Learn all about the ocean in this 3D pop-up book! 3D Theatre: Oceans - by Kathryn Jewitt, illustrated by Fiametta Dogi - uses stunning pop-up 3D scenes to take the reader into the very heart of the seas. Whether it's exploring a coral reef, meeting all the creatures that inhabit a rock pool, travelling down from the surface to the different ocean zones or discovering a shipwreck and its fabulous treasure, this enticing book will enthrall children and parents alike. Backed up with fascinating reference spreads, this is a book to enchant.
This book informs environmental planning professionals, students and those interested in oceans and coasts from an environmental perspective about what is needed for planning and management of these unique environments. It is comprised of twelve chapters organized in three parts. Part I highlights the basics tenets of environmental planning for oceans and coasts including important concepts from the general field of planning and coastal and ocean management (e.g., hydrography, oceans policy and law, geomorphology). Environmental problems inherent within oceans and coasts (such as sea level rise, marine pollution, overdevelopment, etc.) are also addressed, especially those at the land–sea interface. Part II covers those methodological approaches regularly used by planners working to improve environmental quality and conditions of oceans and coasts among them: integrated planning and management, ecosystem services, pollution prevention, and marine spatial planning. Part III focuses specifically on state-of-the-art tools and technologies employed by planners for marine and coastal protection. These include systematic conservation planning for protected areas, decision support tools, coastal adaptation techniques and various types of communication, including visualization, narration and tools for stakeholder participation. The final chapter in the book reviews the most important concepts covered throughout book and emphasizes the important role that environmental planners have to play in the protection and well-being of oceans and coasts. Michael K. Orbach, of the Nicholas School of the Environment at Duke University, penned the book's foreword.
On a life raft in the Mediterranean, a teenager from Ghana wonders whether he will reach Europe alive. A young chef disappears from a cruise ship, leaving a mystery for his friends and family to solve. A water-squatting community battles eviction from a harbor in a Pacific Northwest town, raising the question of who owns the water. Imperiled Ocean is a deeply reported work of narrative journalism that follows people as they head out to sea. What they discover holds inspiring and dire implications for the life of the ocean, and for all of us back on land. As Imperiled Ocean unfolds, battles are fought, fortunes made, and lives are lost. Behind this human drama, the ocean is growing ever more unstable, threatening to upend life on land. We meet a biologist tracking sturgeon who is unable to stop the development and pollution destroying the fish’s habitat, he races to learn about the fish before it disappears. Sturgeon has survived more than 300 million years on earth and could hold important truths about how humanity might make itself amenable to a changing ocean. As a fisher and scientist, his ability to listen to the water becomes a parable for today. By eavesdropping on an imperiled world, he shows a way we can move forward to save the oceans we all share.
History : the long view of 3D film and theory -- Visualisation : from perspective to digital 3D -- Simulation : dematerialising and enframing -- Immersion : entering the screen -- Surveillance : converting image to space, world to data -- Defamiliarisation : rethinking the screen plane -- Distortion : unfamiliar and unconventional space -- Intimacy : the boundedness of stereoscopic media -- Conclusion: Seeing in 3D.
A History of Three-Dimensional Cinema chronicles 3-D cinema as a single, continuous and coherent medium, proceeding from 19th-century experiments in stereoscopic photography and lantern projection (1839–1892) to stereoscopic cinema’s “long novelty period” (1893–1952). It proceeds to examine the first Hollywood boom in anaglyphic stereo (1953–1955), when the mainstream industry produced 69 features in 3-D, mostly action films that could exploit the depth illusion, but also a handful of big-budget films—for example, Kiss Me Kate (George Sidney, 1953) and Dial M for Murder (Alfred Hitchcock, 1954)—until audiences tired of the process; the anaglyphic revival of 1970–1985, when 3-D was sustained as a novelty feature in sensational genres like soft-core pornography and horror; the age of IMAX 3-D (1986–2008); the current era of digital 3-D cinema, which began in 2009 when James Cameron’s Avatar became the highest-grossing feature of all time and the studios once again stampeded into 3-D production; and finally the future promise of Virtual Reality.
Invisible Digital helps us makes sense of something we cannot see by presenting an innovative approach to digital images and digital culture. At its heart is a novel method for exploring software used in the creation of moving images as markers of converging cultural, organizational and technological influences. The three main case studies of Invisible Digital are the animated feature Moana (2016) and the computer games No Man's Sky (2016) and Everything (2017). All three were created using procedural techniques: simulation software for Moana, and procedural content generation for No Man's Sky and Everything. Production culture disclosures associated with procedural techniques often emphasize the influences of automated systems and their algorithms, making them ideal for a study that interrogates digital processes. The approach of Invisible Digital is informed by relational theories and the concept of entanglement based on materialist perspectives, combined with insights from work that more explicitly interrogates algorithms and algorithmic culture. Aylish Wood employs the notion of assemblages to introduce the concept of material-cultural narratives. Using this conceptual framework, she draws out material-cultural narratives for each case study to demonstrate what they reveal about software and digital culture. These analyses of software provide a widely applicable method through which moving image studies can contribute more fully to the wider and growing debates about algorithmic culture.
