Concepts embody our knowledge of the kinds of things there are in the world. Tying our past experiences to our present interactions with the environment, they enable us to recognize and understand new objects and events. Concepts are also relevant to understanding domains such as social situations, personality types, and even artistic styles. Yet like other phenomenologically simple cognitive processes such as walking or understanding speech, concept formation and use are maddeningly complex. Research since the 1970s and the decline of the "classical view" of concepts have greatly illuminated the psychology of concepts. But persistent theoretical disputes have sometimes obscured this progress. The Big Book of Concepts goes beyond those disputes to reveal the advances that have been made, focusing on the major empirical discoveries. By reviewing and evaluating research on diverse topics such as category learning, word meaning, conceptual development in infants and children, and the basic level of categorization, the book develops a much broader range of criteria than is usual for evaluating theories of concepts.

Now thoroughly revised and updated, this systematically presented coursebook tells you everything you need to know about advertising, from how to write copy and choose a typeface, to how agencies work and the different strategies used for print, TV or cinema and other media, including interactive. Exercises throughout help the reader judge their own work and that of others. By getting to the heart of the creative process in a way that other guides dont, the book can help anyone produce better advertising. This new edition features a thoroughly revised and updated chapter on interactive advertising, with new exercises and some thirty new illustrations. 'Invaluable' Creative Review 'Enormously encouraging, practical and entertaining. If this book could stand in front of a class (of creative students) and talk, I'd be out of a job.' Tony Cullingham, Course Director, The Watford Creative Advertising Course, West Herts College

If we push the definition of a?book? beyond the traditional form of the codex to encompass cuneiform tablets, papyri, as well as the printed and digital book- just what is the essence of its purpose? Featuring contributors from a wide range of disciplines such as art history, medieval studies, ancient Near-Eastern history, information management and the history of the book, this ambitious new release explores the biography of the concept of the book, and its function across millennia. 0The volume analyses the role of the book as a tool of communication. It examines a broad conceptual range; from the evolution of medieval encyclopaedia, 17th century pamphlets on witchcraft trials, and the role of books produced as propaganda by the Ministry of Information in Britain during the Second World War. It covers an impressive timespan and geography, detailing accounting systems in ancient Assyria, the dissemination of Aristotelian texts in late medieval Europe, and the Penny Post in 19th-century England. This volume boldly demonstrates the functionality of the book to be as diverse as human endeavour.

A look at advertising techniques and strategies includes explanations by artists and graphic designers about how they create their works.

This first textbook on formal concept analysis gives a systematic presentation of the mathematical foundations and their relations to applications in computer science, especially in data analysis and knowledge processing. Above all, it presents graphical methods for representing conceptual systems that have proved themselves in communicating knowledge. The mathematical foundations are treated thoroughly and are illuminated by means of numerous examples, making the basic theory readily accessible in compact form.

In this book the author takes the concept of the New as a starting point to open the way to a broader reflection on ar t production within neoliberal capitalism. Piazza explores the notions of innovation and New respectively in the Social Sciences and in the Humanities, tracing the differences from the conceptual and temporal perspective in relation to the most recent debates on creativity and postmodernism. The book investigates the field of theatre and dance, focusing on the essential aspects that link the New with the contemporary condition and its discourse. Combining theory and practice, this book calls for an art production able to slip out of the framework of innovation and builds the ground to rethink the New and its political value in the arts.

Workbook for teaching reading skills and a special dictionary accompanied by 8 packets of flash cards (stapled but perforated for separating). Issued in blue plastic container.