Nick Sousanis - Unflattening-Harvard University Press (2015)

Recommendations

Info

A5 5. I. HAYAKAWA DE:ARE: TH5 PRISONER<; ~c::tD TH5 51TUATION: "WE:IM65DD5D IN THE: LANGUAG~~NT ORIE:NTATION<;W5 HAV5 INH5RIT5D."---- ------· - -IT'<; NOT ALWAY<;DON5 THI<; WAY ...53
Traditionally, words have been privileged as the proper mode of explanation, as the toolo f thought. Images have, on the other hand, long been sequestered to the realm o f spectacle · andaesthetics, sidelined in serious discussions as mere illustration to support the text- never asequal partner. The source o f this historical bias can be traced toPlato, who professed a deep distrust o f perception, citing itsillusory nature: "The object which appears to bend as it enters waterprovokes a lively puzzlement about what is real" (Murdoch, 1977,p. 44). For Plato, human life was a pilgrimage (p. 2) from theworld of appearance in the cave to the reality of pure forms -o f(Jay, 1994, p,·2.7). If appearances were deceiving, images were far more treacherous, these"shadows ·Of shadows," capable o f obscuring the search for truth -•, i>mistaking fi.re for the sun.Plato considêred tbínking as a ki ~fif"inner speech" (Murdoch, p. 31). Thus, despite a similar. d "distrust ofwritingas an ~'infê'qbrtolerated the written word as afor memory and live understanding" (p. 22), hethat all h e perceiveô might be a deo f wax in the presence of fiam eevil spirit. His observationsremained unchanged:But Ln~ed to realize that thenor animagining. Nor has ·is an inspeçtion on the partconfused, as it was before,I.pay atteption to the things.-,:This reasoning abo\t wax raised: ~\ >:~ ", ' ·; ·'&anything, ~~ 'lllltÍi~ :thlngs that had,: .··· .· .•. ~". ::·.' .. . :;.. ·: ~than the illusiênis o( hly dreams" (p. 8with his prog;am ~ofradical doubt,'•,}'"'\\;, ~ _,.,he'd cOme tb believe, h e could buíld'up from what h e knew with54
Page 2 and 3: Nick SousanisUNFLATTENING111111Harv
Page 5: CONTENTSflatness ... 1flatland .. .
Page 14 and 15: 10
Page 16: 12
Page 19 and 20: 15
Page 21 and 22: 1iE POTENTIAL~I<.GYIN THI~~ IC CI<.
Page 24 and 25: HAVING BE?S'N, A5 MARCU5E?PUT IT, "
Page 26 and 27: Hl€õ WORD€õIN€õUFFICIE:NT,
Page 28 and 29: ~IWPTING THe5e DeePL.Y INGRAINeD PA
Page 30: ... · .. . . ·....... . . . .· .
Page 33 and 34: :."< ~E:E:KING NE:W APPI<!OACHE:~ F
Page 35 and 36: IN AN E:FFORT TO MAKE THE:OB5E:I<.V
Page 37 and 38: 35
Page 39 and 40: IN THI5 NE:W INTE:Gf'ATE:D LAND5CAP
Page 41 and 42: WHE:N TAKEN TOGE:THE:R,AOS BAKHTIN
Page 43 and 44: IN PI'E:PAI'ATION FOR THe JOURNE:Y
Page 45 and 46: PIVOTINC.S FWMTHE:' CYCLOPTICTO 5e'
Page 47 and 48: .). FURTHE:I<. CI<.E:NULATION: IN.J
Page 51: 52
Page 55 and 56: Y!rr DESCARTES WA-5 AT000'5 WITH Hl
Page 57 and 58: WE'RE CONCE'RNE'D WITH THE'WAYS IN
Page 59 and 60: 60A MEAN-6 OF 6RAPP1-IN6WITH EXPERI
Page 61 and 62: 62
Page 63 and 64: f'MBSDDSD WITHIN THS ~cQUcNTIAL~I
Page 65 and 66: OVSI<. THS COUI<.5SOF THI5 CHAPTEI<
Page 68 and 69: THc IMAGc-TCXT DIVIDe .••BIC:cA
Page 70 and 71: AND WE1 DO THI6E1VE1f<.Y IN6TANT.73
Page 72 and 73: ::;wM CALM TO HeiSHTeNeD,' D~WN LIN
Page 74 and 75: 77
Page 76 and 77: oFOI<. ALL OUI<.MS:NTAL PI<.OWe~~'O
Page 78 and 79: 81
Page 80 and 81: THE FIFTH DIMENSION
Page 82 and 83: 88
Page 84 and 85: -;-; ~· ·DANCING AND DARTING, OUR
Page 86 and 87: 92
Page 88 and 89: !4eFLeCTING UPON THI5 NOWBRING5 TO
Page 90 and 91: 96
Page 93 and 94: 101
Page 95 and 96: 103
Page 97 and 98: 105
Page 99: 107
Page 102 and 103:
WHEN IDEA5 AI<.E WI<.ITTEN IN5TONE
Page 104 and 105:
112
Page 107 and 108:
As you wi11 reca11, throughthe acti
Page 109 and 110:
119
Page 111 and 112:
121
Page 113:
123
Page 118 and 119:
~S:PARATS: '/S:TCONNS:CTS:D.AND 50
Page 120:
Qou rnn> ___ _~· ~.132.r.. .~;.
Page 123 and 124:
135
Page 126:
'' \\'\ '" \\,\ \ \' \ ,,' r,,',-._
Page 132 and 133:
I.E:T ME: OFFE:I<. A-; E:XAMPLE:, M
Page 134 and 135:
147
Page 136 and 137:
149
Page 139:
We ReMIND OUR~eLVS OF WHATIT I~ TO
Page 142 and 143:
The motorist's own movement brought
Page 144 and 145:
gave the winged sandals to Perseus.
Page 146 and 147:
Page 44: The explanation of fractal
Page 148 and 149:
respectively McCloud (1993) and Hog
Page 150 and 151:
draws on Burton, Horowitz, and Abel
Page 152 and 153:
Page 132: Elements on this page are
Page 155 and 156:
BIBLIOGRAPHYIn the process of makin
Page 157 and 158:
--------------------------- - -----
Page 159 and 160:
Csikszentmihalyi, Mihaly. Flow: The
Page 161 and 162:
Fracasso, Alessio, Alfonso Caramazz
Page 163 and 164:
Hatfield, Charles. 'M Art of Tensio
Page 165 and 166:
Kosslyn, Stephen M. , William L. Th
Page 167 and 168:
McCloud, Scott. Making Comics: Stor
Page 169 and 170:
Pilcher, Helen. "How Flower Power P
Page 171 and 172:
Steinhart, Peter. The Undressed Art
Page 173 and 174:
Yarbus, Alfred L. Eye Movements and
Page 175 and 176:
* . :i' .Wales, Paul Thomas, Susann
Page 177 and 178:
First ide a map for Unflattening, A
Page 179 and 180:
lnitial working roadmap (pari 2), J
Page 181:
Roadmap (ch apter 6), January 21 ,
show all

Nick Sousanis - Unflattening-Harvard University Press (2015)

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?