The pixel as the organizing principle of all pictures, from cave paintings to Toy Story. The Great Digital Convergence of all media types into one universal digital medium occurred, with little fanfare, at the recent turn of the millennium. The bit became the universal medium, and the pixel--a particular packaging of bits--conquered the world. Henceforward, nearly every picture in the world would be composed of pixels--cell phone pictures, app interfaces, Mars Rover transmissions, book illustrations, videogames. In A Biography of the Pixel, Pixar cofounder Alvy Ray Smith argues that the pixel is the organizing principle of most modern media, and he presents a few simple but profound ideas that unify the dazzling varieties of digital image making. Smith's story of the pixel's development begins with Fourier waves, proceeds through Turing machines, and ends with the first digital movies from Pixar, DreamWorks, and Blue Sky. Today, almost all the pictures we encounter are digital--mediated by the pixel and irretrievably separated from their media; museums and kindergartens are two of the last outposts of the analog. Smith explains, engagingly and accessibly, how pictures composed of invisible stuff become visible--that is, how digital pixels convert to analog display elements. Taking the special case of digital movies to represent all of Digital Light (his term for pictures constructed of pixels), and drawing on his decades of work in the field, Smith approaches his subject from multiple angles--art, technology, entertainment, business, and history. A Biography of the Pixel is essential reading for anyone who has watched a video on a cell phone, played a videogame, or seen a movie. 400 pages of annotations, prepared by the author and available online, provide an invaluable resource for readers.

This is the first book in a three-part series that traces the development of the GPU. Initially developed for games the GPU can now be found in cars, supercomputers, watches, game consoles and more. GPU concepts go back to the 1970s when computer graphics was developed for computer-aided design of automobiles and airplanes. Early computer graphics systems were adopted by the film industry and simulators for airplanes and high energy physics—exploding nuclear bombs in computers instead of the atmosphere. A GPU has an integrated transform and lighting engine, but these were not available until the end of the 1990s. Heroic and historic companies expanded the development and capabilities of the graphics controller in pursuit of the ultimate device, a fully integrated self-contained GPU. Fifteen companies worked on building the first fully integrated GPU, some succeeded in the console, and Northbridge segments, and Nvidia was the first to offer a fully integrated GPU for the PC. Today the GPU can be found in every platform that involves a computer and a user interface.

George Lucas is an innovative and talented director, producer, and screenwriter whose prolific career spans decades. While he is best known as the creative mind behind the Star Wars franchise, Lucas first gained renown with his 1973 film American Graffiti, which received five Academy Award nominations, including Best Director and Best Picture. When Star Wars (1977) was released, the groundbreaking motion picture won six Academy Awards, became the highest grossing film at the time, and started a cultural revolution that continues to inspire generations of fans. Three decades and countless successes later, Lucas announced semiretirement in 2012 and sold his highly successful production company, Lucasfilm, to Disney. His achievements have earned him the Academy's Irving G. Thalberg Award, the American Film Institute's Life Achievement Award, induction into the Science Fiction Hall of Fame and the California Hall of Fame, and a National Medal of Arts presented by President Barack Obama. Lucas: His Hollywood Legacy is the first collection to bring a sustained scholarly perspective to the iconic filmmaker and his legacy beyond the Star Wars films. Edited by Richard Ravalli, this volume analyzes Lucas's overall contribution and importance to the film industry, diving deep into his use and development of modern special effects technologies, the history of his Skywalker Ranch production facilities, and more. With clearly written and enlightening critiques by experts consulting rare collections and archival materials, this book is an original and robust project that sets the standard for historical and cultural studies of Lucas.

From the backyard to outer space, Charles M. Schulz's Peanuts has been charming the world for more than 70 years. In this celebration of Schulz and his beloved work, explore rarely seen sketches, influential comic strips, and collectors' artifacts. Pore over evolving artworks of Snoopy, Charlie Brown, and the gang. Chart the rich history of Peanuts as it grew to become the world's favorite comic, and travel from 1950 to the present day, from California to Japan. Every page of this visual guide is an exhibition to treasure. Discover the enduring and nostalgic charm of Peanuts in this stunning anniversary book. With a foreword by Stephen Colbert. © 2020 Peanuts Worldwide LLC

This book engages with the question of making sense of seeing in today’s technologically dominated world. It does so by exploring the notion of the ‘hypermodern’, a term which is used to capture the drive in contemporary culture to achieve ever greater speed and efficiency. The volume draws principally on the thought of Paul Virilio and Friedrich Nietzsche. The text’s key argument is that destabilizing tendencies, which become increasingly evident in hypermodern culture, spring from its having a dual character. This duality turns on hypermodernity’s uncomfortable, unstable and possibly unsustainable relation to its own past. The volume engages with this dual character in a unique way. Its discussions are prefaced by poems and photographic images which together frame and permeate the text’s arguments and analyses. Part One offers linked engagements with Virilio’s articulation of the hypermodernized cultural-visual environment, Nietzsche’s accounts of history, power and archaic visuality, and briefer discussions of various other writers. Part Two presents a creative elaboration of these engagements through a combination of poetry, image and aphorism. Through this combination the digital image, a quintessentially hypermodern form of representation, is turned against itself to allow for reflection on the ethics and politics of seeing today. The volume concludes with an open-ended dialogue on visual culture, the archaic and the hypermodern.

This book is the product of more than half a century of leadership and innovation in physics education. When the first edition of University Physics by Francis W. Sears and Mark W. Zemansky was published in 1949, it was revolutionary among calculus-based physics textbooks in its emphasis on the fundamental principles of physics and how to apply them. The success of University Physics with generations of (several million) students and educators around the world is a testament to the merits of this approach and to the many innovations it has introduced subsequently. In preparing this First Australian SI edition, our aim was to create a text that is the future of Physics Education in Australia. We have further enhanced and developed University Physics to assimilate the best ideas from education research with enhanced problem-solving instruction, pioneering visual and conceptual pedagogy, the first systematically enhanced problems, and the most pedagogically proven and widely used online homework and tutorial system in the world, Mastering Physics.