers an ambitious and engrossing account of that most generic and underappreciated site in American commerce and industry: the warehouse. She traces the progression from the nineteenth century’s bonded warehouses to today’s foreign-trade zones, enclaves where goods can be simultaneously on US soil and off US customs territory. Orenstein contends that these zones—nearly 800 of which are scattered across the country—are emblematic of why warehouses have begun to supplant factories in the age of Amazon and Walmart. Circulation is so crucial to the logistics of how and where goods are made that it is increasingly inseparable from production, to the point that warehouses are now some of the most pivotal spaces of global capitalism. Drawing from cultural geography, cultural history, and political economy, Out of Stock nimbly demonstrates the centrality of warehouses for corporations, workers, cities, and empires.
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Flexible Robot Manipulators: Modelling, simulation and control
M. Osman Tokhi
The Institution of Engineering and Technology, 2008
Library of Congress TS191.8.F594 2008 | Dewey Decimal 629.892
The ever increasing utilisation of robotic manipulators for various applications in recent years has been motivated by the requirements and demands of industrial automation. Among these, attention is focused more towards flexible manipulators, due to various advantages they offer compared to their rigid counterparts. Flexural dynamics have constituted the main research challenge in modelling and control of such systems; research activities have accordingly concentrated on the development of methodologies to cope with this.
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Flexible Robot Manipulators: Modelling, simulation and control
M.O. Tokhi
The Institution of Engineering and Technology, 2017
Library of Congress TS191.8.F594 2017
Industrial automation is driving the development of robot manipulators in various applications, with much of the research effort focussed on flexible manipulators and their advantages compared to their rigid counterparts. This book reports recent advances and new developments in the analysis and control of these robot manipulators.
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Robots and Automated Manufacture
J. Billingsley
The Institution of Engineering and Technology, 1985
Library of Congress TS191.8.R6367 1985 | Dewey Decimal 670.427
To serve its purpose, an industrial robot must be harnessed to a manufacturing task, be it welding, assembly, adjustment or the inspection of food products. Complex tasks are likely to require offline programming, both for economy of equipment use and to permit computer simulations for collision avoidance. Vision and other sensory systems are helping to extend the capabilities of robots, while advanced programming techniques are making their use more accessible to the shop floor.
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Revolution in Time: Clocks and the Making of the Modern World, Revised and Enlarged Edition
David S. Landes
Harvard University Press, 2000
Library of Congress TS542.L24 2000 | Dewey Decimal 681.11309
More than a decade after the publication of his dazzling book on the cultural, technological, and manufacturing aspects of measuring time and making clocks, David Landes has significantly expanded Revolution in Time.
In a new preface and scores of updated passages, he explores new findings about medieval and early-modern time keeping, as well as contemporary hi-tech uses of the watch as mini-computer, cellular phone, and even radio receiver or television screen. While commenting on the latest research, Landes never loses his focus on the historical meaning of time and its many perceptions and uses, questions that go beyond history, that involve philosophers and possibly, theologians and literary folk as well.
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Marking Modern Times: A History of Clocks, Watches, and Other Timekeepers in American Life
Alexis McCrossen
University of Chicago Press, 2013
Library of Congress TS543.U6M396 2013 | Dewey Decimal 681.11
The public spaces and buildings of the United States are home to many thousands of timepieces—bells, time balls, and clock faces—that tower over urban streets, peek out from lobbies, and gleam in store windows. And in the streets and squares beneath them, men, women, and children wear wristwatches of all kinds. Americans have decorated their homes with clocks and included them in their poetry, sermons, stories, and songs. And as political instruments, social tools, and cultural symbols, these personal and public timekeepers have enjoyed a broad currency in art, life, and culture.
In Marking Modern Times, Alexis McCrossen relates how the American preoccupation with time led people from across social classes to acquire watches and clocks. While noting the difficulties in regulating and synchronizing so many timepieces, McCrossen expands our understanding of the development of modern time discipline, delving into the ways we have standardized time and describing how timekeepers have served as political, social, and cultural tools in a society that doesn’t merely value time but regards access to time as a natural-born right, a privilege of being an American.
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Looking at Jewelry: A Guide to Terms, Styles, and Techniques
Susanne Gänsicke
J. Paul Getty Trust, The, 2019
Library of Congress TS722.G36 2019 | Dewey Decimal 739.272
What is a cabochon? What are the various types of gilding? What is vermeil? This accessible book—the first of its kind—offers concise explanations of key jewelry terms. The fascination with personal adornment is universal. It is a preoccupation that is primal, instinctive, and uniquely human. Jewelry encompasses a seemingly endless number of ornaments produced across time and in all cultures. The range of materials and techniques used in its construction is extraordinary, even revolutionary, with new substances and methods of fabrication added with every generation. In any given society, master artisans have devoted their time, energy, and talent to the fine art of jewelry making, creating some of the most spectacular objects known to humankind.
This volume, geared toward jewelry makers, scholars, scientists, students, and fashionistas alike, begins with a lively introduction that offers a cultural history of jewelry and its production. The main text provides information on the most common, iconic, and culturally significant forms of jewelry and also covers materials, techniques, and manufacturing processes. Containing more than eighty color illustrations, this guide will be invaluable to all those wishing to increase their understanding and enjoyment of the art of jewelry.
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Sawmill: The Story of Cutting the Last Great Virgin Forest East of the Rockies
Kenneth L. Smith
University of Arkansas Press, 1986
Library of Congress TS806.A8S66 1986 | Dewey Decimal 338.476742097666
Sawmill is a history of logging in the Arkansas and Oklahoma Ouachita Mountains from 1900 to 1950, a penetrating study of the lumber industry, and a significant view of man’s interaction with a major forest resource. It is also a social history in its account of the lumbermen’s quest for the last virgin timber and the effects of its depletion. Kenneth L. Smith interviewed more than three hundred people to develop this lively history of the cutting of virgin shortleaf pine forests.
The Caddo River Lumber Company and the Arkansas mill towns of Rosboro, Glenwood, and Forester provided jobs and homes for many during the brief heyday of the big sawmills. Smith takes a close look at several important timber companies, and at the personality of T. W. Rosborough, a man who bought and sold vast tracts of land and had an almost fatherly concern for both white and black sawmill workers.
The recollections included here provide insight into a population that lived through the Depression years in isolated mountain communities where cats were sometimes sold as possum meat, and where men enjoyed weekend “sip and sniff” poker parties. The book is richly illustrated with photographs from the time of the mills and includes a foldout map.
Sawmill was originally published in 1986 and reprinted in 2006.
Winner of the Virginia C. Ledbetter Prize
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Texas Furniture, Volume Two: The Cabinetmakers and Their Work, 1840–1880
By Lonn Taylor and David B. Warren
University of Texas Press, 2012
Library of Congress TS806.T4T393 2012 | Dewey Decimal 338.47684109764
The art of furniture making flourished in Texas during the mid-nineteenth century. To document this rich heritage of locally made furniture, Miss Ima Hogg, the well-known philanthropist and collector of American decorative arts, enlisted Lonn Taylor and David B. Warren to research early Texas furniture and its makers. After more than a decade of investigation, they published Texas Furniture in 1975, and it quickly became the authoritative reference on this subject. An updated edition, Texas Furniture, Volume One, was issued in the spring of 2012.
Texas Furniture, Volume Two presents over 150 additional pieces of furniture that were not included in Volume One, each superbly photographed in color and accompanied by detailed descriptions of the piece’s maker, date, materials, measurements, history, and owner, as well as an analysis by the authors. Taylor and Warren have also written a new introduction for this volume, in which they amplify the story of early Texas furniture. In particular, they compare and contrast the two important traditions of cabinetmaking in Texas, Anglo-American and German, and identify previously unknown artisans. The authors also discuss nineteenth-century Texans’ desire for refinement and gentility in furniture, non-commercial furniture making, and marquetry work. And they pay tribute to the twentieth-century collectors who first recognized the value of locally made Texas furniture and worked to preserve it. A checklist of Texas cabinetmakers, which contains biographical information on approximately nine hundred men who made furniture in Texas, completes the volume.
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Texas Furniture, Volume One: The Cabinetmakers and Their Work, 1840-1880, Revised edition
By Lonn Taylor and David B. Warren
University of Texas Press, 2012
Library of Congress TS806.T4T393 2012 | Dewey Decimal 338.47684109764
The art of furniture making flourished in Texas during the mid-nineteenth century. To document this rich heritage of locally made furniture, Miss Ima Hogg, the well-known philanthropist and collector of American decorative arts, enlisted Lonn Taylor and David B. Warren to research early Texas Furniture and its makers. They spent more than a decade working with museums and private collectors throughout the state to examine and photograph representative examples. They also combed census records, newspapers, and archives for information about cabinetmakers. These efforts resulted in the 1975 publication of Texas Furniture, which quickly became the authoritative reference on this subject.
Now updated with an expanded Index of Texas Cabinetmakers that includes information that has come to light since the original publication and corrects errors, Texas Furniture presents a catalog of more than two hundred pieces of furniture, each superbly photographed and accompanied by detailed descriptions of the piece’s maker, date, materials, measurements, history, and owner, as well as an analysis by the authors. The book also includes chapters on the material culture of nineteenth-century Texas and on the tools and techniques of nineteenth-century Texas cabinetmakers, with a special emphasis on the German immigrant cabinetmakers of the Hill Country and Central Texas. The index of Texas cabinetmakers contains biographical information on approximately nine hundred men who made furniture in Texas, and appendices list information on the state’s largest cabinet shops taken from the United States census records.
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Wood, Whiskey and Wine: A History of Barrels
Henry H. Work
Reaktion Books, 2014
Library of Congress TS890.W67 2014 | Dewey Decimal 674.82
Barrels—we rarely acknowledge their importance, but without them we would be missing out on some of the world’s finest beverages—most notably whiskies and wines—and of course for over two thousand years they’ve been used to store, transport, and age an incredibly diverse array of provisions around the globe. In this comprehensive and wide-ranging book, Henry Work tells the intriguing story of the significant and ever-evolving role wooden barrels have played during the last two millennia, revealing how the history of the barrel parallels that of technology at large.
Exploring how barrels adapted to the requirements of the world’s changing economy, Work journeys back to the barrel’s initial development, describing how the Celtic tribes of Northern Europe first crafted them in the first millennia BCE. He shows how barrels became intrinsically linked to the use of wood and ships and grew into a vital and flexible component of the shipping industry, used to transport not only wine and beer, but also nails, explosives, and even Tabasco sauce. Going beyond the shipping of goods, Work discusses the many uses of this cylindrical container and its relations—including its smaller cousin, the keg—and examines the process of aging different types of alcohol. He also looks at how barrels have survived under threat from today’s plastics, cardboards, and metals.
Offering a new way of thinking about one of the most enduring and successful products in history, Wood, Whiskey and Wine will be a must-read for everyone from technology buffs to beverage aficionados who wish to better understand that evasive depth of flavor.
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American Paper Mills, 1690–1832: A Directory of the Paper Trade with Notes on Products, Watermarks, Distribution Methods, and Manufacturing Techniques
John Bidwell
Dartmouth College Press, 2013
Library of Congress TS1088.B46 2013 | Dewey Decimal 676.0973
Unprecedented in size and scope, this directory describes more than 500 paper mills on the basis of census records, archival sources, local histories, and watermark evidence. It traces economic developments and technological changes in the American paper trade from the colonial period to the industrial era, with special reference to its close connections with the printing business, which depended on local sources of supply for newsprint, book paper, and plate paper for engraved illustrations. Newly discovered and reattributed watermarks make it possible to identify these products and provide a more reliable means of dating and localizing works on paper. This fully documented survey of paper mills also contains biographical information about members of the trade and a succinct history of papermaking in America with essays on manufacturing methods, mechanization, business practices, and distribution networks. Among the illustrations in this volume are hitherto unrecorded woodcut and engraved views of manufactories, used in the packaging art of that period.
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Working with Paper: Gendered Practices in the History of Knowledge
Carla Bittel, Elaine Leong, Christine von Oertzen
University of Pittsburgh Press, 2019
Library of Congress TS1090.W67 2019 | Dewey Decimal 676
Working with Paper builds on a growing interest in the materials of science by exploring the gendered uses and meanings of paper tools and technologies, considering how notions of gender impacted paper practices and in turn how paper may have structured knowledge about gender. Through a series of dynamic investigations covering Europe and North America and spanning the early modern period to the twentieth century, this volume breaks new ground by examining material histories of paper and the gendered worlds that made them. Contributors explore diverse uses of paper—from healing to phrenological analysis to model making to data processing—which often occurred in highly gendered, yet seemingly divergent spaces, such as laboratories and kitchens, court rooms and boutiques, ladies’ chambers and artisanal workshops, foundling houses and colonial hospitals, and college gymnasiums and state office buildings. Together, they reveal how notions of masculinity and femininity became embedded in and expressed through the materials of daily life. Working with Paper uncovers the intricate negotiations of power and difference underlying epistemic practices, forging a material history of knowledge in which quotidian and scholarly practices are intimately linked.
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