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The gap between who designers and developers imagine their users are, and who those users really are can be the biggest problem with product development. Observing the User Experience will help you bridge that gap to understand what your users want and need from your product, and whether they'll be able to use what you've created.

Filled with real-world experience and a wealth of practical information, this book presents a complete toolbox of techniques to help designers and developers see through the eyes of their users. It provides in-depth coverage of 13 user experience research techniques that will provide a basis for developing better products, whether they're Web, software or mobile based. In addition, it's written with an understanding of product development in the real world, taking tight budgets, short schedules, and existing processes into account.
Since the publication of the first edition, the business of user research has exploded with new technologies and new techniques. This second edition takes those changes into account with extensive revisions to existing topics. It also adds entirely new material on observational research, mobile usability, diary studies, remote research, and cross-cultural and multilingual projects.

Explains how to balance usability with creativity and originality

A valuable resource for designers, developers, project managers -- anyone whose work affects the end user experience

Provides a real-world perspective on research. Helps you do user research cheaply and quickly, and present it persuasively

Gives you the tools and confidence to perform user research on your own design, tuning user experience to the unique needs of your product and its users

Sales Rank: #46672 in Books
Brand: Goodman, Elizabeth/ Kuniavsky, Mike/ Moed, Andrea
Published on: 2012-09-21
Original language: English
Number of items: 1
Dimensions: 9.27" h x 1.00" w x 7.46" l, 2.89 pounds
Binding: Paperback
608 pages

Features

Used Book in Good Condition

Review

"In this second edition, the authors update an important contribution to the emerging discipline of user experience (UX) research…This book is one of many noteworthy titles from Morgan Kaufmann in this subject area. It is chock full of practical examples and advice for both novice and experienced practitioners." --ComputingReviews.com, January 2013

"Anyone even remotely interested in involving participants and observing their reaction and interaction with the product in order to enhance the overall user acceptance should deeply benefit from this book. I very much liked the practical examples, tables, and diagrams which have given this book a more vibrant feel and allowed the reader to feel like he can use this textbook directly in the practice of establishing some user experience tests. I think the textbook is profoundly informational and was a joy to read." --Software Engineering News, March 2012

"You'll like Mike Kuniavsky's broad selection of practical user research methods--presented clearly and usably. And you'll like his timing too: while recent books focus on the whys of user experience, many are now ready for the hows. Observing the User Experience does just that: It demonstrates how to discover what is in users' heads, and suggests how we might balance those considerations with business objectives." --Lou Rosenfeld, co-author of Information Architecture for the World Wide Web

"Wow! So many of the user experience research methods we have refined and used over the years are now organized and described in detail in one book. It is an essential reference for any practitioner." --Christian Rohrer, Manager, User Experience Research, Yahoo!

"Observing the User Experience provides the reader with a wealth of information. We now have a guideline that can be used to gain insight into those mysterious figures...our users. Knowing who our users are, what they need, and how they might use the things we build for them is the most important part of any product development cycle. Mike Kuniavsky's focus in this book is on the user experience as it relates to online interfaces, but ANYONE who builds ANYTHING can gain valuable knowledge from reading this book." --David Hoffer, Senior User Interface Designer, CTB/McGraw-Hill

"I love Observing the User Experience! This comprehensive guide approaches user experience research like never before, and is well-written, easy-to-read, and quite user friendly. It provides a real-world example of how research is done in just enough detail that it can both inform a CEO of the role of usability research as well as introduce methodology to someone starting out in the field. Bravo!"--Kelly Braun, Usability Manager, Ebay

"Mike Kuniavsky offers many practical procedures to conduct and analyze the results of your own custom usability tests. He shares lots of personal stories from the trenches, many of which are painfully ironic. The hope is that his knowledge will help spare you the pain of making the same mistakes others have made before you." --from the foreword by Lynda Weinman, Author and Founder, lynda.com, Inc.

"Kuniavsky presents information logically, often anticipating potential questions by providing extensive explanations. His text is readable and easily understandable. He incorporates interesting quotes from various scholars, keeping readers' interest by breaking up the strict presentation of information. The overall layout and conversational tone make the text an enjoyable read and useful reference." --Kalle Medhurst - Technical Communications

"The best general how-to handbook on user research remains Mike Kuniavsky's Observing the User Experience. For the reader who wants to integrate contextual design into a fast-paced development cycle, but isn't sure how, this book will be a godsend. Even when their advice can't be followed to the letter, the book, like the authors method, can be adapted to your needs." --Networker Magazine

"Mike Kuniavsky's Observing the User Experience: A Practitioner's Guide to User Research is a welcome addition to the half dozen essential books on my cubicle shelf. This book provides lucid, personable, experienced advice that could only come from a seasoned consultant who has seen the good, bad, and ugly of web and application design. Its purpose is to give a solid foundation to any design team in the crucial beginning stages of a project by answer the questions: How do we go about learning who our users are an what they really need? And how do we do this in a way that helps us make a strong case for our design decisions to the people in charge?" --Andrew Hinton

From the Back Cover
"This new version retains the approachable style of the original edition while making the most of recent developments in mobile and social technology. The clear instructions and comprehensive overview of research methodologies make this volume a perfect guide for novices and a reference for experienced practitioners looking for new ideas."-- Dr. Aviva Rosenstein, User Research Manager, salesforce.com

Observing the User Experience is a groundbreaking, comprehensive resource for user experience research. For over a decade, it has helped readers better understand what their users want and need from their products and whether users will be able to use what they've created. This second edition improves upon a classic, adding new methods and approaches to meet today's challenging and diverse research requirements. You'll find revised methods chapters that explain how to adapt time-tested techniques for designing mobile and cross-platform products and services. New sections offer strategies for conducting remote user research, using new tools for digital ethnography, and informing cross-cultural design. Filled with real-world experience and a wealth of practical information, this book helps designers and developers see through the eyes of their users.

Explains how to create usable products that are still original and creative.
Provides a real-world perspective on research, with tips on conducting user research inexpensively and quickly, and on persuasively presenting the results.
Gives readers the tools and confidence to get started fast, while introducing more advanced questions and techniques.

About the Author
Through writing, design and research, Elizabeth Goodman works to inform and inspire the future of interaction design. Over the past decade, she has worked with exploratory user experience teams at Intel, Yahoo! and Fuji Xerox, and taught user research at the University of California, Berkeley. Currently a Phd candidate at Berkeley, she has a masters degree in interaction design from the Interactive Telecommunications Program at New York University. She frequently speaks on interaction design and research to businesses, schools, and industry groups.

Mike Kuniavsky is a user experience designer, researcher and author. A twenty-year veteran of digital product development, Mike is a consultant and the co-founder of several user experience centered companies: ThingM manufactures products for ubiquitous computing and the Internet of Things; Adaptive Path is a well-known design consultancy. He is also the founder and organizer of Sketching in Hardware, an annual summit on the future of digital product user experience design tools. Mike writes and speaks on digital product and service design, and works with product development groups in both large companies and startups. His most recent book is Smart Things: Ubiquitous Computing User Experience Design.

Andrea Moed believes that research is essential in designing to support human relationships. She has been a design researcher and strategist for over 15 years, observing users of websites, phones and other mobile devices, museums, retail environments and educational and business software. She is currently the Staff User Researcher at Inflection, a technology company working to democratize access to public records. Andrea has master's degrees from the Interactive Telecommunications Program at New York University and the UC Berkeley School of Information, and has taught at the Parsons School of Design in New York. Her writing on design and technology has appeared in a variety of publications.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Thorough text book
By Connie
This is a great resource for UX research. It is very detailed and walks you through both the logistics and the design of appropriate research methods. It is, however, a text book and it definitely feels like one at times. A little dry and very dense, but a high-quality resource.

4 of 5 people found the following review helpful.
Review of "Observing the User Experience: A Practitioner's Guide to User Research"
By norcyn
If you are looking to develop or restyle your product or service then this book, offered by O'Reilly Media, will help you provide your customers with exactly what they are looking for. This 2nd Edition book is written collaboratively by Kuniavsky, Moed and Goodman who are all equally passionate about designing with the user experience at the forefront.

If you are responsible in any way for considering how the end users will react or interact with your product or service--this book will undoubtedly have the information you are looking for.

It is written mostly as a reference guide chock-full of techniques; however, there is also a section dedicated to the importance of conducting user experience research. For example, have you ever wondered how LEGO is still able to develop products children love to play with? Their user research helped them discover the answers they were seeking and consequently proved that knowing your customers is invaluable.

The user research techniques I personally enjoyed learning more about are dialogic techniques such as photo elicitation. They are vital when you want to restyle your product and expand your current market since they are exploratory in nature. For instance, the use of photographs in conjunction with a well written script could assist with eliciting an emotional response in your participant. This elicitation is a great way to identify areas which may have been overlooked along with providing data and information you may have never thought of on your own.

Initially, I thought this book was strictly targeting developers of digital products; however, the research techniques and real-world examples actually apply to a much broader scope. Fortunately, the numerous techniques incorporate current technologies such as using Twitter and other social media as aids in conducting your research.

1 of 1 people found the following review helpful.
Everything you want to know about user research
By Dustin Guinee
As a self taught UX designer with a degree in graphic design, Observing the User Experience has been a very valuable resource in understanding the foundation principles behind user research. The guidance in this book is practical and hands on for a sole UX Designer/ Researcher or a full UX team. The book offers a variety of research approaches, techniques on analyzing your data and processes to take those learnings and present them to your stakeholders in a format that will resonate with them. Bottom line, observing human behavior and gaining design insights requires a scientific approach and this book provides the methodologies to do user research the right way.

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Sales Rank: #626165 in Books
Published on: 2014-05-12
Original language: English
Number of items: 1
Dimensions: 11.30" h x 1.22" w x 8.70" l, .0 pounds
Binding: Hardcover
662 pages

Review

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About the Author
Richard O. Mines, Jr., Department of Environmental Engineering, Mercer University, Macon, Georgia, USA

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Sales Rank: #6264362 in Books
Published on: 2005-12-01
Original language: English
Number of items: 1
Dimensions: 9.57" h x .98" w x 7.40" l, .0 pounds
Binding: Paperback
472 pages

About the Author
Craig Deegan, BCom (UNSW), MCom (Hons)(UNSW), PhD (UQ), FCA is Professor of Accounting and Director of Research in the School of Accounting and Law at RMIT University in Melbourne. He has taught at Australian universities for fourteen years in both undergraduate and postgraduate courses and has presented lectures internationally within the United States, England, Wales, Scotland, Malaysia, Singapore, South Africa, New Zealand and China. Jeffrey Unerman is Professor of Accounting and Corporate Accountability at the School of Management, Royal Holloway, University of London.

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Minggu, 08 Mei 2011

[Y626.Ebook] Ebook PMI-PBA Certification Study Guide, by Elizabeth Larson, Richard Larson

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Sales Rank: #275781 in Books
Published on: 2015-07-01
Binding: Perfect Paperback
466 pages

Review
Without Watermark's PMI-PBA Study Guide, I would not have been successful. It is very evident that the Larsons are much attuned to what is needed to pass the PMI-PBA exam. --John A. Rush IV, PMP, PMI-PBA

About the Author
Richard Larson, PMI-PBA and Elizabeth Larson, PMI-PBA are Co-Principals of Watermark Learning, a globally recognized business analysis and project management training company. For over 20 years, they have used their extensive experience in both business analysis and project management to help thousands of practitioners develop new skills. They are lead contributors to the IIBA Business Analysis Body of Knowledge (BABOK Guide) version 2.0 and 3.0 and contributors to requirements-related portions of the Project Management Body of Knowledge (PMBOK Guide) 4th and 5th editions. Together they have co-authored three books, CBAP Certification Study Guide, The Influencing Formula, and Practitioners Guide to Requirements Management. Both Larsons have presented numerous workshops, seminars, and training classes on five different continents. Each author is a repeat speaker at Project Management Institute (PMI) North American, European, and Asia-Pacific Congresses, and at Building Business Capability (BBC) and Business Analyst World conferences around North America and India. They are both award-winning members of the Minnesota chapter of PMI and founding members of two IIBA chapters. Both Elizabeth and Richard are project Management Professionals (PMP) and among the world's first Certified Business Analysis Professionals (CBAP) and Professional Business Analysts (PMI-PBA).

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3 of 3 people found the following review helpful.
PMI-PBA Certification
By Amazonian since 1998
24-Aug -2015 - Completed application. Just started reading the book. Total number of pages in the book: 436. Will keep updating the review as progress is made.

24- Aug -2015 - update: There is an overlap of content with PMP exam. Hence, if you have already completed your PMP or currently preparing for PMP, then PMI-PBA exam might turn out to be relatively less hard, then a total PMI newbie taking the exam.

6 of 7 people found the following review helpful.
EXCELLENT
By Enid Vargas
"Today I passed the PMI-PBA exam. I highly recommend this book. The Larsons did a great job!".

1 of 1 people found the following review helpful.
Nice Book!
By Ming-feng Nian
The practice exam questions and answers (with explanation) are great!

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Sabtu, 07 Mei 2011

[J510.Ebook] Free PDF I am Not Gay, by Jay Argent

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Alex Wesley is a seventeen-year-old senior at Fairmont High School. He is a star jock and the captain of the swim team. Everything in his life seems perfect, except for one big secret: Alex has a boyfriend. In his efforts to keep his relationship hidden from his friends and family, Alex makes a mistake that changes everything and pushes him deeper into the closet.

I am Not Gay is the second book in Jay Argent's best-selling Fairmont Boys series. It is a story about fear and the kind of courage that is found in the most unlikely places.

Sales Rank: #495356 in Books
Published on: 2015-06-06
Original language: English
Number of items: 1
Dimensions: 9.00" h x .29" w x 6.00" l, .42 pounds
Binding: Paperback
126 pages

About the Author
Jay Argent is a novelist in his thirties who lives a peaceful life with his husband. His favorite hobbies are music, movies, and romantic novels. He obtained a degree in engineering in 2001 and built a successful career in a management consulting firm. Using his own high school and college experiences as inspiration, he is now pursuing his true passion of writing.

For the convenience of readers, all Jay Argent's novels are copy-edited and proofread by a team of professionals before they are published. If you have any feedback, you can contact him by email at jay.argent@outlook.com. He very much looks forward to hearing from you.

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Most helpful customer reviews

1 of 1 people found the following review helpful.
Just ok
By Bob's Your Uncle
Nothing new here. Typical high school coming out story. What bothers me about this story is the stilted conversations between the characters. The author seems unable to form natural conversations There's maybe a handful of times in the entire story where he uses a contraction. Almost all conversations are like this: "I am sorry. I have been stupid.", instead of the more natural sounding "I'm sorry. I've been stupid." Also,the ending seemed incomplete. Does Alex come out to his parents? Maybe there will be a book three to continue the story. If so, there should have been a "to be continued" at the end.

0 of 0 people found the following review helpful.
Why do you have to prove you are straight when accused of being gay?
By FORMER Kindle Customer
No one questions the pretenders on the boy/girl dates, but just being with another boy (who is rumored to be gay) automatically is guilty as charged with no chance for parole. Perhaps the teen years are too guarded to allow experimentation on who you like and who you love. Too often the choices are forced and are wrong for the person accused. Trying to disprove anything about sex and love is an impossible task, with only losers, often scarred for life or dead. If the gay and homeless suicide rate was compared to the annual death rate for teen drivers, no one would be driving or drinking. But it is OK to bully and beat on suspected gays just because you hate homosexuality? Why is the gay kid jailed for being beaten up, only to be raped and beaten more in jail? This book and the previous one do a great job of illustrating the problems caused by hate, but struggle to show the glories of love. The closet is not a safe place to hide, but it impossible to avoid opening the door at least occasionally, and risk all every time. Who is the stronger character? Liam, Tristan, Rick, Eric, Jacob, Rosa, Colin, or

0 of 0 people found the following review helpful.
This is the second book (following Swimmer Boy) in the ...
By Steve T
This is the second book (following Swimmer Boy) in the series. What the description does not say is how we see the struggles that Alex has also affect Liam. The bully becomes more methodical and manipulating, interfering with both Alex and Liam in their already difficult relationship. I suggest reading Swimmer Boy first, then this book, to follow the entire story line. The author has a very compelling story-telling ability.

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Jumat, 06 Mei 2011

[U455.Ebook] Ebook Download Saul Bass: A Life in Film and Design, by Jennifer Bass, Pat Kirkham

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This is the first book to be published on one of the greatest American designers of the 20th Century, who was as famous for his work in film as for his corporate identity and graphic work. With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man With The Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick's Spartacus in the early 1960s to Martin Scorsese's Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century.

Sales Rank: #51937 in Books
Brand: Bass, Jennifer/ Kirkham, Pat/ Scorsese, Martin (FRW)
Published on: 2011-11-09
Original language: English
Number of items: 1
Dimensions: 11.75" h x 1.75" w x 10.50" l, 6.80 pounds
Binding: Hardcover
428 pages

Review
"Few cineastes would disagree that, among designers of motion-picture graphics, Saul Bass is the king of them all." --Metropolis.com

"Saul Bass ... Possibly the most famous graphic designer of all time....yet no definitive monograph of his prolific, monumental work has existed--until now."--The Atlantic

"Surely Bass already has a monograph--he must. But he didn't, until now.....Today, everyone claims to be a multidisciplinary designer, but Bass was one of the first to be commercially successful at it--45 years ago."

Saul Bass, best known for transforming the way movies begin, was in fact a designer of incredible versatility. As design historian Pat Kirkham shows in his forthcoming book on Bass (co-authored with Bass' daughter Jennifer), the legendary "visual communicator" also applied his graphic wizardry to album and book covers, typefaces, packaging, retail displays, a hi-fi system, toys and a postage stamp.

"... A superb guide...." --Wall Street Journal

"...the first major book on his work....the book paints an engaging picture of Bass as a vigorous, highly disciplined man with a gift for friendship and sense of fun."--The New York Times, and this same review by Alice Rawsthorn also appeared in the INTERNATIONAL HEARLD TRIBUNE.

About the Author
Jennifer Bass is a graphic designer and artist. She has worked at CBS Television in New York and at Sussman/Prejza & Company in Los Angeles. In 1994, she and her husband, Lance Glover, opened their studio, Treehouse Design Partnership in Los Angeles, working in the areas of environmental graphics, identity and book design.

Pat Kirkham is Professor in the History of Design, Decorative Arts and Culture at the Bard Graduate Center for Studies in the Decorative Arts, Design & Culture, New York. She has written and edited a number of books, including Charles and Ray Eames (1998) and Women Designers in the USA 1900-2000 (2001).

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5 of 5 people found the following review helpful.
A fitting tribute to a great artist
By J. Merritt
One might fear that a book about a great artist spearheaded by one of his offspring would be overly personal and perhaps too adulatory. This book is neither. While it does certainly pay homage to Bass--as it should, because he was a giant of design--I think it's fair to say that Jennifer Bass and Co. have paid impressive tribute in a book as elegantly and engagingly laid out and designed as much of her father's work. The truly fascinating part of this book for those of us who came to Saul Bass through his film credits is to discover his origins and his amazing body of work as a designer. He ranks just barely below Rand as a founding father of graphic design in the 20th century, and this book offers a wealth of examples of his successes both in marketing/advertising and as a filmmaker and titleist. (And carrying it around borders on a workout; it must weigh nearly ten pounds.)

The price tag may seem a little high, but trust me it's worth every penny.It's a beautiful book that will be fun for Bass' already knowledgeable fans, and informative (and fun) for those of us who perhaps did not already appreciate the important link between print and visual design in the 20th century and the important role this brilliant man played in bridging the two. Highly recommended.

43 of 54 people found the following review helpful.
Not quite a credit to Mr Bass
By Robin
A timely release about one of the great and influential designers of the last century and clearly Pat Kirkham has made this a scholarly work considering the amount of research involved. The title will most likely become the standard biography of Bass. Having said that I was disappointed to find the book had some editorial flaws in its presentation.

Millions of movie-goers are familiar with the stunning credits Bass created (sixty stills are included in a fold-out dateline in the back pages) from Carmen Jones in 1954 to Casino in 1995 and the book rightly devotes a large number of pages to credits and the marketing of these movies. My first disappointment is that a DVD was not included with the book. OK, I'll accept that this would involve a lot of extra work (and probably copyright fees to make the book even costlier) and it wasn't in the author's remit so the fall back position would be to show the credits in as much detail as possible: frame by frame to give the reader a feel of how Bass created these powerful opening movie statements. Unfortunately many of these credit stills throughout the book are treated more as individual images, in various sizes, rather than shown as a sequence of large thumbnails. Solana and Boneu's Uncredited: Graphic Design & Opening Titles in Movies [With DVD] book has a whole chapter on Bass credits and the pages work well. 'Anatomy of a murder' has thirty-two thumbnails, 'North by northwest' has twenty-four. In this book they get six and five.

Chapter six looks at the corporate work of Saul Bass and he worked for a lot of companies. The book's coverage is hardly comprehensive when this kind of design commission looks into every visual corner of a company. Mostly what is shown are a few samples: Fuller Paints gets five photos and a logo; Rockwell International three and a logo; Minolta two photos, two logos and five still thumbnails. These corporate pages throw up another disappointment I had with the book: presentation. Flick through the pages and it all looks clean and tidy but then start to read a chapter and I was aware of the large amounts of empty page space (working white as designers call it) where, as this is a book about a visual subject, images should be working much harder. These are pretty pages rather than practical pages that reveal the full potential of the images to the reader. A good example are two fold-outs showing sixteen logos to a page, actually they would have fitted easily on two pages but on four pages they should have been much larger without destroying the book's design integrity. A spread on AT&T (pages 330/331) has ten images and text that would easily fit on one page.

What I found absolutely fascinating were the fifteen pages of notes in the back pages. Predictably set in tiny type yet full of detail about Saul Bass, design and the design community he worked in.

The book's printing is excellent, a nice matt art for the 1484 images using an impressively fine screen (three hundred+) an embossed cover with the 'Bonjour tristesse' logo. 'Saul Bass' is certainly an interesting book but I thought the presentation didn't really display this wonderful designer's work to its full potential, especially his stunning movie credits.

9 of 10 people found the following review helpful.
King of Graphics
By Rob Hardy
Find the common element among these things: _Psycho_; United Airlines; Quaker Oats; Dixie Cups; _Goodfellas_; the Girls Scouts of America. I picked a grab bag, and I could have included a lot more, to show how diverse the work of Saul Bass was; he did graphics, and more, for all of them. There is no bigger name in graphic design than Saul Bass, and now there is a gorgeous book, huge and colorful as befits his career, _Saul Bass: A Life in Film and Design_ (Lawrence King Publishing) by his daughter Jennifer Bass, herself a graphic designer, and Pat Kirkham, who teaches decorative arts and design history. Flip through the 400 big pages here, and you are bound to find logos, posters, and movie title sequences you have seen many times; Bass's range and influence were astonishing. There is a bit of biography here, along with a relatively chronological summary of his work from his poster for his high school's open house through the poster for _Schindler's List_. The text is worth reading, and the authors have quoted generously from Bass's own thoughts on his life, work, methods, and output. As befits Bass's legacy, however, this is a picture book, and it is a treat for the eyes.

Bass grew tired of following formulas and "cramming as much illustration, type and hype as you possibly could into ads" in the early days, and eventually specified that he would not work on movie ads. In 1946, however, he realized he had to get out to Hollywood. Title sequences of the movies were conventional letters over conventional backgrounds, and sometimes theaters ran the initial credits over the curtain as it went up. Bass thought a film began at the first frame and deserved a mood-setting overture. His title sequences are famous for setting the tone of the film, and are among the best ever made, from the swirling Lissajous patterns of _Vertigo_ to the funny cartoons preceding _It's a Mad, Mad, Mad, Mad World_. Bass (and his wife Elaine, who gets much credit in this book for their joint efforts) had a "fade out" from making movie titles. He had a lot of corporate work to do, and was making his own documentaries and film essays (he also directed one feature film, _Phase IV_). He also found that directors were newly interested in using the title sequence themselves creatively, and perhaps this was a response to his own work. Nonetheless, he came back in the 1990s, working for among others Martin Scorsese (who writes the book's forward), for whom he did the admirable credits for _Goodfellas_, _Cape Fear_, _The Age of Innocence_, and _Casino_. Among the most interesting pages here are the reproductions of preparatory sketches leading to a final product. Bass would do perhaps 300 sketches for a single simple logo. Some of the pictures here show Bass getting ready to make a presentation of his logo work to a particular corporation - there are hundreds of alternative designs on the walls. Bass was a master of the presentation of the final design to corporate clients; he liked being "on stage," had excellent comedic timing and wit, and connected with each client individually. The presentation was the culmination of intensive work, starting with an analysis of what the company had done, its competitors, and its communication materials, and even enlisting market research. It is significant that Bass thought that one of the most interesting parts of his work was the interviews with one executive at a time. "I get to ask powerful and often interesting people about their work and their lives. It is in their heads that the real blueprint for the future exists or is being formed."

Bass was devoted to progressive causes, and did plenty of pro bono work; there are designs here for the ACLU, the Special Olympics, Boys Clubs, YWCA, and more. Bass had a devoted family, and people who worked for his firm remembered a dynamic, funny, intense man who loved his job. When they split off to make their own firms, he gave them his blessing - it was part of the creative process, and he had done the same thing himself. To see the many designs in this book is to appreciate that while his work was too diverse to have any one unifying esthetic, it was characterized by simplicity, distillation, and minimalism, and was always forceful because it was so concentrated. Revealingly, he was anxious with every new assignment; he told young designers that "the only difference experience made, he believed, was the knowledge that since one had managed to come up with good ideas in the past, there was good reason to believe it would happen again." He also said that considering present work is humbling "because no matter how much experience you have, the blank page is still terrifying." Maybe so, but he conquered any such fears countless times, with successes reproduced here on page after page of memorable, effective images.

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Emmanuel Levinas and Martin Buber -- considered by many the most important Jewish philosophers since the 12th century sage Maimonides -- knew each other as associates and friends. Yet although their dialogue was instructive at times, and demonstrated the esteem in which Levinas held Buber, in particular, their relationship just as often exhibited a failure to communicate. This volume of essays is intended to resume the important dialogue between the two. Thirteen essays by a wide range of scholars do not attempt to assimilate the two philosopher's respective views to each other. Rather, these discussions provide an occasion to examine their genuine differences -- difference that both Levinas and Buber agreed were required for genuine dialogue to begin.

Sales Rank: #3122029 in Books
Brand: Brand: Duquesne Univ Pr
Published on: 2004-12-03
Original language: English
Dimensions: 9.00" h x 6.25" w x 1.25" l, 1.32 pounds
Binding: Hardcover
335 pages

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Review
“Valuable, helpful, and informative. . . . There is a good deal to be learned from the essays, especially for someone coming to the comparison between Buber and Levinas for the first time.” —Notre Dame Philosophical Reviews

About the Author
PETER ATTERTON is associate professor of philosophy at San Diego State University. He is the editor of Levinas Studies, Volume 5. MATTHEW CALARCO is assistant professor of philosophy at California State University, Fullerton. He has published widely on leading figures in contemporary continental thought, including Agamben, Derrida, Levinas, and Heidegger. MAURICE FRIEDMAN is professor emertius of religious studies, philosophy and comparative literature at San Diego State Univeristy, and codirector of the Institute of Dialogical Psychotherapy in San Diego. His Martin Buber's Life and Work won the National Jewish Book Award.

Most helpful customer reviews

21 of 23 people found the following review helpful.
Long Overdue
By Denise J. Mcpherson
A volume such as this is long overdue and welcome to those of us who feel near to Buber and Levinas. In the introduction, the editors announce the intent of the volume as "not to assimilate their respective views to each other, but to point out their differences - differences that both Levinas and Buber agreed were required to begin." (2) While the question of rapprochement is always in the not too distant background, this work eminently achieves its intentions, even in those essays that modestly gesture toward rapprochement.

As I read, I was struck by the pathos, the energy produced in drawing Levinas and Buber into proximity. In each essay, one feels the preference of each contributor, a nearness beyond intellectual specificity, a proximity that resembles filial obligation. Levinas and Buber inspire commitment in us. The import of their excurses reach through yet beyond formal questions to the vitality of flesh and breath. In reading I found myself drawn into this drama. Thus, my own filiality might be manifest in this review.

The book is organized into four parts. Part one, "Dialogue," presents a short essay by Buber entitled, "Samuel and Agag," and an essay by Levinas, "On Buber," responding to it. These selections are well made in that the "little disagreement" they illustrate is enceinte, in all the multivalence of the term, signaling the divergent trajectories each take in their respective accounts of inter-subjectivity.

Part two, "Ethics," queries the differences and similarities in Levinas's and Buber's ethical thinking. Stephan Strasser's "Buber and Levinas: Philosophical Reflections on an Opposition" delicately traces the philosophical tensions that emerge in their proximity. As he critically presents both thinkers, he allows the oppositions to meet without, admirably, seeking to resolve them. Robert Bernasconi, in "`Failure of Communication' as Surplus: Dialogue and Lack of Dialogue between Buber and Levinas," brings Levinas and Buber into a contact that allows their respective insights to operate without utterly assimilating one to the other. I recognized, however, that this contact has a quintessentially Levinasian flavor. In my view, Bernasconi models the most viable strategy for a rapprochement between them. Andrew Tallon's essay, "Affection and the Transcendental Dialogical Personalism of Buber and Levinas," seeks to invite Levinas into Tallon's own Buberesque project. This essay is especially intriguing to those of us interested in pre-deconstructive phenomenological analysis and the situatedness of these thinkers with respect to tradition. Neve Gordon in "Ethics and the Place of the Other," and Maurice Friedman in "Martin Buber and Emmanuel Levinas: An Ethical Query," are refreshing in their forthright criticisms of Levinas. Gordon convincingly suggests that Levinas's ethical inter-subjectivity cannot be teased out of, or integrated within, the I-Thou without damaging Buber's central theses.

Part three, "Religion," discusses Buber's and Levinas's embeddness in the Jewish tradition and their different locations within this locale. These essays are especially interesting. The authors seem more comfortable with the tensions produced in the dialogue. They imply, it seems to me, that the tautness between communion and concern for justice, evolution and tradition, consolation and responsibility, reciprocity and height, may be necessary for religion to authentically operate. The tension is none other than that space familiar to us, that space where the pastoral and prophetic meet (or perhaps we might say the dialogical and the ethical). Ephraim Meir, in "Buber's and Levinas's Attitudes toward Judaism" masterfully presents these differences, such that I was touched by the vitality. He is valiantly even-handed though he hints at a Levinasian leaning. Michael Fagenblat and Nathan Wolski, in "Revelation Here and Beyond: Buber and Levinas on the Bible," tackle the problematic of revelation in Levinas and Buber. Robert Gibbs's "Reading Torah: The Discontinuity of Tradition," presents Buber's and Levinas's respective approaches to the reading of the Torah with special attention to the (non) mediation of tradition. Tamra Wright, in "Beyond The `Eclipse of God': The Shoah in the Jewish though of Buber and Levinas," compares their different trajectories in the wake of the Holocaust. The one exception to the aforementioned comfort is Andrew Kelley's essay, "Reciprocity and the Height of God: A Defense of Buber against Levinas." Kelly's "defense" is unconvincing as I will show below.

In Part four, "Heidegger, Humanism, and the Other Animal," the culminating essays draw Levinas and Buber into current debates on these issues. Richard Cohen's important essay, "Buber and Levinas - and Heidegger," traces Buber's and Levinas's respective relation to Heideggerian ontology. Cohen successfully discloses how this relation structures their own meeting. Matthew Calarco, in "The Retrieval of Humanism in Buber and Levinas," convincingly argues that Levinas, passing through yet beyond Buber, provides a pregnant site from which to address the contemporary problematic of humanism. Peter Atterton's essay, "Face-to-Face with the Other Animal," is an interesting attempt to extend Levinas's thought beyond its explicit specifications, integrating Buber's concern for a non-human I-Thou relation. Passionately argued in the best sense, Atterton highlights an ambiguity in the application of Levinas's thought. Though he raises some complex questions, unfortunately, he may only be convincing to those who share his sentiments. Atterton confronts Levinas's (alleged) anthropocentrism with his own, implicit, anthropocentrism (or more precisely, anthropomorphisms).

The Promethean thread strung throughout this volume suggests that the questions of reciprocity and formalism posed to Buber by Levinas are the decisive points of contention. The essays that most decidedly side with Buber suggest that these criticisms are not well founded when giving Buber a close reading. Gordon, Friedman, and Kelley aim at answering Levinas's challenge on these grounds while critiquing his positions. Gordon (elsewhere) writes, "I believe that it is more becoming to begin reading Buber's ideas without assimilating him to Levinas" (119). While this may be so, it may be equally "becoming" to read Levinas in the same vein. For example, Friedman writes: "Levinas's...most insistent critiques of Buber's philosophy are tied up with his own assertion that the relation to the Other must be asymmetrical, and correspondingly, I must place the Other at a height above me..." (119). Kelley makes similar moves when he writes: "For Levinas, there is something about the other - the person opposite - that I cannot grasp" (227). These simple statements, meant to convey Levinas's position in relation to Buber, betray an ignorance of Levinas's point and the implications of his challenge. While it is true that the question of asymmetry and alterity are decisive, Friedman and Kelley seem to miss why they are decisive. In other words, the other is not placed at a height by the I, but is always already a height, and as such, the other person is never initially "the person opposite." I want to dwell on the why of these criticisms because I do not believe the above are mere `slips of the pen,' but expressions of a deep fissure irrupting between Buber and Levinas.

Cohen's essay explicitly draws out the why behind Levinas's criticisms of Buber, a why not adequately addressed by Gordon, Friedman or Kelley: what has priority, ontology or ethics? Cohen writes, "Buber's critique of Heidegger is not based on a critique of ontology as such, but rather on a different version of ontology" (241). This is Levinas's qualm with Buber and the reason he raises questions of reciprocity and height. As such, no amount of amendments or qualifications to Buber's ideas can ameliorate the tension; it resembles analytic opposition. The question is not: can ontology (in this case Buber's) have an ethics? The Levinasian question is more basic: is Being adequate to Goodness? For Levinas, the answer is no and if one answers in the affirmative one must philosophically and ethically account for the horrors of human history, one must become an apologist for Being. As our contemporary milieu demonstrates, nihilism and fanaticism seem preferable to such an apology, or perhaps, proceed from it.

Numerous statements throughout specific essays, as the examples above hint, miss this basic point. Tallon's essay attempts to extend Buber's insights while "...comparing and contrasting...by circling several times..." the challenge of Levinas (49). Tallon constructs epistemological categories in seeking to make Buber's ontology more rigorous. While he is successful at integrating some of Levinas's broad concerns in his dialogical perspective, his recourse to "co-constitution," "broadened intentionality," "intimate co-presence," and the construction of a "dialogical transcendental," would draw ethics back into ontology, rendering it derivative. Kelley writes elucidating the I-Thou: "I allow the other person to be who he or she is. It is in this way that speaking...does not destroy the height of the other" (230). And: "The word `Thou' merely indicates the initiative on the part of an I of turning toward and addressing that which confronts the I" (232). It is hard to see how the relation is not determined by the I's own comportment, that is, the I determines the relation in "allowing," in its "turning toward," the other to "be who he or she is." Being is still the underlining term. It seems to require sheer heroism to keep the "-" from subsuming the "I" and "Thou." The issue is not that we should not efface the other's height, but that we absolutely and utterly can not. The height of the other is inviolable, and this is precisely what traces the rupture of Being by ethics. Kelley, and Friedman quoted above, already presuppose reciprocity. Such a position already reduces the "ungraspable alterity" to a derivative status, (i.e. the other is different from me) setting the relation into an economy, the play of polarities, and so on. For Levinas, the other's height marks a (pre) originary alterity, an alterity before all presence and reciprocity. Before any question of economy or reciprocity can be raised, the command-the height of the other-elects the subject to an infinite responsibility. In ethics, the I is elected to an orientation before any choice of how and whether I comport myself in such and such a manner.

I do not wish to be uncharitable in these criticisms. Yet in order "not to assimilate their respective views to each other, but to point out their differences - differences that both Levinas and Buber agreed were required to begin," (2) the question of the priority of ethics to being must be addressed. If it were a question of assimilation, it seems to me that Levinas would fare far worse in that he essentially evaporates in Buber, as ethics always does when subordinate to an ontological relation. Buber fares better than Levinas, in that Levinas ruptures the process of assimilation as such. Buber's deep insights can operate in Levinas's orbit without being obliterated. It would be interesting and important to elaborate what Buberian intimacy would look like while taking Levinas's criticisms seriously, that is, while maintaining the primacy of ethics over ontology. For instance, what would "communion" mean when it no longer means diffusement in a totality? I'm not sure that Levinas's descriptions in his phenomenology of eros are exhaustive, or even, perhaps, adequate. For instance, what happens in an intimate and personal friendship taking the priority of ethics seriously?

As I intimated earlier, Gordon convincingly suggests that Levinas's ethical inter-subjectivity can not be teased out of, or integrated within, the I-Thou without damaging Buber's central theses. In that these theses assume an ontological basis he is absolutely correct. It must be stressed that the issue is not Buber's "nominal" use of the language of Being, but rather, that the very structure of inter-subjectivity he elaborates requires Being, and in such a way that can allow the I its hegemony. Bernasconi successfully argues that it is not the case that Levinas "fails" to give Buber a close reading. Given the basic opposition in their founding orientation, Levinas is as charitable as he can be in his evaluation of Buber. At the close of his fine essay, Bernasconi writes: "For our model of dialogue should also recognize the alterity of the other which shows itself in `the restlessness of the same disturbed by the other'...and in the failure to communicate" (97). To modify my opening comments, this exhilarating volume repeats previous communicative failures, in that the dialogue is yet to adequately address the question of priority between ethics and ontology. As things stand, the dialogue can not help but fail, unless Buber's concerns are elaborated on an ethical rather than ontological basis. So the failure of this book is precisely its success, in that the challenge is now more explicitly and directly presented. With Bernasconi and Cohen, we must admit Buber's ontological rather than ethical bias, that is, the very structure of Buber's intersubjectivity is at issue and no amount of qualifications really address Levinas's basic challenge. The task, it seems, is to set ourselves to articulate what the intimacy of the I-Thou would look like on an ethical rather than ontological basis.

A quick note on form: though the cover art leaves something to be desired, the publisher is to be commended for the attractive and reader friendly layout and font selection. The substantive index will be welcome to students and researchers. Taking into account the few critical exceptions noted, this volume is, I think, an eminent success. As I intimated earlier, reading Levinas and Buber in close proximity generates pathos. The essays in this book are sure to inform and inspire, even those that offer perspectives one rejects. This volume will no doubt set off some intense dialogue as we continue to engage these questions.

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