As a writer, I’ve always been interested in ambiguity and ambivalence. How does that apply to the self? What does it mean to present myself to others? How do I appear to the world and how close is that to what I see myself to be? Are we ever truly seen—or willing to be seen? In a world where cameras exist everywhere and we are encouraged to record rather than simply be, how do we look in a mirror? Hannah Arendt said that we could tell reality from falsehood because reality endures. But I feel that nothing I experience endures; nothing remains the same, including the reflection. If anything lasts, it may be my own make-believe. Everything I write is, in some way, this question. Who is that?
This is a book of essays about the act of looking, especially looking at photographs and paintings and animals and other people. Thus these are essays about history, memory, suffering, beauty, and the self. Berger had a generous spirit; he wrote often about the lives of peasants and spent the last forty years of his life in rural France. Berger gazed upon the world in all its forms with composure and curiosity.
As a novelist, essayist, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to…
I'm currently an Honorary Fellow in Social Theory at the University of York, U.K. For more than five decades I've been working to promote more reflexive perspectives in philosophy, sociology, social theory, and sociological research. I've written and edited many books in the field of social theory with particular emphasis upon questions of culture and critical research in the expanding field of visual culture. Recent projects include Interpreting Visual Culture(with Ian Heywood), The Handbook of Visual Culture, and an edited multi-volume textbook to be published by Bloomsbury,The Bloomsbury Encyclopedia of Visual Culture. The passion to understand the thought and visual culture of both the ancient and modern world continues to inform my work.
Crary’s work provides a theoretical and empirically informed synthesis of the work of theorists like Berger, Debord, Baudrillard, Barthes, and Sontag. Like these earlier writers, the technological transformations of visual culture are at the heart of the social transformations of the modern world. To understand modernity is thus first to make sense of its visual logics, procedures, and practices. This general argument allowed the author to enter the granular historical details of how seeing and 'observation’ have become essential to the concerns of modern life. What he calls 'techniques of the observer’ are in fact the core sensory apparatus that has helped to shape the institutions and practices of modern life.
What can be visualized is correlated to the technical affordances and historical development of representational practices. This makes technologies of the visual central to social analysis. Some of the most powerful drivers of modern life are thus linked to…
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle.
In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity.
Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing…
I'm a designer, a teacher, a father, a husband, and a friend. I love beautiful things and personally want to know why I find certain things more beautiful than others. I love learning about the world and finding connections between everyday experience and art. When I say “art” I really am blending art, design, architecture, landscape architecture, product design, etc. I believe everything is connected in some way. If I were to pigeonhole myself in any way I would call myself a generalist design thinker. I draw, I write, I make little objects, I make big objects – I see very little difference in any of these things.
This book outlines how the visual field operates at a psychological level.
I am an architect and cannot believe that we don’t teach straight from this and other Arnheim books more often. If you want to know what is happening to you, why you get chills up your spine when looking at art, read this book.
Arnheim is a psychologist, not a designer, so he breaks art down from this perspective.
For thirty-five years Visual Thinking has been the gold standard for art educators, psychologists, and general readers alike. In this seminal work, Arnheim, author of "The Dynamics of Architectural Form", "Film as Art", "Toward a Psychology of Art", and "Art and Visual Perception", asserts that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading. This is an indispensable tool for students and for those interested in the arts.
I was thrown into the deep end to learn about autism when our first son was diagnosed as autistic. As first-time parents, how were we to know that the struggles we faced went beyond the norm? We also have twins, one of whom is ADHD and the other dyslexic. Thus, not only have I spent a lot of time learning about autism, but I also enjoy turning to fiction to learn how others both struggle and find solutions. I started writing because the bedtime routine with my kiddos was very difficult. Nearly twelve years later, I am still using my writing to overcome the obstacles in my life.
I was surprised to see this on a list of neurodiverse books because I hadn’t remembered that Hannah, the professional cuddler has aphantasia which means she cannot form pictures in her head.
This story is an opposites attract where the characters have to live together for ninety-two days if they are to inherit a building. Hannah’s warmth is the polar opposite of Winter’s reserved coldness which makes living together difficult. However, the more Winter learns about how Hannah thinks and functions, the more she thaws.
I loved that each character helped the other step beyond her comfort zone.
An enemies-to-lovers lesbian romance with an ice queen whose frosty facade is melted by the power of touch.
Hannah Martin has an unusual job: she’s a professional cuddler. While she has a big heart for her clients, she hasn’t found someone special to snuggle up to in her personal life.
Winter Sullivan isn’t looking for love. She’s an aloof workaholic who’s built walls of ice around herself. She would rather drive toothpicks under her fingernails than cuddle, and she certainly doesn’t want to share her space with anyone.
When Winter’s estranged father dies, he leaves her one last surprise: she…
I have always loved to draw ever since my Dad used to sit drawing with me at the kitchen table when I was little. At Art School we had to spend the first six weeks doing a daily life drawing class before being allowed to pick up a paintbrush! I then studied graphic design setting up my own business, at a time when, without computers, drawing was essential for presenting layout and design. Nowadays, I’m constantly instilling in my students the importance of drawing and sketching. Having been a professional artist all my working life, drawing has been a fundamental element in every way, and all the way.
If you think you can’t draw, then read this book! It’s a bible for anyone wanting to draw, and is by all accounts “the world's most widely used drawing instruction book.” If you want to start drawing or have been unable to get much beyond a “childlike level,” the exercises in this book will help you gain those skills you have always sought.
I often use the “Upside down Drawing” exercise with my portrait classes; my students are usually astounded at how quickly and accurately they can produce a likeness! This is a fascinating book and whether you are an experienced artist or just starting, it will give you inspiring confidence and deepen your artistic perception.
'You will quickly amaze and delight yourself. Hands down the best and most life-enhancing thing I've done in lockdown' India Knight, Sunday Times
Drawing on the Right Side of the Brain is the world's most widely used drawing instruction book. Whether you are a professional, a student, or enjoy art as a hobby, Betty Edwards' practical step-by-step guide will give you greater confidence in your ability, deepen your artistic perception and provide a new way to appreciate the way you perceive the world around you.
This groundbreaking guide includes: - Expert advice on materials…
I love wordless books immoderately, and I also love books that have meta, surreal, or magical realism elements. This list combines these two features! I was personally so happy that The Red Book was described in a review as “a wordless mind trip for tots,” and I think all the books on this list would perfectly fit that description (and much, much more!) too.
This book never fails to astound me with its visual surprises. I have looked at it at least a hundred times, and each time I cannot stop turning the pages to see what is next, despite already knowing! The art is superbly drawn, and has the perfect amount of rich detail to savor while “zooming” before we come to a satisfying rest at the contemplative ending.
As seen on the SERIAL podcast, season 2, episode 1 ("Dustwun")!
Open this wordless book and zoom from a farm to a ship to a city street to a desert island. But if you think you know where you are, guess again. For nothing is ever as it seems in Istvan Banyai's sleek, mysterious landscapes of pictures within pictures, which will tease and delight readers of all ages.
"This book has the fascinating appeal of such works of visual trickery as the Waldo and Magic Eye books." -- Kirkus Reviews
I am the co-author and CEO of The Wonder Weeks. I advise various global players in the field of babies and I'm a sought-after speaker at fairs and in daily exchange with mothers and fathers.
With all this knowledge I know the needs of parents and their children like no other, with my books and apps I stand for power to the parents!
High contrast baby books help babies to stimulate development, in the first months a baby develops sensations and patterns, so it is very helpful and good for the baby to discover colors and feel various materials like soft polyester. The book is strong stitching and absolutely safe for babies.
If I was asked to describe the central theme of my life's work in a phrase, it would be 'geometry in the arts'. I'm an architect originally, now a professor in London, and have always loved drawing and the art of perspective. In the 1990s I became fascinated with the idea that Johannes Vermeer used the camera obscura, an obsession that led to my book Vermeer's Camera. I'm now working on Canaletto's Camera. And I have ideas for yet another book, on perspective, to be called Points of View. I've chosen five books on these topics that I've found most thought-provoking and inspiring.
Ernst Gombrich's masterpiece, published in 1960 and still in print, follows the drive in Western Art from Ancient Greece and Egypt to the present day, to achieve the illusion of realistic appearance in pictures. Kenneth Clark, himself a most accomplished art historian and writer, described Art and Illusion as 'One of the most brilliant books on art criticism I have ever read." I too admire the way the book combines great erudition with a clear conversational style and an ability to move beyond the usual confines of art history. Gombrich uses findings from psychology to illuminate his argument, supported with a surprising range of illustrations, not just from the fine arts, but from advertising, photography, caricature, and cartoons. Brilliant indeed.
Considered a great classic by all who seek for a meeting ground between science and the humanities, Art and Illusion examines the history and psychology of pictorial representation in light of present-day theories of visual perception information and learning. Searching for a rational explanation of the changing styles of art, Gombrich reexamines many ideas on the imitation of nature and the function of tradition. In testing his arguments he ranges over the history of art, noticing particularly the accomplishments of the ancient Greeks, and the visual discoveries of such masters as Leonardo da Vinci and Rembrandt, as well as the…
Thanks to a degenerative retinal eye disease, I’ve lived on pretty much every notch of the sight-blindness continuum. While going blind super slowly I’ve engaged with the science of seeing and not-seeing as an academic and artist for about 25 years. I like to say that there are as many ways of being blind as there are of being sighted, there are just fewer of us. Besides teaching literature and humanities courses at NYU, I’ve lectured on art, accessibility, technology, and disability at universities and institutions around the country. I love sharing stories about the brain on blindness, and hope you find my recommendations as fascinating as I do.
For me, thinking about blindness and the brain all started with an essay by Oliver Sacks called “To See and Not See” (An Anthropologist on Mars). In The Mind’s Eye Sacks picks up some of the threads of that earlier essay and goes deep into how seeing is not just a matter of having functioning eyes. From the pianist who could suddenly no longer read music to blind people (like myself) who still consider themselves very visual, these neurological tales are intellectually intriguing and emotionally compelling. Sacks even includes his own journal of vision loss as one of the case studies. But whether he is the patient or the doctor, his distinct voice and personal connection to his subject matter has had a huge influence on my own writing.
How does the brain perceive and interpret information from the eye? And what happens when the process is disrupted?
In The Mind's Eye, Oliver Sacks tells the stories of people who are able to navigate the world and communicate with others despite losing what many of us consider indispensable senses and abilities: the capacity to recognize faces, the sense of three-dimensional space, the ability to read, the sense of sight. For all of these people, the challenge is to adapt to a radically new way of being in the world - and The Mind's Eye is testament to the myriad…
I’ve had a life-long love affair with the arts. I intended to become an artist, but ultimately became a psychologist researching psychological aspects of the arts. My first book, Invented Worlds, examined the key questions and findings in the psychology of the arts. In Gifted Children: Myths and Realities, I wrote about gifted child artists. My Arts & Mind Lab at Boston College investigated artistic development in typical and gifted children, habits of mind conferred by arts education, and how we respond to works of art. The walls of my home are covered with framed paintings by young children, often side by side paintings by professional artists.
This is a classic book by German-born psychologist Rudolf Arnheim, in which he lays out the principles underlying our perception and understanding of works of visual art. One of the major principles discussed is the human tendency to see the simplest form possible in any visual array. This ‘simplicity principle’ is also used to explain the intelligence and inventiveness of children’s art. In a brilliant chapter called Growth, Arnheim shows us that children are not striving towards realism; rather they are trying to create the simplest possible recognizable structural equivalent for the object they are representing. The inventiveness with which children reduce complex forms to simple structural equivalents requires far more intelligence than mindless copying.
Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.
