MEMORY SEED My introduction to teaching art began in September 1971 when I took up a post as art teacher in a secondary school in the West Riding of Yorkshire. Apart from my desire to survive and establish myself amongst students and staff I remember holding firm ideas about what I should be teaching. In relation to drawing and painting I had clear expectations concerning practice and representation. Students’ art work which did not correspond to these I rather naively) considered as weak and in need of correction. I assumed wrongly that when students were making paintings and drawings from observation of objects, people or landscape, they should be aiming to develop specific representational skills associated with the idea of ‘rendering’ a reasonable likeness. I was reasonably familiar with the development of Western art and different forms of visual representation and expression and I knew, for example, that the projection system perspective is only one and not the correct rep- sentational system for mapping objects and their spatial relations as viewed from a particular point into corresponding relations in a painting or drawing. Nevertheless I still employed this mode of projection as an expectation or a criterion of judgement when teaching my students.

Ha trent'anni. È un avvocato. Vive in una cittadina della Galizia. Come tutti, apprende la notizia dalla televisione: in una piccola repubblica del Caucaso, un gruppo di guerriglieri ha preso d'assalto una base militare russa. Un atto terroristico? Così sembra. Ben presto, però, s'insinua il sospetto che sia successo qualcosa di più grave. Tra lo sconcerto generale, la Russia annuncia la chiusura delle proprie frontiere e, nel giro di pochi giorni, tutti i Paesi dell'Unione Europea fanno lo stesso. Intere città vengono isolate e messe in quarantena. Entra in vigore la legge marziale. Ma è tutto inutile. Ormai niente è più come prima. Non c'è elettricità, manca l'acqua potabile, la benzina è finita, gli scaffali dei negozi sono vuoti. Nessun uomo gira per le strade. Perché chi lo fa non è più un uomo..

De Valbonne jusqu'aux contreforts des massifs alpins, partez à la découverte des villages perchés du Moyen-Pays, bercés d'influences méditerranéennes et montagnardes.

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Revealing account of the struggles and surprises when forming a financial joint venture with China

Covering all the essential components of Unix/Linux, including process management, concurrent programming, timer and time service, file systems and network programming, this textbook emphasizes programming practice in the Unix/Linux environment. Systems Programming in Unix/Linux is intended as a textbook for systems programming courses in technically-oriented Computer Science/Engineering curricula that emphasize both theory and programming practice. The book contains many detailed working example programs with complete source code. It is also suitable for self-study by advanced programmers and computer enthusiasts.

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Che cosa ha a che fare Omero con l’intelligenza artificiale? E I viaggi di Gulliver, i trattati di Giordano Bruno, le opere di Borges: cosa ci possono insegnare dell’accelerazione tecnologica? Nel racconto Nella colonia penale, Kafka immagina un uomo assoggettato al potere della macchina: una figura che sembra perdere del tutto la propria umanità di fronte allo splendore matematico, logico ed efficientista di un automa. È proprio esplorando esempi letterari e filosofici come questo che Andrea Colamedici e Simone Arcagni si interrogano sul nostro futuro in relazione all’incredibile sviluppo dell’intelligenza artificiale e al mistero dell’algoritmo di Babele..

Computers have changed typography and prepress as well as printing. Typefaces are manufactured by "digital punch cutters" with a PC, not any more by punch cutters. Typefaces are constructed an output by a new technolgy, the so-called fonttechnology. The book by Peter Karow covers the whole area of it. It offers various chapters about (among others) issues like intelligent font scaling, kerning, quality of type, legibility, and problems of different output devices. It is interesting to read about Gutenberg setting, the font market, optical scaling, and last but not least a "hand on" Kanjhi, the Chinese/Japanese Glyphs. Furthermore, Fonttechnology contains a number of valuable and instructive appendices. Almost everything one has to know about type and computers!

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Computer algebra systems are revolutionizing the teaching, the learning, and the exploration of science. Not only can students and researchers work through mathematical models more efficiently and with fewer errors than with pencil and paper, they can also easily explore, both analytically and numerically, more complex and computationally intensive models.

An essential companion to Let It Settle and a roadmap to many of life's most difficult moments

Perturbation methods have always been an important tool for treating nonlinear differential equations. Now the drudgery associated with them has been eliminated! This book offers computer algebra (MACSYMA) programs which implement the most popular perturbation methods. Not only does this avoid the errors associated with hand computation, but the increase in efficiency permits more complicated problems to be tackled. This book is useful both for the beginner learning perturbation methods for the first time, as well as for the researcher. Methods covered include: Lindstedt's method, center manifolds, normal forms, two variable expansion method (method of multiple scales), averaging, Lie transforms and Liapunov-Schmidt reduction. For each method the book includes an introduction and some example problems solved both by hand and by machine. The examples feature common bifurcations such as the pitchfork and the Hopf. The MACSYMA code for each method is given and suggested exercises are provided at the end of each Chapter. An Appendix offers a brief introduction to MACSYMA.