Biochemical Applications of Nonlinear Optical Spectroscopy

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9780262633697: Biochemical Applications of Nonlinear Optical Spectroscopy

For a host of reasons, nonlinear optical spectroscopy is a valuable tool for biochemical applications where minimally invasive diagnostics is desired. Biochemical Applications of Nonlinear Optical Spectroscopy presents the latest technological advances and offers a perspective on future directions in this important field.

Written by an international panel of experts, this volume begins with a comparison of nonlinear optical spectroscopy and x-ray crystallography. The text examines the use of multiphoton fluorescence to study chemical phenomena in the skin, the use of nonlinear optics to enhance traditional optical spectroscopy, and the multimodal approach, which incorporates several spectroscopic techniques in one instrument. Later chapters explore Raman microscopy, third-harmonic generation microscopy, and non-linear Raman microspectroscopy. The text explores the promise of beam shaping and the use of broadband laser pulse generated through continuum generation and an optical pulse shaper.

Lastly, the book discusses the effects of spatial beam shaping on the generated nonlinear Raman signals in a tightly focused geometry and provides insight into the extension of nonlinear optical spectroscopy to the nanoscale through the use of plasmonic tip-enhanced arrangement. With novel experimental approaches to this technology expanding day-by-day, the book’s balanced coverage from a wide range of international contributors not only elucidates important achievements, but also outlines future directions in this dynamic and promising field.

Le informazioni nella sezione "Riassunto" possono far riferimento a edizioni diverse di questo titolo.

Contenuti:

Structural Dynamics and Kinetics of Myoglobin-CO Binding: Lessons from Time-Resolved X-ray Diffraction and Four-Wave Mixing Spectroscopy, V. Raicu, M. Schmidt, and M. Stoneman

Using Two-Photon Fluorescence Microscopy to Study Chemical Phenomena in the Skin, K.M. Hanson and C.J. Bardeen

Ultrafast Fluorescence Microscopes, T. Fujino and T. Tahara

Multicontrast Nonlinear Imaging Microscopy, R. Cisek, N. Prent, C. Greenhalgh, D. Sandkuijl, A. Tuer, A. Major, and V. Barzda

Broadband Laser Source and Sensitive Detection Solutions for Coherent Anti-Stokes Raman Scattering Microscopy, F. Ganikhanov

Nonlinear Optical Microspectroscopy of Biochemical Interactions in Microfluidic Devices, V. V. Yakovlev, G.I. Petrov, V. Shcheslavskiy, and R. Arora

Advanced Multiphoton and CARS* Microspectroscopy with Broadband Shaped Femtosecond Laser Pulses, B. von Vacano and M. Motzkus

Nonlinear Optical Imaging with Sub-10 fs Pulses, M. Dantus, D. Pestov, and Y. Andegeko

Imaging with Phase Sensitive Narrowband Nonlinear Microscopy, E.O. Potma and V.V. Krishnamachari

Biomolecular Imaging by Near-Field Nonlinear Spectroscopy and Microscopy, N. Hayazawa, T. Ichimura, K. Ikeda, and S. Kawata

Le informazioni nella sezione "Su questo libro" possono far riferimento a edizioni diverse di questo titolo.

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McClean, Shilo T.
ISBN 10: 0262633698 ISBN 13: 9780262633697
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Descrizione libro 2008. PAP. Condizione libro: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Codice libro della libreria TM-9780262633697

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Descrizione libro MIT Press Ltd, United States, 2008. Paperback. Condizione libro: New. 218 x 170 mm. Language: English . Brand New Book. Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that technology swamps storytelling (in a review of Van Helsing, calling it an example of everything that is wrong with Hollywood computer-generated effects movies ), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and experimental camera angles -- other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects. Effects artists say -- contrary to the critics -- that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects -- whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres -- and looks at contemporary films (including a chapter-long analysis of Steven Spielberg s use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the wow factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft. Codice libro della libreria AAU9780262633697

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Shilo T. McClean
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Descrizione libro MIT Press Ltd, United States, 2008. Paperback. Condizione libro: New. 218 x 170 mm. Language: English . Brand New Book. Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that technology swamps storytelling (in a review of Van Helsing, calling it an example of everything that is wrong with Hollywood computer-generated effects movies ), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and experimental camera angles -- other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects. Effects artists say -- contrary to the critics -- that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects -- whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres -- and looks at contemporary films (including a chapter-long analysis of Steven Spielberg s use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the wow factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft. Codice libro della libreria AAU9780262633697

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Descrizione libro MIT Press Ltd. Paperback. Condizione libro: new. BRAND NEW, Digital Storytelling: The Narrative Power of Visual Effects in Film, Shilo T. McClean, Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles -- other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects. Effects artists say -- contrary to the critics -- that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects -- whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres -- and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft. Codice libro della libreria B9780262633697

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Descrizione libro MIT Press Ltd, 2008. Condizione libro: New. 2008. Paperback. How digital visual effects in film can be used to support storytelling: a guide for scriptwriters and students. Num Pages: 320 pages, 19 illus. BIC Classification: APFX; UGN. Category: (P) Professional & Vocational. Dimension: 228 x 177 x 15. Weight in Grams: 518. . . . . . . Codice libro della libreria V9780262633697

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Descrizione libro MIT Press Ltd. Condizione libro: New. 2008. Paperback. How digital visual effects in film can be used to support storytelling: a guide for scriptwriters and students. Num Pages: 320 pages, 19 illus. BIC Classification: APFX; UGN. Category: (P) Professional & Vocational. Dimension: 228 x 177 x 15. Weight in Grams: 518. . . . . . Books ship from the US and Ireland. Codice libro della libreria V9780262633697

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Descrizione libro MIT Press Ltd 2008-10-17, Cambridge, Mass., 2008. paperback. Condizione libro: New. Codice libro della libreria 9780262633697

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