Language : English
Published : 2003-01-29
Pages : 305
The Media Equation: How People Treat Computers, Television, and New Media Like Real People and Places
According to popular wisdom, humans never relate to a computer or a television program in the same way they relate to another human being. Or do they? The psychological and sociological complexities of the relationship could be greater than you think. In an extraordinary revision of received wisdom, Byron Reeves and Clifford Nass demonstrate convincingly in The Media Equation that interactions with computers, television, and new communication technologies are identical to real social relationships and to the navigation of real physical spaces. Using everyday language, the authors explain their novel ideas in a way that will engage general readers with an interest in cutting-edge research at the intersection of psychology, communication and computer technology. The result is an accessible summary of exciting ideas for modern times. As Bill Gates says, ‘(they) … have shown us some amazing things’.
The Fashioned Body provides a wide-ranging and original overview of fashion and dress from an historical and sociological perspective. Where once fashion was seen as marginal, it has now entered into core economic discourse focused around ideas about ‘cultural’ and ‘creative’ work as a major driver of developed economies. With a new preface and new material on the evolving fashion industry, this second edition gives a clear summary of the theories surrounding the role and function of fashion in modern society. Entwistle examines how fashion plays a crucial role in the formation of modern identity through its articulation of the body, gender and sexuality. The book offers a much needed synthesis between the literature on fashion and dress, and the sociology of the body, offering an updated critique of the issues raised in the first edition. Entwistle shows how an understanding of fashion and dress requires an understanding of the meanings acquired by the body in culture D since it is the body that fashion speaks to and which is dressed in almost all social situations and encounters. She argues that while fashion refers to a specific system of dress originating in the west, all cultures ‘dress’ the body in the same way, making it a crucial feature of social order. Drawing on the work of theorists, the book offers insights into the connections that need to be made between the body, fashion and dress. The Fashioned Body will be an invaluable resource for anyone interested in the social role of fashion and dress in modern culture.
Trained as an art historian but viewing architecture from the perspective of a “displaced philosopher,” Hubert Damisch in these essays offers a meticulous parsing of language and structure to “think architecture in a different key,” as Anthony Vidler puts it in his introduction. Drawn to architecture because it provides “an open series of structural models,” Damisch examines the origin of architecture and then its structural development from the nineteenth through the twenty-first centuries. He leads the reader from Jean-Francois Blondel to Eugene Viollet-le-Duc to Mies van der Rohe to Diller Scofidio, with stops along the way at the Temple of Jerusalem, Vitruvius’s De Architectura, and the Louvre. In the title essay, Damisch moves easily from Diderot’s Encylopedie to Noah’s Ark (discussing the provisioning, access, floor plan) to the Pan American Building to Le Corbusier to Ground Zero. Noah’s Ark marks the origin of construction, and thus of architecture itself. Diderot’s Encylopedie entry on architecture followed his entry on Noah’s Ark; architecture could only find its way after the Flood. In these thirteen essays, written over a span of forty years, Damisch takes on other histories and theories of architecture to trace a unique trajectory of architectural structure and thought. The essays are, as Vidler says, “a set of exercises” in thinking about architecture.
About the Author
Hubert Damisch is Emeritus Professor of the History and Theory of Art at the Ecole des Hautes Etudes en Sciences Sociales, Paris. Over the course of a long and distinguished career, he has held posts at Cornell University, Columbia University, and the Center for Advanced Studies in the Visual Arts, Washington. He is the author of The Origin of Perspective, The Judgment of Paris, Skyline: The Narcissistic City, and A Theory of Cloud: Toward a History of Painting. Anthony Vidler is Dean and Professor of the Irwin S. Chanin School of Architecture at The Cooper Union, New York. He is the author of Warped Space: Art, Architecture, and Anxiety in Modern Culture (2000), and The Architectural Uncanny: Essays in the Modern Unhomely (1992), both published by The MIT Press, and other books.
Organized around common rhetorical situations that occur all around us, INVENTING ARGUMENTS shows you that argument is a living process rather than a form to be modeled. Through the text’s prominent focus on invention, you will learn to recognize the rhetorical elements of any argumentative situation and apply the tools of argument effectively in your own writing. The basic layers of argument are introduced in early chapters, with material arranged into increasingly sophisticated topics beginning with the most obvious or explicit layers (claims) and moving to more implied or “hidden” layers (assumptions, values, beliefs, ideology). By the time you finish Part I, you will have a thorough understanding of argument, which you can then apply not just to the invention projects in Chapters 7-12, but also to your writing for other college courses and beyond.
About the Author
John Mauk has a Ph.D. in rhetoric and writing from Bowling Green State University and a Masters in language and literature from the University of Toledo. Scholarship includes an article on critical geography and composition (COLLEGE ENGLISH, March 2003). Mauk now teaches composition and rhetoric courses at Northwestern Michigan College. In 2007, he served on the NCTE Nominating Committee. John Metz has a B.A. in English from Slippery Rock University of Pennsylvania (1983) and an M.A. in English from the University of Toledo (1985). He has taught first-year writing for over 20 years and currently teaches at Kent State University at Geauga in Twinsburg, Ohio.
This is a renaissance moment for video games — in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples — drawn from popular, indie, and art games — that unpack the gamer’s experience. Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players’ emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony’s Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero’s Train. Isbister’s analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.
About the Author
Katherine Isbister is Professor of Computational Media at the University of California, Santa Cruz, and is the author of Better Game Characters by Design. She was the founding Director of the Game Innovation Lab at New York University.