Senin, 29 Maret 2010

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Close Range: Wyoming Stories, by E. Annie Proulx

  • Sales Rank: #3636066 in Books
  • Published on: 1999
  • Format: Import
  • Original language: English
  • Number of items: 1
  • Binding: Paperback
  • 320 pages

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Selasa, 23 Maret 2010

[M976.Ebook] Get Free Ebook Getting to Yes: Negotiating Agreement Without Giving In, by Roger Fisher, William L. Ury, Bruce Patton

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Getting to Yes: Negotiating Agreement Without Giving In, by Roger Fisher, William L. Ury, Bruce Patton

The key text on problem-solving negotiation-updated and revised

Since its original publication nearly thirty years ago, Getting to Yes has helped millions of people learn a better way to negotiate. One of the primary business texts of the modern era, it is based on the work of the Harvard Negotiation Project, a group that deals with all levels of negotiation and conflict resolution.

Getting to Yes offers a proven, step-by-step strategy for coming to mutually acceptable agreements in every sort of conflict. Thoroughly updated and revised, it offers readers a straight- forward, universally applicable method for negotiating personal and professional disputes without getting angry-or getting taken.

  • Sales Rank: #428 in Books
  • Brand: Baker and Taylor
  • Model: 16798902
  • Published on: 2011-05-03
  • Released on: 2011-05-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.70" h x .60" w x 5.10" l, .40 pounds
  • Binding: Paperback
  • 240 pages

About the Author
Roger Fisher is the Samuel Williston Professor of Law Emeritus and director emeritus of the Harvard Negotiation Project.

William Ury cofounded the Harvard Negotiation Project and is the award-winning author of several books on negotiation.

Bruce Patton is cofounder and Distinguished Fellow of the Harvard Negotiation Project and the author of Difficult Conversations, a New York Times bestseller.

Excerpt. © Reprinted by permission. All rights reserved.
 Chapter 4: Invent Options for Mutual Gain

The case of Israel and Egypt negotiating over who should keep how much of the Sinai Peninsula illustrates both a major problem in negotiation and a key opportunity.

the pie that leaves both parties satisfied. Often you are negotiating along a single dimension, such as the amount of territory, the price of a car, the length of a lease on an apartment, or the size of a commission on a sale. At other times you face what appears to be an either/or choice that is either markedly favorable to you or to the other side. In a divorce settlement, who gets the house? Who gets custody of the children? You may see the choice as one between winning and losing- and neither side will agree to lose. Even if you do win and get the car for $12,000, the lease for five years, or the house and kids, you have a sinking feeling that they will not let you forget it. Whatever the situation, your choices seem limited.

option like a demilitarized Sinai can often make the difference between deadlock and agreement. One lawyer we know attributes his success directly to his ability to invent solutions advantageous to both his client and the other side. He expands the pie before dividing it. Skill at inventing options is one of the most useful assets a negotiator can have.

Yet all too often negotiators end up like the proverbial children who quarreled over an orange. After they finally agreed to divide the orange in half, the first child took one half, ate the fruit, and threw away the peel, while the other threw away. the fruit and used the peel from the second half in baking a cake. All too often negotiators "leave money on the table" - they fail to reach agreement when they might have, or the agreement they do reach could have been better for each side. Too many negotiations end up with half an orange for each side instead of the whole fruit for one and the whole peel for the other. Why?

DIAGNOSIS

As valuable as it is to have many options, people involved in a negotiation rarely sense a need for them. In a dispute, people usually believe that they know the right answer - their view should prevail. In a contract negotiation they are equally likely to believe that their offer is reasonable and should be adopted, perhaps with some adjustment in the price. All available answers appear to lie along a straight line between their position and yours. Often the only creative thinking shown is to suggest splitting the difference.

inventing of an abundance of options: (1) premature judgment; (2) searching for the single answer; (3) the assumption of a fixed pie; and (4) thinking that "solving their problem is their problem." In order to overcome these constraints, you need to understand them.

Premature judgment

Inventing options does not come naturally. Not inventing is the normal state of affairs, even when you are outside a stressful negotiation. If you were asked to name the one person in the world most deserving of the Nobel Peace Prize, any answer you might start to propose would immediately encounter your reservations and doubts. How could you be sure that that person was the most deserving? Your mind might well go blank, or you might throw out a few answers that would reflect conventional thinking: "Well, maybe the Pope, or the President."

pounce on the drawbacks of any new idea. Judgment hinders imagination.

sense is likely to be sharper. Practical negotiation appears to call for practical thinking, not wild ideas.

on the other side. Suppose you are negotiating with your boss over your salary for the coming year. You have asked for a $4,000 raise; your boss has offered you $1,500, a figure that you have indicated is unsatisfactory. In a tense situation like this you are not likely to start inventing imaginative solutions. You may fear that if you suggest some bright half-baked idea like taking half the increase in a raise and half in additional benefits, you might look foolish. Your boss might say, "Be serious. You know better than that. It would upset company policy. I am surprised. that you even suggested it." If on the spur of the moment you invent a possible option of spreading out the raise over time, he may take it as an offer: "I'm prepared to start negotiating on that basis." Since he may take whatever you say as a commitment, you will think twice before saying anything.

piece of information that will jeopardize your bargaining position. If you should suggest, for example, that the company help finance the house you are about to buy, your boss may conclude that you intend to stay and that you will in the end accept any raise in salary he is prepared to offer.

Searching for the single answer

In most people's minds, inventing simply is not part of the negotiating process. People see their job as narrowing the gap between positions, not broadening the options available. They tend to think, "We're having a hard enough time agreeing as it is. The last thing we need is a bunch of different ideas." Since the end product of negotiation is a single decision, they fear that freefloating discussion will only delay and confuse the process.

the second is premature closure. By looking from the outset for the single best answer, you are likely to short-circuit a wiser decision-making process in which you select from a large number of possible answers.

The assumption of a fixed pie

A third explanation for why there may be so few good options on the table is that each side sees the situation as essentially either/or - either I get what is in dispute or you do. A negotiation often appears to be a "fixed-sum" game; $100 more for you on the price of a car means $100 less for me. Why bother to invent if all the options are obvious and I can satisfy you only at my own expense?

Thinking that "solving their problem Is their problem"

A final obstacle to inventing realistic options lies in each side's concern with only its own immediate interests. For a negotiator to reach an agreement that meets his own self-interest he needs to develop a solution which also appeals to the self-interest of the other. Yet emotional involvement on one side of an issue makes it difficult to achieve the detachment necessary to think up wise ways of meeting the interests of both sides: "We've got enough problems of our own; they can look after theirs." There also frequently exists a psychological reluctance to accord any legitimacy to the views of the other side; it seems disloyal to think up ways to satisfy them. Shortsighted self- concern thus leads a negotiator to develop only partisan positions, partisan arguments, and one-sided solutions....

Most helpful customer reviews

107 of 108 people found the following review helpful.
Great Information, Could Use Better Layout
By Lisa Shea
The title of Fisher and Ury's book is Getting to Yes - Negotiating Agreement without Giving In. It's a case where the title clearly lays out what the book is about. In Getting to Yes the authors present, step by step, how to find your way to a win-win solution that helps meet your goals while at the same time preserving the relationship so that future negotiations also go smoothly.

This book was the assigned textbook for a college course I took on negotiation, but it's one of those fairly rare cases where the material that's useful for a college course is also immensely useful for off-the-street people in a variety of situations. This book avoids complicated jargon and long, droning background chapters. Instead, it plunges into helpful information to assist people in negotiating for a new car, negotiating issues with their landlords, and all the many ways we all negotiate for our position throughout life.

Negotiation isn't just for union leaders trying to avert a strike. All of us negotiate each day as we try to juggle our many roles. We negotiate with our co-workers over assignments. We negotiate with our family members over chores. In an ideal world all of those discussions would go quickly, smoothly, and with as little strife as possible.

Getting to Yes provided numerous helpful examples which made their points more easy to understand. It is so true that people tend to remember stories where they might not remember dry text. When I think about this book I do remember several of the stories clearly, and those help to represent the points the authors were making. The stories help remind me to focus on the issues when negotiating and to look for objective standards to work with.

The information presented is wonderful, and immediately useful in life.

On the down side, this is a new version of older material. The authors chose to keep the initial book in its original form and then add on additional information at the end. I appreciate for historical reasons why they wanted to do that. However, from a fresh reader point of view, I feel they should present an integrated whole which most clearly presents the full information. The way the book is laid out currently, you have to go back and forth to find all information on a given topic.

Also, the format is not laid out for easy reference. If they went more for a "dummies" style with an easy to scan layout, graphs and charts to quickly find and scan, and quick end-summaries, that would make this more useful as a reference book to keep on a shelf. Right now if I had an issue to handle it would be less than quick to grab the book and find the answer. I would have to wade through the book to figure out where to get the support I needed.

Still, I do recommend that everyone read this book at least once, to build their skills in negotiation. It's something we all have to do!

493 of 522 people found the following review helpful.
VERY BASIC INTRO TO NEGOTIATING
By Denis Benchimol Minev
This is the first book I ever read on negotiating, and at the time I found it extremely good. However, since then, I have read both Shell's "Bargaining for Advantage" and Cialdini's "Influence", and found those two books immensely better than Getting to Yes, for a few different reasons.
Number of stories - in Getting to Yes, the authors do not offer enough stories to burn the concepts into the reader's mind. I personally think stories are the best way to communicate something like negotiating.
Actual psychological concepts explained - Getting to Yes is a summary of findings, and it never explains why certain things work. Without a deep understanding, it is not clear when the concepts work and when they don't. Especially in Influence, you really get to understand how to persuade someone by remembering the core psych concepts.
If you are just looking for a quick intro to negotiating, this is a decent book. If you would like to actually understand people and how to influence them, this is too basic.

81 of 85 people found the following review helpful.
Critical & Fundamental Book on Negotiation
By Clovis
The book, GETTING TO YES, by Roger Fisher and William Ury is perhaps the most important book on negotiation I have ever read. I have personally benefitted from this book simply because I am even more aware of the importance of preparation and identifying shared interests and taking advantage of them. Respect, always respect, the other person's interests. More importantly, know them well.

Highlights:
The book is on principled negotiation, which is essentially negotiation on merits. The aim is to reach a wise agreement, defined as meeting the legitimate interests of all parties to the extent possible, resolving conflicting interests fairly, and ensuring the agreement is durable and takes community interests in account.

The factors of principled negotiation include:

PEOPLE: separting people from the issues/problems.
INTERESTS: focus on them, particularly mutual interests, and not on "positions." E.g., the expression of "you are in no position to negotiation" is absolutely absurd. One, it is an assumption unless the person stating that carefully prepared. Two, it can generally only hurt the person stating that, generating hostility and conflict. A principled negotiator probes interests, raises questions. The question, then, is "what are your interests in this deal?" and "Why do you suppose that is a fair proposal?"
PLANNING: a skilled negotiator will gather, organize, and weigh all information carefully relating to a negotiation. If there is one concept I could share with you, it is "prepare."
CRITERIA: prior to reaching an agreement, the parties should agree to using objective criteria to measure an agreement; these include market value, precedent, and so forth.
OPTIONS: generate a variety of options to reach an agreement. Envision what a successful outcome would be from the negotiation prior to negotiation, then generate several possibilities of satisfying everyone's interests to obtain the goal.

Specific Questions I had that were answered:
a) When personally attacked, what to do?
Control yourself, let the other side vent, then remain silent. Do not embarrass them, do not attack back.

b) More on this concept of "interests?"
First, find shared interests. Two, acknolwedge the other side's interests as a part of the whole system of negotiation. Share what your interests are pointedly, then provide your reasoning for reaching your proposal.

c) If the other side is way more powerful?
One must know her/his BATNA well. It is your Best Alternative to Negotiated Agreement (I think that is the correct acroynm). The better your BATNA is, the more power you have. If you have a very bad BATNA, you must realize that "how" you negotiate is extremely important. Your BATNA should be your measure against any proposal made by the other side. If your BATNA is better, then you obviously reject the proposal.

d) What if the other side is choleric, tricky, and applies pressures to force me into agreement?
You should first recognize the tactics being used. "Oh, this is the old good and bad cop routine." Then, expose it. Say, "excuse me, unless I am mistaken, you two are playing good cop and bad cop with me. Now, let's just focus on interests and reach a mutually satisfying agreement." If they put sun in your eyes, request to move. If your enviroment is hostile or discomforting, you have a right to request a change in setting. Most importantly, recognize them... do not be phased by them.

e) I am powerful, they are weak. How should/can I exploit them?
Resources do not make you a powerful negotiator. All the king's soldiers and all the king's men cannot make you a powerful negotiator, particularly if your socalled "power" will not impact the other side. It is best to focus on mutual interests and attempt to reach an agreement to satisfying them. Threating a person, mentioning your power will most-likely undermine your ability to reach agreement.

In conclusion, this book can be a benefit for all people. Why? It shows you how to take into account other people's interests to satisfy your own. It is crucial for individuals to terminate the concept that to "win" in negotiations is to take advantage of other people. To succeed in negotiation, it is not about exploiting people but getting what you want. Essentially, satisfying your interests; this book can show you how.

I hope the above was helpful,
Clovis

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Jumat, 19 Maret 2010

[V516.Ebook] Download No Nā Mamo: Traditional and Contemporary Hawaiian Beliefs and Practices, by Malcolm Naea Chun

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No Nā Mamo: Traditional and Contemporary Hawaiian Beliefs and Practices, by Malcolm Naea Chun

No Nā Mamo is an updated and enlarged compilation of books in the acclaimed Ka Wana series, published in 2005–2010. The books, revised and presented here as individual chapters, offer invaluable insights into the philosophy and way of life of Native Hawaiian culture:

Pono (right way of living)
Aloha (love and affection)
Welina (welcome and hospitality)
A‘o (education)
Ola (health and healing)
Ho‘oponopono (healing to make things right)
Ho‘omana (the sacred and spiritual)
Alaka‘i (leadership)
Kākā‘ōlelo (oratory)
Ho‘onohonoho (cultural management)
Kapu (gender roles)
Hewa (wrong way of living)

Readers both familiar and unfamiliar with Native Hawaiian traditions and practices will find much to reflect on as well as practical guidance and knowledge. Throughout Chun draws on first-hand accounts from early Hawaiian historians, early explorers and missionaries, and nineteenth-century Hawaiian language publications—as well as his own experience, gained from a lifetime of engagement with the language and culture. No Nā Mamo contains new and updated information throughout, a completely new chapter on Aloha, color illustrations, prefaces by the author and editor, a new Afterword, and an Appendix describing the challenges faced in creating this book.

  • Sales Rank: #788175 in eBooks
  • Published on: 2015-08-28
  • Released on: 2015-08-28
  • Format: Kindle eBook

From the Publisher
Early praise:
"The transformation of the Ka Wana Series represents a personal triumph for the author who, convinced of the necessity for greater public understanding of Hawaiian culture, devoted many years of research to rediscovering essential elements of the traditional world view of the native Hawaiian people and the cultural practices that gave form to that view. A key message in the book is this: To learn is to understand and to understand is to know how to navigate one's way through the intricate cultural pathways of the moment." --Professor Sidney Hirini Moko Mead, DCNZM, FRSNZ, Te Whare Wananga o Awanuiarangi, Whakatane, New Zealand

"Drawing on a rich and savvy mix of documentation, from ancient chants and the early writings of indigenous historians to explorers journals and twentieth-century scholars analyses, Malcolm Naea Chun gives the reader well-chosen excerpts from original materials, adding just the right brief commentaries of his own." --Dr. Ruth Dawson, University of Hawai`i

"In my indigenous educator preparation courses, No Na Mamo is an extremely valuable resource for students seeking to gain an understanding of the wisdom of our ancestors. Primary sources and insightful discussion offer profound insight into numerous aspects of mauli ola Hawai`i and serve to illuminate our work as educators." --Makalapua Alencastre, University of Hawai`i

About the Author
Malcolm Naea Chun has taught Hawaiian language and folklore and has worked as a cultural specialist and educator at the Office of Hawaiian Affairs, the Hawai`i State Department of Health, the Queen Lili`uokalani Children's Center, and, most recently, the Curriculum Research & Development Group (CRDG) at the College of Education, University of Hawai`i at Manoa in the Pihana Na Mamo Native Hawaiian Education program. His latest translations are the History of Kanalu by Benjamin K. Namakaokeahi and Davida Malo's Ka Mo`olelo Hawai`i.

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4 of 4 people found the following review helpful.
An Excellent Read
By The Good Book Lady
Na Na Mamo respectfully presents us with the history of of Hawaiian culture.
I am grateful for this book as I live and work in Hawaii, and have often
wondered about the origins of many of the traditions. This book is also good
for book circles and study groups. [...]

0 of 0 people found the following review helpful.
Five Stars
By Kapena Perez
Excellent!!!!

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Senin, 08 Maret 2010

[Y634.Ebook] Get Free Ebook The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus, by Sophocles

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The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus, by Sophocles

FOR USE IN SCHOOLS AND LIBRARIES ONLY.

  • Sales Rank: #2353314 in Books
  • Published on: 1984
  • Format: Import
  • Original language: English
  • Number of items: 1
  • Dimensions: .39" h x .39" w x .39" l,
  • Binding: Paperback
  • 430 pages

Amazon.com Review
Aristotle called "Oedipus The King," the second-written of the three Theban plays written by Sophocles, the masterpiece of the whole of Greek theater. Today, nearly 2,500 years after Sophocles wrote, scholars and audiences still consider it one of the most powerful dramatic works ever made. Freud sure did. The three plays--"Antigone," "Oedipus the King," and "Oedipus at Colonus"--are not strictly a trilogy, but all are based on the Theban myths that were old even in Sophocles' time. This particular edition was rendered by Robert Fagles, perhaps the best translator of the Greek classics into English.

Language Notes
Text: English, Greek (translation)

From the Back Cover
Three Theban Plays entitled Antigone, Oedipus the King, and Oedipus at Colonus.

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5 of 5 people found the following review helpful.
"Whether a mere man can know the truth"
By R. M. Peterson
These plays are part of the warp and woof of Western civilization. Two of them - "Oedipus the King" and "Antigone" - should be read by anyone who considers herself an educated citizen of the Western world. And once she has read those two, why not go ahead and read the third, "Oedipus at Colonus"?

Actually, one of the issues concerning the presentation, or reading, of these three plays is their order. In terms of the chronology of the Oedipus story, "Oedipus the King" is the earliest, followed by "Oedipus at Colonus" and then, lastly, "Antigone" (the events of which take place after the death of Oedipus). But Sophocles did not write the plays in that order. Rather, he wrote "Antigone" first, around 441 B.C.; "Oedipus the King" about twelve years later; and "Oedipus at Colonus", shortly before he died in 406 B.C. Those responsible for this edition chose to place them in the order in which they were written.

The plays are popularly called the "Theban plays", because they all concern the city-state of Thebes during and after the reign of Oedipus. In them, Sophocles wrestles with some of the core concerns of human existence - especially, fate versus free will - in as dramatic and wrenching a fashion as any playwright, even Shakespeare. In addition, "Antigone" poses questions concerning the limits (if any) of a citizen's obedience or subservience to the state. "Oedipus the King" is saturated with irony, more so than any other play I can think of. It also presents, compellingly, the question "whether a mere man can know the truth". And "Oedipus at Colonus" deals with matters of death and the possibility of influencing life after death.

This translation of THE THREE THEBAN PLAYS is by Robert Fagles, who also is the translator of the most popular renditions of Homer's "Iliad" and "Odyssey". Fagles favors comprehension and flow over rigorous fidelity to the original ancient Greek. The text is sprinkled with modern English colloquialisms such as "rumor has it", "no napping on the job", and "far be it from me". The result is a more accessible translation, one that certainly has much to commend it to those who are reading these classic plays for the first and in all likelihood only time in their lives. For myself, having refreshed my knowledge of the plays after having first read them about forty years ago, I want to read them yet again in a translation that is closer to the original Greek.

What most distinguishes this particular Penguin Classics edition, even more so than the Fagles translation, are the four essays by Bernard Knox. First, there is an eighteen-page essay on "Greece and the Theater", which provides an excellent, not-overly-academic introduction to Sophocles, the Oedipus story, and Greek drama generally. Then, for each of the specific plays, Knox contributes a separate twenty-plus page introduction. These are somewhat more detailed and remind me more of a college text. Nevertheless, they too are worthwhile - EXCEPT, in my opinion, they would be more rewarding if read AFTER reading the play in question rather than BEFORE.

1 of 1 people found the following review helpful.
One soul is enough, I know, to pay the debt for thousands, if one will go to the gods in all good faith.
By Phillip McCollum
There’s a pattern with many of these Greek tragedies. Through the sad tales of cursed families, they illustrate the evolution of Western civilization. Fifth-century Athens was a light in the dark, a young democracy, and the Athenians used tragedy as a tool to preserve history, learn from it, and document their growth. With The Oresteia, we saw Aeschylus tackle the ideas of law and respect for the state, and Sophocles continues along those lines, but places the focus on another great philosophical problem–free will vs. fate.

Though heady, the plays also had an entertainment value. The Spring festival celebrating Dionysus provided an opportunity for playwrights such as Sophocles to compete and put on a performance for thousands of spectators. Tragedies usually ran in the morning and the more lighthearted comedies toward the end of the day.

Being tragedies, lighthearted these three Theban plays are not. They adhere to the Greek tradition of dramatizing the lives of a cursed family, but instead of the House of Atreus, we gain a jagged view of humanity’s affliction through the House of Oedipus.

The first play, Antigone, is actually the last chronologically. Oedipus is dead, yet the curse continues. Thebes has defeated an onslaught of Argosian warriors, led by Polynices, the exiled son of Oedipus. He was killed, along with his brother, Eteocles. Antigone, daughter of Oedipus and sister of both Polynices and Eteocles, wants to bury the body of Polynices, but her uncle and Theban King, Creon, threatens anyone who does so with death. I think you can see where things are headed…

Next comes Oedipus the King, the shining star of the three plays–the painting within the frame. Each piece has its own beauty, but we move back in time to that dreadful moment of discovery. It’s through Oedipus’ actions that we see an evolution in Greek theater. The plot builds perfectly according to Aristotle’s Poetics and is the cornerstone of many a modern story. Oedipus represents the everyman, marching forward, thinking destiny is within his control, only to discover that he is a mere puppet to fate.

A plague has struck Thebes and the only solution is to bring the killer of Thebes’ last king, Laius, to justice. Through plot twists and turns, Oedipus dedicates himself to finding the killer, only to discover that he is the killer, and that he has fulfilled a prophecy which he has tried to avoid all of his life. The truth is too much. His wife and mother, Jocasta, kills herself, and Oedipus gouges out his eyes, his one act of defiant free will.

Finally, we are presented with Oedipus at Colonus. Many years have passed and Oedipus has become a wanderer, guided by the loyal Antigone. He finds himself in the town of Colonus, just outside of Athens. The oracular prophecy makes its next move: Oedipus has arrived in the place where he must be buried. This play is an ode to Athens, and by being buried just outside the city, it will be protected for all time.

Thus ends the Theban trilogy. Similar to my Aeschylus readings, I picked up the Robert Fagles translation. Sophocles’ writing flows easier and is less dense than that of Aeschylus, so if you had a tough time with The Oresteia, you may find Sophocles to be more in your wheelhouse. From Freud to soap operas, you’ll certainly begin to understand the many references to this bit of dramatic history.

3 of 3 people found the following review helpful.
The Absolute Best
By David K.
I have read 4 different translations of the Theban plays and the Fagles translation is by far the best available. It reads flowingly. It has extensive notation. It has a fantastic introduction to Greek theatre and the evolution of the plays. The University of Chicago's Grene & Lattimore series is often cited as "the standard". But that series has only very cursory introductions and not to each play...there are no notes whatsoever and no glossary.
Fagles also translated the very best Homer of all time, IMO. His The Odyssey and The Iliad are excellent reading with wonderful introductions by Bernard Knox. I believe it is a truism that any work by Fagles will be top drawer.

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Minggu, 07 Maret 2010

[E418.Ebook] PDF Download Building Sci-Fi Moviescapes: The Science Behind the Fiction, by Matt Hanson

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Building Sci-Fi Moviescapes: The Science Behind the Fiction, by Matt Hanson

Building Sci-fi Moviescapes provides a rare, behind-the-scenes examination of how the digital city and space-scapes in science fiction movies are created-through the eyes of directors, producers, production designers, and visualization artists.

This is a stunning showcase of some of the most impressive digital city and space-scapes to come out of the movies, from Hollywood, as well as the Japanese and European film industries. From seminal movies of the 1980s such as Tron and Bladerunner, to classic series such as The Matrix and Star Wars, to recent films such as Sky Captain and the World of Tomorrow, this book is the definitive guide to the imagined aesthetics of the future.

Through authoritative commentary and interviews with key directors, producers, production designers, and 3D visual artists, Building Sci-fi Moviescapes explores trends and digital visualization methods in science fiction films from the last three decades.

* A celebration in design and creativity in Sci-Fi filmmaking for the CG artist
* Access to reavealing interviews with key 3D industry professionals
* Rich creative inspiration for Sci-Fi filmmakers

  • Sales Rank: #2030694 in Books
  • Published on: 2005-07-15
  • Released on: 2005-07-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .63" h x 9.00" w x 10.46" l, 1.92 pounds
  • Binding: Paperback
  • 176 pages

About the Author
World leading authority on film and contemporary trends in moving image. An expert in field of music videos and their creators. In 1996 he founded the digital film festival onedotzero, cited by The Guardian as 'probably the most influential film festival of the early 21st century'. He currently runs his own creative studio, V.I.A. developing pioneering moving image projects. He has produced and commissioned over 40 digital films, devised two tv series on pioneering digital filmmakers, and produced a pioneering hybrid VJ/live film performance with the Light Surgeons, which toured internationally to rave reviews. Previous books include The End of Celluloid (RotoVision), and Motion Blur (Laurence King).

Most helpful customer reviews

2 of 2 people found the following review helpful.
Concept City Designers Might Be Interested
By Parka
[[VIDEOID:26273521]]This book takes you behind the scenes to look at how sci-fi cities are created. It showcases some of the definitive movies in the science fiction genre, from 1982 up to 2004. You'll get to see how designs have evolved with time, and judge for yourself if they have withstood the change of time.

There are interviews with directors, designers and crew working on the set. They explain the process of conceptualizing the city set designs and their symbolism and function to the movie.

The pages are filled with lots of movie stills and a few design sketches.

Here's a list of the movies featured:

* Blade Runner
* Tron
* Dune
* Brazil
* Batman
* Patlabor
* Total Recall
* Alien
* Memories
* The City of Lost Children
* Johnny Mnemonic
* The Fifth Element
* Starship Troopers
* Dark city
* Star Wars: The Phantom Menace
* A.I. Artificial Intelligence
* Metropolic
* Minority Report
* Solaris
* Code 46
* The Matrix Revolutions
* Wonderful Days
* Natural City
* i, Robot
* Appleseed
* Immortel
* Casshern
* Sky Captain and the World of Tomorrow
* 2046
* Innocence: Ghost in the Shell 2

As you can see from the list, there are anime movies as well as European movies included.

This book is recommended to all sci-fi movie fans, particularly those who make a living designing and conceptualizing for a living.

(More pictures are available on my blog. Just visit my Amazon profile for the link.)

1 of 1 people found the following review helpful.
Not as complete as I would have liked...
By Michael Valdivielso
The Science Behind The Fiction: Building Sci-Fi Moviescapes is a good behind the scenes look at how the cities and landscapes of futuristic movies have been designed, from Blade Runner in 1982 to Innocence: Ghost In The Shell II made in 2004. I truly enjoyed the book, but some chapters, such as the one on Appleseed barely touched on the movie while other chapters, like the one on Immortel seemed to go on for pages without really saying anything.

And why have Ghost In The Shell II but not the first Ghost In The Shell? And why start at 1982? Why not start earlier? The book was good but could be better.

0 of 0 people found the following review helpful.
Five Stars
By matt
amazing book, great condition

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Rabu, 03 Maret 2010

[N445.Ebook] Download PDF Financial Mathematics, by Yuliya Mishura

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Financial Mathematics, by Yuliya Mishura

Finance Mathematics is devoted to financial markets both with discrete and continuous time, exploring how to make the transition from discrete to continuous time in option pricing. This book features a detailed dynamic model of financial markets with discrete time, for application in real-world environments, along with Martingale measures and martingale criterion and the proven absence of arbitrage.

With a focus on portfolio optimization, fair pricing, investment risk, and self-finance, the authors provide numerical methods for solutions and practical financial models, enabling you to solve problems both from mathematical and from financial point of view.

  • Calculations of Lower and upper prices, featuring practical examples
  • The simplest functional limit theorem proved for transition from discrete to continuous time
  • Learn how to optimize portfolio in the presence of risk factors

  • Sales Rank: #8373834 in Books
  • Published on: 2016-02-09
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.10" h x .60" w x 6.10" l, .83 pounds
  • Binding: Hardcover
  • 194 pages

About the Author
Yuliya Mishura is Professor and Head of the Department of Probability Theory, Statistics and Actuarial Mathematics, Faculty of Mechanics and Mathematics, Taras Shevchenko National University of Kyiv, Ukraine. Her research interests include stochastic analysis, theory of stochastic processes, stochastic differential equations, numerical schemes, financial mathematics, risk processes, statistics of stochastic processes, and models with long-range dependence.

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[V474.Ebook] Download The Art of Toshiko Takaezu: In the Language of SilenceFrom University of North Carolina Press

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The Art of Toshiko Takaezu: In the Language of SilenceFrom University of North Carolina Press

The Art of Toshiko Takaezu: In the Language of SilenceFrom University of North Carolina Press



The Art of Toshiko Takaezu: In the Language of SilenceFrom University of North Carolina Press

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The Art of Toshiko Takaezu: In the Language of SilenceFrom University of North Carolina Press

Tracing the artistic development of renowned potter Toshiko Takaezu (1922-2011), this masterful study celebrates and analyzes an artist who held a significant place in the post-World War II craft movement in America.

Born in Hawaii of Japanese descent in 1922, Takaezu worked actively in clay, fiber, and bronze for over sixty years. Influenced by midcentury modernism, her work transformed from functional vessels to abstract sculptural forms and installations. Over the years, continued to draw on a combination of Eastern and Western techniques and aesthetics, as well as her love of the natural world. In particular, Takaezu's vertical closed forms became a symbol of her work, created through a combination of wheel-throwing and hand-building techniques that allowed her to grow her vessels vertically and eased the circular restrictions of the wheel. In addition to her art, Takaezu was renowned for her teaching, including twenty years at Princeton University.

This beautifully illustrated book offers the first scholarly analysis of Takaezu's life work and includes essays by Paul Smith, director emeritus of the American Craft Museum, and Janet Koplos, former senior editor of Art in America. Jack Lenor Larsen, a textile designer, author, collector, and advocate of traditional and contemporary craftsmanship, provides a foreword.

  • Sales Rank: #1383076 in Books
  • Brand: University of North Carolina Press
  • Published on: 2011-04-15
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: .82" h x 8.84" w x 11.35" l, 2.30 pounds
  • Binding: Hardcover
  • 160 pages

Review
This books shines so brightly and speaks so eloquently. . . . In the Language of Silence is a perfect tribute." --Books&Culture



Long overdue, this book is a fitting tribute to a major figure in the ceramics field. Recommended. Lower-level undergraduates and above; general readers." --Choice



For anyone who understands art as a journey, who has ever been, in Takaezu's words, "interested in what would happen," this is a book worth reading--International Sculpture Center Book Reviews

Review
This book is an important addition to writings on Toshiko Takaezu, her life and her work. Held succeeds in combining personal accounts and anecdote with scholarly analysis of her works and their significance to the arts. From the quiet interiors of her vessels to the chiming of her bronze bells, the essays and the images reveal her reverence, her passion, her discipline, and her drive.--Elaine Olafson Henry, editor and publisher, Ceramics: Art and Perception and Ceramics: TECHNICAL

From the Inside Flap
Tracing the artistic development of renowned potter Toshiko Takaezu, this masterful study celebrates and analyzes an artist who holds a significant place in the post-World War II craft movement in America.

Most helpful customer reviews

8 of 8 people found the following review helpful.
Fitting tribute
By E. Lees
Although this book was written before Toshiko Takaezu's death, its publication almost coincided with it. There will no doubt be other books about this great potter, but I cannot imagine a better one. This is full of beautiful pictures of her serene work. I haven't started reading it yet because I have been so immersed in the beauty of the photography. I was fortunate to attend one of her workshops some years back, and this book takes me back to watching her create one of her incredible large pots.

2 of 2 people found the following review helpful.
passion
By JC
Excellent reference on a life devoted to art. I found it inspiring and gained the desire to follow my passion.

1 of 1 people found the following review helpful.
A great book for your art book collection.
By Ralph W. Tobin
If you want greater understanding of Japanese pottery this book will get you of to a great start.

See all 4 customer reviews...

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