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Theorizing vision and power at the intersections of the histories of psychoanalysis, media, scientific method, and colonization, Scenes of Projection poaches the prized instruments at the heart of the so-called scientific revolution: the projecting telescope, camera obscura, magic lantern, solar microscope, and prism. From the beginnings of what is retrospectively enshrined as the origins of the Enlightenment and in the wake of colonization, the scene of projection has functioned as a contraption for creating a fantasy subject of discarnate vision for the exercise of “reason.” Jill H. Casid demonstrates across a range of sites that the scene of projection is neither a static diagram of power nor a fixed architecture but rather a pedagogical setup that operates as an influencing machine of persistent training. Thinking with queer and feminist art projects that take up old devices for casting an image to reorient this apparatus of power that produces its subject, Scenes of Projection offers a set of theses on the possibilities for felt embodiment out of the damaged and difficult pasts that haunt our present.
Three girls battle a dangerous secret society that will do anything to protect an ancient Greek power in this murder mystery for fans of Dan Brown. In ancient Rome, it was whispered that the great philosopher Plotinus could project his soul into another human being in a ritual that hinged on a kiss. In present-day Delphi, California, the sole remaining guardians of the Plotinus Ability hide in plain sight as members of the exclusive Oculus Society—until their leader, Octavia Harris, is killed in her own home. With no leads on the case, Octavia's daughter, Gretchen, vows to find her mother's murderer at any cost. One piece of the puzzle falls into place when Gretchen's best friend, Jessica Shaw, discovers the Plotinus Ability. Skeptical but curious, the two can't resist trying the ritual, but they're not alone. Ariel Miller, an outsider with a well-known hatred of all things Oculus Society, films the friends exchanging their first kiss, and it isn't long before the video goes viral. As Ariel's guilt and the girls' suspicions of her mount, the three must forget the past and trust one another if they are to find the murderer still in their midst.
2013 Governor General’s Literary Award — Shortlisted, Non-Fiction 2013 Hilary Weston Writers’ Trust — Shortlisted, Non-Fiction Projection is the story of this mother-daughter meeting in Brazil, of how two strangers, connected by little more than blood, spent ten days together trying to build a relationship. In 1977, Priscila Uppal’s father drank contaminated water in Antigua and within 48 hours was a quadriplegic. Priscila was two years old. Five years later, her mother, Theresa, drained the family’s bank accounts and disappeared to Brazil. After two attempts to abduct her children, Theresa had no further contact with the family. In 2002, Priscila happened on her mother’s website, which featured a childhood photograph of Priscila and her brother. A few weeks later, Priscila summoned the nerve to contact the woman who’d abandoned her. The emotional reunion was alternately shocking, hopeful, humorous, and devastating, as Priscila came to realize that not only did she not love her mother, she didn’t even like her. Projection is a visceral, precisely written, brutally honest memoir that takes a probing look at a very unusual mother-daughter relationship, yet offers genuine comfort to all facing their own turbulent and unresolved familial relationships.
In an ambitious work of wide-ranging literary, visual, and historical allusion, Jill H.Casid examines how landscaping functioned in an imperial mode that defined and remade the "heartlands" of nations as well as the contact zones and colonial peripheries in the West and East Indies. Revealing the colonial landscape as far more than an agricultural system - as a means of regulating national, sexual, and gender identities - Casid also traces how the circulation of plants and hybridity influenced agriculture and landscaping on European soil and how colonial contacts materially shaped what we take as "European."
This volume contains the proceedings of the Fifth International Conference on Database Systems for Advanced Applications (DASFAA '97). DASFAA '97 focused on advanced database technologies and their applications. The 55 papers in this volume cover a wide range of areas in the field of database systems and applications ? including the rapidly emerging areas of the Internet, multimedia, and document database systems ? and should be of great interest to all database system researchers and developers, and practitioners.
This unique work presents a detailed review of the processing and analysis of 3D point clouds. A fully automated framework is introduced, incorporating each aspect of a typical end-to-end processing workflow, from raw 3D point cloud data to semantic objects in the scene. For each of these components, the book describes the theoretical background, and compares the performance of the proposed approaches to that of current state-of-the-art techniques. Topics and features: reviews techniques for the acquisition of 3D point cloud data and for point quality assessment; explains the fundamental concepts for extracting features from 2D imagery and 3D point cloud data; proposes an original approach to keypoint-based point cloud registration; discusses the enrichment of 3D point clouds by additional information acquired with a thermal camera, and describes a new method for thermal 3D mapping; presents a novel framework for 3D scene analysis.
With a mischievous globe-headed mascot that appeared in every issue and even on Quentin Tarantino's T-shirt in Pulp Fiction, Orbit was an instantly recognizable arbiter of 1990s Detroit culture. But its irreverent tone and unique editorial features could be traced to two earlier local publications from creator Jerry Peterson, a.k.a. Jerry Vile-White Noise (1978-1980) and Fun: The Magazine for Swinging Intelectuals [sic] (1986-1990). In The Orbit Magazine Anthology: Re-Entry, author Rob St. Mary details the full run of White Noise, Fun, and Orbit, collecting two decades' worth of Detroit's alternative publishing history into an oversized, heavily illustrated volume that situates the publications in the city's pop culture and media history. St. Mary shows that while other alternative papers followed a tried-and-true focus on lefty politics and the arts, Vile's publications found their niche in biting satire and sharp design that fed on popular culture. From the 70s punk scene in White Noise to audacious articles and irreverent "news" in Fun and a blend of reporting, satire, and culture in Orbit, St. Mary shows that Vile's publications were distinctive in their content and uniquely Detroit in their tone. In sections devoted to each magazine, St. Mary details their recurring features (including dining, movie, and music reviews) and interviews former staffers. Numerous images and page spreads reveal the notable Detroit musicians-like Destroy All Monsters, the Gories, ICP, Jack White, Kid Rock, and Derrick May-and artists-including Niagara, Glenn Barr and Tristan Eaton-that graced their pages. A foreword by Jerry Vile and an afterword by Ben Blackwell round out this one-of-a-kind volume. Anyone interested in Detroit arts and culture or the history of alternative publishing will be grateful for The Orbit Magazine Anthology.
Direct3D 11 offers such a wealth of capabilities that users can sometimes get lost in the details of specific APIs and their implementation. While there is a great deal of low-level information available about how each API function should be used, there is little documentation that shows how best to leverage these capabilities. Written by active members of the Direct3D community, Practical Rendering and Computation with Direct3D 11 provides a deep understanding of both the high and low level concepts related to using Direct3D 11. The first part of the book presents a conceptual introduction to Direct3D 11, including an overview of the Direct3D 11 rendering and computation pipelines and how they map to the underlying hardware. It also provides a detailed look at all of the major components of the library, covering resources, pipeline details, and multithreaded rendering. Building upon this material, the second part of the text includes detailed examples of how to use Direct3D 11 in common rendering scenarios. The authors describe sample algorithms in-depth and discuss how the features of Direct3D 11 can be used to your advantage. All of the source code from the book is accessible on an actively maintained open source rendering framework. The sample applications and the framework itself can be downloaded from http://hieroglyph3.codeplex.com By analyzing when to use various tools and the tradeoffs between different implementations, this book helps you understand the best way to accomplish a given task and thereby fully leverage the potential capabilities of Direct3D 11.