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Author: Wendy Gunn
Publisher: Peter Lang
ISBN: 9783631574928
Category : Anthropologie
Languages : en
Pages : 246
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Book Description
"Every description of the world we inhabit embodies certain processes of describing. In Fieldnotes and Sketchbooks researchers from the fields of anthropology, architecture and fine art reflect on the descriptive practices characteristic of their respective disciplines, and the potential of alternative modalities of description to challenge the boundaries that divide them. Contributors focus on the interconnections between writing, imaging, drawing and reading, exploring the many ways in which different media and notational systems can be used in contexts of learning to facilitate the movement of knowledge across the three disciplines. "--Book jacket.
Author: Wendy Gunn
Publisher: Peter Lang
ISBN: 9783631574928
Category : Anthropologie
Languages : en
Pages : 246
Get Book Here
Book Description
"Every description of the world we inhabit embodies certain processes of describing. In Fieldnotes and Sketchbooks researchers from the fields of anthropology, architecture and fine art reflect on the descriptive practices characteristic of their respective disciplines, and the potential of alternative modalities of description to challenge the boundaries that divide them. Contributors focus on the interconnections between writing, imaging, drawing and reading, exploring the many ways in which different media and notational systems can be used in contexts of learning to facilitate the movement of knowledge across the three disciplines. "--Book jacket.
Author: Wendy Gunn
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
Every description of the world we inhabit embodies certain processes of describing. In this book, researchers from the fields of anthropology, architecture and fine art reflect on the descriptive practices characteristic of their respective disciplines, and the potential of alternative modalities of description to transcend the boundaries that divide them. They focus on the interconnections between writing, imaging, drawing and reading, exploring the many ways in which different media and notational systems can be used in contexts of learning to facilitate the translation of knowledge across the three disciplines. The approach is to regard art and architecture not as objects of anthropological analysis but as investigative and exploratory practices, on a par with anthropology. Thus the aim is to disclose the synergy between art, architecture and anthropology - a synergy that lies not so much in the products of the three disciplines as in their ways of working. The book is based on a collaboration between the School of Fine Art at the University of Dundee and the Department of Anthropology at the University of Aberdeen, in the context of a three-year, AHRC-funded project, Learning is understanding in practice: exploring the interrelations between perception, creativity and skill. The project culminated in an exhibition held at Aberdeen Art Gallery from April to June 2005. This was not an exhibition of artistic, architectural or anthropological works. Rather the exhibitors, including artists, architects and anthropologists, were challenged to reflect on their own ways of working, and of knowing, within the context of an ongoing interdisciplinary dialogue. A central aim of the book concerns the study of the conjunction of perception and action within practitioners' ways of knowing and working. Influenced by James Gibson's (1979) pioneering work on visual perception, ecological psychologists have shown how the development of perceptual skills - or what Gibson calls 'the education of attention' - takes place within the contexts of perceivers' direct, practical engagement with their surroundings. This has been paralleled, in science and technology studies, by an approach to knowledge as grounded in environmentally situated actions, developed by Lucy Suchman (1987, 2007). Building on this work, the sociologist of science David Turnbull has explored the relation between local knowledge and comparative scientific traditions, in a way that could have direct parallels with my investigations of how locally developed, skilled practices contribute to environmental perception and understandings of nature (Turnbull 1993, 1993-1994, Ingold 2000), the politics of objectification (Harvey 1998), the connections between persons, technologies and places (Harvey, Green and Agar 2000), and the relation between 'local' and 'global' knowledge systems (Strathern 1995). While anthropological research concerning the nature of embodied practice can contribute to an understanding of how creative practitioners' work, by placing their knowledge and skills within their social context, studies of skilled practices of vision in anthropology have had a tendency to separate culture and environment and emphasise the cognitive over the social (Küchler 2002). These artificial boundaries are problematic when it comes to understanding creative practitioners' ways of working and ways of knowing. Indeed such disjunctions actually accentuate the division between gesture and speech. I have shown, to the contrary, that the interconnections between speaking, drawing, imaging and writing are central to understanding skilled practice (Gunn 2002, 2005, 2007). Seeing is not 'just' seeing, skills have to be learned. In learning to pay attention to environmental features, seeing becomes a way of knowing (Roepstorff 2007). Learning to see involves developing a heightened awareness of the subtleties of movement. Within a situated context as Suchman proposes, 'anthropological studies offer the possibility of moving our understanding of seeing from the realm of the optical and cognitive, to an appreciation for the visual as based in culturally constituted artefacts and embodied practices' (1998: 10). Inscriptions resulting from professional ways of seeing nature, events or people are part of a situated activity (Goodwin 1994). Anthropology can offer a wider understanding of what is meant by situated action, especially when considering the dynamic interrelation between human gesture and speech. An understanding of human action as a mind/body interacting within a world of social relations challenges existing interpretations of human gesture as a cognitive and physical process lacking in human emotion. Taking Suchman's idea of the situatedness of human action as a starting point, I will follow up her assertion that plans are a resource for situated action. Placing creative practitioners words, letters, numerals and diagrams within a network of sociotechnical relations, I challenge the normative model of art and design history that positions representations, illustrations and explanations of doing outwith of the actualities of the everyday. Within a creative process graphic elements taken from different notational systems are often combined. How these components are related in the pursuit of understanding and remembering are central to the rationale behind the publication.
Author: Aaron James Draplin
Publisher: Abrams
ISBN: 1613129963
Category : Design
Languages : en
Pages : 834
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Book Description
A funny, colorful, fascinating tour through the work and life of one of today’s most influential graphic designers. Esquire. Ford Motors. Burton Snowboards. The Obama Administration. While all of these brands are vastly different, they share at least one thing in common: a teeny little bit of Aaron James Draplin. Draplin is one of the new school of influential graphic designers who combine the power of design, social media, entrepreneurship, and DIY aesthetic to create a successful business and way of life. Pretty Much Everything is a mid-career survey of work, case studies, inspiration, road stories, lists, maps, how-tos, and advice. It includes examples of his work—posters, record covers, logos—and presents the process behind his design with projects like Field Notes and the “Things We Love” State Posters. Draplin also offers valuable advice and hilarious commentary that illustrates how much more goes into design than just what appears on the page. With Draplin’s humor and pointed observations on the contemporary design scene, Pretty Much Everything is the complete package.
Author: Michael R. Canfield
Publisher: Harvard University Press
ISBN: 0674072065
Category : Nature
Languages : en
Pages : 315
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Book Description
Once in a great while, as the New York Times noted recently, a naturalist writes a book that changes the way people look at the living world. John James Audubon’s Birds of America, published in 1838, was one. Roger Tory Peterson’s 1934 Field Guide to the Birds was another. How does such insight into nature develop? Pioneering a new niche in the study of plants and animals in their native habitat, Field Notes on Science and Nature allows readers to peer over the shoulders and into the notebooks of a dozen eminent field workers, to study firsthand their observational methods, materials, and fleeting impressions. What did George Schaller note when studying the lions of the Serengeti? What lists did Kenn Kaufman keep during his 1973 “big year”? How does Piotr Naskrecki use relational databases and electronic field notes? In what way is Bernd Heinrich’s approach “truly Thoreauvian,” in E. O. Wilson’s view? Recording observations in the field is an indispensable scientific skill, but researchers are not generally willing to share their personal records with others. Here, for the first time, are reproductions of actual pages from notebooks. And in essays abounding with fascinating anecdotes, the authors reflect on the contexts in which the notes were taken. Covering disciplines as diverse as ornithology, entomology, ecology, paleontology, anthropology, botany, and animal behavior, Field Notes offers specific examples that professional naturalists can emulate to fine-tune their own field methods, along with practical advice that amateur naturalists and students can use to document their adventures.
Author: Michael Taussig
Publisher: University of Chicago Press
ISBN: 0226789845
Category : History
Languages : en
Pages : 187
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Book Description
I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.
Author: Derrick Obara
Publisher:
ISBN:
Category :
Languages : en
Pages : 110
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Book Description
Psycho-Pass sketchbooks are perfect sketchbooks for writing journals, a daily diary, or note taking in college classes or meetings. Psycho-Pass sketchbooks are beloved by travelers & bullet journalists for their slim design and their medium size.
Author: Charles Sanville IV
Publisher:
ISBN:
Category :
Languages : en
Pages : 110
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Book Description
Pen your own wishes, whimsies, dreams, and plans within the pages of these attractive little sketchbooks! The interior of Psycho-Pass sketchbook features a unline pages for flexibility of use. Besides the softcover make the comfortable to hold it. Especially, our sketchbooks are interested with quality, smooth-finish paper takes pen and pencil beautifully.
Author: Kari Herbert
Publisher: Chronicle Books
ISBN: 9781452158273
Category : Reference
Languages : en
Pages : 320
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Book Description
The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.
Author: Matthew J. Genge
Publisher: Oxford University Press, USA
ISBN: 0198835922
Category : Science
Languages : en
Pages : 306
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Book Description
Learning to draw field sketches is an essential task for geologists, however it is often overlooked. This book presents simple techniques, useful tips and detailed examples to teach geologists how to draw rocks successfully. Field sketches are the best way to record the natural world, and yet they are one of the most difficult parts of fieldwork to master. This book shows how to go about drawing the key elements of geology in and out of the field and is a practical guide that will help you improve your diagrams and the quality of your notes. Through simple rules, useful tips and detailed examples the author describes how to go about drawing outcrops, structures, hand specimens and thin-sections and what features need to be observed and recorded. If you've ever wished you could draw geology better, this book is for you.
Author: Larry D. Marshall
Publisher: CreateSpace
ISBN: 9781463505462
Category : Fiction
Languages : en
Pages : 262
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Book Description
A retired Arizona cop, Scott Riker, lives with his wife and daughter in Quebec City where he heads a group of problem-solvers. Directed by Quebec business mogul and philanthropist, Luc Duchesne, the group uses their talents and resources to stand between people in trouble and the criminal elements who would do them harm. In Her Book of Shadows, Riker agrees to find a teenage girl, Jodie Burke, whose parents say ran away to Quebec City from Connecticut. When Jodie's friend turns up murdered on the Plains of Abraham, however, it becomes clear that Riker faces something more than just a runaway girl. He races to find Jodie and prevent whoever is trying to kill her from succeeding.
