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On the 15th of April, 1897, a 19 year-old European resident of Baghdad, named Alexander Richard Svoboda, set out on a long journey to Europe by caravan, boat and train. From a large and influential family of merchants, artists, and explorers settled in Ottoman Iraq since the end of the 18th century, Alexander traveled in the company of his parents and a departing British diplomat accompanied by his retinue. They followed a circuitous route through the Middle East to Cairo and thence to Europe on a three and a half month journey which Alexander described day-by-day in a journal written in the Iraqi Arabic of his time.

Architecture et révolution : Le Corbusier and the fascist revolution

In a letter to a close friend dated April 1922 Le Corbusier announced that he was to publish his first major book, Architecture et révolution, which would collect “a set ofarticles from L’EN.”1—L’Esprit nouveau, the revue jointly edited by him and painter Amédée Ozenfant, which ran from 1920 to 1925.2 A year later, Le Corbusier sketched a book cover design featuring “LE CORBUSIER - SAUGNIER,” the pseudonymic compound of Pierre Jeanneret and Ozenfant, above a square-framed single-point perspective of a square tunnel vanishing toward the horizon. Occupying the lower half of the frame was the book’s provisional title in large handwritten capital letters, ARCHITECTURE OU RÉVOLUTION, each word on a separate line, the “ou” a laconic inflection of Paul Laffitte’s proposed title, effected by Le Corbusier.3 Laffitte was one of two publishers Le Corbusier was courting between 1921 and 1922.4 An advertisement for the book, with the title finally settled upon, Vers une architecture, 5 was solicited for L’Esprit nouveau number 18. This was the original title conceived with Ozenfant, and had in fact already appeared in two earlier announcements.6 “Architecture ou révolution” was retained as the name of the book’s crucial and final chapter—the culmination of six chapters extracted from essays in L’Esprit nouveau. This chapter contained the most quoted passage in Vers une architecture, used by numerous scholars to adduce Le Corbusier’s political sentiment in 1923 to the extent of becoming axiomatic of his early political thought.7 Interestingly, it is the only chapter that was not published in L’Esprit nouveau, owing to a hiatus in the journal’s production from June 1922 to November 1923.8 An agitprop pamphlet was produced in 1922, after L’Esprit nouveau 11-12, advertising an imminent issue “Architecture ou révolution” with the famous warning: “the housing crisis will lead to the revolution. Worry about housing.”9

Constitutional Law

"This book systematically explores and clarifies the complexities of Austrealian Constitutional law and provides valuable critical analysis suitable for students, academics and government departments." -- book cover "Constitutional Law examines the foundational principles and concepts of this area of law. Written by practicing lawyers and lecturers in the subject, this book aims to provide an accessible yet comprehensive introductory text for Australian students. In eight parts this book systematically explores and clarifies the complexities of Australian Constitutional law and provides valuable critical analysis suitable for students, academics and government departments. An excellent resource for law students, Constitutional Law provides visual summaries in the form of flow charts, and each chapter includes key concepts and end-of-chapter discussion questions, further reading and useful websites and links. It also introduces students to key examinable areas, legal style essays, problems and assessment." -- publisher website

New media [Fourth Edition]

This is the fourth edition of New Media: An Introduction, with the previous editions being published by Oxford University Press in 2002, 2005 and 2008. As the first edition of the book published in the 2010s, every chapter has been comprehensively revised, and there are new chapters on: • Online News and the Future of Journalism (Chapter 7) • New Media and the Transformation of Higher Education (Chapter 10) • Online Activism and Networked Politics (Chapter 12). It has retained popular features of the third edition, including the twenty key concepts in new media (Chapter 2) and illustrative case studies to assist with teaching new media. The case studies in the book cover: the global internet; Wikipedia; transmedia storytelling; Media Studies 2.0; the games industry and exploitation; video games and violence; WikiLeaks; the innovator’s dilemma; massive open online courses (MOOCs); Creative Commons; the Barack Obama Presidential campaigns; and the Arab Spring. Several major changes in the media environment since the publication of the third edition stand out. Of particular importance has been the rise of social media platforms such as Facebook, Twitter and YouTube, which draw out even more strongly the features of the internet as networked and participatory media, with a range of implications across the economy, society and culture. In addition, the political implications of new media have become more apparent with a range of social media-based political campaigns, from Barack Obama’s successful Presidential election campaigns to the Occupy movements and the Arab Spring. At the same time, the subsequent developments of politics in these and other cases has drawn attention to the limitations of thinking about the politics or the public sphere in technologically determinist ways. When the first edition of New Media was published in 2002, the concept of new media was seen as being largely about the internet as it was accessed from personal computers. The subsequent decade has seen a proliferation of platforms and devices: we now access media in all forms from our phones and other mobile platforms, therefore we seen television and the internet increasingly converging, and we see a growing uncoupling of digital media content and delivery platforms. While this has a range of implications for media law and policy, from convergent media policy to copyright reform, governments and policy-makers are struggling to adapt to such seismic shifts from mass communications media to convergent social media. The internet is no longer primarily a Western-based medium. Two-thirds of the world’s internet users are now outside of Europe and North America; three-quarters of internet users use languages other than English; and three-quarters of the world’s mobile cellular phone subscriptions are in developing nations. It is also apparent that conducting discussions about how to develop new media technologies and discussions about their cultural and creative content can no longer be separated. Discussions of broadband strategies and the knowledge economy need to be increasingly joined with those concerning the creative industries and the creative economy.

O design de Victor Burton

Victor Burton é um designer que dedicou a maior parte do seu trabalho ao livro. A fascinação por este objeto começou ainda na infância devido ao contato com as obras raras da biblioteca da família, o que aguçou o desejo de se tornar designer exclusivamente para projetar livros. Sua atuação no mercado editorial brasileiro começou no final dos anos 1970, na editora Confraria dos Amigos do Livro. Como o maior interesse de Victor no livro é a relação entre texto e imagem, os livros iconográficos se tornaram seu principal objetivo e são nos livros desta natureza onde melhor conseguimos visualizar seu estilo. Victor desenvolveu uma linguagem gráfica própria que redefiniu o padrão do mercado editorial brasileiro. Numa época em que o projeto gráfico, principalmente a capa do livro, entre tantas cores e atrativos disputam a atenção do consumidor nas prateleiras das livrarias, já não é tão fácil identificar nem a editora nem a autoria do projeto gráfico e da capa. Entretanto, os livros de Victor Burton possuem um estilo que nos permite reconhecer sua assinatura. Desta forma, a questão que norteou este trabalho foi por que conseguimos identificar os livros do designer Victor Burton? Sendo assim, o objetivo deste trabalho foi enumerar e identificar os aspectos gráficos que caracterizam o estilo deste designer nos livros iconográficos. Para isso, nos baseamos no método descritivo desenvolvido por Guilherme Cunha Lima, em O Gráfico Amador. A partir das características levantadas, pudemos identificar os principais elementos que nos permite reconhecer a autoria dos trabalhos desenvolvidos por Victor Burton. O uso desses aspectos gráficos reflete o trabalho meticuloso do designer Victor Burton que consegue criar uma narrativa visual auxiliando a leitura do texto através de uma nova leitura gráfica, sobretudo nos livros iconográficos

Aspects of Semantics and Pragmatics of Dialogue. SemDial 2010, 14th Workshop on the Semantics and Pragmatics of Dialogue

The papers collected in this book cover a range of topics in semantics and pragmatics of dialogue. All these papers were presented at SemDial 2010, the 14th Workshop on the Semantics and Pragmatics of Dialogue. This 14th edition in the SemDial series, also known as PozDial, took place in Poznań (Poland) in June 2010, and was organized by the Chair of Logic and Cognitive Science (Institute of Psychology, Adam Mickiewicz University). From over 30 submissions overall, 14 were accepted as full papers for plenary presentation at the workshop, and all are included in this book. In addition, 10 were accepted as posters, and are included here as 2-4 page short papers. Finally, we also include abstracts from our keynote speakers. We hope that the ideas gathered in this book will be a valuable source of up-to-date achievements in the field, and will become a valuable inspiration for new ones. We would like to express our thanks to all those who submitted to and participated in SemDial 2010, especially the invited speakers: Dale Barr (University of Glasgow), Jonathan Ginzburg (King's College London), Jeroen Groenendijk (University of Amsterdam) and Henry Prakken (Utrecht University, The University of Groningen). Last but not least, we would like to thank everybody engaged in the workshop organization -- the chairs, the local organizing committee for their hard work in Poznań, and the programme committee members for their thorough and helpful reviews.

Unga vuxnas åsikter kring bokomslags formgivning : En enkät- och fokusgruppsundersökning

Bokomslaget är ofta läsarens första möte med en bok och det är därför viktigt att bokomslaget tilltalar och sänder ut rätt signaler till konsumenten. Målgruppen unga vuxna, individer mellan 16 och 27 år, är enligt bokbranschen en grupp som är svår att nå. Svårigheten kan ligga i att det finns en viss okunskap i vad unga vuxna tilltalas av på bokomslag. Det är även en bred målgrupp med många olika sorters individer. Målet med denna studie är att ge en bild av vad målgruppen unga vuxna tilltalas av i ett bokomslag. Vi ville ta reda på hur viktigt bokomslaget är för val av bok, samt hur målgruppen ser på omslagets specifika designfaktorer färg, typografi, illustration, fotografi och efterbehandling. För att ge oss en bild av dagens kunskapsläge har litteraturstudier och intervjuer med formgivare av bokomslag genomförts. Genom en omfattande enkätundersökning och utförda fokusgrupper fick vi fram målgruppens syn och tankar kring bokomslag. Fokusgrupper utfördes för att ge oss en djupare förståelse rörande hur målgruppen ser på bokomslag samt ge oss ett djupare resonemang kring de olika bokomslagen. Resultatet visar att unga vuxna lägger stor vikt vid identitet och ett bokomslag bör således sända tydliga signaler som kan bekräfta läsarens identitet. Typografin ska vara lättläst. Målgruppen ser helst fotografiska bilder på bokomslaget och omslaget ska förmedla en känsla av bokens innehåll. Färger i en dovare färgskala tilltalar unga vuxna, rött och svart tycks vara de populäraste färgerna överlag. Efterbehandlingen (t.ex. lackering och foliering) på ett bokomslag bör vara sparsam och användning av färgen rosa lika så.

A vida como ela é: um fenômeno comunicacional

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Cadernos íntimos diários publicados: um estudo das práticas da escrita de diários, no âmbito das práticas sociais disseminadas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A vale in Luxor /

Paperbound in light brown; printed and illustrated in black.

In my garden /

Paperbound in green; printed and illustrated in black.

Otto Otter for safe water

A coloring book.

Reproduction of cover illustration of the book "Kinder-Turnen in Haus" by Fritz Strube. Sports

The drawing is modeled after Elizabeth Gottschalk (later Krakauer)

Cover of the book "Reise durch die Provence 1928" that celebrates the trip through Provence taken by Ellen Catzenstein, Mara Matthiesen and Gerda Rotermund.

Digital Image

Cover of the book "Reise durch die Provence 1928" that celebrates the trip through Provence taken by Ellen Catzenstein, Mara Matthiesen and Gerda Rotermund.

Digital Image