|Product Name||Citizen Spectator: Art, Illusion, And Visual Perception In Early National America (Published For The Omohundro Institute Of Early American History And Culture, Williamsburg, Virginia)|
|Category||Book / Magazine / Publication|
|Short Description||Height:9.02 inches / Length:5.98 inches / Weight:1.94 pounds / Width:1.3 inches|
|Amazon.com||Buy on Amazon ~ 0807833886|
|Price New||49.04 US Dollars (curriencies)|
|Price Used||39.37 US Dollars (curriencies)|
|Width||1.3 inches (convert)|
|Height||9.3 inches (convert)|
|Length||6.4 inches (convert)|
|Weight||31.04 ounces (convert)|
|Features||Used Book in Good Condition|
|Long Description||In this richly illustrated study, the first book-length exploration of illusionistic art in the early United States, Wendy Bellion investigates Americans' experiences with material forms of visual deception and argues that encounters with illusory art shaped their understanding of knowledge, representation, and subjectivity between 1790 and 1825. Focusing on the work of the well-known Peale family and their Philadelphia Museum, as well as other Philadelphians, Bellion explores the range of illusions encountered in public spaces, from trompe l'oeil paintings and drawings at art exhibitions to ephemeral displays of phantasmagoria, "Invisible Ladies," and other spectacles of deception. |
Bellion reconstructs the elite and vernacular sites where such art and objects appeared and argues that early national exhibitions doubled as spaces of citizen formation. Within a post-Revolutionary culture troubled by the social and political consequences of deception, keen perception signified able citizenship. Setting illusions into dialogue with Enlightenment cultures of science, print, politics, and the senses, Citizen Spectator demonstrates that pictorial and optical illusions functioned to cultivate but also to confound discernment. Bellion reveals the equivocal nature of illusion during the early republic, mapping its changing forms and functions, and uncovers surprising links between early American art, culture, and citizenship.
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Article of interest
This symbology was developed by the Plessey Company in England. A variation of Plessey was used by the ADS Company and is known as Anker Code. Anker Code was used in European point of sale systems prior to the advent of EAN. Another variation is known as the MSI Code.
Plessey offers a full range of HEX digits 0-F. The bit pattern of the bits sets the high order bit at the right which is reverse of how we normally think of bits these days. (MSI puts the high order bit on the left).
The start bar is always "D" (1101) and the terminator can be two binary 1's (11) if the barcode is to be read from left to right only. If the barcode can be read in either direction the terminator will be a single binary 1 (1) and is followed by a reverse of the start character or the "B" (1011).
|Digit||Strip Bits||Binary Value|
|STOP < >||110110100110110||11011|
You can use the stripe bits can be used to generate the graphic pattern. If you want to see this trick, check out the MSI Code page. Plessey uses a cyclic (or polynomial) check code technique which is applied to the reading of barcode labels and transmission of data. This technique is a fair compromise between the extra redundancy and the error detecting power. Roughly one undetected error per hundred million 6 digit transactions.
If you would like to generate your own Plessey Barcode, please visit our free barcode generator page. Make your code, save it and use it how ever you like.