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This debut collection explores memory, cities, motion. Tung-Hui Hu's tone has some of the swampy wit that recalls Calvino or Michaux: A man swaps bodies with his lover; a mapmaker holds captive a city, which needs his crystal telescope to navigate through streets "unreadable as palm lines"; a car pushed off a cliff in a fit of anger becomes home for a school of fish. Anchored by the sequence "Elegies for self," Hu's poetry brings a quiet sophistication to syntax, diction, and form.
An eminent psychologist offers a major new theory of human cognition: movement, not language, is the foundation of thought When we try to think about how we think, we can't help but think of words. Indeed, some have called language the stuff of thought. But pictures are remembered far better than words, and describing faces, scenes, and events defies words. Anytime you take a shortcut or play chess or basketball or rearrange your furniture in your mind, you've done something remarkable: abstract thinking without words. In Mind in Motion, psychologist Barbara Tversky shows that spatial cognition isn't just a peripheral aspect of thought, but its very foundation, enabling us to draw meaning from our bodies and their actions in the world. Our actions in real space get turned into mental actions on thought, often spouting spontaneously from our bodies as gestures. Spatial thinking underlies creating and using maps, assembling furniture, devising football strategies, designing airports, understanding the flow of people, traffic, water, and ideas. Spatial thinking even underlies the structure and meaning of language: why we say we push ideas forward or tear them apart, why we're feeling up or have grown far apart. Like Thinking, Fast and Slow before it, Mind in Motion gives us a new way to think about how--and where--thinking takes place.
Explains the physics of gravity and gravitational pull, offering information on the contributions made in this area by Copernicus, Galileo, and Newton.
In Lionel Shriver’s entertaining send-up of today’s cult of exercise—which not only encourages better health, but now like all religions also seems to promise meaning, social superiority, and eternal life—an aging husband’s sudden obsession with extreme sport makes him unbearable. After an ignominious early retirement, Remington announces to his wife Serenata that he’s decided to run a marathon. This from a sedentary man in his sixties who’s never done a lick of exercise in his life. His wife can’t help but observe that his ambition is “hopelessly trite.” A loner, Serenata disdains mass group activities of any sort. Besides, his timing is cruel. Serenata has long been the couple’s exercise freak, but by age sixty, her private fitness regimes have destroyed her knees, and she’ll soon face debilitating surgery. Yes, becoming more active would be good for Remington’s heart, but then why not just go for a walk? Without several thousand of your closest friends? As Remington joins the cult of fitness that increasingly consumes the Western world, her once-modest husband burgeons into an unbearable narcissist. Ignoring all his other obligations, he engages a saucy, sexy personal trainer named Bambi, who treats Serenata with contempt. When Remington sets his sights on the legendarily grueling triathlon, MettleMan, Serenata is sure he’ll end up injured or dead. And even if he does survive, their marriage may not. The Motion of the Body Through Space is vintage Lionel Shriver written with psychological insight, a rich cast of characters, lots of verve and petulance, an astute reading of contemporary culture, and an emotionally resonant ending.
Plumb the depths of core motion design fundamentals and harness the essential techniques of this diverse and innovative medium. Combine basic art and design principles with creative storytelling to create compelling style frames, design boards, and motion design projects. Here, in one volume, Austin Shaw covers all the principles any serious motion designer needs to know in order to make their artistic visions a reality and confidently produce compositions for clients, including: Illustration techniques Typography Compositing Cinematography Incorporating 3D elements Matte painting Concept development, and much more Lessons are augmented by illustrious full color imagery and practical exercises, allowing you to put the techniques covered into immediate practical context. Industry leaders and pioneers, including Karin Fong, Bradley G Munkowitz (GMUNK), Will Hyde, Erin Sarofsky, Danny Yount, and many more, contribute their professional perspectives, share personal stories, and provide visual examples of their work. Additionally, a robust companion website (www.focalpress.com/cw/shaw) features project files, video tutorials, bonus PDFs, and rolling updates to keep you informed on the latest developments in the field.
Suitable as both a reference and a text for graduate students, this book stresses the fundamentals of setting up and solving dynamics problems rather than the indiscriminate use of elaborate formulas. Includes tutorials on relevant software. 2015 edition.
An examination of the ways human movement can be represented as a formal language and how this language can be mediated technologically. In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion through languages of movement and technological mediation. He argues that technology transforms the representation of movement and that representation in turn transforms the way we move and what we understand to be movement. Humans communicate through movement, physically and mentally. To record and capture integrated movement (both bodily and mental), by means of formal language and technological media, produces a material record and cultural expression of our evolving kinetic minds and identities. Salazar Sutil considers three forms of movement inscription: a written record (notation), a visual record (animation), and a computational record (motion capture). He focuses on what he calls kinetic formalism—formalized movement in such pursuits as dance, sports, live animation, and kinetic art, as well as abstract definitions of movement in mathematics and computer science. He explores the representation of kinetic space and spatiotemporality; the representation of mental plans of movement; movement notation, including stave notation (Labanotation) and such contemporary forms of notation as Choreographic Language Agent; and the impact of digital technology on contemporary representations of movement—in particular motion capture technology and Internet transfer protocols. Motion and Representation offers a unique cultural theory of movement and of the ever-changing ways of representing movement.
Motion is a change in an object's position. This fascinating title explains in a clear, simple way how objects are moved by a change in energy. Simple activities show young readers how energy is changed by applying a force, either by coming in contact with an object or by a force that does not touch it physically, like gravity. Teacher's guide available.