A Complete and Universal System of Stenography, Or Short-hand
Author : Samuel Sams
Publisher :
Page : 92 pages
File Size : 30,48 MB
Release : 1812
Category : Shorthand
ISBN :
Author : Samuel Sams
Publisher :
Page : 92 pages
File Size : 30,48 MB
Release : 1812
Category : Shorthand
ISBN :
Author : Samuel SAMS
Publisher :
Page : 78 pages
File Size : 29,39 MB
Release : 1812
Category :
ISBN :
Author : S. Sams
Publisher :
Page : 42 pages
File Size : 27,20 MB
Release : 1812
Category : Shorthand
ISBN :
Author : Julius Ensign Rockwell
Publisher :
Page : 438 pages
File Size : 47,80 MB
Release : 1893
Category : Shorthand
ISBN :
Author : Julius Ensign Rockwell
Publisher :
Page : 178 pages
File Size : 18,53 MB
Release : 1884
Category :
ISBN :
Author : John Westby-Gibson
Publisher :
Page : 272 pages
File Size : 44,27 MB
Release : 1887
Category : Shorthand
ISBN :
Author : United States. Office of Education
Publisher :
Page : 758 pages
File Size : 35,39 MB
Release : 1884
Category : Digital images
ISBN :
Author : United States. Office of Education
Publisher :
Page : 462 pages
File Size : 16,9 MB
Release : 1884
Category : International Penal and Prison Congress
ISBN :
Author : John Robert Gregg
Publisher :
Page : 196 pages
File Size : 32,91 MB
Release : 1905
Category : Shorthand
ISBN :
Author : Lev Manovich
Publisher : MIT Press
Page : 595 pages
File Size : 40,89 MB
Release : 2002-02-22
Category : Social Science
ISBN : 0262632551
A stimulating, eclectic accountof new media that finds its origins in old media, particularly the cinema. In this book Lev Manovich offers the first systematic and rigorous theory of new media. He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database. Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.