This innovative collection offers a holistic portrait of the multimodal communication potential of images from the Upper Paleolithic through to today, showcasing image-based creativity throughout the centuries. The volume seeks to extend the boundaries of our understanding of what language and writing can do to show how language can be understood as part of broader codes, as well as how images and figural objects can contribute to meaning-making in communication. The book is divided into four parts, each exploring a different dimension of the interplay between representation, symbolic meaning, and perception in the study of images, drawing on case studies from around the world. The first part looks at cognitive approaches to the earliest symbol-making while the second considers the interaction between images and writing in early scripts. The third part addresses images outside their boxes, showcasing how ancient communication devices can be reinterpreted. The final part features chapters reflecting on embodied semiotic approaches to the representation of images. This book will be of interest to scholars in semiotics, archaeology, cognitive psychology, and linguistic and cultural anthropology.

Entering Tom Swift’s private laboratory from a room farther down the hall, Ned Newton, who seemed somewhat out of breath, glanced at the young inventor and asked: “Do you seem to be getting anywhere with it, Tom?” For a moment there was no reply. Tom, who had been leaning over a complicated apparatus of wires, switches, and radio bulbs that glowed dimly, was slowly turning a dial. Ned repeated his question, adding: “What seems to be the trouble?” “Trouble?” queried Tom, looking at Ned with eyes, however, that did not see him. “There must be some trouble,” insisted Ned, “or you’d have been capering around here on one leg when I came in after doing my stuff back there,” and he nodded toward the room farther down the hall. “How about it?” Tom Swift glanced away from the apparatus, which very much resembled a radio receiving set, to a yard-square burnished sheet of metal hanging in front of him and connected to the other mechanism by several wires. This burnished sheet appeared to be made of a mirror of some metal with a square of heavy plate glass covering it. “Can’t you answer?” inquired Ned, with a chuckle. “Boy, I certainly did some acting back there all by myself! And I’d like to know whether I got it through to you. Did I? Bet I did that song and dance for the fiftieth time just now. Come on—wake up—did it come through? What’s the matter, anyhow?” “I—I’m thinking,” said Tom slowly. “Don’t need an interpreter to tell me that!” and again Ned chuckled. “I can see it with half an eye. But was it a success?” “Yes, and no,” replied Tom, turning a switch which seemed to cut off some electrical current, for at once a faint hum that had been audible in the laboratory ceased. “Yes, and no. It came through all right; that is, part of it did, but the rest——” Tom ceased speaking and bent over his apparatus. He adjusted some set screws, turned a couple of dials, and changed three of the radio tubes which, now that the power was cut off, no longer glowed with light beneath the quicksilver coatings on the thin glass. “Do you want me to go back there and do it over?” asked Ned. “I’m willing, if you say so,” and he started for the room he had just left—a room wherein, under the focused rays of a battery of powerful lights and close to a box containing a strange assortment of tubes and transmitters, Ned had done his “stunt,” which consisted of singing and dancing about on a small stage. He performed alone—there was no audience but the distant one of Tom Swift in his laboratory several hundred feet away.

Talking Beyond the Page shows how different kinds of picturebooks can be used with children of all ages and highlights the positive educational gains to be made from reading, sharing, talking and writing about picturebooks. With contributions from some of the world's leading experts, chapters in this book consider how: children think about and respond to visual images and other aspects of picturebooks children’s responses can be qualitatively improved by encouraging them to think and talk about picturebooks before, during and after reading them the non-text features of picturebooks, when considered in their own right, can help readers to make more sense out of the book different kinds of picturebooks, such as wordless, postmodern, multimodal and graphic novels, are structured children can respond creatively to picturebooks as art forms picturebooks can help children deal with complex issues in their lives Talking beyond the Page also includes an exclusive interview with Anthony Browne who shares thoughts about his work as an author illustrator. This inspiring and thought provoking book is essential reading for teachers, student teachers, literacy consultants, academics interested in picturebook research and those organising and teaching on teacher education courses in children’s literature and literacy.

Insightful introduction and analysis of Navajo Talking Picture.

This volume constitutes the refereed proceedings of the Fourth International Conference on Affective Computing and Intelligent Interaction, ACII 2011, held in Memphis, TN, USA, in October 2011.

In this lavishly illustrated book, David Morgan surveys the visual culture that shaped American Protestantism in the nineteenth and twentieth centuries--a vast record of images in illustrated bibles, Christian almanacs, children's literature, popular religious books, charts, broadsides, Sunday school cards, illuminated devotional items, tracts, chromos, and engravings. His purpose is to explain the rise of these images, their appearance and subject matter, how they were understood by believers, the uses to which they were put, and what their relation was to technological innovations, commerce, and the cultural politics of Protestantism. His overarching argument is that the role of images in American Protestantism greatly expanded and developed during this period.

Baseball is a great sport full of weird words. Trying to play a game with friends might be hard if you don’t know what anyone is saying! Readers will get a look in the dugout, and even learn why they call it a dugout in the first place. With color photos and other graphics explaining different terms and concepts like a double switch or ground rules, readers are sure to learn everything they need to talk—and play—like a pro.

Images play an outstanding role in the transfer of knowledge. They are used in numerous academic disciplines to present scientific results. Digital tools such as Adobe Photoshop make it possible to display the information in images brilliantly and clearly - at the same time the line between appropriate and inappropriate manipulation is not always easy to draw. Scientific journals have published guidelines for handling and editing images, but they are not always specific enough to provide clarity for all situations. „Shaping Images" examines how scholars from biology, information science, art history and design deal with this uncertainty - how they process and manipulate images, where they see their special potential and how they draw the line between appropriate and inappropriate image manipulation. The work also looks at scientific journals and lets selected editors have their say: What would have to happen to make it possible to combat image manipulation in science more effectively? The book's interdisciplinary approach makes it clear how different the practices are and how different the views are on what should be allowed in the processing of images. Images - this too is problematized in the book - are always a means to a certain end, which is precisely why the handling of images should be thoroughly reflected upon.

The game of football has lots of odd language hidden in its history. Why is a field called a “gridiron?” Why are players called “quarterback” and “fullback?” Getting in the game can be intimidating if you don’t know the lingo, which is why this book is full of football terms and their origins. From the difference between a safety—the player—and a safety—a scoring play—to some of the weirder quirks of the rules, full-color photographs and graphic organizers show readers everything they need to watch this exciting sport as an informed fan.

If you read the history of any new communication medium such as the cinema, television or radio, it always happens to be bound up with advances in some underlying technology. For example, cinema was born out of the rapid projection of a series of still images on a celluloid film strip. The difficulty of synchronizing sound recordings with the resulting moving images led to about 30 years of silent films - until such time as the technical problems were solved. In between the inventions, media seem to grow and develop at a slower pace, as content producers and consumers experiment with the most satisfactory and stimulating ways of communicating with each other. In the same example, silent film-makers eventually found ways of adding dialogue through scene titles and having music played during the projection of their films. This book is about the next chapter in the history of photography, which is emerging from a relatively stable period into a chaos of new inventions. Photography as we know it is at the same point as the silent films of 1926. The transition from analog to digital photography is spawning many new ways of taking, manipulating and sharing photographs. It is also bringing photography and videography closer together by unifying sound, still and moving images in the same digital medium.