Austin Richards takes readers on a visual tour of the electromagnetic spectrum beyond the range of human sight, using imaging technology as the means to 'see' invisible light. Dozens of colorful images and clear, concise descriptions make this an intriguing, accessible technical book. Richards explains the light spectrum, including visible light, and describes the advanced imaging technologies that enable humans to synthesize our own version of 'alien' vision at different wavelengths, with applications ranging from fire fighting and law enforcement to botany and medicine.

There are many parallels and some revealing differences in the encounter between, on the one hand, the Americans and various Indian tribes and, on the other, the Russians and some of the peoples of the Caucasus and Siberia. The enduring cultural consequences of these encounters provide a fruitful area of inquiry for the comparative examination of national images in literatures. The major focus on this study is the perceptions and literary portrayal of the Chechens by the Russians and the Navajos by the Americans. Both the Chechen in Russian literature and the Navajo in American literature are often constructs, images derived from a potent combination of prejudices and received assumptions. In each case a relatively sizable corpus of writings produced over a century or longer exemplifies or attempts to counter persistent and influential modes of cultural stereotyping. The diachronic analysis of the portrayal of either the Chechens or the Navajos illuminates patterns of prejudice that have immense implications for both popular and high culture. The juxtaposition of the discussion of the two groups as they have been treated in Russian and American literature can deepen our understanding of the commonalities present in attempted cultural domination or ethnic idealization. Margaret Ziolkowski is Professor of Russian at Miami University, Ohio.

A legendary fusion of science fiction and horror, Ridley Scott's Alien (1979) is one of the most enduring films of modern cinema – its famously visceral scenes acting like a traumatic wound we seem compelled to revisit. Tracing the constellation of talents that came together to produce the film, Roger Luckhurst examines its origins as a monster movie script called Star Beast, dismissed by many in Hollywood as B-movie trash, through to its afterlife in numerous sequels, prequels and elaborations. Exploring the ways in which Alien compels us to think about otherness, Luckhurst demonstrates how and why this interstellar slasher movie, this old dark house in space, came to coil itself around our darkest imaginings about the fragility of humanity. This special edition features original cover artwork by Marta Lech.

In The Vision Revolution: How the Latest Research Overturns Everything We Thought We Knew About Human Vision, Mark Changizi, prominent neuroscientist and vision expert, addresses four areas of human vision and provides explanations for why we have those particular abilities, complete with a number of full-color illustrations to demonstrate his conclusions and to engage the reader. Written for both the casual reader and the science buff hungry for new information, The Vision Revolution is a resource that dispels commonly believed perceptions about sight and offers answers drawn from the field's most recent research. Changizi focuses on four “why" questions: 1. Why do we see in color? 2. Why do our eyes face forward? 3. Why do we see illusions? 4. Why does reading come so naturally to us? Why Do We See in Color? It was commonly believed that color vision evolved to help our primitive ancestors identify ripe fruit. Changizi says we should look closer to home: ourselves. Human color vision evolved to give us greater insights into the mental states and health of other people. People who can see color changes in skin have an advantage over their color-blind counterparts; they can see when people are blushing with embarrassment, purple-faced with exertion or the reddening of rashes. Changizi's research reveals that the cones in our eyes that allow us to see color are exquisitely designed exactly for seeing color changes in the skin. And it's no coincidence that the primates with color vision are the ones with bare spots on their faces and other body parts; Changizi shows that the development of color vision in higher primates closely parallels the loss of facial hair, culminating in the near hairlessness and highly developed color vision of humans. Why Do Our Eyes Face Forward? Forward-facing eyes set us apart from most mammals, and there is much dispute as to why we have them. While some speculate that we evolved this feature to give us depth perception available through stereo vision, this type of vision only allows us to see short distances, and we already have other mechanisms that help us to estimate distance. Changizi's research shows that with two forward-facing eyes, primates and humans have an x-ray ability. Specifically, we're able to see through the cluttered leaves of the forest environment in which we evolved. This feature helps primates see their targets in a crowded, encroached environment. To see how this works, hold a finger in front of your eyes. You'll find that you're able to look “through" it, at what is beyond your finger. One of the most amazing feats of two forward-facing eyes? Our views aren't blocked by our noses, beaks, etc. Why Do We See Illusions? We evolved to see moving objects, not where they are, but where they are going to be. Without this ability, we couldn't catch a ball because the brain's ability to process visual information isn't fast enough to allow us to put our hands in the right place to intersect for a rapidly approaching baseball. “If our brains simply created a perception of the way the world was at the time light hit the eye, then by the time that perception was elicited—which takes about a tenth of a second for the brain to do—time would have marched on, and the perception would be of the recent past," Changizi explains. Simply put, illusions occur when our brain is tricked into thinking that a stationary two-dimensional picture has an element that is moving. Our brains project the “moving" element into the future and, as a result, we don't see what's on the page, but what our brain thinks will be the case a fraction of a second into the future. Why Does Reading Come So Naturally to Us? We can read faster than we can hear, which is odd, considering that reading is relatively recent,

Are alien civilizations really possible? If extraterrestrials exist, where are they? How likely is it that somewhere in the universe an Earth-like planet supports an advanced culture? Why do so many people claim to have encountered Aliens? In this gripping exploration, scientist Don Lincoln exposes and explains the truths about the belief in and the search for life on other planets. In the first half of Alien Universe, Lincoln looks to Western civilization's collective image of Aliens, showing how our perceptions of extraterrestrials have evolved over time. The roots of this belief can be traced as far back as our earliest recognition of other planets in the universe—the idea of them supporting life was a natural progression of thinking that has fascinated us ever since. Our captivation with Aliens has, however, led to mixed results. The world was fooled in the nineteenth century during the Great Moon Hoax of 1835, and many people misunderstood Orson Welles's 1938 radio broadcast, The War of the Worlds, leading to significant anxiety among some listeners. Our continuing interest in Aliens is reflected in entertainment successes such as E.T., The X-Files, and Star Trek. The second half of the book explores the scientific possibility of whether advanced Alien civilizations do exist. For many years, researchers have sought to answer Enrico Fermi’s great paradox—if there are so many planets in the universe and there is a high probability that many of those can support life, then why have we not actually encountered any Aliens? Lincoln describes how modern science teaches us what is possible and what is not in our search for extraterrestrial civilizations. Whether you are drawn to the psychological belief in Aliens, the history of our interest in life on other planets, or the scientific possibility of Alien existence, Alien Universe is sure to hold you spellbound.

In 1976, Twentieth Century Fox bought a screenplay by Dan O'Bannon entitled Star Beast. Three years later with Ridley Scott at the helm, Alien was unleashed on unsuspecting filmgoers. En route to back to Earth, the crew of the starship Snark intercepts an alien transmission. Their investigation leads them to a desolate planetoid, a crashed alien spacecraft, and a pyramidic structure of unknown origin. Then the terror begins . . . Writer Cristiano Seixas and artist Guilherme Balbi have attempted to stay true to the characters, settings, and creatures described in O'Bannon's original screenplay--without replicating the famous designs of Ron Cobb, Moebius, and H.R. Giger. A new experience, but still terrifying! Collects Alien: The Original Screenplay issues #1-#5.