The Tactile Eye expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile—a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.

Today, the most progressive designers are working at the intersection of various creative disciplines. They are challenging existing design principles and defining them anew. Many designers from different areas are choosing to no longer work exclusively in two dimensions and are instead dealing intensively with space, material and physical products. The book Hidden Track investigated this development in 2005 and portrayed it in its breadth for the first time. Now, Tactile shows how graphic design is moving into three-dimensional objects and products and presents graphic design that works with space or the perception of space. The book focuses less on murals than on products, objects, installations and collage that demonstrate how designers are developing and implementing their ideas spatially from the very outset of a given project. Tactile proves that spatial innovation in graphic design is not limited to personal work or artistic endeavours for exhibition, but is being sought out more and more often by commercial clients, for example in store design. With its insight into this experimental field of graphic design, Tactile targets young, progressive designers as well as professionals from the fields of advertising, architecture and interior design. Because its topical content is compiled in a way that highlights the interesting multi-disciplinary interactions between the various works, Tactile also offers inspiration for creatives in fashion, lifestyle and art.

More Than Meets the Eye seeks to dismantle traditional understandings of blindness through scrutiny of philosophical speculation, scientific case studies, literary depictions, and museum access programs for the blind. It introduces blind and visually impaired artists whose work has shattered stereotypes and opened up new aesthetic possibilities for everyone.

A counting book depicting the colorful fish a child might see if he turned into a fish himself.

Foundations of Low Vision: Clinical and Functional Perspectives, the ground-breaking text that highlighted the importance of focusing on the functional as well as the clinical implications of low vision, has been completely updated and expanded in this second edition. The revised edition goes even further in its presentation of how best to assess and support both children and adults with low vision and plan programs and services that optimize their functional vision and ability to lead productive and satisfying lives, based on individuals' actual abilities. Part 1, Personal and Professional Perspectives, provides the foundations of this approach, with chapters focused on the anatomy of the eye, medical causes of visual impairment, optics and low vision devices, and clinical low vision services, as well as psychological and social implications of low vision and the history of the field. Part 2 focuses on children and youths, providing detailed treatment of functional vision assessment, instruction, use of low vision devices, orientation and mobility, and assistive technology. Part 3 presents rehabilitation and employment issues for working-age adults and special considerations for older adults.

In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself. These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years -- sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists. From this emerges a materialist theory -- an embodied, erotic relationship to art and to the world. Marks's approach leads to an appreciation of the works' mortal bodies: film's volatile emulsion, video's fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.

Everyone knows the thrill of being transported by a film, but what is it that makes movie watching such a compelling emotional experience? In Moving Viewers, Carl Plantinga explores this question and the implications of its answer for aesthetics, the psychology of spectatorship, and the place of movies in culture. Through an in-depth discussion of mainstream Hollywood films, Plantinga investigates what he terms "the paradox of negative emotion" and the function of mainstream narratives as ritualistic fantasies. He describes the sensual nature of the movies and shows how film emotions are often elicited for rhetorical purposes. He uses cognitive science and philosophical aesthetics to demonstrate why cinema may deliver a similar emotional charge for diverse audiences.