BIRTH OF THE DEVICE
Inspired by men who have made fairly random and arbitrary, though always well researched and poignant media catalogs that document our collective communication subconscious, from Laszlo Moholy-Nagy’s 1925 Painting, Photography & Film to McLuhan’s endless volumes on the mid century electronic information age, I’ve been working to continue the tradition for the early 21st with my own partial but extensively considered study of the ‘Birth of the Device.’ An ongoing inventory of effects that skips across remote enabled drone warfare, ai’s related image effect on our collective visual conscious, the infinite vanishing point of the screen, cats in fruit hats as the symbol of internet and the radical relevance test of content that proves that a father and daughter beatboxing can generate more views than paid advertising that forces us to watch until we are allowed to ‘skip.’
SPECTACLE 101
Always encouraged by the artists, collectives, happenings and studios that thought about applied arts and industry as cultural and civic, Spectacle 101 is a ever growing curriculum that surveys manifestos, readings, film and studios that feel like hallucinations, experiments and propaganda for the role of technology and media in their age. From Kandinsky’s 1910 Concerning the Spiritual in Art to Terry Gilliam’s 1985 Brazil dystopia, the course is built to question as Hans Meyer says, how “as creative designers, our activities are determined by society, and the scope of our tasks is set by society [and] the fate of the landscape” (1929 Hans Meyer).
ON BIBLIOGRAPHY MINES
I once asked Elizabeth Edwards (best known for her 1992 Photography & Anthropology) why there was such a seeming dearth of visual anthropology focused on design decisions in the presentation of knowledge beyond materiality and the image and into how the image is placed, accompanied by what text in what type, treatment of graphics, tables etc. and all the cultural decisions that go into the details of knowledge creation and representational practice. She commiserated and referred me to her bibliography from her “2007 Gardens of War: Materiality & The Photographic Narrative” for some bibliography mining. To pass on the practice and hopefully save someone some time, I have compiled a starter kit bibliography from that research and some of the basics.
Birth of the Device & the Post Medium Age
Spectacle Research
Welcome to Birth of the Device, an inventory of effects on our new era of media communication in 2020.Today, content is no longer limited to the constraints of 20th century recorded media. Type no longer related to print, film no longer tethered to celluloid, sound to tape or even our early programming and digital formats to heavy localized hard drives and servers. Specialized equipment or production knowledge is no longer required to send video, type, icons or infographics, sound, music, or even altered photographic reality with deep fake apps. Family whats app threads regularly mix emojis, video, voice notes, type and image. This condition presents new opportunities for uniquely 21st century aesthetics as well as new socio-political conditions for the monetization, creation and free movement of communication in society.
Research Questions
What happens when, for the first time in the history of mass communications technology, the average citizen holds the means of production and distribution in their hand?What are the implications for power systems and the diversification of representational practice amidst a new empire of media corporations, data monopolization and the disappearing margin between content, journalism, clickbait, algorithms and advertising.What are the implications for the basic time signature of media? The grammar, syntax and structure of communication? What happens to film when moving image has been displaced from the narrative chronology typical to the filmic screen of the theatre or television?What happens when the form of the medium no longer seemingly relates to the product or media it creates?
Birth of the Device is an inventory of effects set out to explore the questions and conditions of our new era of media communication in 2020. Following in the tradition of Laszlo Moholy Nagy’s 1925 Malerei Fotografie Film and Marshall McLuhan and Quentin Fiore’s 1967 experimental paperback, The Medium Is the Massage, Birth of the Device is a partial, experimental @* acid pop into 21st century media- networked, synced, kinetic. Beyond McLuhan’s cool and electric and Moholoy Nagy’s typophoto modernism, Birth of the Device is a trip, distilling and abstracting insights from the intersection of our current socio-political movements in the early 21st century and our shifting technological moment.
21st century x praxis
While Moholy-Nagy was writing amidst increasing European fascism, the rise of industrialism and the crisis between the world wars, Birth of the Device similarly looks at media in the context of early 21st century political, environmental and social developments. The revolution of the internet has paralleled revolutions in drone operated warfare, data hacking, privacy and surveillance issues and a slipping mass journalistic standard due to mounting rhetoric of ‘fake news’ to dismiss unfavorable reporting.As a 21st-century work, we can add a lens of ethnography; economic anthropology; postcolonial, queer and feminist critique; activism; and speculative design thinking. Through these lenses, media is not the machine but rather are systems of interactions between economic imperatives encompassing modern-industrial neoliberal capitalism, proliferations of subcultures and a fundamental spiritual questioning of human experience.Our new age calls for a diversification of the the philosophical and social principles of internet architecture and environmental experiences of messaging, which is a collective experiment and has involved interviews and conversations across subcultures and fields. As climate disaster, deforestation and dwindling natural resources intensifies, we need new collaboration between fields to understand a broader ecosystem of affects connected to our technologies and how we can reshift our understanding of technology as futurism to expand beyond innovations in digital technologies which rely upon finite resources, short life spans and only partial mechanisms for recycling.
Footnotes
1925 Moholy-Nagy, László; Malerei, Photographie, Film (Painting, photography, film). Munich: Albert Langen Verlag.
1967 McLuhan, Marshall; The Medium is the Massage: An Inventory of Effects. Penguin Books.
2012 Schnapp J, Michaels A, Heller S; The Electric Information Age Book: McLuhan/Agel/Fiore and the Experimental Paperback
Nu Media x Multi Media x Trans Media
To differentiate from movements in trans media, multi-media and new media, which are part of a 20th century paradigm of media as defined by each distinct medium, I have been calling this new language ‘nu media.’ Inspired by ‘nu jazz,’ a contemporary genre of jazz that blends acid jazz, electronic music and other musical styles, my project posits that we are no longer limited to think about media as defined by the medium. Rather, the 21st century is increasingly about what we say, not just how we say it.
iDisorders + Diversifying Design Principles
We need a diversification of design principles as the reality of the device has transitioned our lives as mediated through the device for in some cases more than 8 hours a day with transaction based design principles that have bolstered digital autism, iDisorders and addiction. This calls for a re-thinking and regulation, pedagogy and experimentation of this space.
Internet Landscape >> Urban Planning1. Recognition internet landscape as urban planning and Architecture 2. Diversification of that landscape design and internet urban planning
Does it matter that the means of production and distribution in the hands of the citizen for the first time in the recent history? i.Production models structures =x medium Because of the conflation of the body of media technologies, our production models can no longer subsist on ownership on the means of production – as has existed in the 15th-20th century I.e. Presses/Mills : Newspapers I.e. Broadcasting Tech : Radio and Television > rather we Accordion Production models can scale up and down depending on content need. Not just video journalism or long format editorial, or live streaming…but a focus on what we are saying and less on how we are saying it.
Broadcasting in ui and Post Journalism
Condition : Because nobody pays for content – revenue models are 1. monetized on the collection of eyeballs, views and the amount of eyeballs or traffic, which has created the phenomena of our central design tenants in internet architecture mimicking the least desired conditions of society : Virality, Traffic, Click Bait, Feeds for Human Consumption 2. The breadth of content production and journalism is no longer floated by the subscription or purchase of an entire issue – thus each article has to have it’s own internal ROI ‘return on investment’ and thus revenue model. The tabloids, classifieds, weather no longer pay for the long format investigative pieces. Each piece is measurable. 3. Thus we need numbers, the exploration of ‘radical resonance or relevance’ as a hack for generating power in lieu of paying for relevance. > erotica, kink, cats, surrealism, gossip, breaking news, family, baby animals, virtuosity, the marvel of nature 4. Because the basic foundation of our contemporary newspapers and or televisions are personal, customised and kinetic – production models can no longer be based on the body if the media technology.
The Search for Spectra Ui; Technicolor my Inter-face
How are we are using moving image, sound, engineering, programming, code art, dance, performance and space to create a nu language which is entirely of our moment in search of a “spectra ui,” which, like technicolor did for celluloid, aims to find a distinct hyperrealism to our visual palette of communication technologies today.
Time Signature, Syntax, Structure, Grammar of Media
::Algorithmic collective consciousness and Related Image Search
::Machine learning and the network
::Parameters of design instead of fixed design; Post script – variable width type
::Nu perspective and illusionism ; infinity perspective, xr
::File Formats as kinetic : GIF et.
::Nu Aesthetics, Post Internet, The phenomena of vaporwave
::Code Art and Internet Muralism
::IG and the rebirth of super flatism and constructivism
::Pop-Up Theatrical Documentary, Lyrical Journalism
Moholy-Nagy for example splits Malerei Fotografie Film into two clear sections, the first to “identify the ambiguities of present-day optical creation,” (1925:1) and the second to“[place] the illustrative material separately following the text because continuity in the illustrations will make the problems raised in the text VISUALLY clear” (1925:47). Because Moholy-Nagy’s work is responding to the age of mechanical modernism and experiments to liberate the image from representational practice, Malerei Fotografie Film uses photography, type and photograms in a graphically rhythmic and elastic new communication language he calls ‘typophotography.’
1967 Fiore x McLuhan
Quentin Fiore similarly animates McLuhan’s media theory on the effects of the cool connected electric information age, as compared to the hot media of Gutenberg’s linear printing press, in a completely new graphical language of kinetic compositions, high-contrast full-bleed images and a cinematic interplay of text, image and graphics. Unlike Moholoy-Nagy’s undulating but linear modernism, Fiore’s experimental paperback is like a spoonful of visual rockcandy: fizzy, ecstatic and consumed instantaneously in a series of television-like blinks. Fiore designed Medium Is the Massage following the creation of educational films for Bell Laboratories exploring the relationship between the computer and the book at a time of explosions in new printing and imaging technologies, alongside the Vietnam War, Civil Rights and Free Speech Movements. He was interested in the reduction of complex theory into simplified signs, glyphs, and patches of text which were accompanied with an LP for mass consumption to demonstrate the hysteria of the new sonic audible electronic information age, as differentiated from the linear rationality of type.
Utopian Experiments in Film, Art & Technology
Spectacle 101
1848 Hokusai Treatise on Coloring
1911 Kandinsky Concerning the Spiritual in Art
1915 Kazmir Malevich Supermatism
1916 Hugo Munsterberg The Film : A Physchological Study The Silent Photoplay in 1916
1920 Realistic Manifesto (constructivism) Gabb & Pevsner
1920 Paul Klee ‘creative credo’
1925 Laszlo Moholy Nagy Painting Photography Film
1926 Hans Meyer, The New World
1927 Dali ‘Film-Arte, Film AntiArtistico’
1930 Beatrice WardeThe Crystal Goblet
1937 John Cage ‘The Future of Music: Credo’
1939 Junichiro Tanizaki In Praise of Shadows
1947 Dennis, Glenn Roswell Incident by Glenn Dennis, Funeral Director. Self Published.
1948 Dali Magical Craftsmanship
1949 Simone De Beauvoir Second Sex
1952 Manifestó Ruptura Waldemar cordero São Paulo
1958 Dalí Anti Matter Manifestó
1959 Manifestó neoconcreto jornal do brasil
1962 Susan Sontag On Style
1962 Marshall McLuhan Gutenberg Galaxy
1964 Marshall McLuhan Understanding Media
1970 Whole earth catalog buckmister fuller
1975 Laura Mulvey Visual Pleasure and Narrative Cinema
1977 Susan Sontag On Photography
1987 Jean Baudrillard The Ecstasy of Communication
1992 Lillian F Schwartz The Computer Artists Handbook
1995 Isabel Allende Aphrodisiac
1898 George Melies The Astronomers Dream
1914 Alvin Langdon Coburn 1882-1966 ‘Vortographs’
1923 Man Ray Le Retour a La Raison
1924 Fernard Leger Ballet Mécanique (Man Ray)
1926 Man Ray Emak Bakia – Cine Poeme
1926 Marcel Duchamp Anemic Cinema
1927 Walter Ruttman Berlin: Symphony of a City
1927 Sergei Eisenstein October
1927 Fritz Lang Metropolis
1927 Hans Richter’s 1927 short film Ghosts Before Breakfast.
1927 Hans Richter Ghosts Before Breakfast
1929 Dziga Vertov Man with A Movie Camera
1929 Dali; Luis Brune Un Chien Andalou
1929 Disney, Silly Symphony Skeleton Dance based on Dans Macabre by Saint-Saens
1930 Lazlo Moholoy Nagy Light-Space Modulator
1931 Dziga Vertov The Donbass Symphony
Mondrian ‘plastic art and pure plastic art’
1936 Laszlo Moholoy-Nagy Lobsters
1943 Maya Deren Meshes of the Afternoon
1947 Richter Dreams That Money Can Buy (Man Ray, Marcel Duchamp, Alexander Calder, Fernand Leger)
1957 Hans Richter, Jean Cocteau 8×8 A Chess Sonata in 8 Movements
1921 Hans richter rhythmic 21 – film is. mag g
1938 Oskar Fishinger An Optical Poem
1946-75 Oskar Finshinger Early Abstraction Pt. 3
No. 5: Circular Tensions, Homage to Oskar Fischinger (1950)
No. 7: Color Study (1952)
1957 John Whitney Yantra
1961 Robert Breer Blazes
1964 Marie Menken Lights
1965 Aldo Tambellini Black Trip
1968i Aldo Tambellini Black TV
1971 Norman McLaren Synchromy
1978 Claudio Caldini Ofrenda
1979 Toshi Matsumoto White Hole
1964 Carolee Schneeman Meat Joy
1964 World Fair IBM Pavillion: Buckminster Fuller, Eames Man & Machine
1964 THINK IBMs the information machine – 15 of the theatres 22 screens projected into 9 films :: Elmer Bernstein Score :: Glen Fleck script storyboard
1969 Valerie Mrejen
1973 Nam Jun Paik Global Groove
1971 Lis Rhodes – Dresden Dynamo Image is soundtrack, soundtrack the image
1969 Valerie Mrejen
1974 Barbara Hammer – Dyketactics
1975 Carolee Scheemann Interior Scroll
1975 Paul Sharits, “Shutter Interface,” (1975, four-screen 16-mm loop projection with four separate sound tracks
1978 Sanja Ivekovic Croatia; Make Up Make Down
2011 Frances Stark Animated film
2011 Tacita Dean FILM Turbine Hall 35mm looped film 13meteres tall
2015 et. Hito Steyerl https://rcpp.lensbased.net/autoitalia/
2019 Cao Fei NOVA
2020 Hervisions , Keiken
2020 Club de Femmes x Lux London
1969 The Colour of Pommegranates
1970 Alejandro Jorodowsky El Topo
1970 Gregory J. Markopoulos Genius
1971 UC Berkeley course The Black Man in the Cosmos
1972 John Waters Pink Flamingo
1973 Alejandro Jorodowsky The Holy Mountain
1974 Sun Ra Space Is the Place
1974 John Waters Female Trouble
1975 Terry Gilliam Monty Python & The Holy Grail
1977 Le Couple Témoin, The Model Couple – William Klein
1985 Terry Gilliam Brazil
Push Pin Studio
Hipgnosis
Super Studio
Eames
Experiments in Art and Technology’s (E.A.T.)
Otpor!
Radical Software
Fluxus
Zagreb New Technologies Group
Aldo Tambellini’s Electronic InterMedia
London Filmmakers Co-Op
Media Theory & History of Graphic Design
Spectacle Bibliography Mine
Aristotle
The Art of Rhetoric
Barthes, R.
1977 Rhetoric of the image. In: Heath ed. Image, music, text. London. Fontana Press. pp. 32-52.
Barthes, Roland
1982 Camera Lucida, Reflection on Photography. Hill and Wang press.
Barthes, Roland
1988 The World as Object,’ Calligram: Essays in New Art History from France, edited by Norman Bryson (Cambridge: Cambridge University Press) p. 53-62.
Bejamin, Walter
1968 The Work of Art in the Age of Mechanical Reproduction. In Illuminations. Pp. 217-253. Schocken Books: New York.
Berger, John
1972 Ways of Seeing. Penguin.
Berger, John
1980 ‘The Uses of Photography’ in About Photography.
Berger, John
2002 The Ambiguity of the Photograph. In The Anthropology of Media: A Reader. Askew, Kelly and Wilk, Richard eds. Pp. 47-55. Blackwell Publishing Ma, U.S.A.
Bergson, Hernri
1912 Matter and Memory: Ch 1 Of the Selection of Images for Conscious Presentation. What our body means an does…. Pp. 1-85. Cosimo Classics: New York.
Bonsiepe, Gui.
1961 “Persuasive Communication: Toward a Visual Rhetoric.” Uppercase 5 (1961): 19-34_. “Visual/Verbal Rhetoric.” Ulm 14/15/16, (1965): 23-38.
Burri, Regula Valerie
2012 Visual Rationalities: Towards a Sociology of Images. Current Sociology. 60: 45.
Capurro, Rafael.
2003 “The Concept of Information.” In Annual Review of Information Science and Technology Vol. 37 (2003): 343-411.
Comi, Eppler
Visual Representations as Carriers and Symbols of Organizational Knowledge.
Crary, Jonathan
1994 Unbinding Vision. MIT Press: Vol. 68: pp 21-44.
Crary, Johnathan
1996 ‘Subjective Vision and the Separation of the Senses’,‘Techniques of the Observer,’ ‘Modernity and the Problem of the Observer.’ In Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge MA: MIT Press) p. 67-96; 97-136. Pp 1-24.
Debord, Guy
1983 The Society of Spectacle. Ken Knabb (Translator).
Dretske, Fred I
1981 Knowledge and the Flow of Information. Cambridge, MA: MIT Press..
Dupré, Sven
2010 Review: Art History, History of Science, and Visual Experience. The Human Animal in Western Art and Science Leonardo Leonardo da Vinci: Experience, Experiment, and Design Seen | Unseen: Art, Science, and Intuition from Leonardo to the Hubble Space Telescope by Martin Kemp; Martin Kemp; Isis, Vol. 101, No. 3 (September 2010), pp. 618-622.
Ewenstein, Boris and Whyte, Jennifer
2009 “Knowledge practices in design: The role of visual representations as ‘epistemic objects’.” Organization Studies 30(1): 7-30
Kristeller, Paul Oskar
1983 “Rhetoric in Medieval and Renaissance Culture.” In Renaissance Eloquence, edited by James J. Murphy. Berkeley: University of California Press.
Latour, B.
2000. The Berliner Key or How to Do Words With Things. In Graves-Brown (ed.). Matter, Materiality and Modern Culture.
McLuhan, M.
1962 The Gutenberg galaxy: The making of typographic man. London: Routledge & Kegan Paul.
McLuhan, M.
1964 Understanding media: The extension of man. New York: McGraw-Hill.
McLuhan, Marshall
1961 Ch. 2: Inside the Five Sense Sensorium. In Empire of the Senses: The Sensual Culture Reader (ed.) Howes, David. 2005 Berg: New York. Pp. 43-54.
Merleau-Ponty
1962 Phenomenology of Perception. Routldge Classics: London and New York. Pp. Preface vii-xxiv.
Merleau-Ponty, Maurice
1964 Eye and Mind In The Primacy of Perception (ed) James M. Edie, trans. Carleton Dallery, Evanston: Northwestern University Press.
Ong, W,
1982 Orality and literacy : The technologizing of the word. London & New York: Routledge.
Sontag, Susan
1962 (1994) On Style In Against Interpretation: and other essays. Penguin: London.
2001 On Photography, Picador Press.
Styhre, Alexander
2010 Knowledge work and practices of seeing: Epistemologies of the eye, gaze, and professional vision, Culture and Organization, 16:4, 361-376.
Abbink, Jeanette & Anderson, Emily
2010 3D Typography. Mark Batty Publisher: New York.
Bringhurst, Robert
2005 Historical Synopsis & The Grand Design in The Elements of Typographic Style. Version 3. Pp. 12-25. Hartely & Marks Publishers.
Brumberger, Eva R.
2003 The Rhetoric of Typography: The Persona of Typeface & Text. Technical Communication Vol. 50: 2.
Caslon, William
1924 Caslon Old Face Roman & Italic: Cast Entirely From Matricies Produced From the Original Punches Engraved in the Early Part of the Eighteenth Century in Chiswell Street London. H.W. Caslon & Co. LTD: London.
Crutchley, Brooke
1985 Logic, Lucidity, & Mr. Morison. Matrix 5. In Type & Typography: Highlights from Matrix, the review for printers and bibliophiles (2003). Mark Batty Publisher LLC: West New York, New Jersey.
Danet, Brenda
1997 Books, Letters, Documents: The Changing Aesthetics of Texts in Late Print Culture. Journal of Material Culture (2):5.
Darnton, Robert
1982 What Is the History of Books? Daedalus, Vol. 111, No. 3, Representations and Realities (Summer, 1982), pp. 65-83
Darnton, Robert
2000 An Early Information Society: News and the Media in Eighteenth-Century Paris. The American Historical Review, Vol. 105, No. 1 (Feb., 2000), pp. 1-35
Drucker, J. & McVarish, E
2009 Graphic design history: A critical guide. Upper Saddle River: Pearson Education Prentice Hall.
Ford, Forlizzi, Ishizaki
1997 Kinetic Typography: Issues in time based presentation of text. Late Breaking / Short Demonstrations pp 269-270.
Flood, John
1993 Nationalistic Currents in Early German Typography.
Frascara, Jorge.
1997 User-Centered Graphic Design: Mass Communication and Social Change. London: Taylor & Francis Ltd., 1997
Gill, Eric
1931 An Essay on Typography. London: Sheed & Ward.
Heller, S; Lasky, J
1993 Ch. 2 Original Sin: The Roots of Typography In Borrowed Design: Use & Abuse of Historical Form. Pp. 9-31. Van Nostrand Reinhold: New York; London.
Heller, Steven
1988 Graphic Style: from Victorian to Post-Modern. Thames & Hudson: London.
Jones, Herbert
1950 2nd Edition. [1938 1st Published] Type in Action: A Manual of Elementary Typographic Lay-Out. Sidgwick & Jackson Limited: London.
Kinross, Robin
1985 “The Rhetoric of Neutrality.” Design Issues 2:2 (1985): 18-30.
Lesser, Zachary
CH 5: Typographic Nostalgia: Play-Reading, Popularity, and the Meanings of Black Letter.
Lupton, Ellen
2006 The Birth of the User. In Looking Closer 5: Graphic Design as System (Ed. Michael Bierut, William Drenttel, Steven Heller). Pp. 23-25. Allworth Press: New York.
McLean, Ruari
1980 CH. 3 Legibility In The Thames & Hudson Manual of Typography. . Pp. 42-50. Taylor, W.S. (Editor). Thames & Hudson: London.
Morison, Stanley
1936 [1930; 1st published The Fleuron] First Principles of Typography. Cambridge: The University Press. New York: The Macmillan Company.
Morison, Stanley
1962 On Type Designs Past & Present: A Brief Introduction (New Edition). Earnest Benn Limited: Bouverie House, Fleet Street London EC4. (First Published by The Fleuron 1926).
Morison, Stanley
1963 The Typographic Book 1450-1935 A study of Fine Typography through Five Centuries exhibited in upwards of Three Hundred and Fifty Title and Text Pages drawn from Presses working in the European Tradition.
Tschichold, Jan
1991 [1975 German Edition] The Form of the Book: Essays on the Morality of Good Design.. (Introduction & Ed. Robert Bringhurst). Lund Humphries: London.
Tholenaar, Jan; Jong, Cees
2009 Type: A Visual History of Typefaces and Graphic Styles. Taschen: London.
Tobie Meyer-Fong
2007 The Printed World: Books, Publishing Culture, and Society in Late Imperial China. The Journal of Asian Studies Vol. 66, No. 3 (August) 2007: 787-817.
Warde, Beatrice.
1956 “The Crystal Goblet or Printing Should Be Invisible.” In The Crystal Goblet: Sixteen Essays on Typography. Cleveland: Cleveland and New York World Publishing Co.
Towards an Anthropology of Design
Spectacle Bibliography Mine
Appadurai, A.
1990. Disjuncture and difference in the global cultural economy. Theory, Culture and Society 7: 295-310.
Bakewell, Liza
1998 Image Acts. American Anthropologist. New Series Vol. 100: 1. Pp. 22-32
Banks, Marcus
2001 Visual Methods in Social Research. Sage Publications.
Banks, Marcus
1992 ‘Which films are the ethnographic films?’. In Film as ethnography (ed.) P. Crawford, & D. Turton. Manchester University Press in association with the Granada Centre for Visual Anthropology
Bateson, Gregory
1972 Bateson, Gregory. “Form, Substance and Difference.” In Steps to An Ecology of Mind, 448-66. New York: Chandler Publishing Co., 1972.
Buckley, L.
2000-1. Self and Accessory in the Gambian Studio Photography. In Visual anthropology Review 16: 71-92.
Classen, Constance
1997 Foundations for an Anthropology of the Senses. International Social Science Journal. Volume 49: Issue 153. Pp 401-412.
Classen, Constance
1998 Ch. 4: The Witch’s Senses: Sensory Ideologies and Transgressive Femininities from the Renaissance to Modernity. In Empire of the Senses: The Sensual Culture Reader (ed.) Howes, David. 2005 Berg: New York. Pp. 70-84.
Clifford, James
1985 Objects and Selves- An Afterword. In Objects and Others: Essays on Museums and Material Culture. History of Anthropology Volume 3. Ed. Stocking, George W. Pp 236-243. University of Wisconsin Press: Wisconsin.
Clifford, James
1986.Introduction: partial truths. In J. Clifford and G. Marcus (eds.) Writing Culture. University of California Press.
Clifford, James
2012 Feeling Historical. Cultural Anthropology. pp. 417–426. Vol. 27: 3.
Collier, John, and Macolm Collier
1986 Visual Anthropology: photography as a research method. Albuquerque: University of New Mexico Press.
Corbin, Alain
1995 Ch 7: Charting the Cultural History of the Senses. In Empire of the Senses: The Sensual Culture Reader (ed.) Howes, David. 2005 Berg: New York. Pp, 128-142.
Csordas, T
1999 The Body’s Career in Anthropology. In Anthropological Theory Today (eds.) H. Moore & T. Sanders, 172-205. Cambridge: Polity.\
Craig, Robert
1990 Ideological Aspects of Publication Design. pp. 18-27. Design Issues Vol. 6: No. 2.
Craig, Robert L
2006 Form and Meaning: Non-Objectivity & Communication. Pp. 1-12.
Craig, Robert L
2008 Through Printer’s Eyes: From the Arts & Crafts Movement to Modernism. Visual Communication Quarterly 15:1 pp. 31-45.
Desjarlais, R. & Throop, C.J.
2011 Phenomenological Approaches in Anthropology. Annual Review of Anthropology. 40: 87-102.
Dilworth, Leah
1996 Imagining Indians in the Southwest: persistent visions of a primitive past. Smithsonian Institution Press: Washington and London
Edwards, E.,
2007 Gardens of war: Materiality & the photographic narrative. In: Barabash & Taylor eds. The Cinema of Robert Gardner. Oxford: Berg. pp.175-201.
Edwards, E. & Hart
2005. Mixed Box: the Cultural biography of a box of ‘ethnographic’ photographs. In: Edwards and Hart eds. Photographs Object Histories. London: Routledge. pp. 48-64.
Edwards, Elizabeth
1994 Anthropology and Photography. Elizabeth Edwards, ed. New Haven and London: Yale University Press.
Edwards, E and Hart, J.
2005. Mixed Box: the Cultural biography of a box of ‘ethnographic’ photographs. In Edwards and Hart (eds.). Photographs Object Histories. London: Routledge
Fabian, Johannes
2002 [1983] Times & the Other: How Anthropology Makes Its Object. Colombia Univesrity Press: New York.
Faris, James
2003 Navajo and Photography: A critical History of the Representation of an American People. The University of Utah Press: Salt Lake City.
Farnell, B.
2011 Theorizing ‘The Body’ in Visual Culture. In: Banks & Ruby eds. Made To be seen: Perspectives on the history of visual anthropology. Chicago: University of Chicago Press. pp. 136-158.
Farnell, Brenda
2011 “Theorizing ‘The Body’ in Visual Culture.” Made To Be Seen: Perspectives on the History of Visual Anthropology. Ed. Marcus Banks and Jay Ruby. University of Chicago Press, 2011. 136-158.
Farnell, Brenda, and Charles Varela
2008 “The Second Somatic Revolution.” Journal for the Theory of Social Behavior 38.3 (2008): 215-240.
Feld, Steven
1996 Ch 10: Places Sensed, Senses Placed: Toward a Sensuous Epistemology of Environments. In Empire of the Senses: The Sensual Culture Reader (ed.) Howes, David. 2005 Berg: New York. Pp. 179-181.
Feld, Steven and Brenneis, Donald
2004 Doing anthropology in sound. American Ethnologist. Volume 31 Number 4. Pp461-473.
Frede, Michael
1990 An Empiricist View of Knowledge In Epistemology: Companions to Ancient Thought 1. (Ed. Stephen Verson) pp 225-254. Cambridge University Press.
Gee, James Paul
1986 Orality and Literacy: From The Savage Mind to Ways With Words. Pp. 719-743 TESOL Quarterly Review Article.
Geertz
1976 Art As a Cultural System
Goodwin, Charles
1994 Professional Vision. pp. 606-633.American Anthropologist New Series Vol 96: No. 3
Goodwin
1999 Action and Embodiment Within Situated Human Interaction. Applied Linguistics
Griffiths, Alison
2002 Wondrous Difference. Part I: Pre-cinema and Ethnographic Representation. Pp. 1-86. Columbia University Press: N.Y.
Grimshaw, Anna & Ravetz, Amanda
Gross, Larry
1988 The Ethics of (Mis)Representation. In Image Ethics. Gross, Katz, Ruby, ed. Pp. 188-203. New York: Oxford University Press.
Gross, Larry, and John Stuart, and Jay Ruby
1988 Introduction: A Moral Pause. In Image Ethics. Gross, Katz, Ruby, ed. Pp. 1-34. New York: Oxford University Press.
Harper, Richard P
1998 What is a Document? & Designing Ethnography In Inside the IMF: An ethnography of documents, technology, and organizational action. Pp. 1-88. Academic Press: California.
Howes, D.,
2005 Empire of the Senses: The sensual culture reader. Oxford: Berg Publishers.
Houtman, Gustaaf; Zeitlyn, David
1996 Information Technology & Anthropology. Editorial. Anthropology Today. Vol. 12: 3. pp. 1-3.
Hastrup, K.
1992. Anthropological Visions: some notes on visual and textual authority. In P. Crawford D. Turton (eds.). Film as Ethnography pp. 8 -25
Hetherington,K.
2003. Spatial Textures: place, touch, and praesentia. Environment and Planning A35: 1933-44.
Hertzfeld, Michael
2001 Senses” Anthropology: Theoretical Practice in Culture & Society. Massachusetts: Blackwell Publishers Inc.
Hillman (David A.); Carla Mazzio
1997 Hillman CH: Visceral Knowledge In The body in parts : fantasies of corporeality in early modern Europe. New York ; London : Routledge
Howes, D.
2005. Introduction. In D. Howes (ed.). Empire of the Senses: The sensual culture reader. Oxford: Berg Publishers.
Ingold, T.
2000 Stop, look, listen! Vision, hearing and human movement In: The perception of the environment: essays in livelihood, dwelling, and skill. Oxford: Routledge.
Ingold, T. 2000.
Stop, look, Listen! Vision, Hearing and Human Movement. The Perception of the Environment. Oxford: Routledge.
Ingold, Tim
2004. Comments on Christopher Tilley: The Materiality of Stone: Explorations in Landscape Phenomenology. Oxford: Berg, 2004. Source: Norwegian archaeological review [0029-3652] vol:38 iss:2 pg:122-129.
Ingold, Tim
2007 “Earth, sky, wind, and weather.” Journal of the Roayl Anthropological Institute. Pp. 519-538
Ingold, Tim (ed)
2011 In Redrawing Anthropology: Materials, Movements Lines. Ed. Tim Ingold. London: Ashgate Press
Jenks, Chris
1995 The Centrality of the Eye in Western Culture: An Introduction. In Visual Culture. Pp 1-25. Routledge: London.
Keane, Web
2005 Signs Are Not the Garb of Meaning In Materiality (ed) Miler, Daniel. Duke University press: Durham NC. Pp. 182-201.
Keane, Web
2005 Signs Are Not the Garb of Meaning: On the Social Analysis of Material Things In Materiality (ed) Miler, Daniel. Duke University press: Durham NC. Pp. 182-201.
Koytoff, I.
1986. The cultural biography of things. In A. Appadurai (ed.) The Social Life of Things.
Knappett, C
2002. Photographs, Skeuomorphs and Marionettes: some thoughts on Mind, Agency and Objects. Journal of Material Culture 7: 97-117.
Knoblauch, Hubert
2008 The Performance of Knowledge: Pointing & Knowledge in PowerPoint Presentations. Cultural Sociology 2(1). Pp. 75-97.
Kullman, Michael and Taylor, Charles
1958 The Pre-Objective World. The Review of Metaphysics. Vol 12: No 1. Sept. pp 108-132.
Leeuwenn, Theo Van & Kress, Gunther
1996 Introduction In Reading Images: The Grammar of Visual Design. Taylor & Francis Group. Pp. 1-14.
Lutz, Catherine and Collins, Jane
1993 Reading National Geographic, University of Chicago Press.
Maton, Karl
2010 Chapter 2: Analysing Knowledge Claims and Practices: Languages of Legitimation In Social Realism, Knowledge and the Sociology of Education Coalitions of the Mind.
MacDougall, D.
1997 The Visual in Anthropology In: Banks & Howard Morphy eds. Rethinking visual anthropology. Yale University Press.
MacDougall, David
1975/1995 ‘Beyond observational cinema’. In Principles of visual anthropology (ed.) P. Hockings. Mouton
MacDougall, David
2006 Ch 1: Introduction: Meaning and Being. In The Corporeal Image: film, ethnography, and the senses. Princeton, N.J. ; Oxford : Princeton University Press. Pp 1-9.
Marcus, G.
2010 “Affinities: Fieldwork in Anthropology Today and the Ethnographic in Artwork.” In Schneider and Wright (eds.) In Between Art and Anthropology
Marcus, G.
2012. The Legacies of writing culture and the near future of ethnographic form: A sketch. Cultural Anthropology 27 (3). pp. 428-441.
Maynard, P.
1997. Chapter 2 Making our marks. In The Engine of Visualization: Thinking about photography. Ithaca: Cornell University Press.
Mazzio, Carla
2003 Ch. 5: The senses Divided: Organs, Objects, and Media in Early Modern England. In Empire of the Senses: The Sensual Culture Reader (ed.) Howes, David. 2005 Berg: New York. Pp. 85-105.
Mead, Margaret & Bateson, Gregory
1942 Balinese Character. A Photographic Analysis. New York: Academy of Sciences.
Miller, D.
1987. Chapter 4. Munn. Objectification as Culture. In D.Miller. Material Culture and Mass Consumption.
Molyneaux, Bian Leigh
1997 Introduction: The Cultural Life of Images. In The Cultural Life of Images: Visual Representations in Archeology. Brian Leigh Molyneaux, ed. Pp. 1-10. London and New York: Routledge Publishers.
Mustafa, Hudita.
2002. Portraits of Modernity: Fashioning Selves in Dakarois Popular Photography. In Landau,P. and D.Kaspin (eds.) Images and Empires: Visuality in Colonial and Postcolonial Africa. Berkeley: University of California Press.
Nichols, Bill
2001 Introduction to Documentary. Bloomington & Indianapolis: Indiana University Press.
Pieterse, J
2004. Ch 4 Globalisation as Hybridisation. Globalisation and Culture.
Pink, Sarah
2006 Doing Visual Ethnography. Sage Publishing.
2006. Chapter 1 Engaging the Visual: An Introduction. In The Future of Visual Anthropology.
2007 Walking With Video.
2009 Doing Sensory Ethnography, Los Angeles ; London : SAGEvii, 168 p. : ill. ; 25 cm. Book
2011 Images, Senses and Applications: Engaging Visual Anthropology. Visual Anthropology 24:5, 437-454.
2011 Sensory digital photography: re-thinking ‘moving’ and the image, Visual Studies 26:1 pp 4-13. Pink, Howes and Ingold in Social Anthropology 2010. Vol 18: 3 AND 2011. Vol 19: 2 and 3.
Pinney, Christopher
1990 The Quick and the Dead: Images, Time and Truth. Society For Visual Anthropology Review. Vol 6: Issue 2. Pp. 42-54.
1992 ‘The lexical spaces of eye-spy’ in P. Crawford and D. Turton (eds.) Film as Ethnography
2003 “Notes from the Surface of the Image: Photography, Postcolonialism, and Vernacular Modernism” In Photography’s Other Histories. (Ed. Pinney, Peterson) pp. 202-220. Duke University Press: Durham and London.
2004 Introduction: The Possibility of a Visual History. In Photos of the Gods: The Printed Image and Political Struggle in India. Pp 8-12.
Phaffenberger, B.
1992. Social anthropology of technology. Annual Review of Anthropology 21. pp 491-516.
Poole, Deborah
2005 An Excess of Description: Ethnography, Race, and Visual Technologies. Annual Review of Anthropology. Pp. 34: 159-179.
Porcello, Thomas; Meintjes, Louise; Ochoa, Ana Maria
2010 The Reorganization of the Sensory World. Annual Review of Anthropology Vol. 39: 51-66
Rabinow, Paul; Marcus, George
2008 Designs for An Anthropology of the Contemporary. Duke University Press: Durham, London.
Riles, Annelise
2000 The Network Inside Out. University of Michigan Press: Ann Arbor.
Robben, Antonius C.G.M.
2006 Sensorial Fieldwork. Part VIII in Ethnographic Fieldwork: An Anthropological Reader.pp 385-389
Ruby, Jay
2000 Picturing Culture : Explorations of Film & Anthropology. The University of Chicago Press.
Ruby, Jay
2006 The Last 20 Years of Visual Anthropology. A Critical Review.
Russel, Catherine
1999 Experimental Ethnography. Ch1: Introduction: Another Look. Duke University Press: Durham and London. Pp 7-25.
Sacks, Oliver
2003 Ch. 1: The Mind’s Eye: What the Blind See. In Empire of the Senses: The Sensual Culture Reader (ed.) Howes, David. 2005 Berg: New York. Pp. 25-42.
Schneider, Arnd and Wright, Christopher J.
2010 Introduction in Between art and anthropology : contemporary ethnographic practice. Oxford: New York: Berg 2010.
Scheper-Hughes, Nancy
2009 Making Anthropology Public. Guest Editorial. Anthropology Today. Vol. 25: No. 4. pp. 1-3.
Spinney, J.
2006. A place of sense: a kinaesthetic ethnography of cyclist on Mont Ventoux. Environment and Planning D: Society and Space 24: 709-32.
Sonesson, Goran
1989 Pictorial Concepts. Inquiries into the Semiotic Heritage and Its Relevance for the Analysis of the Visual World. Lund: Lund University Press.
Stafford, Barabara Maria
1994 Artful Science: Enlightenment, Entertainment and the Eclipse of Visual Education. Cambridge, MA: MIT Press.
Stafford, Barabara Maria
2007 Echo Objects: The Cognitive Work of Images. Chicago, IL, University of Chicago Press, 2007.
Stafford, Barabara Maria
2005 “The Remaining 10%: The Role of Sensory Knowledge in the Age of the Self-Organizing Brain,” in Visual Literacy, ed. by James Elkins (New York: Routledge, 2005).
Starn, Orin
2012 Writing Culture at 25: Special Editor’s Introduction. Cultural Anthropology: 27:3.
Stewart, Susan
1999 Ch. 3: Remembering the Senses. In Empire of the Senses: The Sensual Culture Reader (ed.) Howes, David. 2005 Berg: New York. Pp. 59-69.
Stoller, Paul
1989 Ch 1 : The Taste of Ethnographic Things. In The taste of ethnographic things : the senses in anthropology.
Stoller, Paul
2009 The Power of the Between: An Anthropological Odyssey. University of Chicago Press.
Sutherland, John
1988 Publishing History: A Hole at the Centre of Literary Sociology. Pp. 574-589. Critical Inquiry: 14: 3.
Tilley, Christopher
1994 Chapter 1: “Space, Place, Landscape and Perception: Phenomenological Perspectives” In A phenomenology of landscape : places, paths and monuments. Oxford : Berg. pp. 7-33.
Tilley, C. 1999
Solid Metaphor: The Analysis of Material Form. In his Metaphor and Material Culture.
Throop, Jason C
2005 Hypocognition, a “Sense of the Uncanny,” and the Anthropology of Ambiguity: Reflections on Robert I. Levy’s Contribution to Theories of Experience in Anthropology. Ethos. Volume 33. Issue 4. December 2005 (Pages 499 – 511)
Throop, Jason C.
2005 Hypocognition, a “Sense of the Uncanny,” and the Anthropology of Ambiguity: Reflections on Robert I. Levy’s Contribution to Theories of Experience in Anthropology. Ethos. Volume 33. Issue 4. December 2005 (Pages 499 – 511)
Varela, Charles
1994. Harré and Merleau-Ponty: Beyond the Absent Moving Body in Embodied Social Theory. Journal for the Theory of Social Behavior, 24(2): 167–185.
Weinberger, E.
1994. The Camera People. In Taylor, L (ed.) Visualizing Theory.
Wilk,R.
1995.The local and the global in the political economy of beauty.
Williams, D.
1982 Semasiology: A Semantic Anthropologist’s view of Human Movement and Actions. In D. Parkin (ed.) Semantic Anthropology ASA Vol 22, pp 161-181.
Young, Colin
1975/1995 ‘Observational cinema’. In P. Hockings (ed.) Principles of visual anthropology. Mouton (pp. 65-79).
Anderson, R.J.
1994 Representations and Requirements: The Value of Ethnography in System Design. Rank Xerox Research Centre. Pp. 1-38.
Ang, Ien
1990 Culture and Communication: Towards an Ethnographic Critique of Media Consumption in the Transnational Media System. European Journal of Communication 1990 5: 239.
Banks, Marcus
2001 Visual Methods in Social Research. Sage: London. Pp- 87-96.
Buckingham, David
2009 ‘Creative’ visual methods in media research: possibilities, problems and proposals. Media Culture Society 31: 633-652.
Clifford, J. & Marcus, G.,
1986 Writing culture: The poetics and politics of ethnography. Berkeley: University of California Press.
Clifford, James.
1988 Ch. 4 On Ethnographic Surrealism In The Predicament of Culture, 20th Century Ethnography, Literature, and Art. Pp. 117-152. Harvard University Press.
Dicks, Flewitt, Lancaster, Pahl
2011 Multimodality and ethnography: working at the intersection. Qualitative Research. 11: 227-237. Editorial.
Geschiere, P.
2010. The Self-reflective turn in ethnography: From dialogue to narcissism. Etnofoor 22: 137-146.
Guijarro, Arsenio
2010 Engaging readers through language and pictures. A case study. Journal of Pragmatics 43 (2011) 2982–2991.
Halse, Joachim
2008 Design Anthropology: Borderland Experiments with Participation. Phd Dissertation IT University of Copenhagen . pp 1-219.
Hoeyer, Klaus; Dahlager, L; Lynoe, N
2005 Conflicting Notions of Research Ethics: The Mutually Challenging Traditions of Social Scientists and Medical Researchers. Social Science & Medicine 61 (2005) 1741–1749
Hammersley, Atkinson
1994 Ethnography and participant observation In Handbook of qualitative research. Volume: 1, Issue: 15, Publisher: Sage, Pages: 248-261
Harper, Douglass
1987 The Visual Ethnographic Narrative. Visual Anthropology Vol 1: 1-19.
Henderson, Kathyrn
1998 The Role of Material Objects in the Design Process. A Comparison of Two Design Cultures & How They Contend with Automation. Science, Technology, & Human Values. Vol. 23: No. 2. Pp. 139-174.
Houtman, Gustaaf; Zeitlyn, David
1996 Information Technology & Anthropology. Editorial. Anthropology Today. Vol. 12: 3. pp. 1-3.
Ingold, Tim
2008 “Anthropology is Not Ethnography” Radlcliffe-Brown lecture in Social Anthropology. British Academy 154: 69-92.
Jackson, Bruce
1987 Fieldwork. University of Illinois Press.
Lew, Alan
2010 Ch. 2 Defining and redefining conceptual frameworks for social science field research In fieldwork in tourism: methods, issues and reflections (Ed. C. Michael Hall) Pp. 19-34.
Marcus, G.
1990. The Modernist Sensibility in Recent Ethnographic Writing. In Visual Anthropology. Review 6 (1): 2-12.
Madison, Soyini
2005 Ch 1 & 2 Critical Ethnography: Methods, Ethics, and Performance. Sage: California. Pp. 1-31.
Pink, Sarah
2001 Ch. 6 Visual Images and Technologies in Ethnographic Representation.Doing Ethnography: Images, Media and Representation in Research.
Rosenholtz; Dorai; Freeman
2011 Do Predictions of Visual Perception Aid Design. ACM Transactions on Applied Perception. Vol 8: 2. Pp 12: 1- 12:20.
Sangren, S.
2007. Anthropology of anthropology? Further reflections on reflexivity. Anthropology Today 23.
Scheper-Hughes, Nancy
2009 Making Anthropology Public. Guest Editorial. Anthropology Today. Vol. 25: No. 4. pp. 1-3.
Wasson, Christina
2000 Ethnography in the Field of Design. Human Organization; Winter 2000; 59, 4; ABI/INFORM Global pg. 377-388
Wolcott
1999 Ch 1 & 2 Ethnography: A way of seeing. AltaMira Press: MD. Pp 9-31.
Buchanan, Richard.
2001 “Design Research and the New Learning.” Design Issues 17:4 (2001): 3-23.
Carvalho, L; Dong, A
2008 Legitimating Design: A Sociology of Knowledge Account of the Field. Design Studies 30: No. 5.
Douglas, James
2005 Pictures and Page Numbers, Image Text Formal Structure in the Visual Book and the Artists Book. Master of Fine Arts Thesis.
Evans, Poppy
2006 Exploring Publication Design. Essential Principles and Techniques for Designing Magazines, Brochures, & Other Print Publications. Thomson Delmar Learning.NY.
Evans, Poppy
2006 Exploring Publication Design. Essential Principles and Techniques for Designing Magazines, Brochures, & Other Print Publications. Thomson Delmar Learning.NY.
Gibson, James. J.
1977 “The Theory of Affordances.” In Perceiving, Acting, and Knowing, edited by R. E. Shaw and J. Bransford, 67-82. Hillsdale, NJ: Lawrence Erlbaum Associates, 1977.
Gooding, David
2009 Visualizing Scientific Inference. Topics in Cognitive Science 2 (2010) 15–35
Goodwin, Charles
2000 Action and Embodiment within Situated Human Interaction. Journal of Pragmatics. 32. Pp. 1489-1522.
Green, Virigina
Artist’s Decisions Based on Intuition, Culture, and Intellect: Typography in the Fine Arts. MFA THESIS.
Gluth, Stuart
1999 Roxane, A Study in Visual Factors Effecting Legibility , Visible Language, 33:3 (1999) p.236
Henderson, K
1991 Flexible Sketches and Inflexible Databases: Visual Communication, Conscription Devices, andBoundary Objects in Design Engineering. Science, Technology, & Human Values, Vol. 16, No. 4 (Autumn, 1991), pp. 448-473.
Hitchcock, Lucinda,
2000 Word Space / Book Space / Poetic Space: Experiments in Transformation Visible Language, 34:2 p.162
Hippala, Tuoma
2012 Reading paths and visual perception in multimodal research, psychology and brain sciences. Journal of Pragmatics 44 (2012) 315–327.
Janssen, Frans
1995 Layout as a means of identification? Quaerendo 25: 1.
Janssen, Frans A; Simoni, Anna E. C.
1991 Author and Printer in the History of Typographical Design. Quaerendo. Vol 21: 1. Pp. 11-37.
Jamieson, G. Harry
2007 Visual Communication: More Than Meets the Eye. Bristol, UK: Intellect Books.
Jobling, Paul, and David Crowley.
1996 Graphic Design: Reproduction and Representation Since 1800. Manchester: Manchester University Press, 1996.
Kaiser, David
2012 The Structure of Scientific Revolutions. Nature Vol. 484. Pp. 164.
Keedy, J.
2005 Style is not a four letter word. In: Bierut, Drentel, Heller eds. Looking Closer 5: Critical Writings on Graphic Design. New York: Allworth Press.
Kemp, Martin
2010 Style and Non Style in Anatomical Illustration From Renaissance Humanism to Henry Gray. Journal of Anatomy. 216: pp 192-208.
Kaestle, Carl
1985 The History of Literacy and the History of Readers. Review of Research in Education, Vol. 12 (1985), pp. 11-53.
Kimbell, Lucy
2011 Rethinking Design Thinking: Part 1. Design and Culture. Vol. 3: Issue 3 pp. 285-306.
Lester, Paul Martin.
2005 Visual Communication: Images with Messages. Belmont, CA: Wadsworth Publishing; 4th edition, 2005.
Lockwood, Arthur.
1969 Diagrams: A Visual Survey of Graphs, Maps, Charts and Diagrams for the Graphic Designer. New York: Watson-Guptill.
McCoy, Katherine.
2000 “Information and Persuasion: Rivals or Partners?” Design Issues 16:3 (2000): 80-83.
McWade, John
2003 Before & After Page Design. Design Principles Made visible, from Before & After, the premier design a magazine. Peachpit Press: JMS Publishing.
McKenzie, D.F.
1969 Printers of the Mind: Some Notes on Bibliographical Theories and Printing-House Practices. Studies in Bibliography, Vol. 22 (1969), pp. 1-75.
Mitchel, Michael & Wightman, Susan
2005 Book Typography: A Designer’s Manual. Libanus Press: Marlbrough.
Norman, Donald
2003 Emotional Design: Why We Love (or Hate) Everyday Things. New York:Basic Books, 2003.
Norman, Donald
1988 A. The Psychology of Everyday Things. New York: Basic Books, 114 “Affordance, Conventions, and Design.” Interactions (May+June 1999): 38-42.
Pettersson, Rune.
2002 Information Design: An Introduction. Amsterdam: John Benjamins. Publishing Company, 2002.
Poggenpohl, Sharon Helmer,
2000 Words in Space: An Introduction, Visible Language, 34:2 p.100
Roth, Susan King,
1994 The Unconsidered Ballot: How Design Effects Voting Behavior , Visible Language, 28:1 p.48
Sayce, RA
1966 Compositional Practices and the Localization of Printed Books 1530-1800. Fifth Series, Vol. XXI, No. 1, March 1966.
Shedroff, Nathan
Experience Design 1. Indianapolis: New Riders Publishing, 2001.
Shankar, Kalpana
2007 Order From Chaos: The Poetics & Pragmatics of Scientific Recordkeeping. School of Informatics. Journal of the American Society for Information Science and Technology 58: (10): 1457-1466, 2007.
Storkerson, Peter,
1992 Explicit and Implicit Graphs: Changing the Structural Frame, Visible Language, 26:3/4 (1992:Summer/Autumn) p.388
Suri, Jane Fulton
2003 The Experience of Evolution: Developments in Design Practice. The Design Journal Vol. 6: 2. Pp 39048 (10). Berg Publishers.
Tyler, Ann C.
1992 “Shaping Belief: The Role of Audience in Visual Communication.” Design Issues 9:1 (1992): 21-29.
VanderLans, R.
2006 Default systems design: A discussion with Rob Gaimpietro about guilt & loss in graphic design. In Looking Closer 5: Graphic Design as System. pp. 16-23.
Vitta, Maurizio; Nelles, Juliette
1985 The Meaning of Design. Design Issues, Vol. 2, No. 2 (Autumn, 1985), pp. 3-8
Waitte, Noel
1997 “Poetry and Language” & Typography . Journal of New Zealand Literature: JNZL, No. 15 (1997), pp. 16-25
Wattenberg,
2004 Analyzing perceptual organization in information graphics. Information Visualization (2004) 3, 123–133.
Yakura, Elaine
2010 Considering Visual Artifacts in IT Cultures. AMCIS 2010 Proceedings. Paper 487.
Zwaga, Harm J. G., Theo Boersema, and Henriette C.M.Honhout.
1999 Eds. Visual Information for Everyday Use: Design and Research Perspectives. London: Taylor & Francis Ltd, 1999.