We live in an image society. Since the turn of the 20th century if not earlier, Americans have been awash in a sea of images throughout the visual landscape. We have become highly image-conscious, attuned to first impressions and surface appearances, and deeply concerned with our own personal images – our looks, reputations, and the impressions we make on others. The advent of this image-consciousness has been a familiar subject of commentary by social and cultural historians, yet its legal implications have not been explored. This article argues that one significant legal consequence of the image society was the evolution of an area of law that I describe as the tort law of personal image. By the 1950s, a body of tort law – principally the privacy, publicity, and emotional distress torts, and a modernized defamation tort – had developed to protect a right to control one’s image and to be compensated for emotional and dignitary harms caused by interference with one’s public image. This law of image produced the phenomenon of the personal image lawsuit, in which individuals sued to vindicate or redress their images. The rise of personal image litigation over the course of the 20th century was driven by Americans’ increasing sense of protectiveness and possessiveness towards their public images and reputations. This article offers an overview of the development of the image torts and personal image litigation in the United States. It offers a novel, alternative account of the history of tort law by linking it to developments in American culture. It explains how the law became a stage for, and participant in, the modern preoccupation with personal image, and how legal models of personhood and identity in turn transformed understandings of the self. Through legal claims for libel, invasions of privacy, and other assaults to the image, the law was brought, both practically and imaginatively, into popular fantasies and struggles over personal identity and self-presentation.

Americans have long been obsessed with their images—their looks, public personas, and the impressions they make. This preoccupation has left its mark on the law. The twentieth century saw the creation of laws that protect your right to control your public image, to defend your image, and to feel good about your image and public presentation of self. These include the legal actions against invasion of privacy, libel, and intentional infliction of emotional distress. With these laws came the phenomenon of "personal image litigation"—individuals suing to vindicate their image rights. Laws of Image tells the story of how Americans came to use the law to protect and manage their images, feelings, and reputations. In this social, cultural, and legal history, Samantha Barbas ties the development of personal image law to the self-consciousness and image-consciousness that has become endemic in our media-saturated culture of celebrity and consumerism, where people see their identities as intertwined with their public images. The laws of image are the expression of a people who have become so publicity-conscious and self-focused that they believe they have a right to control their images—to manage and spin them like actors, politicians, and rock stars.

This book formalizes and analyzes the relations between multiple views of a scene from the perspective of various types of geometries. A key feature is that it considers Euclidean and affine geometries as special cases of projective geometry. Over the last forty years, researchers have made great strides in elucidating the laws of image formation, processing, and understanding by animals, humans, and machines. This book describes the state of knowledge in one subarea of vision, the geometric laws that relate different views of a scene. Geometry, one of the oldest branches of mathematics, is the natural language for describing three-dimensional shapes and spatial relations. Projective geometry, the geometry that best models image formation, provides a unified framework for thinking about many geometric problems are relevant to vision. The book formalizes and analyzes the relations between multiple views of a scene from the perspective of various types of geometries. A key feature is that it considers Euclidean and affine geometries as special cases of projective geometry. Images play a prominent role in computer communications. Producers and users of images, in particular three-dimensional images, require a framework for stating and solving problems. The book offers a number of conceptual tools and theoretical results useful for the design of machine vision algorithms. It also illustrates these tools and results with many examples of real applications.

Next Generation Indie Book Awards, Best Non Fiction 2019 National Indie Excellence Award Winner Nautilus Book Awards, Gold #1 Amazon Best Seller in Architecture History & Periods Amazon Best Seller in Art Subjects & Themes Seeing the World Through Shape How do humans make sense of the world? In answer to this timeless question, award winning documentary filmmaker, Lois Farfel Stark, takes the reader on a remarkable journey from tribal ceremonies in Liberia and the pyramids in Egypt, to the gravity-defying architecture of modern China. Drawing on her experience as a global explorer, Stark unveils a crucial, hidden key to understanding the universe: Shape itself. The Telling Image is a stunning synthesis of civilization’s changing mindsets, a brilliantly original perspective urging you to re-envision history not as a story of kings and wars but through the lens of shape. In this sweeping tour through time, Stark takes us from migratory humans, who imitated a web in round-thatched huts and stone circles, to the urban ladder of pyramids and skyscrapers, organized by hierarchy and measurements, to today’s world of interconnected networks. ​In The Telling Image Stark reveals how buildings, behaviors, and beliefs reflect humans’ search for pattern and meaning. We can read the past and glimpse the future by watching when shapes shift. Stark’s beautifully illustrated book asks of all its readers: See what you think.

Easy Company withstood the German Advance at the Battle of the Bulge and dashed Hitler's last hope for stopping the Allies' advance. They were able to do it because their leaders embaraced the Law of the Picture.

by Professor J. H. Middlemiss, Department of Radiodiagnosis, The Medical School, University of Bristol This book, for so long and so deservedly, has been a favourite and reliable guide for any person undergoing training in diagnostic radiology whether that person be doctor or technician. This new, largely re-written edition is even more comprehen sive. And yet throughout the book simplicity of presentation is maintained. Professor G. J. van der Plaats has been well known to radiologists in the English speaking world for more than three decades. He has been, and still is, respected by them for his vision, his thoroughness, determination and meticulous attention to detail and for his unremitting enthusiasm. The standard of radiography in the Netherlands throughout this period has been recognised as being of the highest quality, and this has, in no small measure, been due to the pattern set by Professor van der Plaats and his colleagues.

An understanding of psychology—specifically the psychology behind how users behave and interact with digital interfaces—is perhaps the single most valuable nondesign skill a designer can have. The most elegant design can fail if it forces users to conform to the design rather than working within the "blueprint" of how humans perceive and process the world around them. This practical guide explains how you can apply key principles in psychology to build products and experiences that are more intuitive and human-centered. Author Jon Yablonski deconstructs familiar apps and experiences to provide clear examples of how UX designers can build experiences that adapt to how users perceive and process digital interfaces. You’ll learn: How aesthetically pleasing design creates positive responses The principles from psychology most useful for designers How these psychology principles relate to UX heuristics Predictive models including Fitts’s law, Jakob’s law, and Hick’s law Ethical implications of using psychology in design A framework for applying these principles