I M A Historian Not A Magician But I Can See Why You Might Be Confused

If you have ever looked at a fantastic adventure or science fiction movie, or an amazingly complex and rich computer game, or a TV commercial where cars or gas pumps or biscuits behaved liked people and wondered, “How do they do that?”, then you’ve experienced the magic of 3D worlds generated by a computer. 3D in computers began as a way to represent automotive designs and illustrate the construction of molecules. 3D graphics use evolved to visualizations of simulated data and artistic representations of imaginary worlds. In order to overcome the processing limitations of the computer, graphics had to exploit the characteristics of the eye and brain, and develop visual tricks to simulate realism. The goal is to create graphics images that will overcome the visual cues that cause disbelief and tell the viewer this is not real. Thousands of people over thousands of years have developed the building blocks and made the discoveries in mathematics and science to make such 3D magic possible, and The History of Visual Magic in Computers is dedicated to all of them and tells a little of their story. It traces the earliest understanding of 3D and then foundational mathematics to explain and construct 3D; from mechanical computers up to today’s tablets. Several of the amazing computer graphics algorithms and tricks came of periods where eruptions of new ideas and techniques seem to occur all at once. Applications emerged as the fundamentals of how to draw lines and create realistic images were better understood, leading to hardware 3D controllers that drive the display all the way to stereovision and virtual reality.

The collected essays in this book arose out of the groundbreaking conference of the International Association of Media and History, which brought together key academics and program makers from around the world involved in history and television, including Nicholas Pronay, Pierre Sorlin, and Taylor Dowing. These essays offer a dialogue between academics and media practitioners that covers archival access, analyses of how different TV systems have represented themselves, case studies, and the future of television. Philip M. Taylor is a professor of international communications and the director of the Institute of Communications at the University of Leeds. Graham Roberts is a lecturer in communications arts at the University of Leeds.

A wizard capable of casting in shadow magic seeks out Ryson Acumen in hopes of examining the Sword of Decree. The magic caster believes there is a secret hidden in the sword. Through the power of shadow, he tells the delver he can examine the history of the blade's enchantment. When Ryson decides to investigate further, he ventures into the heart of Dark Spruce Forest. He follows a trail of magic unaware of the deception behind the tale. When he returns home, he finds the town of Burbon under siege by an army of goblins and an old enemy waiting to exact revenge. Still believing the sincerity of the magic caster, Ryson follows the wizard's advice in hopes of removing the dark creatures from the land. He realizes too late that the spell caster has deceived him and that the welfare of the land has been placed in jeopardy. His friends are threatened and face incredible levels of destruction. Even the spirit of Sy Fenden is endangered. Realizing that escape is impossible, Ryson turns to an unexpected guardian and forces a confrontation with the spell caster.

The Routledge History of Witchcraft is a comprehensive and interdisciplinary study of the belief in witches from antiquity to the present day, providing both an introduction to the subject of witchcraft and an overview of the on-going debates. This extensive collection covers the entire breadth of the history of witchcraft, from the witches of Ancient Greece and medieval demonology through to the victims of the witch hunts, and onwards to children’s books, horror films, and modern pagans. Drawing on the knowledge and expertise of an international team of authors, the book examines differing concepts of witchcraft that still exist in society and explains their historical, literary, religious, and anthropological origin and development, including the reflections and adaptions of this belief in art and popular culture. The volume is divided into four chronological parts, beginning with Antiquity and the Middle Ages in Part One, Early Modern witch hunts in Part Two, modern concepts of witchcraft in Part Three, and ending with an examination of witchcraft and the arts in Part Four. Each chapter offers a glimpse of a different version of the witch, introducing the reader to the diversity of witches that have existed in different contexts throughout history. Exploring a wealth of texts and case studies and offering a broad geographical scope for examining this fascinating subject, The Routledge History of Witchcraft is essential reading for students and academics interested in the history of witchcraft.

Many people today are entranced by the idea of speaking with the dead or else immersing themselves in vampire tales and wonder. What most people don't realize is how old and revered these stories really are. Within this work Calmet attempts to show where the idea of spirits and apparitions comes from and then within the second part of the main work where the idea and history of the vampire itself comes from. This work simply is not just a history text of ancient religious beliefs but also explains the thinking and beliefs that surrounded the spirits and vampires in the day and age when Calmet wrote this work.

Informed by a perceptive spell caster that gaps within the currents of magic reveal an ominous threat, Ryson Acumen begins his search for an individual capable of seizing magical influence. As the delver explores the forest of Dark Spruce, he discovers a curious trail of elves and dark creatures. He faces a perplexing wave of magical disturbances which encourage him to continue his pursuit even as they present challenging obstacles to overcome. While he remains on the trail, Ryson faces the convergence of another threat. In Demonsheol, Rul Saattan allows a human wizard to shape events within the demon breeding grounds. In an attempt to topple the forces of destiny, the demon lord unleashes the chaos of free will across his domain, and the structures of fate begin to tremble at the prospect. Though barriers around the realm restrict Rul's influence, they cannot contain the desires of a frustrated wizard intent on destroying the delver. When Ryson ultimately confronts both the demon lord and the wizard, he faces more than a test of faith. He is forced to consider the potentially conflicting roles of choice and destiny. The delver cannot dismiss the mysteries placed into his consciousness, but uncovering the answers threatens to leave him broken and vulnerable to the influence of the demon lord

This book explores the sense in which the uncanny may be a distinctively modern experience, the way these unnerving feelings and unsettling encounters disturb the rational presumptions of the modern world view and the security of modern self-identity, just as the latter may themselves be implicated in the production of these experiences as uncanny.