Here Eduardo Cadava demonstrates that Walter Benjamin articulates his conception of history through the language of photography. Focusing on Benjamin's discussions of the flashes and images of history, he argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of his writings: the historical and political consequences of technology, the relation between reproduction and mimesis, images and history, remembering and forgetting, allegory and mourning, and visual and linguistic representation. The book establishes the photographic constellation of motifs and themes around which Benjamin organizes his texts and thereby becomes a lens through which we can begin to view his analysis of the convergence between the new technological media and a revolutionary concept of historical action and understanding. Written in the form of theses--what Cadava calls "snapshots in prose"--the book memorializes Benjamin's own thetic method of writing. It enacts a mode of conceiving history that is neither linear nor successive, but rather discontinuous--constructed from what Benjamin calls "dialectical images." In this way, it not only suggests the essential rapport between the fragmentary form of Benjamin's writing and his effort to write a history of modernity but it also skillfully clarifies the relation between Benjamin and his contemporaries, the relation between fascism and aesthetic ideology. It gives us the most complete picture to date of Benjamin's reflections on history.

History of the American pulp magazine. Includes such titles as The Shadow, Black Mask, Weird Tales, Scientic Detective Monthly and Scarlet Adventuress as well as characters like Doc Savage, Captain Future, The Spider, Phantom Detective, The Whisperer and Senorita Scorpion, quick-trigger blonde from Old Texas.

Presenting a new collection of stories exploring the perennial themes of Miyamoto Teru's fiction, narrative sketches of the world-class world of the Osaka-Kobe region of his childhood employing memory to reveal a story in layered frames of time with consummate skill. His work examines the mutual proximity--or even the identity--of life and death, often touching on such grim topics with a touch of humor. Stories of personal triumph and hope are often set in situations involving death, illness, or loss, but what might be the stuff of tragedy in the hands of some writers turns into stepping stones for his characters to climb upward and onward. Miyamoto's considerable and devoted following in Japan has come increasingly to be mirrored in other Asian countries and parts of Europe as his fiction has been translated into various languages. With renditions of only three of his works currently available in English, however, Anglophone readers have for the most part been unaware of the "Teru" literary phenomenon. The present collection aims to fill part of this lack by offering a selection of some his finest short stories along with one of his most admired novellas--Phantom Lights--which was made into the internationally acclaimed 1995 movie Maborosi by Koreeda Hirokazu. The will to live, karma, and death are themes developed through the lives of Miyamoto's fictional characters, who struggle to achieve closure with their respective pasts and in their often difficult relations with others. The comments of Washington Times writer Anna Chambers in her review of Kinshu: Autumn Brocade aptly apply to the works presented here as well: ..".existential crisis after existential crisis force the characters to question whether one can shape one's own karma--rather than construct one's own soul, as a Western reader might have put it. And herein lies the Westerner's entree into the book as more than an observer of Japanese culture." And like Kinshu, the stories in the present collection provide "a satisfying taste of what it means to grapple with fate at the intersection of modernity and tradition." Miyamoto deftly weaves his tales using scenes and settings from his native Kansai region, and all are flavored with the language of western Japan. Like the depressed areas described in much of his fiction, his characters too are "left behind" by post-war Japan's rapid economic growth, by unexpected changes in their lives, or by the deaths of loved ones. His heroes are ordinary people who, as he puts it, "are trying to lift themselves up, who are struggling to live," and who achieve quiet triumphs.

Constituting the first holistic overview including practical remedies, this handbook provides the background needed by anyone grappling with the complex issue of outdoor lighting and its effects. It describes not only the problems that astronomers and other night sky observers face in reducing the problems of information loss due to light pollution, as well as the problems lighting technologists face in optimising outdoor lighting installations that cause little or no light pollution. The first part is directed to decision makers and managers of outdoor space and covers the areas of general interest, culminating in recommendations to reduce the impact of light pollution. The second part is directed primarily to scientists and engineers, as a support to the design and maintenance of outdoor lighting installations, with special reference to astronomical observations. Elaborating issues from the first part, these contributions include examples that refer to specific outdoor lighting projects and to more general policy and educational measures. Written for designers of lighting equipment and managers of astronomical observatories, but also aimed at the authorities and decision makers responsible for the organization and maintenance of the public space, it will serve a good purpose in graduate or postgraduate curricula for scientists, engineers, economists and law students. This handbook fills the gap that exists between astronomical textbooks, engineering texts and popular brochures about light pollution.

With a taut, poetic style, Lippit produces speculative readings of secret and shadow archives and visual structures or phenomenologies of the inside, charting the materiality of what both can and cannot be seen in the radioactive light of the twentieth century.

This book presents a broad review of state-of-the-art 3D video production technologies and applications. The text opens with a concise introduction to the field, before examining the design and calibration methods for multi-view camera systems, including practical implementation technologies. A range of algorithms are then described for producing 3D video from video data. A selection of 3D video applications are also demonstrated. Features: describes real-time synchronized multi-view video capture, and object tracking with a group of active cameras; discusses geometric and photometric camera calibration, and 3D video studio design with active cameras; examines 3D shape and motion reconstruction, texture mapping and image rendering, and lighting environment estimation; demonstrates attractive 3D visualization, visual contents analysis and editing, 3D body action analysis, and data compression; highlights the remaining challenges and the exciting avenues for future research in 3D video technology.

One flower and one world, the universe is also dust; there is no connection between the real and the false; one thought is eternal, one thought is eternal; the Dao is the Dao, the heavens are like the heavens, I have no heaven; the heavens and the heavens are like the heavens, I have no heaven, I am also the Dao. Truth and falsehood, presence or absence, truth or falsehood, these were just telepathic thoughts transformations! With a single thought, he gave birth to a world with the universe in his heart; the Mystery Granny Sect opened its doors wide to welcome him into the mortal world; he stepped through the myriad universe and lived his life in billions of worlds; life and death was the path, life and death was the way, the pots and pans were as big as the sky; the fusion of purple qi required two parts, the heaven and earth for three members, and the four phenomena were sometimes even more so, the completion of the five elements! This story is purely fictitious, the plot is not duplicated, if there is the same story, it is pure coincidence; the names of the characters are all in the same voice, such as Mo Gao (Ghost Catcher), etc., if there is a pure coincidence of the same name! Close]

Reprints from articles in various journals.