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Books on the topic 'SEM image'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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1

Canada Centre for Mineral and Energy Technology. Mp-Sem-Ips Image Analysis System. s.n, 1987.

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2

Neves, Thomaz Albornoz. Sol sem imagem: Poemas. Topbooks, 1996.

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3

Brewer, Janet Neff. In God's image. Bridge Resources, 1998.

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4

Woog, Adam. Mirror image: How guys see themselves. Compass Point Books, 2009.

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5

Payton, Leland. See the Ozarks: The touristic image. Lens & Pen Press, 2003.

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6

Welsh, Kate. Easy digital pictures for PCs: See it done, do it yourself. Que, 2000.

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7

Bhatti, Umbreen. Body Image. Barnard Athena Center, 2021.

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8

Udegbe, I. Bola. Gender and leadership: Image and reality. Vantage Publishers, 1998.

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9

Rigney, Ann, and Thomas Smits. The Visual Memory of Protest. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463723275.

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Social movements are not only remembered in personal experience, but also through cultural carriers that shape how later movements see themselves and are seen by others. The present collection zooms in on the role of photography in this memory-activism nexus. How do iconographic conventions shape images of protest? Why do some images keep movements in the public eye, while others are quickly forgotten? What role do images play in linking different protests, movements, and generations of activists? Have the affordances of digital media made it easier for activists to use images in their memory
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10

Iwao, Sumiko. The Japanese woman: Traditional image and changing reality. Harvard University Press, 1994.

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11

Iwao, Sumiko. The Japanese woman: Traditional image and changing reality. Free Press, 1993.

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12

Stedman, John. Sand and sea: Images of Cornwall. Truran, 2004.

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13

Berry, Woody. In God's image: Young children and sexuality : parent for congregations. Witherspoon Press, 1998.

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14

Holliday, Ruth. Contested bodies. Routledge, 2001.

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15

Lewis, Jessica M. Static Zine: A DIY Magazine : Body. Jessica Lewis, 2015.

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16

Jean, Kilbourne, and Media Education Foundation, eds. Killing us softly 4: Advertising's image of women. Media Education Foundation, 2010.

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17

Vlachos, Manolēs. Greek marine painting and the European image of the sea. Olkos, 1994.

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18

Frank, Wills. Cognitive therapy: Transforming the image. Sage Publications, 1997.

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19

Cruz, Maria Aurea Santa. A musa sem máscara: A imagem da mulher na música popular brasileira. Editora Rosa dos Tempos, 1992.

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20

Oliva, Aude, and Philippe G. Schyns. Hybrid Image Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0111.

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Artists, designers, photographers, and visual scientists are routinely looking for ways to create, out of a single image, the feeling that there is more to see than what meets the eye. Many well-known visual illusions are dual in nature, causing the viewer to experience two different interpretations of the same image. Hybrid images illustrate a double-image illusion, where different images are perceived depending on viewing distance, viewing duration, or image size: one that appears when the image is viewed up-close (displaying high spatial frequencies) and another that appears from afar (show
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21

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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22

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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23

Hughes, Jim. Exposures and image quality. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198813170.003.0004.

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In C-arm systems, the X-ray beam output is determined by both the signal returned from the automatic exposure device (AED) in the receptor and the exposure table set up for the exam type. The settings for the exposure (as well as aspects of the image receptor and display) will affect the qualities or resolutions of the resulting image. This chapter covers the factors and qualities of images produced by an X-ray C-arm system, and the effect that varying exposure factors has on the resulting image quality and resolutions. This includes spatial, temporal, and contrast resolutions, as well as the
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24

Images of desire: Finding your natural sensual self in today's image-filled society. Forge, 2001.

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25

Martin, Ken. Giants of the Sea (Image Bank). Popular Culture Ink, 1988.

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26

Woog, Adam. Mirror Image: How Guys See Themselves. Capstone, 2009.

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27

Mirror image: How guys see themselves. Compass Point Books, 2009.

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28

Payne, Andrew. The Form of the Good II. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799023.003.0009.

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This chapter is concerned with the image of the Divided Line, in which dianoia illustrates the use of the image-original relation. Dianoia employs visible objects such as the diagrams used in geometry as images for the purpose of gaining insight into intelligible objects. In the process of making its inquiries, dianoia employs hypotheses as starting points. These hypotheses include but are not limited to the definitions that mathematicians set forth as they make their demonstrations. Philosophers are expected to make a further transition from dianoia to dialectic and thus to move to the highes
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29

Benescu, Sorin. Sea and Flowers Images. Independently Published, 2018.

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30

NIV True Images SEA. Zondervan, 2006.

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31

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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32

Zhang, Qin, and Roger Skjetne. Sea Ice Image Processing with MATLAB®. CRC Press, 2018. http://dx.doi.org/10.1201/9781351069205.

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33

Sea Ice Image Processing with MATLAB®. Taylor & Francis Group, 2018.

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34

Qin, Zhang, and Roger Skjetne. Sea Ice Image Processing with MATLAB®. Taylor & Francis Group, 2018.

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35

Qin, Zhang, and Roger Skjetne. Sea Ice Image Processing with MATLAB®. Taylor & Francis Group, 2018.

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36

Qin, Zhang, and Roger Skjetne. Sea Ice Image Processing with MATLAB®. Taylor & Francis Group, 2018.

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37

Qin, Zhang, and Roger Skjetne. Sea Ice Image Processing with MATLAB®. Taylor & Francis Group, 2018.

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38

Sam Shepard: Theme, image, and the director. P. Lang, 1995.

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39

Kinkade, Thomas. Sea of Tranquility Mug: American Lighthouse, 3.75hx3d, Features Full Wrap Images with Image Titles and Thom's Signature. Lightpost Publishing (Thomas Kinkade), 2000.

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40

Fleming, Roland W., and Daniel Holtmann-Rice. “Shape From Smear”. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0017.

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Of the many mysteries of sensory perception, one of the greatest is surely our ability to see in three dimensions. While the world is 3D, the retinal images are 2D: So how does the brain work out the extra dimension? Under ordinary conditions, viewing the world with two eyes provides rich sources of information for inferring depths. However, we are also very good at working out 3D shape even from single, static photographs of objects. This chapter presents a novel illusion in which 2D patterns appear vividly 3D, revealing specific image information that the brain uses for inferring 3D shape, b
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41

Kohlke, Marie-Luise, and Luisa Orza. Negotiating Sexual Idioms: Image, Text, Performance. Rodopi B.V. Editions, 2008.

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42

Kluge, Norbert. Koerperkonzept der Deutschen: Die Neue Koerperlichkeit in Ihren Auswirkungen Auf Einstellungen und Verhaltensweisen. Lang AG International Academic Publishers, Peter, 2000.

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43

Femmes: Images, modèles = Women : Images, Role-Models. Richelieu Rotho Litho Inc, 1985.

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44

Hallam, Julia. Nursing the Image: Media, Image and Professinal Identity. Routledge, 2000.

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45

Hallam, Julia. Nursing the Image: Media, Image and Professinal Identity. Routledge, 2000.

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46

Murphet, Julian. The Negative Plate; or, Absalom, Absalom! and the camera’s voice. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664244.003.0005.

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This chapter examines the structural tension between voice and image in Absalom, Absalom!, relating the novel’s formal resolutions to developments in photography, the printing press, and talking pictures. Considering the cognate set of mid-1930s relationships between word and image in the “photographic essay,” newspapers, and film, the chapter situates Faulkner’s artistic achievements in the context of larger cultural concerns about the storytelling capacity of visual images, the limits of textuality as an indexical medium, and the media’s commercial imperatives. The chapter directly relates t
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47

Davis, Richard H. Images and Temples. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198702603.003.0028.

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During the first millennium CE, Hindus in India developed a complex and conspicuous set of religious practices and institutions centered on the worship of physical images or icons. These images were treated as theophanies, that is, as material embodiments or supports for the tangible presence of the Hindu gods. Considering the importance of these religious practices in classical and medieval India, it is surprising that discussion of them in the Dharmaśāstra literature is quite sparse. This chapter traces the discourse pertaining to Hindu images and temples within the Dharmaśāstra and related
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48

Munson, Marit K., and Kelley Hays-Gilpin. Iconography. Edited by Barbara Mills and Severin Fowles. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199978427.013.35.

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Images from archaeological sites are often engaging, sometimes mysterious, and always seem full of potential for insight into the lives and thoughts of people from the past. Unfortunately, most research into archaeological images relies on a narrow range of art historical methods and on parallels with ethnographic information. These approaches are valuable, but unnecessarily limited. In this chapter, we encourage researchers to expand their understanding of images, exploring how perceptual and social theories of pictures shape our understanding of meaning and discussing the benefits and drawba
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49

See This Image Justice in the West Bank? Gefen Publishing House, Limited, 2019.

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50

Publishing, Butterfly Language. Image I See Starts with Me!!!: Activity Book. Butterfly Language Publishing, 2022.

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