This book presents a complete human-centered design process (ISO 9241:210) that had two goals: to design universal, intuitive, and permanent pictograms and to develop a process for designing suitable pictograms. The book analyzes characteristics of visual representations, grounded in semiotics. It develops requirements for pictogram contents, relying on embodied cognition, and it derives content candidates in empirical studies on four continents. The book suggests that visual perception is universal, intuitive, and permanent. Consequently, it derives guidelines for content design from visual perception. Subsequently, pictogram prototypes are produced in a research through design process, using the guidelines and the content candidates. Evaluation studies suggest that the prototypes are a success. They are more suitable than established pictograms and they should be considered universal, intuitive, and permanent. In conclusion, a technical design process is proposed.

This book presents a complete human-centered design process (ISO 9241:210) that had two goals: to design universal, intuitive, and permanent pictograms and to develop a process for designing suitable pictograms. The book analyzes characteristics of visual representations, grounded in semiotics. It develops requirements for pictogram contents, relying on embodied cognition, and it derives content candidates in empirical studies on four continents. The book suggests that visual perception is universal, intuitive, and permanent. Consequently, it derives guidelines for content design from visual perception. Subsequently, pictogram prototypes are produced in a research through design process, using the guidelines and the content candidates. Evaluation studies suggest that the prototypes are a success. They are more suitable than established pictograms and they should be considered universal, intuitive, and permanent. In conclusion, a technical design process is proposed.

This book presents a complete human-centered design process (ISO 9241:210) that had two goals: to design universal, intuitive, and permanent pictograms and to develop a process for designing suitable pictograms. The book analyzes characteristics of visual representations, grounded in semiotics. It develops requirements for pictogram contents, relying on embodied cognition, and it derives content candidates in empirical studies on four continents. The book suggests that visual perception is universal, intuitive, and permanent. Consequently, it derives guidelines for content design from visual perception. Subsequently, pictogram prototypes are produced in a research through design process, using the guidelines and the content candidates. Evaluation studies suggest that the prototypes are a success. They are more suitable than established pictograms and they should be considered universal, intuitive, and permanent. In conclusion, a technical design process is proposed.

Mit Namen wie z. B. Miklós Jancsó, Ildikó Enyedi, Károly Makk, István Szabó oder Márta Mészáros hat der ungarische Film seinen festen Platz in der Kultur und Geschichte des europäischen Films. Dies geht etwa zurück auf die Neue Welle in den 1960er Jahren und das Béla Balázs Stúdió, dessen Vertreter*innen auch über Ungarns Grenzen hinaus Renommé besitzen. Der Band stellt 25 ungarische Filme von 25 Regisseur*innen in Einzelbeiträgen vor, kontextualisiert sie und zeigt gesellschaftliche, filmhistorische, politische sowie künstlerische Zusammenhänge und Besonderheiten auf. Er bietet damit einen konzisen Einblick in die ungarische Filmproduktion eines Zeitraums von 1920 bis heute und zeigt eindrücklich die ästhetische, inhaltliche und thematische Vielfalt des ungarischen Filmschaffens.

This book presents a complete human-centered design process (ISO 9241:210) that had two goals: to design universal, intuitive, and permanent pictograms and to develop a process for designing suitable pictograms. The book analyzes characteristics of visual representations, grounded in semiotics. It develops requirements for pictogram contents, relying on embodied cognition, and it derives content candidates in empirical studies on four continents. The book suggests that visual perception is universal, intuitive, and permanent. Consequently, it derives guidelines for content design from visual perception. Subsequently, pictogram prototypes are produced in a research through design process, using the guidelines and the content candidates. Evaluation studies suggest that the prototypes are a success. They are more suitable than established pictograms and they should be considered universal, intuitive, and permanent. In conclusion, a technical design process is proposed.

This book presents a complete human-centered design process (ISO 9241:210) that had two goals: to design universal, intuitive, and permanent pictograms and to develop a process for designing suitable pictograms. The book analyzes characteristics of visual representations, grounded in semiotics. It develops requirements for pictogram contents, relying on embodied cognition, and it derives content candidates in empirical studies on four continents. The book suggests that visual perception is universal, intuitive, and permanent. Consequently, it derives guidelines for content design from visual perception. Subsequently, pictogram prototypes are produced in a research through design process, using the guidelines and the content candidates. Evaluation studies suggest that the prototypes are a success. They are more suitable than established pictograms and they should be considered universal, intuitive, and permanent. In conclusion, a technical design process is proposed.

This book presents a complete human-centered design process (ISO 9241:210) that had two goals: to design universal, intuitive, and permanent pictograms and to develop a process for designing suitable pictograms. The book analyzes characteristics of visual representations, grounded in semiotics. It develops requirements for pictogram contents, relying on embodied cognition, and it derives content candidates in empirical studies on four continents. The book suggests that visual perception is universal, intuitive, and permanent. Consequently, it derives guidelines for content design from visual perception. Subsequently, pictogram prototypes are produced in a research through design process, using the guidelines and the content candidates. Evaluation studies suggest that the prototypes are a success. They are more suitable than established pictograms and they should be considered universal, intuitive, and permanent. In conclusion, a technical design process is proposed.

Mit Namen wie z. B. Miklós Jancsó, Ildikó Enyedi, Károly Makk, István Szabó oder Márta Mészáros hat der ungarische Film seinen festen Platz in der Kultur und Geschichte des europäischen Films. Dies geht etwa zurück auf die Neue Welle in den 1960er Jahren und das Béla Balázs Stúdió, dessen Vertreter*innen auch über Ungarns Grenzen hinaus Renommé besitzen. Der Band stellt 25 ungarische Filme von 25 Regisseur*innen in Einzelbeiträgen vor, kontextualisiert sie und zeigt gesellschaftliche, filmhistorische, politische sowie künstlerische Zusammenhänge und Besonderheiten auf. Er bietet damit einen konzisen Einblick in die ungarische Filmproduktion eines Zeitraums von 1920 bis heute und zeigt eindrücklich die ästhetische, inhaltliche und thematische Vielfalt des ungarischen Filmschaffens.