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Books on the topic 'Analog image'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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1

author, Aylo Rola 1981, and Williams, Logan A., 1977- author, eds. Analog and digital holography with MATLAB. SPIE Press, 2015.

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2

Pelgrom, Marcel J. M. Analog-to-Digital Conversion. 2nd ed. Springer New York, 2013.

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3

1936-, Caulfield H. J., and Society of Photo-optical Instrumentation Engineers., eds. Analog optical processing and computing: October 25-26, 1984, Cambridge, Massachusetts. SPIE--the International Society for Optical Engineering, 1985.

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4

Malekzadeh, Foad Arfaei. Analog Dithering Techniques for Wireless Transmitters. Springer New York, 2013.

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5

Tlelo-Cuautle, Esteban. Integrated Circuits for Analog Signal Processing. Springer New York, 2013.

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6

Veeder, Kenton T. Digital converters for image sensors. SPIE Press, 2015.

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7

Oliveira, João P. Parametric Analog Signal Amplification Applied to Nanoscale CMOS Technologies. Springer US, 2012.

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8

Tang, Yongjian. Dynamic-Mismatch Mapping for Digitally-Assisted DACs. Springer New York, 2013.

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9

El-Chammas, Manar. Background Calibration of Time-Interleaved Data Converters. Springer Science+Business Media, LLC, 2012.

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10

1943-, Busse Ulrich, Verheyden Jozef, Belle Gilbert van, and Van der Watt, J. G. 1952-, eds. Miracles and imagery in Luke and John: Festschrift Ulrich Busse. Uitgeverij Peeters, 2008.

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11

Jennings, La Vinia Delois. Toni Morrison and the idea of Africa. Cambridge University Press, 2010.

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12

Thomson-Jones, Katherine. Image in the Making. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197567616.001.0001.

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Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images—whether they are still or moving, 2D or 3D—have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a handmade image or traditional photograph need not look analog. If we do not see the artist’s choice between the analog and the digital, what difference

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13

Pelgrom, Marcel J. M. Analog-To-Digital Conversion. Springer International Publishing AG, 2022.

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14

Pelgrom, Marcel J. M. Analog-To-Digital Conversion. Springer, 2010.

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15

Arthur H.M. van Roermund, Reza Mahmoudi, and Foad Arfaei Malekzadeh. Analog Dithering Techniques for Wireless Transmitters. Springer, 2014.

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16

Tlelo-Cuautle, Esteban. Integrated Circuits for Analog Signal Processing. Springer, 2012.

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17

Tlelo-Cuautle, Esteban. Integrated Circuits for Analog Signal Processing. Springer New York, 2014.

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18

Tlelo-Cuautle, Esteban. Integrated Circuits for Analog Signal Processing. Springer, 2012.

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19

Nail, Thomas. Theory of the Image. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190924034.001.0001.

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We live in the age of the mobile image. Our world is now saturated with moving images of all kinds, both analog and digital. This sea change in image production and circulation is nothing less than the Copernican revolution of our time. The centrality of the movement and mobility of the image has never been more dramatic. And just like the Copernican revolution, the aesthetic revolution of the image has consequences not only for the way we think about the contemporary image but also the way we think about all previous images. Theory of the Image offers a new and systematic philosophy of art an

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20

Abhyankar, Rajendra. Hardware implementation of color transforms in the analog domain for wood surface analysis. 1988.

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21

Lund, Cornelia. Sculpting Image and Sound. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.40.

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Digital technology increasingly has offered new possibilities of combining audio and visual elements, be it in live performances, installations, or videos. The Canadian artist and musician Herman Kolgen plays the different genres like a virtuoso, exploring overarching themes in audiovisual performances as well as audiovisual installations. This chapter offers a case study that takes Kolgen’s work as an example of artistic production that pushes its investigation of audiovisual combinations in different directions by its flexible use of analog and digital media formats. The chapter first discus

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22

Goes, João, and João P. Oliveira. Parametric Analog Signal Amplification Applied to Nanoscale CMOS Technologies. Springer, 2012.

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23

Goes, João, and João P. Oliveira. Parametric Analog Signal Amplification Applied to Nanoscale CMOS Technologies. Springer, 2014.

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24

Theuwissen, Albert, and Guy Meynants. Welcome to the World of Single-Slope Column-Level Analog-To-Digital Converters for CMOS Image Sensors. Now Publishers, 2021.

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25

Martins, Rui Paulo, and Pui-In Mak. High-/Mixed-Voltage Analog and RF Circuit Techniques for Nanoscale CMOS. Springer, 2012.

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26

Martins, Rui Paulo, and Pui-In Mak. High-/Mixed-Voltage Analog and RF Circuit Techniques for Nanoscale CMOS. Springer, 2012.

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27

Roermund, Arthur van, Hans Hegt, and Yongjian Tang. Dynamic-Mismatch Mapping for Digitally-Assisted DACs. Springer New York, 2015.

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28

Murmann, Boris, and Manar El-Chammas. Background Calibration of Time-Interleaved Data Converters. Springer, 2012.

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29

Murmann, Boris, and Manar El-Chammas. Background Calibration of Time-Interleaved Data Converters. Springer New York, 2014.

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30

Wolukau-Wanambwa, Stanley. Lives of Images, Vol. 2: Analogy, Attunement, and Attention. Aperture Foundation, Incorporated, 2021.

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31

Payne, Andrew. The Form of the Good I. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799023.003.0008.

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This chapter discusses the premise that understanding the Form of the Good is the unintended end or purpose of philosophic inquiry in the sense of Plato’s functional teleology of action. It begins the presentation of this theme by introducing the three images that Socrates uses to convey his beliefs about the Form of the Good: the Sun, the Divided Line, and the Cave. A motif common to these images is the role of vision as an analogue to knowledge. Plato’s theory of vision in the Timaeus is examined in detail. The image of the Divided Line in particular conveys the thought that we exercise visi

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32

Wellwood, Alexis, Susan J. Hespos, and Lance J. Rips. The Object : Substance :: Event : Process Analogy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815259.003.0009.

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Beginning at least with Bach (1986), semanticists have suggested that objects are formally parallel to events in the way substances are formally parallel to processes. This chapter investigates whether these parallels can be understood to reflect a shared representational format in cognition, which underlies aspects of the intuitive metaphysics of these categories. The authors of this chapter hypothesized that a way of counting (atomicity) is necessary for object and event representations, unlike for substance or process representations. Atomicity is strongly implied by plural but not mass lan

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33

The pervasive image: The role of analogy in the poetry of Ausiàs March. J. Benjamins, 1985.

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34

Cook, Nicholas. Rethinking the garret. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.003.0003.

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This second chapter of Music as Creative Practice develops an approach to musical imagination in opposition to the traditional creation myths according to which composers ‘hear’ music in their heads and simply write it down. Drawing an analogy with the creation of perfumes, it shows how imagining music involves representing it in terms of notational and other objects that enable it to be purposefully manipulated in such a way as to bring new sound conceptions into existence. Composition involves a rich ecology in which creators interact with sound images that talk back to them, resulting in an

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35

Lori, Ope. Beyond the Feminine. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350204874.

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How can contemporary artists and image makers challenge representations of race and gender in visual culture and produce alternate visions? Exploring a range of lens-based British art that engages with questions of race and gender, this book critiques power structures that embed racial dichotomies to arrive at a nuanced understanding of the position of race in contemporary visual culture. It examines how white and light-skinned Black women are privileged over Black and dark-skinned women in music videos, advertising, and even in classic paintings. Focusing on skin colour as implicit in constru

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36

Batter, Landon. Guide to Film Scanning Service : Get the Maximum of Your Analog Images: Digital Photography for Dummies. Independently Published, 2021.

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37

Dreier, Thomas, and Tiziana Andina, eds. Digital Ethics. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748934011.

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Digital images raise ethical issues that have so far received only little attention. The discrete pixels of digital images can be freely combined. Compared to the dissemination of analog images the net enables dis-proportionately greater control over how digital images are to be distributed. As of today, the consequences for contemporary visual communication as well as for the cultural visual memory are all but clear. Can there be an applied ethics of digital images at all? What could be the content of such a normative ethics? And what is the relationship between ethics and the law of digital

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38

Fletcher, Richard. Psychic Life in the Eternal City. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803034.003.0012.

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Freud’s analogy of the city of Rome as the human psyche in Civilization and its Discontents and Kristeva’s reading of Ovid’s Narcissus as a response to Freudian narcissism in Tales of Love have been treated as separate aspects of the reception of ancient Rome in psychoanalysis. In New Maladies of the Soul, however, Kristeva makes a direct connection between the two, building on Freud’s doubts about the usefulness of his analogy and offering a corrective image of her own. Kristeva, this chapter argues, thus locates the movement from Freud’s Rome to her specular city in what she calls a “mini-re

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39

Archer, Robert. The Pervasive Image: The Role of Analogy in the Poetry of Ausias March (Purdue University Monographs in Romance Languages). John Benjamins Publishing Co, 1986.

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40

Bal, Mieke. Reading Rembrandt: Beyond the word image opposition. 1991.

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41

Erdogan, Nezih, and Ebru Kayaalp. Exploring Past Images in a Digital Age. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463723442.

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Film archives are fast spreading around the world, and with them issues surrounding archival digitisation, artistic appropriation, and academic reinterpretation of film material that demand scholarly attention. Exploring Past Images in a Digital Age: Reinventing the Archive aims to fill this demand with a thought-provoking collection of original articles contributed by renowned scholars, archivists, and artists. It urges the reader to “forget” standard ways of thinking about film archives and come to grips with the challenges of analysing and recontextualising an area in transit from the analo

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42

Moreno, Hugo. Rethinking Philosophy with Borges, Zambrano, Paz, and Plato. The Rowman & Littlefield Publishing Group, 2022. https://doi.org/10.5040/9781978727175.

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In Rethinking Philosophy with Borges, Zambrano, Paz, and Plato, Hugo Moreno argues that in Ficciones, Claros del bosque, and El mono gramático, Jorge Luis Borges, María Zambrano, and Octavio Paz practice a literary way of philosophizing—a way of seeking and communicating knowledge of reality that takes up analogical procedures. They deploy analogy as an indispensable and irreplaceable heuristic tool and literary device to convey their insight and perplexities on the nature of existence. Borges’ ironic approach involves reading and writing philosophy as fiction. Zambrano’s poetic reason is a mo

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43

Huneman, Philippe, and Charles T. Wolfe. Man-Machines and Embodiment. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190490447.003.0011.

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A common and enduring early modern intuition is that materialists reduce organisms in general and human beings in particular to automata. Wasn’t a famous book of the time (1748) entitled L’Homme-Machine? In fact, the machine is employed as an analogy, and there was a specifically materialist form of embodiment, in which the body is not reduced to an inanimate machine, but is conceived as an affective, flesh-and-blood entity. This paper discusses how mechanist and vitalist models of organism exist in a more complementary relation than hitherto imagined, with conceptions of embodiment resulting

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44

Bal, Mieke. Reading Rembrandt: Beyond the Word-Image Opposition (Amsterdam University Press - Amsterdam Archaeological Studies). Amsterdam University Press, 2006.

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45

Dow, Bonnie J. Fixing the Meaning of the Movement. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038563.003.0005.

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This chapter focuses on the ABC documentary on the Ladies' Home Journal sit-in entitled “Women's Liberation,”, produced by reporter Marlene Sanders. The documentary is 1970's key example of a supportive reporter's self-conscious effort to represent the movement fairly. It also serves as the most developed example of network news' reliance on race–sex and feminism–civil rights analogies. In her memoir of her reporting career, Sanders makes clear that she saw the documentary as an intervention into poor media treatment of the movement, echoing the contention of many feminists that the movement's

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46

Smigel, Eric. Sights and Sounds of the Moving Mind. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0006.

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American experimental filmmaker Stan Brakhage revolutionised independent cinema by cultivating a new poetic idiom designed to document the subjective vision of the eye behind the camera. Committed to an inclusive account of the lived visual experience, he augmented the cinematic vocabulary by including components such as hallucination, dreams, closed-eye images and optical feedback, capturing these ephemeral elements using a wide variety of ‘home-made’ modifications to the filming process, including erratic hand-held camera movement, distortion of focus and changing camera speeds. Although mos

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47

Rose, Gillian, Sam Hind, Scott Rodgers, et al. Seeing the City Digitally. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463727037.

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This book explores what’s happening to ways of seeing urban spaces in the contemporary moment, when so many of the technologies through which cities are visualised are digital. Cities have always been pictured, in many media and for many different purposes. This edited collection explores how that picturing is changing in an era of digital visual culture. Analogue visual technologies like film cameras were understood as creating some sort of a trace of the real city. Digital visual technologies, in contrast, harvest and process digital data to create images that are constantly refreshed, modif

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48

Lolli, Gabriele. The Meaning of Proofs. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/13820.001.0001.

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Why mathematics is not merely formulaic: an argument that to write a mathematical proof is tantamount to inventing a story. In The Meaning of Proofs, mathematician Gabriele Lolli argues that to write a mathematical proof is tantamount to inventing a story. Lolli offers not instructions for how to write mathematical proofs, but a philosophical and poetic reflection on mathematical proofs as narrative. Mathematics, imprisoned within its symbols and images, Lolli writes, says nothing if its meaning is not narrated in a story. The minute mathematicians open their mouths to explain something—the me

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49

Wilcox, Dean. Theory for Theatre Studies: Light. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350374805.

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What properties of light can be manipulated for aesthetic effect? What role does the perception of the audience play in how stage information is received and processed? How do changes in technology affect methods or approaches to design and practice? This book is designed to introduce key ideas about light and to generate questions and perspectives that will encourage readers to explore light in the theatre more fully in their own critical and creative practices. Examining the theories behind stage lighting practice to help students learn to analyse the aesthetic and critical impacts of light

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50

Die Entgrenzung JHWHs: Monolatrie, Bilderverbot und Monotheismus im Deuteronomium, in Deuterojesaja und im Ezechielbuch. Mohr Siebeck, 2007.

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