Jumat, 13 Maret 2015

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Bloodshot, Volume 1 issue #1. Special Chromium Acetate cover printing with bonus mini poster inside. Valiant comics, 02/1993.

  • Sales Rank: #447538 in Books
  • Brand: Valiant Comics
  • Published on: 1993
  • Format: Color
  • Binding: Comic
Features
  • FROM 1993. BLOODSHOT #1

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Rabu, 11 Maret 2015

[S480.Ebook] Ebook Free Visceral Vascular Manipulations, 1e, by Jean-Pierre Barral DO (UK) MRO F), Alain Croibier DO MRO (F)

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This work demonstrates a novel approach to visceral osteopathy. Basing their ideas on a sound understanding of the underlying A&P, Jean-Pierre Barral and Alain Croibier propose manipulation of the arteries to treat the intestines and other internal organs by increasing their blood flow. The arteries, elastic and muscular in structure, and the innumerable nerve filaments which surround them, react ideally to manual treatment. Rich in detailed, high quality illustrations, this book serves as both an anatomical reference and a guide to carrying out visceral vascular manipulations in the most effective way possible and is suitable for osteopathic physicians, osteopaths, chiropractors, physical therapists, manual therapists, physiotherapists, and massage therapists worldwide.

  • Offers practical and clinically relevant information to all practitioners and therapists working in the field
  • Abundant use of pull-out boxes, line artwork, photographs and tables facilitates ease of understanding
  • Prepared by experts of international renown
  • Covers treatment of the main organs including the heart, pancreas, small intestine, colon and other abdominal structures as well as the regions of the neck, skull and pelvic cavity
  • Serves as both an anatomical reference and a guide to carrying out visceral vascular manipulations in the most effective way possible
  • Suitable for osteopathic physicians and osteopaths, chiropractors, physical therapists, manual therapists, physiotherapists, and massage therapists

  • Sales Rank: #2311594 in Books
  • Published on: 2011-07-08
  • Original language: English
  • Dimensions: 10.00" h x 7.75" w x 1.00" l, 1.95 pounds
  • Binding: Hardcover
  • 294 pages

About the Author
Ost�opathe DO, dipl�m� de l�European School of Ostheopathy (Maidstone, Royaume-Uni) et de la facult� de m�decine Paris-Nord (d�partement ost�opathie et m�decine manuelle)

Ost�opathe DO, membre du registre des ost�opathes de France ; dipl�m� de l'�cole d'ost�opathie AT. Still Academy (Lyon)

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0 of 0 people found the following review helpful.
Profound approach
By Charles
Another awesome book by Jean-Pierre that opens a whole new way to address the vascular system. He has gifted those of us who practice manual therapies with an elegant approach that's been ignored by most other modalities (ie. the organs, vascular and nervous systems).
Check out the Barral Institute if you'd like to take classes in this way of working.

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Minggu, 22 Februari 2015

[V122.Ebook] Free Ebook The CG Tutorial: The Definitive Guide to Programmable Real-Time Graphics, by Randima Fernando, Mark J. Kilgard

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The CG Tutorial: The Definitive Guide to Programmable Real-Time Graphics, by Randima Fernando, Mark J. Kilgard

  • Sales Rank: #1168350 in Books
  • Published on: 2003-03-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.18" h x 1.00" w x 7.34" l, 1.83 pounds
  • Binding: Paperback
  • 384 pages

From the Back Cover

"Cg is the key to unlocking the power of a new generation of programmable graphics hardware. This book is the definitive introduction to Cg, and will be essential for anyone programming high-quality real-time graphics. The Cg Tutorial will teach you to use Cg to create effects never before available for real-time applications."
--Larry Gritz, Author of Advanced RenderMan (Morgan Kaufmann, 2000) "An important and timely book: Pixel-level procedural textures--animated clouds, fire, water, the whole bag of procedural tricks--finally go from the movie screen to the desktop. Access to computation of this power through a C-like language will usher in an exciting new era for the graphics community."
--Ken Perlin, Professor, New York University

Cg (C for graphics) is a complete programming environment for the fast creation of special effects and real-time cinematic quality experiences on multiple platforms. By providing a new level of abstraction, Cg lets developers more directly target OpenGL®, DirectX®, Windows®, Linux, Mac OS X®, and console platforms, such as the Xbox™, without having to program directly to the graphics hardware assembly language. Cg was developed by NVIDIA® Corporation in close collaboration with Microsoft® Corporation, and is compatible with both the OpenGL API and Microsoft's HLSL for DirectX 9.0.

The Cg Tutorial explains how to implement both basic and advanced techniques for today's programmable GPU architectures.

Major topics covered include:

  • 3D transformations
  • Per-vertex and per-pixel lighting
  • Skinning and key-frame interpolation
  • Environment mapping
  • Bump mapping
  • Fog
  • Performance optimization
  • Projective texturing
  • Cartoon shading
  • Compositing
  • The accompanying CD-ROM includes the tools needed to run the sample programs in the book.



    0321194969B02192003

    About the Author

    Randima (Randy) Fernando is Manager of Developer Education at NVIDIA.

    Mark J. Kilgard is a Senior Software Engineer at NVIDIA.

    Excerpt. © Reprinted by permission. All rights reserved.

    Once upon a time, real-time computer graphics was all about vertices, triangles, and pixels. In fact, it still is. However, the level at which a programmer controls the processing and appearance of these graphics primitives has advanced considerably. Until a few years ago, programmers had to rely on the CPU to process all the transformation and rasterization algorithms needed to produce computer-generated images. Over time, hardware engineers executed these algorithms via specialized, high-performance 3D graphics hardware. Rather than implement the algorithms directly, programmers learned to access the hardware-provided graphics functionality through standard 3D programming interfaces, such as OpenGL (developed by Silicon Graphics SGI) and Direct3D (developed by Microsoft). At first, such costly 3D graphics hardware appeared only in high-priced UNIX workstations and flight simulators. Now, through the miracle of Moore’s Law, the benefits of graphics hardware acceleration have been bestowed on low-cost PCs and game consoles.

    Although the performance gained by employing dedicated graphics hardware to execute the brute-force tasks of transforming vertices, rasterizing triangles, and updating pixels far exceeded the performance possible just with CPU programming, real-time 3D programmers gave up a considerable measure of control in exchange for this speed. Developers were limited to using a fixed-function palette of graphics operations that the hardware could handle. Sometimes a skilled and dedicated programmer could coax the graphics programming interface and hardware to accomplish something beyond the ordinary, but this was usually hard, time-consuming work.

    While graphics hardware engineers were advancing the real-time performance of their specialized pixel-pushing hardware, off-line computer graphics software packages such as Pixar’s PhotoRealistic RenderMan were changing the look of movies and television with amazing computer-generated special effects. The pre-recorded nature of movies and most television content makes these media well suited for offline rendering. Computer-generated images for film and video are not rendered in real time but instead carefully constructed frame by frame in hours, days, or weeks using standard general-purpose CPUs. The advantage of using general-purpose CPUs is that rather than settle for hard-wired hardware algorithms, programmers and artists can use the CPU to create any effect they might imagine. What these so-called offline rendering systems lack in relative speed, they make up in rendering quality and realism.

    The flexibility and generality of offline rendering systems are the key features that have been missing from preceding generations of 3D graphics hardware. In other words, what was lost was programmability.

    Realizing this limitation, computer graphics architects have designed a new generation of graphics hardware that permits an unprecedented degree of programmability. Now, many of the programmable shading techniques that are employed so successfully in offline rendering can enter the realm of real-time graphics.

    Developers of offline rendering systems created a type of specialized computer language known as a shading language to express the graphics operations required to make surfaces look the way artists intend. A shading language for programmable graphics hardware provides the same sort of functionality but in the context of real-time graphics hardware. Graphics programmers and artists benefit from such a high-level programming language in much the same way that conventional programmers do from C++ or Java. Using a high-level language for graphics hardware automates the process of translating the programmer’s intent into a form that the graphics hardware can execute.

    This book is about Cg, the premier language for programmable graphics hardware. NVIDIA developed Cg in close collaboration with Microsoft. Cg is the most portable and productive way for you to unleash the power within programmable graphics hardware. This book is a tutorial to teach you how to write Cg programs.

    Our Intended Audience

    We tried to write this book in a way that makes it valuable to both novices and advanced readers. If you’re new to the world of programmable graphics, this book should give you a firm foundation on which to build. If you encounter a word or concept that is foreign to you and not sufficiently explained, consult the “Further Reading” section at the end of each chapter.

    The main audience for this book is 3D game and application programmers, managers of such projects, real-time 3D artists, and computer graphics students—or anyone else interested in learning about the state of the art in real-time rendering. You do not have to be an experienced programmer to learn Cg from this book, though you should be relatively familiar with programming language concepts. If you are familiar with C or one of its derivatives, such as C++ or Java, Cg will be very approachable. Cg programs are relatively short, often less than a page, so even an artist or novice programmer can get the gist of Cg from this tutorial and learn to write interesting Cg programs.

    Computer graphics programming involves math. Understanding basic algebra and trigonometry will help you appreciate several sections. You should also be familiar with the math behind basic computer graphics vertex transformation and lighting models. You do not need to know OpenGL or Direct3D, but familiarity with either programming interface is very helpful. All of the Cg examples described work with either OpenGL or Direct3D unless otherwise noted. Some examples that require advanced Cg functionality may not work on older graphics processors.

    The Book’s StructureChapter 1 introduces Cg. Each chapter that follows is a short tutorial that presents specific Cg concepts and techniques. The tutorials build upon each other, so we recommend reading the chapters in order.

    • Chapter 1 lays out the foundations of Cg and real-time programmable graphics hardware.
    • Chapter 2 presents the simplest Cg programs.
    • Chapter 3 explains parameters, textures, and expressions.
    • Chapter 4 shows how to transform vertices.
    • Chapter 5 covers the implementation of lighting models with Cg.
    • Chapter 6 describes how to animate and morph models with Cg vertex programs.
    • Chapter 7 explains environment mapping with Cg.
    • Chapter 8 shows how to implement bump mapping.
    • Chapter 9 discusses a number of advanced topics: fog, cartoon shading, projected spotlights, shadow mapping, and compositing.
    • Chapter 10 explains the set of currently available Cg vertex and fragment profiles, and provides advice for improving the performance of Cg programs.

    This book gets you started but does not contain everything you will eventually want to know about Cg. This tutorial complements other documentation (such as the Cg Toolkit User’s Manual: A Developer’s Guide to Programmable Graphics) included with the Cg Toolkit. Please consult the user’s manual and other Cg documentation for further information.

    Trying the Examples

    We’ve designed the accompanying software framework so that you can get straight to work, even if you don’t know anything about OpenGL, Direct3D, C, or C++. Our goal is to isolate the Cg language and allow you to experiment freely with it. Of course, as you move toward starting a real-world application with Cg, your project will probably require some combination of OpenGL, Direct3D, C, and C++.

    The accompanying software framework allows you to try out the various Cg examples in the book without worrying about graphics APIs, C, or C++ code. The latest versions of the applications are free to download via the book’s companion Web site. The software on the accompanying CD works only on the Windows platform, but versions for Linux and Macintosh systems are available online. Appendix A explains how to download the latest versions of Cg and the accompanying tutorial application.

    The tutorial application makes it easy for you to tweak the book’s examples, to see how changing a particular Cg example can immediately affect the rendered 3D result. If you can, have a computer that supports Cg nearby to try out the examples. With our software, you just write Cg programs without worrying about the particulars, such as loading 3D models and textures. When you want to know all the gory details, examine the source code, all of which is freely available for download, so you can see how Cg interfaces with C++ and OpenGL or Direct3D. The Cg Toolkit also comes with several simple examples that you can learn from.The end of each chapter includes suggested exercises that you can work on to explore Cg further.



    0321194969P02192003

    Most helpful customer reviews

    0 of 0 people found the following review helpful.
    Useful for Developers.
    By Stephanus
    Should you want to know about Cg, this is the text to get. It is free on the nVidia Developer web site, but this text makes for an easier digest content.

    However...

    The text itself is somewhat cheaply produced, and the ink is light, making reading difficult except under very good lighting conditions. The content itself is quite well done.

    0 of 0 people found the following review helpful.
    excellent guide to using cg
    By Steven Whitley
    As the owner of a game company, books like this are a valuable asset in getting our developers who aren't familiar with CG up to speed on the subject.

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    10 of 10 people found the following review helpful.
    Good intro to shaders
    By Dave & Amy Astle
    This is a well written book covering the Cg shading language. It contains a lot of useful information about Cg and graphics programming techniques in general. Unfortunately, I felt like it didn't cover as much of Cg as I would have liked, making the book less useful than it could have been.
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    The topics covered include transformations, animation, lighting, environment mapping, bump mapping, fog, shadow mapping, toon shading, and projective texturing. The explanations are all clear and understandable, in particular the chapter on bump mapping, which is one of the easiest introductions to the topic I've encountered. Features of Cg are introduced as needed while explaining these topics, rather than introducing them all at once, which is very conducive to learning. In addition, the authors include warnings and workarounds for techniques which may not be supported on older hardware, as well as advice on attaining optimal performance.
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    Overall, though, this book does a very good job of introducing the reader to Cg and to shaders in general. If you're new to these topics, I'd recommend it. Even if you're a DirectX programmer intending to use HLSL, you'll find this book useful since the languages are identical (though the usage is of course different). If you're already an experienced graphics programmer with some knowledge of shaders, then you'll likely be able to find everything you need in the freely available documentation instead.

    See all 14 customer reviews...

    The CG Tutorial: The Definitive Guide to Programmable Real-Time Graphics, by Randima Fernando, Mark J. Kilgard PDF
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    Jumat, 20 Februari 2015

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    Tags: airbnb; airbnb business; how to start airbnb; airbnb business for beginners; airbnb business for dummies; airbnb business 101; airbnb legal; airbnb tips; airbnb help; airbnb guide; airbnb entrepreneur; how to rent your apartment; house renting business; how to rent your house; house renovation; real estate business; home renting business; rent your home; side business; home business; start a business from home

    • Sales Rank: #399648 in eBooks
    • Published on: 2015-06-15
    • Released on: 2015-06-15
    • Format: Kindle eBook

    Most helpful customer reviews

    1 of 1 people found the following review helpful.
    This is a useful introductory reading for anybody who wants to get familiar ...
    By Jen Duan
    This is a useful introductory reading for anybody who wants to get familiar with airbnb. Outlines most of the issues that a potential airbnb landlord might face or have to address but not in depth. Airbnb makes great sense if you own or already manage properties, Very useful information, did not know about such type of business, now started to think about doing something similar. Helpful information, real story with author's experience, with good recommendations and advice. Definitely recommend to read for those who is thinking about starting your own business.

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    See all 2 customer reviews...

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    Rabu, 18 Februari 2015

    [Z838.Ebook] Download Ebook If You Want It Done Right, You Don't Have to Do It Yourself!: The Power of Effective Delegation F edition

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    • Sales Rank: #4080422 in Books
    • Published on: 2003-01-01
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    Selasa, 17 Februari 2015

    [N567.Ebook] Download PDF Shakespeare and the Goddess of Complete Being, by Ted Hughes

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    This critical work on Shakespeare attempts to show his complete works - dramatic and poetic - as a single, tightly-integrated, evolving organism. Identifying Shakespeare's use in the poems "Venus and Adonis" and "The Rape of Lucrece", of the two most significant religious myths of the archaic world, Hughes argues that these myths later provided Shakespeare with templates for the construction of every play from "All's Well that Ends Well" to "The Tempest". He also argues that this development, in turn, represented his poetic exploration of conflicts within the "living myth" of the English Reformation. The claim is a large one, but Hughes supports his thesis with a painstakingly close analysis of language, plots and characters.

    • Sales Rank: #1315132 in Books
    • Published on: 1992-04-13
    • Original language: English
    • Number of items: 1
    • Dimensions: 9.49" h x 1.73" w x 6.42" l, 2.18 pounds
    • Binding: Hardcover
    • 464 pages

    From Publishers Weekly
    For English poet Hughes, Shakespeare was "a prophetic shaman of the Puritan revolution," his plays mythic reenactments of the holy war between Catholic and Puritan fanaticism. This arcane, often farfetched study maintains that the Bard tapped into the "source myth" of Catholicism in Venus and Adonis : the myth of the Great Goddess and her sacrificed god. In The Rape of Lucrece , Shakespeare mined the rival source myth of Puritanism: the enraged Jehovan god who abhors the Goddess for her presumed treachery or whorishness. In this highly speculative analysis, Hughes follows the workings of these two interlocking myths through Shakespeare's plays, whose overall trajectory, he argues, is an attempt to escape from tragic destiny to secular freedom. In King Lear , according to Hughes, Shakespeare reinvented an ancient Egyptian cosmology to illuminate the distorting ethos of the English Reformation. And from Cymbeline to The Tempest , he argues, the Bard used the Gnostic myth about the Female who represents the hero's own soul. Hughes's ambitious critique will appeal primarily to devotees of myth and Jung.
    Copyright 1992 Reed Business Information, Inc.

    From Library Journal
    This is one of the most remarkable books on Shakespeare to appear for some time. Hughes begins by analyzing Venus and Adonis and the Rape of Lucrece , suggesting that the two myths that inform these poems--of the hero who rejects the goddess and is killed in return, and of the god who destroys the goddess--form a fundamental mythic and symbolic pattern that underlies Shakespeare's later plays, beginning with As You Like It and incorporating all the great tragedies and romances. The reader has to be prepared to follow Hughes, the noted British poet ( Wolfwatching , LJ 12/90), through some fairly obscure mythological twists and turns, but it is almost always worth it. Every page is lit up with some insight that makes one think about the plays in a new light. Scholars may be irritated by the lack of documentation (no bibliography, few footnotes, no index), but this is literary criticism of the sort we need.
    - Bryan Aubrey, Fairfield, Ia.
    Copyright 1992 Reed Business Information, Inc.

    About the Author
    Ted Hughes (1930-1998) was born in Yorkshire. His first book, The Hawk in the Rain, was published in 1957 by Faber & Faber and was followed by many volumes of poetry and prose for adults and children. He received the Whitbread Book of the Year for two consecutive years for his last published collections of poetry, Tales from Ovid and Birthday Letters. He was Poet Laureate from 1984, and in 1998 he was appointed to the Order of Merit.

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    3 of 3 people found the following review helpful.
    A step towards understanding Shakespeare
    By Roman Paget
    “Shakespeare and the Goddess of Complete Being” brings us closer to understanding the Bard’s writings. Ted Hughes has intuitively perceived that Shakespeare’s plays are linked together and constitute a single narrative. In this respect, Hughes’ analysis is similar to Beryl Pogson’s approach presented in her book entitled “In the East My Pleasure Lies” (published in 1950).

    Hughes has attempted to extract the narrative by assuming that the key to its unlocking is provided by Shakespeare in “Venus and Adonis” and “The Rape of Lucrece”. Hughes treats these two long poems as an illustration of two sequential events. These events are taking place on two planes, mythical and rational. The first event illustrates the hero who rejects the love of the Goddess and is killed in revenge by a boar. This event leads to the second one, in which the hero rapes an earthly incarnation of the Goddess and is punished for his crime by banishment. Hughes has merged these two events into what he calls the Tragic Equation, a linear formula that, according to him, forms the skeleton of Shakespeare’s canon.

    By applying his tragic equation, Hughes has been successful in unlocking a few episodes of Shakespeare’s plays, which otherwise remain invisible to the rational mind. For example, he was able to trace down the origin of Caliban (“The Tempest”), to deduct the presence of the Third Duke in “As You Like It”, and to identify Parolles as a distracting inner self of Bertram in “All’s Well That Ends Well”. At the same time, and very much like Mrs Pogson, Hughes completely misunderstood the functionality of several other characters. According to Hughes, Lucio in “Measure for Measure” is “the priapic demon”; and melancholy Jaques in “As You Like It” is Shakespeare himself. Then he reversed the roles of Gertrude in “Hamlet”, Don Pedro in “Much Ado About Nothing”, and (like every writer, critic, and scholar before him) allowed himself to get into Iago’s trap in “Othello”.

    Hughes’ misunderstanding is caused by a couple of imprecisions that have crept into his thinking pattern. The first imprecision is related to the overall functionality of Hughes’ equation. Namely, his equation describes a sort of a vicious circle. Hughes’ fascination with and knowledge of ancient mysteries have allowed him to identify such a vicious circle within the myths and other occult traditions. The ancient myths and occult ceremonies are a record of an evolutionary disruption that was caused by an event that occurred in antiquity. As a result of this antiquated event, humanity ended-up in evolutionary chaos. But these mythical episodes belong to the past. It seems that Hughes does not realize that, in the meantime, the situation has changed. The mythical or archetypal forces do not operate anymore in the same manner. Shakespeare dedicated his writings to illustrate how it was possible to break out of that mythical chaos and bring humanity back on the right track. This constructive change is symbolically marked by Shakespeare in his first long poem as Adonis rejecting Venus. Hughes has perceived the significance of this episode (e.g., page 61: “The god, who, throughout history and prehistory, had loved the Goddess of Love as totally and unconditionally as she loved him, had suddenly ... rejected her. This abrupt innovation crackles with outrage. The ancient momentum of the great myth has been brought to a dead halt ... .”) But Hughes misinterpreted this change. Hughes employed his erudition combined with quite an impressive intellectual gymnastic to reverse Shakespeare’s illustration and bring it back into the ancient chaotic mode. What Hughes did not perceive in Shakespeare’s plays is the presence of constructive forces. Hughes’ tragic equation does not include these constructive forces. This is why his equation is not complete. By their very nature, the constructive forces manifest themselves in a subtler and gentler manner. In the plays they are overshadowed by more dynamic and boorish destructive forces. The constructive forces are intentionally presented in such a way that they are invisible to the rational mind.

    Without these constructive forces, Shakespeare is not Shakespeare anymore. This is further illustrated in “Two Noble Kinsmen”, where the constructive forces have been deliberately removed. In this way, Shakespeare provided a contrast play to help the audiences, and his readers, to recognize the subtle forces in his other plays. Hughes perceived the sterility of “Two Noble Kinsmen” (page 564: “And yet it lacks something essential, that Shakespeare normally puts there. … It is psychologically static.”) But again, he misunderstood the purpose of this deliberately sterilized play (page 565: “As a result, the tremendous athlete, resting under his mulberry, never even got into condition for the job”).

    The second imprecision of Hughes’ analysis is his disregard for the times and places in which the plays are set-up. He has assumed that the plays are independent of time and place. But this is not so. The plays are aligned along a very precise historical and geographical route. They illustrate from where, how, and when - evolutionary forces were gradually brought to Western Europe.

    Despite these imprecisions, Hughes’ analysis marks a significant progress towards a fuller understanding of Shakespeare’s cannon. It brings Shakespearean critical analysis onto a higher level, i.e., above the background noise generated by the sterile rationality of orthodox scholarship.

    1 of 1 people found the following review helpful.
    complex
    By evangeline
    still working on it.

    3 of 3 people found the following review helpful.
    Consorts of meaning
    By corn girl
    I am going slowly, slowly through this book as it is so intense, scholarly, and brilliant. And when I get to the end of a section, I think I need to go back and read it again. But so highly worthwhile. This is certainly a book on Shakespeare and the Goddess but it is also a history of the search for understanding in the Western tradition, its sources, and its various manifestations. Ted Hughes....really, how is it that one person can know so much?!

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