Visual Experiences

* Fresh approach to engineering design, innovation challenges, and stereotypical thinking; provides alternative methods that come closer to the heart of the visual creative process.

Visual Experiences: A Concise Guide to Digital Interface Design provides step-by-step examples to enable readers to create an interface, guiding them from sketching an idea to creating an interactive prototype. This creation of a visual experience is achieved in three steps: thought, design, and interaction. This book focuses on the visual experience of digital interface design from the initial idea to end-user prototype. Key Features Shows how to design visual digital interface experiences: a concise guide to creating successful prototypes without programming. Teaches the whole process of how to sketch, design, and create interactions. Unlike other books, this book does not just give a list of terminologies, but workable examples and methods. Includes a wide range of basic to advanced exercises geared towards professionals and students alike. Includes many illustrations throughout the book, guiding the reader through the process.

What do we see? We are visually conscious of colors and shapes, but are we also visually conscious of complex properties such as being John Malkovich? In this book, Susanna Siegel develops a framework for understanding the contents of visual experience, and argues that these contents involve all sorts of complex properties. Siegel starts by analyzing the notion of the contents of experience, and by arguing that theorists of all stripes should accept that experiences have contents. She then introduces a method for discovering the contents of experience: the method of phenomenal contrast. This method relies only minimally on introspection, and allows rigorous support for claims about experience. She then applies the method to make the case that we are conscious of many kinds of properties, of all sorts of causal properties, and of many other complex properties. She goes on to use the method to help analyze difficult questions about our consciousness of objects and their role in the contents of experience, and to reconceptualize the distinction between perception and sensation. Siegel's results are important for many areas of philosophy, including the philosophy of mind, epistemology, and the philosophy of science. They are also important for the psychology and cognitive neuroscience of vision.

"A classic on the functions, styles and structure of the major visual art forms, this well-received text is reputed to have the best treatment available on the theory and practice of art criticism. It examines the connection between the visual, social, and physical dimensions of everyday life in which the arts perform essential roles, while illustrating clearly the common features of theme and style in works of art separated by time and culture. For art critics, artists, and all those interested in art criticism."--Publisher.

Through an interdisciplinary examination of sixteenth-century theatre, Visual Experiences in Cinquecento Theatrical Spaces studies the performative aspects of the early modern stage, paying special attention to the overlooked complexities of audience experience. Examining the period's philosophical and aesthetic ideas about space, place, and setting, the book shows how artists consciously moved away from traditional representations of real spaces on stage, instead providing their audiences with more imaginative and collaborative engagements that were untethered by strict definitions of naturalism. In this way, the book breaks with traditional interpretations of early modern staging techniques, arguing that the goal of artists in this period was not to cater to a single privileged viewer through the creation of a naturalistically unified stage but instead to offer up a complex multimedia experience that would captivate a diverse assembly of theatre-goers.

Phenomenological and empirical methods of investigating visual experience converge to support the thesis that visual perception is an ongoing process of anticipation and fulfillment. In this book, Michael Madary examines visual experience, drawing on both phenomenological and empirical methods of investigation. He finds that these two approaches—careful, philosophical description of experience and the science of vision—independently converge on the same result: Visual perception is an ongoing process of anticipation and fulfillment. Madary first makes the case for the descriptive premise, arguing that the phenomenology of vision is best described as on ongoing process of anticipation and fulfillment. He discusses visual experience as being perspectival, temporal, and indeterminate; considers the possibility of surprise when appearances do not change as we expect; and considers the content of visual anticipation. Madary then makes the case for the empirical premise, showing that there are strong empirical reasons to model vision using the general form of anticipation and fulfillment. He presents a range of evidence from perceptual psychology and neuroscience, and reinterprets evidence for the two-visual-systems hypothesis. Finally, he considers the relationship between visual perception and social cognition. An appendix discusses Husserlian phenomenology as it relates to the argument of the book. Madary argues that the fact that there is a convergence of historically distinct methodologies itself is an argument that supports his findings. With Visual Phenomenology, he creates an exchange between the humanities and the sciences that takes both methods of investigation seriously.

Wylie Breckenridge offers a fresh understanding of the character of visual experience by deploying the methods of semantics. He develops a theory of what we mean by the 'look' sentences that we use to describe the character of our visual experiences, and on that basis develops a theory of what it is to have a visual experience with a certain character. The result is a new and stronger defence of a neglected view, the adverbial theory of perception.

Don’t settle for Flex’s boring, standard user interface. Set your Flex applications apart with the breakthrough skinning and programming techniques found in Creating Visual Experiences with Flex 3.0. Leading Flex developers Juan Sanchez and Andy McIntosh show how to build stunning Flex and AIR applications. You’ll learn how to take a design and translate that design into Flex or AIR without sacrificing fidelity, and how to apply state-of-the-art branding that adds value to all your Flex applications, no matter what they do or who you’re building them for. Sanchez and McIntosh illuminate every aspect of creating superior visual experiences with Flex 3.0 and AIR and discuss planning, design, architecture, and proven user-interface principles, with an emphasis on technical implementation. You’ll learn how to alter the standard Flex interface using all the tools available to you: skins, styling, transitions, effects, filters, graphics built with Adobe creative tools, CSS, and ActionScript 3.0 programming. The authors reveal the trade-offs associated with each approach to Flex visual experience design and help you choose the right techniques for your applications. They explain each concept and technique in detail, using real-world examples and exercises that solve specific problems and provide samples throughout each chapter. If you want your Flex and AIR applications to be a cut above the rest, this is the book that shows you how.

This book traces the development of paid work for visually impaired people in the UK from the 18th century to the present day. It gives a voice to visually impaired people to talk about their working lives and documents the history of employment from their experience, an approach which is severely lacking in the current literature about visual impairment and employment. By analysing fifty in-depth face-to-face interviews with visually impaired people talking about their working lives (featuring those who have worked in traditional jobs such as telephony, physiotherapy and piano tuning, to those who have pursued more unusual occupations and professions), and grouping them according to occupation and framed by documentary, historical research, these stories can be situated in their broader political, economic, ideological and cultural contexts. The themes that emerge will help to inform present day policy and practice within a context of high unemployment amongst visually impaired people of working age. It is part of a growing literature which gives voice to disabled people about their own lives and which adds to the growing academic discipline of disability studies and the empowerment of disabled people.

'Seeing' happens effortlessly and yet is endlessly complex. One of the most fascinating aspects of visual perception is its stability and constancy. As we shift our gaze or move about the world, the light projected onto the retinas is constantly changing. Yet the surrounding objects appear stable in their properties. Psychologists have long been interested in constancies, exploring questions such as: How good is constancy? Is constancy a fact about how things look, or is it a product of our beliefs and judgments about how things look? How can the contents of visual experience be studied experimentally? However, philosophers have long been interested in characterizing visual experience and have become widely interested in the constancies more recently. As psychologists and philosophers have interacted, new questions have arisen: should we regard any departure from constancy as a failure of the visual system, or might it be a reasonable or adaptive response? In what circumstances is 'seeing' highly conditioned by cognitive factors such as background assumptions, and in what circumstances not? Visual Experience explores size constancy and color constancy. It considers methodologies for studying conscious visual perception, efforts to describe visual experience in relation to constancy, what it means that constancy is not always perfect, and the conceptual resources needed for explaining visual experience. This interdisciplinary book is invaluable for both vision scientists and philosophers of mind.