On the cusp of decoding brain signals that govern motor skills, they are developing miraculous technologies to enable paraplegics and wounded soldiers to move prosthetic limbs, and the rest of us to manipulate computers and other objects through thought alone. These fiercely competitive scientists are vying for Defense Department and venture capital funding, prestige, and great wealth. Part life-altering cure, part science fiction, part military dream, these cutting-edge brain-computer interfaces promise to improve lives—but also hold the potential to augment soldiers' combat capabilities. In The Brain Electric, Malcolm Gay follows the dramatic emergence of these technologies, taking us behind the scenes into the operating rooms, start-ups, and research labs where the future is unfolding. With access to many of the field's top scientists, Gay illuminates this extraordinary race—where science, medicine, profit, and war converge—for the first time. But this isn't just a story about technology. At the heart of this research is a group of brave, vulnerable patient-volunteers whose lives are given new meaning through participating in these experiments. The Brain Electric asks us to rethink our relationship to technology, our bodies, even consciousness itself—challenging our assumptions about what it means to be human.

    of Michigan, Ann Arbor) refers to Erik Barnouw's three-volume History of Broadcasting in the United States (published between 1966 and 1970); she covers much of the same ground only quicker (one volume) and points out that each chapter could have bee

    The text draws from political science, public administration, economics, decision analysis, and social and political theory.

    It shows how similar principles can help students understand what people experience when interacting with computers. The book also describes how the user's enjoyment of a computer system should be the biggest design consideration.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    The 15 project-based lessons in this book show users step-by-step the key techniques for working in Photoshop and how to correct, enhance, and distort digital images, create image composites, and prepare images for print and the web. In addition to learning the key elements of the Photoshop interface, this completely revised CC (2017 release) edition covers features like new and improved search capabilities, Content-Aware Crop, Select and Mask, Face-Aware Liquify, designing with multiple artboards, and much more! The online companion files include all the necessary assets for readers to complete the projects featured in each chapter as well as ebook updates when Adobe releases new features for Creative Cloud customers. All buyers of the book get full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and interactive multiple-choice quizzes. As always with the Classroom in a Book, Instructor Notes are available for teachers to download.