Books
Exit
Waterfront Books, December, 2004, 353 pp.

At the pinnacle of his career, George Dimitrov, who long ago escaped to the USA, abruptly quits his well-endowed position in computer science at a research university. Neither he nor Anita, his American-born wife, can understand why quitting academia would set off a chain of events culminating in the lawsuit brought by the University against its former star professor.

His intention to rediscover the fullness of life beyond the computer monitor triggers an intransigence he never expected in the free country that became his own. University administrators, acting like abandoned lovers, block his every step; politicians use his statements to fit the agenda of the day; the media concoct whatever story will sell. All this leads George to wonder what difference there is between the political complicity expected from him under the dictatorship he fled and the complicity in mediocrity expected from him: "Our terms, or no terms at all!"

The intergenerational conflict in George's family painfully parallels his attempt to escape the pressure to compromise. Each of his three teenage children is trying to become their own person. The loud voices of frustrated adolescents, experimenting in drugs and sexual promiscuity, reverberate in the deceptive atmosphere of cut-throat academics. As pressure builds, George tries a final shot in the dark: the promise of peace or successful escape lies in the drugs he finds in his daughter's room. But in the final analysis, he cannot give up-he will not take the EXIT.

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A Mind at Work.
We Are Our Questions (M. Vilanova and F. Chorda, Eds.). Heidelberg: Synchron, 2003. 259 pp.

This book is edited by two distinguished scholars from Spain, who also edited a special issue of the journal Anthropos. Hallmarks of Knowledge, dedicated to the work of Mihai Nadin. The book presents contributions from European and American scholars in various fields who are acquainted with Nadin the person and with his work…

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Anticipation-The End Is Where We Start From (English-German-French text).
Baden, Switzerland: Lars Müller Publishers, 2003, 150 pp.


We are all familiar with the word “anticipation.” And we find many manifestations of anticipation in daily life. Plans, along with creativity in art and design and in the search for knowledge, are forms of anticipation. Anticipation challenges the cause-and-effect paradigm that rules in the physical sciences. Anticipation means that the cause lies in the future.

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Review in Semiotix Volume 1, Issue 1, 2004

Creating Effective Advertising Using Semiotics.
Korean edition 2003 (Trans. Song, Kie-in and Baek, Moonhynn).
Communication Books:Seoul, 2004.  ISBN 89-8499-205-4

Suspension of Gravity (Pana de Gravitatiei, fiction),

When a corrupt political regime changes, what happens to the people who directed it and benefited from it? Suspension of Gravity, written in Romania in 1976, but published only in 2001, tackled this question, which remains as pointed today as it did 30 years ago.
Bucharest: Albatross, 2001. 286 pp.


English translation available in 2004


Trust: Das Prinzip Vertrauen (Trust The 21 Century and Beyond)

Proceedings of the international colloquium on the subject of Trust >> Website.
Heidelberg: Synchron Publishers, 2001, 378 pp.
Assistant Editors: Lutz Becker and Thomas Eicher

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Jenseits der Schriftkultur.

Dresden: Dresden University Press, 1999.


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The Civilization of Illiteracy.
Dresden: Dresden University Press, 1997. 881 pp.

A sweeping analysis of the transition from a civilization dominated by the characteristics of literacy to a new civilization of many "literacies." The spectacular but unsettling reality of faster cycles of change, the breakdown of traditional values and institutions, and many other symptoms of technological innovation is the subject of the book. The digital paradigm underlying the new civilization provides a basis for this perspective.


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Alias/Wavefront. A Training Manual for Advanced Modeling, Rendering and Animation
(with S. Lehmann, T. Overberg). Wuppertal: BUGH, 1996. 450 pp. + illustrations, 3rd edition, 1998. 510 pp + illustrations.

This is the only training manual that is based on actual lab work with students and other professionals who learned how to use the software in Germany. The manual presents a sequence of exercises on the basis of which students become proficient in integrating the program in their own design work.


Creating Effective Advertising
(with Richard Zakia). New York: Consultant Press, 1994. 160 pp. + 55 plates.

Semiotics is applied to developing visual statements in advertising photography, including digital photography. Such concepts as symbol, icon, index, semiotic operations (insertion, substitution, negation), the semiotic matrix, among others, are described and applied to the creation of imagery for advertisment purposes. Based on classroom experience with design students.

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Translation into the Russian by A. Kalioujnyi, Moscow: Filin Information & Publishing House, 1998.

MIND-Anticipation and Chaos.
From the series Milestones in Thought and Discovery (English-German parallel text). Stuttgart/Zurich: Belser Presse, 1991. 176 pp.

Mihai Nadin's mind theory is the first to reflect two aspects: minds define themselves only in relation to other minds; it is the nature of minds to be anticipatory. The book discusses the self-organization of complex systems and derives from here practical conclusions for the education of minds as the foundation of thought processes. The book also advances the idea of variable configurations as a basis for new computer architectures.
http://www.oikos.org Link

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Die Kunst der Kunst. Metaaesthetik
(The Art of Art. Meta-aesthetics). Stuttgart: Belser Verlag, 1990. xxxvii + 274 pp.

Based on research in aesthetics, art history and theory, semiotics, and logic, the book discusses the self-referential quality of artworks. In order to understand if the verbal language humans use to describe art is appropriate to the condition of artworks, and what role this language has in the world of art, the interpreter of art must operate on categories defined at a meta-level in respect to the object level of art production as such.

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Visual A(E)ducation
(with Richard Zakia). Rochester NY: ZimZum Press, 1989. xxvi + l16 pp.

Semiotics is introduced as a conceptual tool in advertising photography, including digital photography.

The Meaning of the Visual:
On Defining the Field
(Editor).
Semiotica 52:3/4 Amsterdam: Mouton, 1985. 240 pp. + 100 plates.

The first book to apply semiotics to visual means of expression, communication, and signification. It sets forth principles for applying Peirce's semiotics to structuring visual statements and generating visual languages.


Zeichen und Wert (Sign and Value).
Tübingen: Gunter Narr Verlag, 1981. 304 pp.

This book presents the semiotic foundations of a value theory based on the premise that human beings realize value through semiotic processes of interpretation. The foundations is Peircean semiotics, presented in the formalism of category theory. Thus, value is understood as a dynamic system, that is, context dependent, and which corresponds to the open-ended interpretant (seen as process).

>> Table of contents

The work is the result of research funded by the Alexander von Humboldt Foundation and carried out at the Ludwig-Maximilian University in Munich.
This book is available in its ORIGINAL GERMAN VERSION in  digital format. IF INTERESTED WRITE TO THE AUTHOR OR TO SYNCRHON PUBLISHERS (j.s.koch@synchron-publishers.com).
A reprint is planed for the end of this year.

Signs of the Energy Crisis (Editor),
Kodikas/Code 3:3. Tübingen: Gunter Narr Verlag, 1981. 301 pp.

How did the energy crisis launched by the establishment of the oil cartel change people's relation to consumption of energy-dependent objects and processes? An analysis of the visual communication strategies used during the crisis in order to effect change in people's ideas and behavior related to energy use.

Aesthetics and Semiotics (Editor),
Kodikas/Code 2:3. Tübingen: Gunter Narr Verlag, 1980. 117 pp.

Interpreted as signs, artistic expression of all kinds reveal, through semiotic analysis, aspects that escaped morphological, structuralist, phenomenological, and other speculative forms of aesthetics. The approach advanced is based mainly on the writings of Charles Sanders Peirce.

Mut für den Alltag (Courage for Everyday).
Czechoslovakian Film in the Prague Spring. Bern: SOI Verlag, 1978. 117 pp.

The development and flowering of Czechoslovak cinematic expression from 1963-1968, recounted through interviews with its leading personalities.

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Problems of Artistic Development in Marxist Aesthetics:
A Critical Perspective (in German). Braunschweig: Carolo-Wilhelmina University, 1978. 176 pp.

Mattis-Teutsch:
Kunstideologie
.
Bucharest: Kriterion, 1977. 90 pp.

The works of this German-Romanian painter, who was active in the modern movement (Der Blaue Reiter, Bauhaus, etc.) and had shows with Kandinsky, Klee, Gropius, and others of this stature, transmit his perspective on human beings and their relation to work and art.

Artists from Satu Mare (in Romanian).
Satu Mare: CJCES, l 976. 92 pp.

Depicts the works of several artists from the Satu Mare area of Romania working from 1948-1975.

Painters from Brasov (in Romanian).
Bucharest: Meridiane, 1975.
64 pp.

Images and analysis of artists from Brasov working over a period of 25 years. Some examples, such as Mattis Teutsch, Hans Eder, Henri Nouveau transcend local and even the national interest.

Literature and Knowledge (in Romanian, an anthology).
Bucharest: Eminescu, 1975. 311 pp.

Portions of literary works written with a didactic intention, but which are artistic first of all.

Mattis-Teutsch:
Ideology of Art
(in Romanian, edited with preface).
Bucharest:Kriterion, 1974. 90 pp.

Mattis Teutsch developed a very precise visual language and tried to define the characteristics of what he called the "aesthetics of the vertical." It is a very innovative approach to defining elements of an image in terms similar to the formalist description of language and music during this time of revolutionary ideas.

Nessus' Shirt (in Romanian).
Bucharest: Cartea Romaneasca, 1973. 254 pp.

An analysis of theater aesthetics, as a synchretic form of art, based on the metaphor of the mythical personage Nessus.

Hans Eder (German edition, revised).
Bucharest: Meridiane, 1973. 53 pp.

The works of this German expressionist artist living in Transylvania are presented along with a history of his life and development.

Hans Eder (Romanian edition).
Bucharest: Meridiane, 1973. 51 pp.

The works of this German artist living in Transylvania are presented along with a history of his life and development.

Return to Zero (in Romanian).
Iasi: Junimea, 1972. 285 pp.

How to view art independent of all that has been written and said about it since the beginning of art history and theory.

To Live Art:
Elements of Meta-Aesthetics
(in Romanian).
Bucharest: Eminescu, l972. 319 pp.


Based on research in aesthetics, art history and theory, and logic, the book discusses the self-referential quality of artworks. In order to understand if the verbal language humans use to describe art is appropriate to the condition of artworks, and what role this language has in the world of art, the interpreter of art must enter a meta-level.


Determinations of Modern Art:
Elements of Meta-Aesthetics
(in Romanian, dissertation).
University of Bucharest, 1972.

Mattis-Teutsch (in Romanian).
Bucharest: O.P.O.E., 1971. 40 pp.

The works of this German-Romanian painter transmit his perspective on human beings and their relation to work and art.

A Day for Jewels, (in Romanian, a novel).
Bucharest: Eminescu, 1971. 196 pp.

An actress is put to the test through a role that propagates a lie. She can be true to her profession and talent and act the role convincingly, or she can be true to herself by acting out the role as the shabby lie it is. "If you could not succeed" is the cryptic message she receives from a lover before the play opens.

English translation available in 2004


Adventure in Shakespeare's Universe:
Lawrence Olivier (in Romanian).
Bucharest: Meridiane, 1968. 65 pp.

Sir Lawrence Olivier's cinematographic performances of Shakespearean roles are depicted through images and commentary.