Sabtu, 30 Agustus 2014

[T405.Ebook] PDF Download Economics and Reality (Economics as Social Theory), by Tony Lawson

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Economics and Reality (Economics as Social Theory), by Tony Lawson

Economics and Reality (Economics as Social Theory), by Tony Lawson



Economics and Reality (Economics as Social Theory), by Tony Lawson

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Economics and Reality (Economics as Social Theory), by Tony Lawson

'No reality please. We're economists'. There is a wide spread belief that modern economics is irrelevant to the understanding of the real world. In a controversial and original study, Tony Lawson argues that the root of this irrelevance is in the failure of economists to find methods and tools which are appropriate for the social world it addresses.
Supporting his argument with a wide range of examples, Tony Lawson offers a provocative account of why economics has gone wrong and how it can be put back on track.

  • Sales Rank: #2205740 in Books
  • Published on: 1997-04-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .88" w x 6.00" l, 1.10 pounds
  • Binding: Paperback
  • 388 pages

Review
"Tony Lawson's book is extraordinarily interesting and profound. Surely his work will help to shape the economics of the twenty-first century. Economists of all schools are in his debt."
-Mario Rizzo, New York University
"In "Economics and Reality, Tony Lawson presents his carefully thought out position on the practice of economics. Even those who disagree with his conclusions will benefit from considering and having to respond to his arguments."
-Warren Samuels, Michigan State University
""Economics and Reality is an important, ambitious, and radical work. It will make a valuable addition to the growing body of dissent from orthodox conceptions of economics to which this "Journal is a major contributor. ...Lawson's book is an exemplary study of the disastrous consequences of shackling an investigative project to a misguided and simplistic conception of what it is to be scientific."
-"International Association for Feminist Economics

About the Author
Tony Lawson is a member of the Faculty of Economics and Politics, University of Cambridge.

Most helpful customer reviews

22 of 27 people found the following review helpful.
graduates and faculty in agricultural economics should read
By Laura
For me the book is very good. I do not take it as a show-off of erudition but as a thorough explanation of why recognition of subject and context matter if we are to address problems more meaningfully. The authors goes into indicating a `broad criteria and strategy', as giving a recipe is not consistent with critical realism, the philosophy of social science proposed as appropriate to move on to leaving a traditional lack of sense in much economic research.

10 of 18 people found the following review helpful.
A nice work that doesn't communicate
By A Customer
Those readers that are suspicious of the methodological foundations of modern economics will definitely find a lot of interesting material in Lawson's book. There is no doubt that Lawson's work (which is a product of more than 10 years of research at Cambridge) is deep and raises fundamental questions. One big problem, however, is that the book assumes that the reader has a substantial amount of knowledge about philosophy of science and this is surely not the case as far as the "representative" economist is concerned. Too bad. Lawson's message deserves to be made available to a larger audience. This would only be accomplished, however, if Lawson had chosen to cut the amount of philosophical blah-blah-blah and give more direct to the point examples of what he has in mind. He preferred to demonstrate his erudition, though.

9 of 21 people found the following review helpful.
Keynes was not a critical realist,but a logical empiricist
By Michael Emmett Brady
There are two claims made ,either implicitly or explicitly,by critical realists(Lawson,Hodgson,Runde,Fleetwood,etc.)in general, and by Lawson specifically in this book,that are simply incorrect.The first claim is that J M Keynes was a critical realist.Keynes was an early logical empiricist upon whom R.Carnap based his formal Logical Empiricism.All of the major points made by Keynes in the A Treatise on Probability(1921;TP)-the importance of intuition,a priori reasoning,Kant's synthetic a priori,the logical theory of probability,the weight of the evidence(argument),the equal importance of experience and reason in making decisions, the principle of indifference ,the special nature of frequency theories of probability versus the generality of the logical approach to probability,were all upheld in Carnap's 1969 defense of his philosophy.Carnap got one thing,and only one thing, wrong.He,like so many others,fell for the canards spread by F Ramsey ,in his 1922 and 1926 book reviews of Keynes's TP ,that Keynesian probabilities were "nonnumerical" and "nonmeasurable"(Lawson is a prime example of the "so many others").He failed to recognize that Keynes's basic approach to probability estimation was interval valued.In general,probabilities are indeterminate or imprecise or indefinite intervals which have a lower and an upper bound.Nowhere in his book ,or in any other book written by any other critical realist or economist, is the above connection noted or even alluded to in a footnote.This ignorance about the basic nature of Keynes's philosophy calls into question the accuracy and reliability of practically every statement made by Lawson about Keynes ,not only in this book,but in the entire corpus of Lawson's published writings.The second error of both Lawson and his fellow critical realists is the explicit and/or implicit claim that Keynes did not provide a general theory of employment in his 1936 work,The General Theory of Employment,Interest and Money(GT).This claim is the result of the pervasive mathematical illiteracy,ineptness and innumeracy prevalent among critical realists(institutionalists,post keynesians,cambridge keynesians).The following summary of the technical aspects of Keynes's GT can be duplicated by any reader,economist or critical realist included, of this review who knows how to integrate(take the antiderivative of)derivatives.First,go to the pages of the GT where Keynes presents derivatives.These pages are pp.55-56,ft.2,pp.280-286(chapter 20),pp.304-306(chapter 21),pp.271-278(chapter 19),and pp.114-117,126(chapter 10;Keynes's definition that Y=PO on p.209 refers back to chapter 10 and the Y-multiplier model.The other pages listed above all refer to Keynes's D-Z model).Keynes's expected aggregate supply function Z(Z1+Z2)=g(N)=P +wN,where P equals expected profit,w equals the money wage,and N equals aggregate employment.Keynes's expected aggregate demand function D(D1+D2)=f(N)=pO,where p is the expected price level of aggregate output and O,real output,is a function of N.Keynes has just specified an aggregate production function(p.283,GT).The actual or current aggregate demand function is Y(=C+I)=PO=bY+(1-b)Y,where b is the marginal propensity to spend on consumption goods(mpc), 1-b is the marginal propensity to spend on investment goods(mpi),and Y is a function of N.P,in the context of the Y-multiplier model,is equal to the actual price level of aggregate output.Setting D=Z,one obtains the aggregate supply CURVE,a locus of all possible expected prices and expected profits. Assuming that Say's Law holds,set the elasticity at the bottom of p.116 of the GT equal to the elasticity at the bottom of p.283 of the GT.The following result is obtained:w/p=mpl/(mpc+mpi),where w/p equals the expected real wage and mpl equals the marginal product of labor.If,and only if,mpc+mpi=1 will the classical and neoclassical labor market clearing equilibrium condition ,needed to obtain an optimal result,occur.There will be no involuntary unemployment,only voluntary and frictional unemployment.If mpc+mpi is < 1,involuntary unemployment will occur since as (mpc+mpi) falls,the ratio on the RHS will rise.To maintain the equality requires that the money wage rises or that the money wage rises by more than the price level.The LHS ratio must rise.This simply means that labor as a whole can do nothing in this situation to LOWER the money wage ,since this would violate the necessary first order condition for optimality THAT THE W/P=MPL.Obviously,government(public)goods,export goods,and import goods can be divided into consumption and investment goods,in which case Keynes's general optimality condition does not need to be expanded.It can ,of course ,be expanded in the following way.Let mpg,mpe,and mpm equal the marginal propensities to spend on public goods,exports,and imports.Keynes's general theory would then be summarized and read as follows:w/p=mpl/(mpc+mpi+mpg+mpe-mpm).Unless mpc +mpi+mpg+mpe-mpm=1,involuntary unemployment will occur.Finally,the strange objections made by Richard Kahn and Joan and Austin Robinson that Keynes ignored imperfect competition are easily met by multiplying the LHS(w/p) by the elasticity 1-[1/(Es)]and the RHS by the elasticity 1+[1/Ed].Until Lawson and/or his fellow critical realists deal correctly with Keynes's philosophy,approach to probability , and his general theory of employment, important side issues, like the proper role that methodological considerations should play in economics if it is to become a science,the misuse of econometrics(addiction to the normal probability distribution),the relative importance of a particular set of evolving labor ,political,social,financial and economic institutions over time,etc., will offer no challenge to the reigning neoclassical school at all.

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[W357.Ebook] Get Free Ebook Geotechnical Engineering: Principles & Practices (2nd Edition), by Donald P. Coduto, Man-chu Ronald Yeung, William A. Kitch

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Geotechnical Engineering: Principles & Practices (2nd Edition), by Donald P. Coduto, Man-chu Ronald Yeung, William A. Kitch

Geotechnical Engineering: Principles & Practices (2nd Edition), by Donald P. Coduto, Man-chu Ronald Yeung, William A. Kitch



Geotechnical Engineering: Principles & Practices (2nd Edition), by Donald P. Coduto, Man-chu Ronald Yeung, William A. Kitch

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Geotechnical Engineering: Principles & Practices (2nd Edition), by Donald P. Coduto, Man-chu Ronald Yeung, William A. Kitch

Geotechnical Engineering: Principles and Practices, 2/e, is ideal or junior-level soil mechanics or introductory geotechnical engineering courses.

This introductory geotechnical engineering textbook explores both the principles of soil mechanics and their application to engineering practice. It offers a rigorous, yet accessible and easy-to-read approach, as well as technical depth and an emphasis on understanding the physical basis for soil behavior.

The second edition has been revised to include updated content and many new problems and exercises, as well as to reflect feedback from reviewers and the authors’ own experiences.

  • Sales Rank: #80353 in Books
  • Published on: 2010
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.30" h x 2.00" w x 7.30" l, 2.50 pounds
  • Binding: Hardcover
  • 794 pages

Review

“I like the balance between the analytical and empirical aspects of foundation engineering.� The coverage of both geotechnical and structural engineering aspects of foundation is also appealing.”�

-Dobroslav Znidarcic, UNIVERSITY OF COLORADO, BOULDER

“The material is very current.� The author stays on top of the profession and uses state-of-the-art information, techniques, and methods.”

-Roman D. Hryciw, UNIVERSITY OF MICHIGAN

“The coverage of the book is excellent, and it is well-grounded in the fundamentals of soil mechanics.”

-Ed Kavazanjian, ARIZONA STATE UNIVERSITY

“The book presents the practice side of foundation engineering in addition to the principles of design.� Most textbooks present only the principles.”

-M. Sherif Aggour, UNIVERSITY OF MARYLAND

“Interesting and very useful features of this book are:� 1.) the List of Vocabulary, 2.0 the Summary of Major Points at the end of each chapter, and 3.) the use of both English and SI units–this is particularly important for empirical equations with built-in units.”

-Marte S. Gutierrez, VIRGINIA TECH

From the Back Cover
"Geotechnical Engineering: Principles and Practices, 2/e, " is ideal or junior-level soil mechanics or introductory geotechnical engineering courses. This introductory geotechnical engineering textbook explores both the principles of soil mechanics and their application to engineering practice. It offers a rigorous, yet accessible and easy-to-read approach, as well as technical depth and an emphasis on understanding the physical basis for soil behavior. The second edition has been revised to include updated content and many new problems and exercises, as well as to reflect feedback from reviewers and the authors' own experiences.

About the Author

Donald P. Coduto is currently a professor of geotechnical engineering and chair of the Civil Engineering Department at the California State Polytechnic University, Pomona. He earned a B.S. in Civil Engineering from the California State Polytechnic University, Pomona, an M.S. in Geotechnical Engineering from the University of California, Berkeley, and an MBA from the Claremont Graduate University. He is an ASCE Fellow, a licensed Civil Engineer and a licensed Geotechnical Engineer, and has worked on a variety of geotechnical projects for both private and public sector clients.

Dr. Man-chu Ronald Yeung is currently a professor of civil engineering at the California State Polytechnic University, Pomona. He received a B.S. in Civil Engineering in 1986, an M.S. in Geotechnical Engineering in 1987, and a Ph.D. in Civil Engineering in 1991, all from the University of California, Berkeley. Before joining Cal Poly Pomona in 2005, Dr. Yeung had worked for several consulting firms and taught at several universities including Montana Tech, San Jose State University, and The University of Hong Kong. He is currently a member of the Editorial Board of the ASCE Journal of Geotechnical and Geoenvironmental Engineering, a member of the ASCE Rock Mechanics Committee, and the Treasurer of the Geotechnical Engineering Technical Group of the ASCE Los Angeles Section. He has been a registered Civil Engineer in California since 1994.

Dr. William A. Kitch is currently an associate professor of civil engineering at the California State Polytechnic University, Pomona. He received his B.S. in Civil Engineering in 1982 and his M.S. in Civil Engineering in 1983, both from the University of Illinois, Urbana-Champaign. He earned his Ph.D. in Civil Engineering in 1991 from the University of Texas at Austin. He is a retired Lt Col in the US Air Force and had over 23 years of practicing engineering experience in both the private and public sectors. He is a registered Civil Engineer in California and Colorado.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Definitely recommend.
By yazmin
Very helpful book for my geotechnical engineering class. Definitely recommend.

10 of 11 people found the following review helpful.
Good read, but no useful problems worked
By Sandspurious
"Geotechnical Engineering" is a good read but I have yet to come across any useful example problems. This book is either for a novice/ enthusiast or expert who already knows how to perform all applicable calculations. For the student engineer who is learning the subject for the first time I would recommend something else.

Summary:
Pros: Interesting casual read
Cons: Grotesquely overpriced (this is a $60 book masquerading as a $180 book); concerning lack of sample calculations

Reviewer:
4th year CE student at UF

0 of 0 people found the following review helpful.
Great Book for Starters Studying Geotech. Engineering or Plan on Studying Foundation Engineering
By Raymundo
To be honest, I think this book deserves a lot more credit than what's being given on amazon. Although I am not using this text content in practice yet, it does the job of introducing the student to everything they need to start foundation engineering. I don't see any other purpose except a purely scientific one in this manner. So, I'd recommend this textbook over other more detailed textbooks of mostly equivalent content.

However, if one seeks a more Scientific understanding of the text content, I would reference Holtz text (1981) which is much cheaper, because that gives many more details about the supporting evidence for what you study. However, for specifically foundation engineering purposes, I recommend this text.

Lastly, if you are one who seeks a text to use in practice or refresh, I wouldn't recommend this or the Holtz text. I would recommend just picking up a foundation engineering text, because for people in this group, CLEARLY you all already know the basics. This is meant for the "basics" of soil mechanics. Don't say the foundation engineering text is basic, because it simply builds on this text content.

So, for those of you who are rating this book low, stop that and go ahead be the condescending prick your childish stanford phd ego wants to be and rate it low, because all you're doing it misleading the novices!

See all 21 customer reviews...

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Kamis, 28 Agustus 2014

[Z286.Ebook] Download PDF Arrival (Stories of Your Life MTI), by Ted Chiang

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Arrival (Stories of Your Life MTI), by Ted Chiang

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Arrival (Stories of Your Life MTI), by Ted Chiang

Previously published as Stories of Your Life and Others. Includes "Story Of Your Life," the basis for the major motion picture Arrival, starring Amy Adams, Forest Whitaker, Jeremy Renner, and directed by Denis Villeneuve.

"Shining, haunting, mind-blowing tales . . . Ted Chiang is so exhilarating, so original, so stylish he just leaves you speechless." —Junot D�az�

Ted Chiang has long been known as one of the most powerful science fiction writers working today.�Offering readers the dual delights of the very strange and the heartbreakingly familiar,�Arrival�presents characters who must confront sudden change. In "Story of Your Life," which provides the basis for the film�Arrival,�alien lifeforms suddenly appear on Earth. When a linguist is brought in to help communicate with them and discern their intentions, her new knowledge of their language and its nonlinear structure allows her to see future events and all the joy and pain they may bring. In each story of this incredible collection, with sharp intelligence and humor, Ted Chiang examines what it means to be alive in a world marked by uncertainty, but also by wonder.

  • Sales Rank: #1338 in eBooks
  • Published on: 2016-11-01
  • Released on: 2016-11-01
  • Format: Kindle eBook

Review
“Shining, haunting, mind-blowing tales . . . this collection is a pure marvel. Chiang is so exhilarating so original so stylish he just leaves you speechless. I always suggest a person read at least 52 books a year for proper mental functioning but if you only have time for one, be at peace: you found it.” —Junot D�az, author of�The Brief Wondrous Life of Oscar Wao

“Meticulously pieced together, utterly thought through, Chiang’s stories emerge slowly . . . but with the perfection of slow-growing crystal.” —Lev Grossman, Best of the Decade: Science Fiction and Fantasy, Techland.com

"Ted Chiang is one of the best and smartest writers working today. If you don't know his name, let's fix that. Now."�—Karen Joy Fowler, author of�We Are All Completely Beside Ourselves

"Ted Chiang astonishes. You must read him."�—Kelly Link, author of�Get in Trouble

“United by a humane intelligence that speaks very directly to the reader, and makes us experience each story with immediacy and Chiang’s calm passion.” —China Mieville,�The Guardian

“Ted is a national treasure . . . each of those stories is a goddamned jewel.” —Cory Doctorow, BoingBoing

“Confirms that blending science and fine art at this length can produce touching works, tales as intimate as our own blood cells, with the structural strength of just-discovered industrial alloys.” —Seattle Times

“Chiang derides lazy thinking, weasels it out of its hiding place, and leaves it cowering.” —Washington Post

“Essential. You won’t know SF if you don’t read Ted Chiang.” —Greg Bear

“Chiang writes seldom, but his almost unfathomably wonderful stories tick away with the precision of a Swiss watch—and explode in your awareness with shocking, devastating force.” —Kirkus Reviews�(Starred Review)

“The first must-read SF book of the year.” —Publishers Weekly�(Starred Review)

“He puts the science back in science fiction—brilliantly.” —Booklist�(Starred Review)

About the Author
Ted Chiang was born in Port Jefferson, New York, and holds a degree in computer science. In 1989 he attended the Clarion Science Fiction and Fantasy Writer’s Workshop. His fiction has won four Hugo, four Nebula, and four Locus awards, and he is the recipient of the John W. Campbell Award for Best New Writer and the Theodore Sturgeon Memorial Award.�Stories of Your Life and Others�has been translated into ten languages. He lives near Seattle, Washington.

Excerpt. � Reprinted by permission. All rights reserved.
STORY OF YOUR LIFE


Your father is about to ask me the question. This is the most important moment in our lives, and I want to pay attention, note every detail. Your dad and I have just come back from an evening out, dinner and a show; it’s after midnight. We came out onto the patio to look at the full moon; then I told your dad I wanted to dance, so he humors me and now we’re slow-dancing, a pair of thirtysomethings swaying back and forth in the moonlight like kids. I don’t feel the night chill at all. And then your dad says, “Do you want to make a baby?”

Right now your dad and I have been married for about two years, living on Ellis Avenue; when we move out you’ll still be too young to remember the house, but we’ll show you pictures of it, tell you stories about it. I’d love to tell you the story of this evening, the night you’re conceived, but the right time to do that would be when you’re ready to have children of your own, and we’ll never get that chance.�

Telling it to you any earlier wouldn’t do any good; for most of your life you won’t sit still to hear such a romantic -- you’d say sappy -- story. I remember the scenario of your origin you’ll suggest when you’re twelve.�

“The only reason you had me was so you could get a maid you wouldn’t have to pay,” you’ll say bitterly, dragging the vacuum cleaner out of the closet.

“That’s right,” I’ll say. “Thirteen years ago I knew the carpets would need vacuuming around now, and having a baby seemed to be the cheapest and easiest way to get the job done. Now kindly get on with it.”

“If you weren’t my mother, this would be illegal,” you’ll say, seething as you unwind the power cord and plug it into the wall outlet.�

That will be in the house on Belmont Street. I’ll live to see strangers occupy both houses: the one you’re conceived in and the one you grow up in. Your dad and I will sell the first a couple years after your arrival. I’ll sell the second shortly after your departure. By then Nelson and I will have moved into our farmhouse, and your dad will be living with what’s-her-name.�

I know how this story ends; I think about it a lot. I also think a lot about how it began, just a few years ago, when ships appeared in orbit and artifacts appeared in meadows. The government said next to nothing about them, while the tabloids said every possible thing.�

And then I got a phone call, a request for a meeting.�

* * *

I spotted them waiting in the hallway, outside my office. They made an odd couple; one wore a military uniform and a crewcut, and carried an aluminum briefcase. He seemed to be assessing his surroundings with a critical eye. The other one was easily identifiable as an academic: full beard and mustache, wearing corduroy. He was browsing through the overlapping sheets stapled to a bulletin board nearby.�

“Colonel Weber, I presume?” I shook hands with the soldier. “Louise Banks.”

“Dr. Banks. Thank you for taking the time to speak with us,” he said.�

“Not at all; any excuse to avoid the faculty meeting.”

Colonel Weber indicated his companion. “This is Dr. Gary Donnelly, the physicist I mentioned when we spoke on the phone.”

“Call me Gary,” he said as we shook hands. “I’m anxious to hear what you have to say.”
We entered my office. I moved a couple of stacks of books off the second guest chair, and we all sat down. “You said you wanted me to listen to a recording. I presume this has something to do with the aliens?”

“All I can offer is the recording,” said Colonel Weber.

“Okay, let’s hear it.”

Colonel Weber took a tape machine out of his briefcase and pressed play. The recording sounded vaguely like that of a wet dog shaking the water out of its fur.�

“What do you make of that?” he asked.�

I withheld my comparison to a wet dog. “What was the context in which this recording was made?”

“I’m not at liberty to say.”

“It would help me interpret those sounds. Could you see the alien while it was speaking? Was it doing anything at the time?”�

“The recording is all I can offer.”

“You won’t be giving anything away if you tell me that you’ve seen the aliens; the public’s assumed you have.”�

Colonel Weber wasn’t budging. “Do you have any opinion about its linguistic properties?” he asked.

“Well, it’s clear that their vocal tract is substantially different from a human vocal tract. I assume that these aliens don’t look like humans?”

The colonel was about to say something noncommittal when Gary Donelly asked, “Can you make any guesses based on the tape?”�

“Not really. It doesn’t sound like they’re using a larynx to make those sounds, but that doesn’t tell me what they look like.”

“Anything--is there anything else you can tell us?” asked Colonel Weber.�

I could see he wasn’t accustomed to consulting a civilian. “Only that establishing communications is going to be really difficult because of the difference in anatomy. They’re almost certainly using sounds that the human vocal tract can’t reproduce, and maybe sounds that the human ear can’t distinguish.”

“You mean infra- or ultrasonic frequencies?” asked Gary Donelly.

“Not specifically. I just mean that the human auditory system isn’t an absolute acoustic instrument; it’s optimized to recognize the sounds that a human larynx makes. With an alien vocal system, all bets are off.” I shrugged. “Maybe�we’ll be able to hear the difference between alien phonemes, given enough practice, but it’s possible our ears simply can’t recognize the distinctions they consider meaningful. In that case we’d need a sound spectrograph to know what an alien is saying.”

Colonel Weber asked, “Suppose I gave you an hour’s worth of recordings; how long would it take you to determine if we need this sound spectrograph or not?”

“I couldn’t determine that with just a recording no matter how much time I had. I’d need to talk with the aliens directly.”

The colonel shook his head. “Not possible.”

I tried to break it to him gently. “That’s your call, of course. But the only way to learn an unknown language is to interact with a native speaker, and by that I mean asking questions, holding a conversation, that sort of thing. Without that, it’s simply not possible. So if you want to learn the aliens’ language, someone with training in field linguistics -- whether it’s me or someone else -- will have to talk with an alien. Recordings alone aren’t sufficient.”
Colonel Weber frowned. “You seem to be implying that no alien could have learned human languages by monitoring our broadcasts.”

“I doubt it. They’d need instructional material specifically designed to teach human languages to nonhumans. Either that, or interaction with a human. If they had either of those, they could learn a lot from TV, but otherwise, they wouldn’t have a starting point.”
The colonel clearly found this interesting; evidently his philosophy was, the less the aliens knew, the better. Gary Donnelly read the colonel’s expression too and rolled his eyes. I suppressed a smile.�

Then Colonel Weber asked, “Suppose you were learning a new language by talking to its speakers; could you do it without teaching them English?”

“That would depend on how cooperative the native speakers were. They’d almost certainly pick up bits and pieces while I’m learning their language, but it wouldn’t have to be much if they’re willing to teach. On the other hand, if they’d rather learn English than teach us their language, that would make things far more difficult.”�

The colonel nodded. “I’ll get back to you on this matter.”

* * *

The request for that meeting was perhaps the second most momentous phone call in my life. The first, of course, will be the one from Mountain Rescue. At that point your dad and I will be speaking to each other maybe once a year, tops. After I get that phone call, though, the first thing I’ll do will be to call your father.�

He and I will drive out together to perform the identification, a long silent car ride. I remember the morgue, all tile and stainless steel, the hum of refrigeration and smell of antiseptic. An orderly will pull the sheet back to reveal your face. Your face will look wrong somehow, but I’ll know it’s you.�

“Yes, that’s her,” I’ll say. “She’s mine.”

You’ll be twenty-five then.

* * *
�����������
The MP checked my badge, made a notation on his clipboard, and opened the gate; I drove the off-road vehicle into the encampment, a small village of tents pitched by the Army in a farmer’s sun-scorched pasture. At the center of the encampment was one of the alien devices, nicknamed “looking glasses.”

According to the briefings I’d attended, there were nine of these in the United States, one hundred and twelve in the world. The looking glasses acted as two-way communication devices, presumably with the ships in orbit. No one knew why the aliens wouldn’t talk to us in person; fear of cooties, maybe. A team of scientists, including a physicist and a linguist, was assigned to each looking glass; Gary Donnelly and I were on this one.�

Gary was waiting for me in the parking area. We navigated a circular maze of concrete barricades until we reached the large tent that covered the looking glass itself. In front of the tent was an equipment cart loaded with goodies borrowed from the school’s phonology lab; I had sent it ahead for inspection by the Army.�

Also outside the tent were three tripod-mounted video cameras whose lenses peered, through windows in the fabric wall, into the main room. Everything Gary and I did would be reviewed by countless others, including military intelligence. In addition we would each send daily reports, of which mine had to include estimates on how much English I thought the aliens could understand.
Gary held open the tent flap and gestured for me to enter. “Step right up,” he said, circus barker-style. “Marvel at creatures the likes of which have never been seen on God’s green earth.”
“And all for one slim dime,” I murmured, walking through the door. At the moment the looking glass was inactive, resembling a semicircular mirror over ten feet high and twenty feet across. On the brown grass in front of the looking glass, an arc of white spray paint outlined the activation area. Currently the area contained only a table, two folding chairs, and a power strip with a cord leading to a generator outside. The buzz of fluorescent lamps, hung from poles along the edge of the room, commingled with the buzz of flies in the sweltering heat.�

Gary and I looked at each other, and then began pushing the cart of equipment up to the table. As we crossed the paint line, the looking glass appeared to grow transparent; it was as if someone was slowly raising the illumination behind tinted glass. The illusion of depth was uncanny; I felt I could walk right into it. Once the looking glass was fully lit it resembled a life-size diorama of a semicircular room. The room contained a few large objects that might have been furniture, but no aliens. There was a door in the curved rear wall.�

We busied ourselves connecting everything together: microphone, sound spectrograph, portable computer, and speaker. As we worked, I frequently glanced at the looking glass, anticipating the aliens’ arrival. Even so I jumped when one of them entered.

It looked like a barrel suspended at the intersection of seven limbs. It was radially symmetric, and any of its limbs could serve as an arm or a leg. The one in front of me was walking around on four legs, three non-adjacent arms curled up at its sides. Gary called them “heptapods.”
I’d been shown videotapes, but I still gawked. Its limbs had no distinct joints; anatomists guessed they might be supported by vertebral columns. Whatever their underlying structure, the heptapod’s limbs conspired to move it in a disconcertingly fluid manner. Its “torso” rode atop the rippling limbs as smoothly as a hovercraft.�

Seven lidless eyes ringed the top of the heptapod’s body. It walked back to the doorway from which it entered, made a brief sputtering sound, and returned to the center of the room followed by another heptapod; at no point did it ever turn around. Eerie, but logical; with eyes on all sides, any direction might as well be “forward.”�

Gary had been watching my reaction. “Ready?” he asked.�

I took a deep breath. “Ready enough.” I’d done plenty of fieldwork before, in the Amazon, but it had always been a bilingual procedure: either my informants knew some Portuguese, which I could use, or I’d previously gotten an intro to their language from the local missionaries. This would be my first attempt at conducting a true monolingual discovery procedure. It was straightforward enough in theory, though.�

I walked up to the looking glass and a heptapod on the other side did the same. The image was so real that my skin crawled. I could see the texture of its gray skin, like corduroy ridges arranged in whorls and loops. There was no smell at all from the looking glass, which somehow made the situation stranger.�

I pointed to myself and said slowly, “Human.” Then I pointed to Gary. “Human.” Then I pointed at each heptapod and said, “What are you?”�

One of the heptapods pointed to itself with one limb, the four terminal digits pressed together. That was lucky. In some cultures a person pointed with his chin; if the heptapod hadn’t used one of its limbs, I wouldn’t have known what gesture to look for. I heard a brief fluttering sound, and saw a puckered orifice at the top of its body vibrate; it was talking. Then it pointed to its companion and fluttered again.

I went back to my computer; on its screen were two virtually identical spectrographs representing the fluttering sounds. I marked a sample for playback. I pointed to myself and said “Human” again, and did the same with Gary. Then I pointed to the heptapod, and played back the flutter on the speaker.�

The heptapod fluttered some more. The second half of the spectrograph for this utterance looked like a repetition: call the previous utterances [flutter1], then this one was [flutter2flutter1].�
I pointed at something that might have been a heptapod chair. “What is that?”

The heptapod paused, and then pointed at the “chair” and talked some more. The spectrograph for this differed distinctly from that of the earlier sounds: [flutter3]. Once again, I pointed to the “chair” while playing back [flutter3].

The heptapod replied; judging by the spectrograph, it looked like [flutter3flutter2]. Optimistic interpretation: the heptapod was confirming my utterances as correct, which implied compatibility between heptapod and human patterns of discourse. Pessimistic interpretation: it had a nagging cough.�

At my computer I delimited certain sections of the spectrograph and typed in a tentative gloss for each: “heptapod” for [flutter1], “yes” for [flutter2], and “chair” for [flutter3]. Then I typed “Language: Heptapod A” as a heading for all the utterances.�

Gary watched what I was typing. “What’s the ‘A’ for?”

“It just distinguishes this language from any other ones the heptapods might use,” I said. He nodded.

“Now let’s try something, just for laughs.” I pointed at each heptapod and tried to mimic the sound of [flutter1], “heptapod.” After a long pause, the first heptapod said something and then the second one said something else, neither of whose spectrographs resembled anything said before. I couldn’t tell if they were speaking to each other or to me since they had no faces to turn. I tried pronouncing [flutter1] again, but there was no reaction.�

“Not even close,” I grumbled.

“I’m impressed you can make sounds like that at all,” said Gary.

“You should hear my moose call. Sends them running.”�

I tried again a few more times, but neither heptapod responded with anything I could recognize. Only when I replayed the recording of the heptapod’s pronunciation did I get a confirmation; the heptapod replied with [flutter2], “yes.”�

“So we’re stuck with using recordings?” asked Gary.

I nodded. “At least temporarily.”

“So now what?”

“Now we make sure it hasn’t actually been saying ‘aren’t they cute’ or ‘look what they’re doing now.’ Then we see if we can identify any of these words when that other heptapod pronounces them.” I gestured for him to have a seat. “Get comfortable; this’ll take a while.”

Most helpful customer reviews

16 of 16 people found the following review helpful.
Thoughtful Reading
By Dave Carver
I bought this book after the story came to my attention from all of the coming attractions on TV now for this movie. I'm glad as the book offers so much more than just the single story. All of The stories are quite thought-provoking.

From the biblical to somewhat steam punk-ish to the ultimate social justice warrior situation, each story captures the imagination. I am only hopeful that the movie Arrival can live up to the story. Enjoy!

28 of 29 people found the following review helpful.
Remembering the future
By J. Chambers
Note: This collection of eight short stories by sci-fi author Ted Chiang was originally published as Stories of Your Life. One of the short stories, "Story Of Your Life," is the basis for the motion picture "Arrival," which will be released in the United States on November 11, 2016. I've seen the trailer and read a plot summary of the movie, and it appears that the filmmakers have taken some liberties with the story. In any case, I'm looking forward to seeing the film.

Here is my earlier review of Stories of Your Life:
If you've never read any of Ted Chiang's stories, you've missed some of the world's best contemporary science fiction. Stories of Your Life is a remarkable collection of eight stories that were separately published, with several of them winning major awards. The title story, "Story of Your Life," is one of the most original, thought-provoking stories that I've ever read. It's not a casual read, with its mathematical and physics references, but the totally unexpected but logical ending is well worth staying with it. It's definitely my favorite story, but all eight stories are outstanding.

0 of 0 people found the following review helpful.
what I liked was that language written is linear and the other ...
By Amazon Customer
The rabbit is ready to eat....what I liked was that language written is linear and the other beings communicate past and present as a whole. While the interactions with her daughter seemed to already have happened. They would happen.

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Rabu, 27 Agustus 2014

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Multislice Computed Tomography: A Practical Approach to Clinical Protools., by Paul M. Silverman MD

From the author of our best-selling handbook on helical (spiral) CT comes a brand-new, indispensable, practical guide to the next generation of technology--multislice (or multidetector) CT. Dr. Silverman and his renowned colleagues present detailed, easy-to-follow scanning protocols for all areas of the body, for pediatric examinations, and for three-dimensional imaging...and explain the principles behind the protocols.The opening chapter explains the practical physics of multislice CT and the vast capabilities of this technology as compared to single-slice CT. Subsequent chapters cover the head and neck; chest; abdomen and pelvis; musculoskeletal system; multislice imaging in pediatrics; and three-dimensional imaging. Each chapter features a comprehensive list of protocols for specific clinical indications. Coverage of three-dimensional imaging is extensive because multislice scanning significantly broadens these applications.The protocols are presented in the same user-friendly outline format as in Dr. Silverman's other handbook--clinical indication(s); scanner settings; oral contrast agents; phase of respiration; slice thickness; pitch; exposure time; reconstruction interval; superior and inferior exam extent; intravenous contrast; and pertinent comments and "pearls." Images on the page opposite each protocol show the quality of scans that can be obtained. The author has unified the terminologies of different equipment vendors so that the protocols can be used with equipment from any manufacturer.

  • Sales Rank: #1851514 in Books
  • Brand: Brand: Lippincott Williams Wilkins
  • Published on: 2002-06-15
  • Original language: English
  • Number of items: 1
  • Dimensions: .65" h x 8.36" w x 9.94" l, 1.75 pounds
  • Binding: Paperback
  • 216 pages
Features
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0 of 1 people found the following review helpful.
Five Stars
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Lightly Used Out of Print Softcover Edition published by Yale University Press, New Haven, CT., 1993, 260 pages (illustrated) in Very Good Condition. Cover has slight shelf-wear, minor scuffing. Text is clean and unmarked with no rips, tears, creases or loose pages. There is a turned-down corner on the back End Sheet, rest of the text is clean and sharp. Spine is firm and uncreased but with a slight tilt. An important pioneer of the artform that became known as photomontage. Hoch (November 1, 1889 to May 31, 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage. H�ch was the lone woman among the Berlin Dada group, however she was dismayed to the Dadaists lip service to women's emancipation and her work echos her feelings that there were difference between women in media and reality. Marriage did not escape her criticism. She depicted brides as mannequins and children, reflecting the idea that women are not seen as complete people and have little control over their lives. A long-time German resident, her work fell out of favor after WWII although she continued to produce her photomontages and exhibit them internationally until her death in 1978. The Berlin Dadaists - the "monteurs" (mechanics) - would use scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media. A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press. We ship within 24 hours of your purchase with a Delivery Confirmation.

  • Sales Rank: #1934557 in Books
  • Published on: 1993
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.08" h x .59" w x 7.24" l,
  • Binding: Paperback
  • 278 pages

Most helpful customer reviews

17 of 22 people found the following review helpful.
Amazing book
By A Customer
This is a wonderful resource for information on Hannah Hoch, and Berlin dada. Great account of Hannah's life,
and a complete collection of her work.

1 of 1 people found the following review helpful.
Five Stars
By Bernadette Hackett
Everyone who loves Hoch's work should own this book.

5 of 43 people found the following review helpful.
Hannah Hoch, Artist
By A Customer
I admit I don't know much about art, that's why I read this book. I learned a lot about the Dada movement and also about Ms. Hoch. I'm still not sure if she is much of an artist, but I know she makes a damn fine sandwich.

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Rabu, 20 Agustus 2014

[E387.Ebook] Free Ebook Plato's Counterfeit Sophists (Hellenic Studies Series), by Hakan Tell

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Plato's Counterfeit Sophists (Hellenic Studies Series), by Hakan Tell

This book explores the place of the sophists within the Greek wisdom tradition, and argues against their almost universal exclusion from serious intellectual traditions. By studying the sophists against the backdrop of the archaic Greek institutions of wisdom, it is possible to detect considerable intellectual overlap between them and their predecessors. This book explores the continuity of this tradition, suggesting that the sophists’ intellectual balkanization in modern scholarship, particularly their low standing in comparison to the Presocratics, Platonists, and Aristotelians, is a direct result of Plato’s condemnation of them and their practices. This book thus seeks to offer a revised history of the development of Greek philosophy, as well as of the potential—yet never realized—courses it might have followed.

  • Sales Rank: #2652932 in Books
  • Published on: 2011-05-09
  • Released on: 2011-06-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .40" w x 5.98" l, .56 pounds
  • Binding: Paperback
  • 186 pages

About the Author
Hakan Tell is Assistant Professor of Classics at Dartmouth College.

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1 of 2 people found the following review helpful.
Five Stars
By TM
Great!

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Kamis, 14 Agustus 2014

[Y998.Ebook] Download Ebook Christ In The Vessel, by Charles Henry Mackintosh, C. H. Mackintosh

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Christ In The Vessel, by Charles Henry Mackintosh, C. H. Mackintosh

"There is nothing more absurd and irrational than unbelief when we come to look at it calmly." - "The unbelieving heart ... looks only at the circumstances, and leaves God out. Faith, on the contrary, looks only at God, and leaves circumstances out." - "Faith delights in man's extremity, simply because it is God's opportunity." - "The more genuine faith is tried, the brighter it shines ..."

"Man's extremity is God's opportunity." This is a very familiar saying. It often passes among us; and, no doubt, we fully believe it; but yet, when we find ourselves brought to our extremity, we are often very little prepared to count on God's opportunity. It is one thing to utter or hearken to a truth, and another thing to realize the power of that truth. It is one thing, when sailing over a calm sea, to speak of God's ability to keep us in the storm, and it is another thing altogether to prove that ability when the storm is actually raging around us. And yet God is ever the same. In the storm and in the calm, in sickness and in health, in pressure and in ease, in poverty and in abundance, "the same yesterday, and to-day, and forever" — the same grand reality for faith to lean upon, cling to and draw upon, at all times and under all circumstances.

  • Sales Rank: #1155912 in eBooks
  • Published on: 2011-06-29
  • Released on: 2011-06-29
  • Format: Kindle eBook

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2 of 2 people found the following review helpful.
A LOST TEACHING IN THE CHURCH TODAY!
By F. Wesley Clem
Even true believers are quick to conclude that the only reason for the sacrifice of Christ was to ease their consciences about the sins they commit and give them some prospect of being in God's presence some day after they depart this life.

This heart searching treatment of the truth that Christ is the new life of the believer is a neglected teaching in the church today, even though the Bible confirms it. The ramificaitons of this truth are set forth clearly in this book. Read it as if the quality of your Christian life depended on it!

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Senin, 11 Agustus 2014

[T526.Ebook] Download Ebook Art of the Japanese Folding Screen, by Oliver Impey

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Art of the Japanese Folding Screen, by Oliver Impey

The design of the Japanese folding screen is one of the great art devices in decorative arts. Its history, schools of painting, the artists are explored in this elegant publication wherein the golds, reds and greens reflect as accurately as possible on the printed page the actual screens.

  • Sales Rank: #2879632 in Books
  • Brand: Brand: Ashmolean Museum
  • Published on: 2007-01-25
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.96" h x .38" w x 9.44" l, 1.40 pounds
  • Binding: Paperback
  • 111 pages
Features
  • Used Book in Good Condition

About the Author
Oliver Impey

Most helpful customer reviews

10 of 10 people found the following review helpful.
My Introduction...
By artfulusedbooks
This book discusses the art of the Japanese folding screen using the 23 screens in the Victoria & Albert Museum in London & the Ashmoleon Museum in Oxford. In the 23-page introduction, the author gives a brief history of painted screens & a look at some of the conventions of their use & interpretation. He also briefly discusses the major painters & their schools. The rest of this slim volume is devoted to color reproductions of ALL the screens, with commentary explaining the subject matter & stylistic features.

A few years ago I decided I would, just for fun, learn something about Japanese screens. I began with THIS book & Masterpieces of Japanese Screen Painting: The American Collections. From this book I learned the function of folding screens in Japanese architecture & the best vantage point for viewing them. Rather than standing up, a kneeling position seated on one's feet is the customary position for viewing the screen. From that point of view, the center of the screen is at eye-level. On p. 13 Impey discusses the system of vertical perspective that is common in screen paintings--a scene is viewed as if climbing a ladder & looking down. The screens in this book present a variety of subjects: many-figured genre scenes, illustrations of traditional literary stories, landscapes, flowers, & animals.

P.S. I can also recommend Designing Nature: The Rinpa Aesthetic in Japanese Art (Metropolitan Museum of Art) and Beyond Golden Clouds: Japanese Screens from the Art Institute of Chicago and the Saint Louis Art Museum.

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Sabtu, 09 Agustus 2014

[Q169.Ebook] Ebook Free Photoshop Color Correction, by Michael Kieran

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Photoshop Color Correction, by Michael Kieran

It's always been possible to produce great-looking images in Photoshop. However, Color Correction in Adobe Photoshop 7.0 makes it easy. This book is the distillation of color expert Michael Kieran's ten years of experience in delivering workshops on color correction and color management. It includes tips and tricks that will enable Photoshop users to improve the detail, color balance, and sharpness of any photograph, regardless of its source, by applying color improvements you can see on both the computer screen and in print. The emphasis of this book lies in its visual techniques, with plenty of photographs and screen shots to illustrate how color correction really happens. Readers can deepen their understanding by following along with the sample images provided on the accompanying CD-ROM.

  • Sales Rank: #2490566 in Books
  • Published on: 2003
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.20" h x .82" w x 7.42" l, 1.83 pounds
  • Binding: Paperback
  • 384 pages

From the Back Cover
It's always been possible to produce great-looking images in Photoshop. But Photoshop Color Correction makes it easy. This book is the distillation of color expert Michael Kieran's 10 years of experience in delivering workshops on color correction and color management. It includes tips and tricks that will enable you to improve the detail, color balance, and sharpness of any photograph, regardless of its source, by applying color improvements you can see on both the computer screen and in print. The emphasis of this book lies in its visual techniques, with plenty of photographs and screen shots to illustrate how color correction really happens. You can further deepen your understanding by following along with the sample images provided on the accompanying CD-ROM.

About the Author

Michael Kieran is a leading authority on electronic color, and the author of three books and more than 100 magazine articles on color technology. More than 50,000 people have attended his one-day seminars on color scanning, color printing, color correction and color management systems. Michael is vice-president of Services for E-Color, Inc. in San Francisco, where he is responsible for a team of consultants providing color management and color correction services. He is the author of Understanding Desktop Color (Peachpit Press, 1994) and Color Scanning Handbook (DPA Press, 1997)

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0 of 0 people found the following review helpful.
Very clear and helpful
By Jay Bragg
This book is an excellent source for understanding color science and how to correct color using Adobe Photoshop. It includes easy-to-sue methods and tips I found very useful in everyday image correcting.

0 of 6 people found the following review helpful.
Photoshop Color Correction
By Stephen H. Horton Sr.
I rated this book 5 stars but I haven't had a chance to read it yet. I rated it based on the authors reputation.

33 of 34 people found the following review helpful.
Excellent primer on how to get better color from your comput
By Daniel Sroka
I have spent many years doing electronic prepress, color correction, and design, and one question I get repeatedly asked is "how do I get better color from my computer?". Now, I can point them in the direction of this excellent book.
Mr. Kieran provides a solid foundation of what color correction is, and why it is necessary. His first section on "Color Fundamentals" reminds me of the old "Pocket Pal" book every designer lived by, except better written. This introduction gives you a solid and understandable overview of color correction, its terms, and its purpose. Building on this foundation (don't skip it!), the book then goes on to a thorough explanation of how to use Photoshop to improve the color, tone, and quality of your digital photos.
The book is framed by what the author calls the "essentials of color correction" -- highlights and shadows, netral tones, contrast, and sharpening. I was very happy to see this organization because it mimics the process I use every time I professionally work on a photo. Mr. Kieran goes into a great amount of detail for each of these "essential" steps. He begins each section with a thorough description of the "why", then step-by-step explains the "how". The book is crammed with color photographs, clearly illustrating both technical issues like how histograms relate to changes in the image, as well as demonstrating each step of the correction process.
Two very practical sections stand out: Mr Kieran gives a great overview of all of the ways you can convert a color photo to black and white, and all of the ways you can sharpen a photo (two things I am constantly asked!). There as so many ways to do these basic tasks, it's great to have a solid description, complete with illustrations, and explanations of when to use one method over the others.
In conclusion, a good solid practical book - one that anyone serious about good photos should give a read.

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