The Shape Of Motion

"Cinematic motion has long been celebrated as an emblem of change and fluidity or claimed as the source of cinema's impression of reality. But such general claims undermine the sheer variety of forms that motion can take onscreen-the sweep of a gesture, the rush of a camera movement, the slow transformations of a natural landscape. What might we learn about the moving image when we begin to account for the many ways that movements move? In The Shape of Motion: Cinema and the Aesthetics of Movement, Jordan Schonig provides a new way of theorizing cinematic motion by examining cinema's "motion forms:" structures, patterns, or shapes of movement unique to the moving image. From the wild and unpredictable motion of flickering leaves and swirling dust that captivated early spectators, to the pulsing abstractions that emerge from rapid lateral tracking shots, to the bleeding pixel-formations caused by the glitches of digital video compression, each motion form opens up the aesthetics of movement to film theoretical inquiry. By pairing close analyses of onscreen movement in narrative and experimental films with concepts from Maurice Merleau-Ponty, Henri Bergson, and Immanuel Kant, Schonig rethinks longstanding assumptions within film studies, such as indexical accounts of photographic images and analogies between the camera and the human eye. Arguing against the intuition that cinema reproduces our natural perception of motion, The Shape of Motion shows how cinema's motion forms do not merely transpose the movements of the world in front of the camera; they transform them"

In The Shape of Motion: Cinema and the Aesthetics of Movement, author Jordan Schonig provides a new way of theorizing cinematic motion by examining cinema's "motion forms": structures, patterns, or shapes of movement unique to the moving image. From the wild and unpredictable motion of flickering leaves and swirling dust that captivated early spectators, to the pulsing abstractions that emerge from rapid lateral tracking shots, to the bleeding pixel-formations caused by the glitches of digital video compression, each motion form opens up the aesthetics of movement to film theoretical inquiry. By pairing close analyses of onscreen movement in narrative and experimental films with concepts from Maurice Merleau-Ponty, Henri Bergson, and Immanuel Kant, Schonig rethinks longstanding assumptions within film studies, such as indexical accounts of photographic images and analogies between the camera and the human eye. Arguing against the intuition that cinema reproduces our natural perception of motion, The Shape of Motion shows how cinema's motion forms do not merely transpose the movements of the world in front of the camera, they transform them.

An eminent psychologist offers a major new theory of human cognition: movement, not language, is the foundation of thought When we try to think about how we think, we can't help but think of words. Indeed, some have called language the stuff of thought. But pictures are remembered far better than words, and describing faces, scenes, and events defies words. Anytime you take a shortcut or play chess or basketball or rearrange your furniture in your mind, you've done something remarkable: abstract thinking without words. In Mind in Motion, psychologist Barbara Tversky shows that spatial cognition isn't just a peripheral aspect of thought, but its very foundation, enabling us to draw meaning from our bodies and their actions in the world. Our actions in real space get turned into mental actions on thought, often spouting spontaneously from our bodies as gestures. Spatial thinking underlies creating and using maps, assembling furniture, devising football strategies, designing airports, understanding the flow of people, traffic, water, and ideas. Spatial thinking even underlies the structure and meaning of language: why we say we push ideas forward or tear them apart, why we're feeling up or have grown far apart. Like Thinking, Fast and Slow before it, Mind in Motion gives us a new way to think about how--and where--thinking takes place.

Get into shape: The ultimate visual guide for free-motion quilting in specific geometric shapes • Follow step-by-step illustrations to create more than 70 free-motion quilting designs to use in specific shapes, negative space, and borders • Features full-page quilt photos, close-up details of stitched designs, and a comprehensive visual index • Best-selling author Angela Walters takes you to the next level in free-motion quilting by showing you how to manipulate shapes into modern designs It's easy to plan your machine quilting - simply open Shape by Shape Free-Motion Quilting with Angela Walters and find creative inspiration on every page. User-friendly and visually exciting, the contents are first divided into three sections: Blocks, Negative Space, and Borders. Then, to make it even more accessible, the Blocks section is further organized by five shapes: Squares, Triangles, Circles, Diamonds, and Hexagons. With an illustrated index, more than 70 free-motion quilting designs, crystal-clear instructions, and gorgeous full-page photographs, this is the go-to resource you’ll want handy before starting any quilting project.

Master the fundamental concepts and techniques of motion media design so you can apply--and occasionally break--the rules to achieve your communication goals. This authoritative guide presents all of the design essentials in an engaging and inspiring way. Each principle is explained with text, illustration and photography where necessary. An accompanying website will contain any necessary digital files for download, updates and links to other resources.

Welcome to the proceedings of the 8th European Conference on Computer - sion! Following a very successful ECCV 2002, the response to our call for papers was almost equally strong – 555 papers were submitted. We accepted 41 papers for oral and 149 papers for poster presentation. Several innovations were introduced into the review process. First, the n- ber of program committee members was increased to reduce their review load. We managed to assign to program committee members no more than 12 papers. Second, we adopted a paper ranking system. Program committee members were asked to rank all the papers assigned to them, even those that were reviewed by additional reviewers. Third, we allowed authors to respond to the reviews consolidated in a discussion involving the area chair and the reviewers. Fourth, thereports,thereviews,andtheresponsesweremadeavailabletotheauthorsas well as to the program committee members. Our aim was to provide the authors with maximal feedback and to let the program committee members know how authors reacted to their reviews and how their reviews were or were not re?ected in the ?nal decision. Finally, we reduced the length of reviewed papers from 15 to 12 pages. ThepreparationofECCV2004wentsmoothlythankstothee?ortsofthe- ganizing committee, the area chairs, the program committee, and the reviewers. We are indebted to Anders Heyden, Mads Nielsen, and Henrik J. Nielsen for passing on ECCV traditions and to Dominique Asselineau from ENST/TSI who kindly provided his GestRFIA conference software. We thank Jan-Olof Eklundh and Andrew Zisserman for encouraging us to organize ECCV 2004 in Prague.

Image Correlation for Shape, Motion and Deformation Measurements provides a comprehensive overview of data extraction through image analysis. Readers will find and in-depth look into various single- and multi-camera models (2D-DIC and 3D-DIC), two- and three-dimensional computer vision, and volumetric digital image correlation (VDIC). Fundamentals of accurate image matching are described, along with presentations of both new methods for quantitative error estimates in correlation-based motion measurements, and the effect of out-of-plane motion on 2D measurements. Thorough appendices offer descriptions of continuum mechanics formulations, methods for local surface strain estimation and non-linear optimization, as well as terminology in statistics and probability. With equal treatment of computer vision fundamentals and techniques for practical applications, this volume is both a reference for academic and industry-based researchers and engineers, as well as a valuable companion text for appropriate vision-based educational offerings.

Involuntary Motion contributes to the study of refugee flight by using movement as a lens to explore problems in refugee performance and understand the experience of bodies in motion. Drawing from somatics, movement analysis, and dance praxis, the chapters explore forces that set bodies in motion; the spaces in which forced movement occurs; the movement of refugee identity arcs; the monstrosity of refugee performance; and the relationship between writing and body culture. How does forced movement impact identity? What are the philosophical implications of robbing individuals of agency over motion? What performances does involuntary motion necessitate? These questions are important as the world confronts the threat of a return of the horrors of the twentieth century. Bringing together debates in migration studies and movement studies, the book argues that refugees are akin to dancers performing on disappearing stages not of their choosing. It will be of great interest to students and scholars of performance, dance, and politics.