The Nature of Writing – A Theory of Grapholinguistics [book cover]

Cover illustration: Purgatory: Canto VII – The Rule of the Mountain from A Typographic Dante (2008) by Barrie Tullett (also displayed in Barrie Tullett, Typewriter Art: A Modern Anthology, London: Laurence King Publishing, 2014, p. 167). With kind permission by Barrie Tullett. The text is taken from Dante. The Divine Comedy, translated by Dorothy L. Sayers, Harmondsworth­Middlesex: The Penguin Classics, 1949. On the lower part of the illustration, one can read the concluding verses of the Canto: But now the poet was going on before; “Forward!” said he; “look how the sun doth stand Meridian­high, while on the Western shore Night sets her foot upon Morocco’s strand.

NBS monograph

From Introduction: "This report is the first of a series intended to provide a selective overview of research and development efforts and requirements in the somewhat overlapping fields of the computer and information sciences and technologies. The projected series of reports will attempt to outline the probable range of R & D activities in the computer and information sciences and technologies through selective reviews of the literature and to develop a reasonable consensus with respect to the opinions of workers in these and potentially related fields as to areas of continuing R & D concern for research program planning or review in these areas.

Character Recognition

Character recognition is one of the pattern recognition technologies that are most widely used in practical applications. This book presents recent advances that are relevant to character recognition, from technical topics such as image processing, feature extraction or classification, to new applications including human-computer interfaces. The goal of this book is to provide a reference source for academic research and for professionals working in the character recognition field

Back to the Future. The Future in the Past. Conference Proceedings Book

ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Back to the future. The future in the past: ICDHS 10th+1 Barcelona 2018: Conference proceedings book

Obra dedicada a la memòria d'Anna Calvera (1954–2018).Conté: 0. Opening pages -- 1.1 Territories in the scene of globalised design: localisms and cosmopolitanisms -- 1.2 Designing the histories of southern designs -- 1.3 Mediterranean-ness: an inquiry into design and design history -- 1.4 From ideology to methodology: design histories and current developments in post-socialist countries -- 1.5 [100th anniversary of the Bauhaus Foundation]: tracing the map of the diaspora of its students -- 1.6 Design history: gatekeeper of the past and passport to a meaningful future? -- 1.7 Constructivism and deconstructivism: global development and criticism -- 1.8 An expanded global framework for design history -- 1.9 Design museums network: strengthening design by making it part of cultural legacy -- 1.10 Types and histories: past and present issues of type and book design -- 2.1 Design aesthetics: beyond the pragmatic experience and phenomenology -- 2.2 Public policies on design and design-driven innovation -- 2.3 Digital humanities: how does design in today's digital realm respond to what we need? -- 2.4 Design studies: design methods and methodology, the cognitive approach -- 2.5 Vehicles of design criticism -- 3 Open session: research and works in progress (1) -- 3 Open session: research and works in progress (2) -- Addenda: 10th+I keywords mapInternational Committee of Design History and Design Studies. Conference (11a : 2018 : Barcelona, Catalunya),ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

The Visual Novel: Fictional Space and Print After 1900

My dissertation, The Visual Novel: Fictional Space and Print After 1900, examines how and why the novel has assimilated visual mediums—film, art, and the digital—into the genre as a means of adapting to the proliferation of mass media and technology. This project connects a history of the novel (genre) with a history of the book (the genre’s physical form), thereby theorizing and narrating a history of the visual novel. I demonstrate that through fictional space, a critical term used by narratologists and textual studies scholars, visual writing emerges as a hybridized mode of creative composition where we can see most vividly the relationship between author, text, and reader. Characterized by the use of eccentric typography, nonstandard design, and experimental layout, the visual novel relies on text as image by defamiliarizing readerly expectations of print, type, and page space by assimilating composition techniques from the visual arts such as montage and collage. I argue that the visual novel’s multimodality expands definitions of “novel” and “narrative” through a discussion of British and American writers—A. S. Byatt, John Dos Passos, Steven Hall, and James Joyce, as well as contemporary small press editions of works by Laurence Sterne and Oscar Wilde. At times when screen culture advances print’s obsolescence, both historically and more recently, visual writing makes print predominant in the media ecology once again by drawing upon the very technologies that threaten it, and my dissertation responds to this recurrent milieu by arguing that these novelists utilize self-reflexive techniques to create works that actualize print’s potential and the novel’s flexibility

Design revolutions: IASDR 2019 Conference Proceedings. Volume 4: Learning, Technology, Thinking

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 4 includes papers from Learning, Technology and Thinking tracks of the conference

THE WRITING ON THE SCREEN: IMAGES OF TEXT IN THE GERMAN CINEMA FROM 1920 TO 1949

By establishing a crucial figural relation between image and text in the cinema, this dissertation offers a detailed analysis of the uses of writing through select canonical works of a significant period in the history of the German cinema. Drawing on Walter Benjamin's theory of allegory and Gilles Deleuze's conceptions of the cinematic image, as well as a Derridean definition of writing, I argue that instances of written text in images of the German cinema are social hieroglyphs rendered as allegorical gestures, which inscribe questions of authority in the form of grammatological constellations within the movement of images. These hieroglyphic configurations, spelled out as writing on the screen, stand in reference to specific modalities which affirm the presence of a larger organizational regime of truth. Instances of writing thus constitute the inscriptions through which such structures of power acquire legibility and, conversely, become visible. Ultimately, this figural regime delineates questions of the political constitution of the state because the struggle for authority and its legitimacy as an organizational system become embodied in allegorical forms of writing that inscribe the body politic into filmic texts as subject positions. This approach is predicated on a subjunctive dimension that redefines the intrinsic relation of the text to its "outside." Chapters discuss the figure of authority in "The Cabinet of Dr. Caligari" and "Kameradschaft," circularity in Fritz Lang's "M" and his "Mabuse" films, titles and writing in early Weimar film censorship decisions, the star figure of Emil Jannings in the Nazi film "Ohm Krüger," and the postwar films "Die Mörder Sind Unter Uns" and "Rotation." An epilogue investigates the reconfigurations of writing on the screen in R.W. Fassbinder's "Die Dritte Generation" (1979) and the 1998 hacker film "23". In all of these case studies, I contend that writing in film remains significant when the image as such must be augmented by gestures toward a figural language