This book describes the medical applications of inorganic nanoparticles. Nanomedicine is a relatively advanced field, which enhances the treatment of various diseases, offering new options for overcoming the problems associated with the use of conventional medicines. Discussing the toxicological and safety aspects associated with medical applications of nanoparticles, the book presents the latest research on topics such as emerging nanomaterials for cancer therapy, applications of nanoparticles in dentistry, and fluoride nanoparticles for biomedical applications, and also includes chapters on the use of nanoparticles such as silver and gold.

This book presents examples of and the latest simulation studies on artificial societies and populations, highlighting innovative implementations of various models of artificial societies and populations using a new, C++-related simulation tool. It demonstrates that the prey-predator models—including spatial distribution, moving patterns, limited renewable food, fear, gregarious (herd) instinct, clustering, epidemics, and competition— are more complex than other publications have suggested, and highlights the great discrepancy between agent-based and conventional continuous models. The book also discusses the modeling and simulation of self-organization and interactions between organizations, including terror organizations, offering fascinating insights into organizational dynamics.

This imaginative staging of Berlioz's dramatic symphony for chorus, soloists and orchestra relies heavily on the moving of massed choirs across a large stage. It has vivid lighting effects–rather too many of them using strobes–and monolithic multi-purpose sets, in particular a revolving glass drum which functions both as cinema screen and rostrum for singers, so that the final ride to Hell, for example, is sung by Mephistopheles and Faust above a cavalcade of projected horses, like the inside of a zoetrope. The three main soloists have voices on a scale that can compete with these flashy production values–White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. (Roz Kaveney)