Kamis, 25 Oktober 2012

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  • Sales Rank: #457465 in Books
  • Published on: 2008-12-07
  • Number of items: 2
  • Binding: Paperback

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Senin, 22 Oktober 2012

[U201.Ebook] Fee Download CATIA V5-6R2015 for Designers, by Prof Sham Tickoo Purdue Univ

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CATIA V5-6R2015 for Designers is a comprehensive textbook written with the intention of helping the readers effectively use all solid modeling tools and other features of CATIA V5-6R2015. This textbook provides elaborative and clear explanation of the tools of all commonly used workbenches of CATIA V5-6R2015. After reading this textbook, you will be able to create, assemble, and draft models. The chapter on the DMU Kinematics workbench will enable the users to create, edit, simulate, and analyze different mechanisms dynamically. The chapter on the FreeStyle workbench will enable the users to dynamically design and manipulate surfaces. The textbook explains the concepts through real-world examples and the tutorials used in this textbook ensure that the users can relate the knowledge gained from this textbook with the actual mechanical industry designs. In this edition, a chapter on Generative Shape Design has been added that explains mechanical engineering industry examples.

  • Sales Rank: #424886 in Books
  • Published on: 2016-01-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 1.81" w x 7.50" l, 2.98 pounds
  • Binding: Paperback
  • 800 pages

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0 of 0 people found the following review helpful.
Five Stars
By MARIO
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Senin, 08 Oktober 2012

[A213.Ebook] Download PDF The Invention of Infinity: Mathematics and Art in the Renaissance, by J. V. Field

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The Invention of Infinity: Mathematics and Art in the Renaissance, by J. V. Field

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The Invention of Infinity: Mathematics and Art in the Renaissance, by J. V. Field

As any student of art will tell you, one of the chief accomplishments of the Renaissance was the development of perspective in painting--the introduction of spatial perception that led to the legendary beauty and majesty of works by Giotto, Botticelli, and da Vinci. In The Invention of Infinity, Dr. J. V. Field, a noted historian on math and the arts, tells the remarkable story of how the "practical" mathematics of Renaissance artists actually influenced the development of "proper" mathematics--a true story of life imitating art.

Here is the fascinating history of the emergence of modern mathematics during the Renaissance, and its intimate relationship with the artisan and artistic traditions of the time. The book covers the period from 1300 to 1650, when craftsmen were educated in "practical mathematics," and when the field of mathematics was gradually taking up a more significant place on the intellectual landscape. Field traces the influence of the mathematics of perspective in the arts, and shows how this led to the invention of a new kind of geometry in the 17th century--the new projective geometry of Desargues--which proved to be a highly significant contribution to the development of modern mathematics. Additionally, the author explores the 14th and 15th-century "abacus" schools popular among merchants and craftsmen, and the contrast between these practical, widely used tools and the abstract arithmetic and geometry taught in the universities of the time, and their application in the theory of music and elementary astronomy.

Extensively illustrated with superb color and black and white plates, and including selected extracts from the original mathematical texts, this clear and entertaining account will delight anyone interested in the history of mathematics and art, as well as in the multi-layered social history of the Renaissance.

  • Sales Rank: #582839 in Books
  • Published on: 1997-05-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x .95" w x 7.75" l, 1.55 pounds
  • Binding: Hardcover
  • 264 pages

Review
`Compelling book...lavishly illustrated book. Mathematics and arts are clearly equally delightful for Field, and she transmits that enjoyment to the reader.' The Times

`Field's book is indeed a shot of adrenaline in the timid arm of Renaissance art history. Trained as both an art historian and a mathematician, Field plunges right in with a rigorous analysis of the fifteenth-century Italian painter Piero della Francesca's manuscript treatises on mathematics.' Nature

About the Author

About the Author:
Dr. J.V. Field is a Research Fellow in the Department of the History of Art at Birkbeck College, University of London.

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6 of 6 people found the following review helpful.
Charming art, charming mathematics, unfocused exposition
By Viktor Blasjo
Renaissance artists learned how to draw perspective images. Perhaps the realisation of how to draw checkered floors sparked the development. Then one learned to draw perspective views of cubes and prisms and such. By approximation, these techniques could be of use when drawing more complex bodies and well, but apparently many artists preferred mechanical tricks instead (eye line strings, reference grids, etc.). Indeed, the mathematical sophistication of the Renaissance artists should not be over stated; a detailed 15-page analysis of one of the most celebrated perspective frescos, Masaccio's Holy Trinity, fails to reveal much mathematical depth ("we are dealing with a painting not a theorem"; p. 59). A notable exception is Piero della Francesca, who was a competent mathematician and wrote his time's most sophisticated treatise on perspective, earning him 50 pages here, but even he compromised mathematical precision in some of his paintings. The convergence of mathematics and art was at least as fruitful in the other direction. Desargues saw the importance of the idea of perspectivity in geometry, where it unifies the theory of conics and paves the way for essentially projective theorems such as "Desargues' Theorem".

This is basically a scholarly book, but at times one gets the impression that Field is more interested in showing off pretty pictures and telling amusing side stories rather than explaining the development of ideas on perspective in a clear and structured manner. One of the largest images is a full page reproduction of Titian's portrait of Ranuccio Farnese (p. 153), which has nothing to do with perspective except that the subject once had a book dedicated to him. Why not use the space for more relevant paintings instead? For example, Piero della Francesca's An Ideal Town would go beautifully with the discussion of his perspective treatise. Discussing Taylor's work on perspective, Field remarks that Taylor introduced the term "vanishing point" but then says "Taylor does not quite explain what is supposed to vanish at the vanishing point ... The readers he was addressing were presumably not expected to be so literal minded as to ask that question" (p. 229). I would say that more probably the readers were not expected to be so stupid as to fail to grasp this very simple concept by themselves; but that aside: if Field had wanted to explain ideas rather than to poke fun at people, she could simply have quoted from Taylor's 1719 edition, where, on page 15, he explains: "the further any object is off, upon any line, the smaller is its projection ... and when it comes to this point, its magnitude vanishes, because the original object is at an infinite distance. This is easily conceived by imagining a man to be going from you in a long walk, who appears to be smaller and smaller, the further he goes." (Incidentally, this would also have made clear that, to Taylor at least, a vanishing point is not the same as a centric point, as Field mistakenly implies.)

6 of 8 people found the following review helpful.
Great scholarship!
By Helmer Aslaksen
This is the ideal book for anybody who wants to really understand how painting lead to the birth of projective geometry. It's a sholarly book, and at times it requires some effort on your part, but you will be highly rewarded in the end!

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Minggu, 07 Oktober 2012

[O604.Ebook] Download PDF The Wise Man's Fear (The Kingkiller Chronicle) (Paperback) , by (author) Patrick Rothfuss, by Patrick Rothfuss

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The Wise Man's Fear (The Kingkiller Chronicle) (Paperback) , by (author) Patrick Rothfuss, by Patrick Rothfuss

science fiction

  • Published on: 2012
  • Binding: Paperback

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1127 of 1292 people found the following review helpful.
This Book is Bi-Winning
By James M. Bennett
I love The Name of the Wind. In fact, I've been able to make myself a hero on oodles of occasions by recommending Name of the Wind to people "looking for a good book." The only person I've recommended it to who didn't really care for it was my wife. So figure that one out.

I received Wise Man's Fear from Amazon early Tuesday morning and devoured it. I was never bored while reading it - the characters were sharp, Rothfuss is a ridiculously skilled writer, and there's plenty in this book to keep you engrossed and entertained.

So why three stars? Why am I not falling all over myself to praise this one?

Because it's kind of a mess. An engrossing, brilliant, hot and swanky mess, but a mess just the same.

My biggest problem is that, with some minor, token exceptions, I know exactly as much about the Chandrian as I did before I read this book. Same goes for the Amyr and the Valeritas door in the archives. I actually feel like I know less about the framing story with the Scrael and Kvothe's slow-mo death wish. All the new things Rothfuss reveals in Book II are things that are kind of cool and groovy in their own right, but they seem fairly inconsequential to the overall story, and often they feel as if they've been dragged in from the Kvothe band's inferior opening act. It's like I've watched an entire season of a Kvothe TV series that is saving all the good bits for sweeps, which presumably doesn't arrive until Book III.

And, to dangerously and alchemically mix metaphors, Book III is going to have to do a whole lot of heavy lifting to tie up all the loose ends. I would not be surprised if the Kingkiller Chronicles isn't really as trilological as Rothfuss initially intended. (No, trililogical isn't really a word. Shut up.)

And, to move from the trililogical to the puritanical, I found it jarring that Kvothe shifted from Gentlemanly Prude to Sheenlike Horndog in about twenty pages. Lots more sex in this book than the recommended daily allowance. Kvothe also kills a lot of people in very gruesome and bloody ways, and, disconcertingly, he seems to enjoy it altogether more than he ought. He's a very interesting, compelling character, but I don't like him nearly as much as I did before this book started. But what do I know? He's on a drug called Kvothe, and if you took it, your children would weep over your exploded body. (For the record, I don't really like Charlie Sheen that much, either.)

Oh, that leads me to a minor spoiler: Kvothe also, apparently, nibbles on some obscure birth control root on a regular basis to keep his Kvothified spermies in check. This was the only moment in the book that I thought was unqualifiedly ridiculous. Kvothe loses everything he owns multiple times in this book, but somehow, someway, he holds onto his arboreal condoms? Please.

To sum up: Wise Man's Fear is a mixed, messy bag. Still love Rothfuss; still love The Name of the Wind, and will buy and devour the third book on the first day of its release.

232 of 268 people found the following review helpful.
From fascinating adult adventure to adolescent fantasy...
By E. Heard
The first half of Wise Man's Fear is an improvement over the previous book in the Kingkiller Chronicles. There is intrigue, mystery, complex interpersonal drama, great writing, and great pacing. Then halfway through the book, Rothfuss decides to let us in on the fantasies of his fifteen-year-old self, and the book goes downhill from there.

The book picks up precisely when the previous book left off, sparing little time to catch people up or re-explain everything in case a reader started with book two. I'm glad about that. I hate it when a series is up and running and the author or publisher feels that they need to throw in some exposition for people who didn't read the earlier books. Seriously...who starts a series at book two? Anyway...It goes great for a long while. I found the second half of the first book to be the best, and this seemed like a continuation of that. A lot happens, mostly having to do with Kvothe's adventures at the University and then on to a different land, where Kvothe gets some experience dealing with nobility and goes on an adventure with a ragtag group of adventurers.

Then...just over halfway through the book, the plot comes to a grinding halt. Don't want to spoil anything. So I'll just say that something happens that is totally unrelated to what had been going on in the first two books. It is mentioned in book one (I think), but only as one of Kvothe's many legendary accomplishments. Funny thing is, what happens is very similar to one of the fantasies I used to dream up before bed when I was a nerdy, lonely, sex-crazed teenager. I don't mind the occasional bit of self-indulgence from an author, but this goes on way too long, further emphasizing just how juvenile it is. After it is finally over, we are then diverted again to another side-adventure in which Kvothe learns how to fight. Once again, the teenage fantasies kick-in, and not only does he learn to fight, but he gets to have sex with hot women while doing doing it. As I was reading this, I couldn't help but chuckle and shake my head at just how unbelievable and juvenile the whole thing is. And yet again it goes on way too long. After these two bits are over, we get a bit of the good from the first half again...then the books is over.

I felt the author took too long with side-diversions and things left unresolved from book one were left hanging, especially his relationship with Denna. I'm not going to spoil anything, but I feel confident in advising anyone who hasn't read this yet to go ahead and skip the "romantic" scenes with Denna. Seriously. Just skip them. NOTHING is resolved. They are frustrating, and not in a Pride and Prejudice way, but in a "Yeah, yeah, dude...We get the picture...She's hard to get! Can we PLEASE move ON!!!" way. Also, Denna is the most uninteresting character in the series. Her only good qualities seem to be that she is pretty and witty. Given the many interesting women with whom Kvothe finds himself, Denna is the least exciting.

My favorite of Kvothe's relationships is the one with loan-shark Devi, a fascinating character who practically leaps off of the page. When you read her scenes, it almost feels like Rothfuss realizes how much more interesting she is than Denna, and so stubbornly stops himself from letting her truly shine in the way she should.

C'mon Patrick! Free Devi! ...Or else make Denna more interesting. We should be given a reason to fall in love her along with our protagonist. SO far, you have given us no reason for Kvothe's bizarre obsession with her, and given us every reason to fall in love with Devi. Can't blame us for that.

The book is worth reading if you can tell yourself to go ahead and skip ahead a few pages when it feels like it is meandering. I will read the third installment when it comes out. Hopefully Rothfuss will keep it moving forward and spare us the adolescent fantasies the next time around.

150 of 177 people found the following review helpful.
Every time the story started to gain momentum, it slammed into a wall
By Hokeyboy
Maybe the review title sounds like a pan, and I guess it is, but as much as I was absolutely enchanted by "The Name of the Wind", Rothfuss's followup "The Wise Man's Fear" left me tired and ultimately frustrated, and yet all the while I couldn't put it down. Many have spoken about how 1000 pages of story barely advanced anything in the grand scheme of things, and it's a sound argument. As pointed out by another review I read, WMF feels like Act 1: Part 2 rather then Act 2 of 3. It's a ***, maybe a *** 1/2 whereas the first one was a full *****.

*** SPOILERS FROM THIS POINT ON ***

My main problem was that every time it felt like the story was advancing and evolving in an organic way, Rothfuss slammed the breaks on the plot and sent Kvothe off in another disappointing direction. The transition from the University to the Maer's palace was fine enough, if you don't mind several chapters worth of plot excised (the shipwreck, pirates, etc.) I can see why it was removed -- anything to move the story along, right? We needed to get Kvothe to Vintas. OK, cool. And everything in that section of the book, the palace intrigue, political maneuvering, Kvothe's cunning and observation really felt like it was pushing Kvothe towards a new chapter in his life. And it was. And just as things got interesting and were leading towards a culmination of several hundred pages worth of plotting... Rothfuss decides to send Kvothe out on an elongated, drawn-out bandit hunt.

I felt the air draining from the novel's lungs. So now we have to start a whole new plotline just when things were getting REALLY good in Vintas. The Bandit Hunt. Great. What was the overall purpose? To introduce Kvothe to Tempi AND to show a brief glimpse of a Chandrian (who makes a hasty exit to no last impact). OK well several seemingly endless pages later, everything's wrapped up and we can get right back to Vintas, right?

Nope. He sees Feleurian one night (out of the blue), runs off after her, and the plot is sidelined AGAIN for a hundred pages of Kvothe: SEX GOD! He can't lose his virginity in a human way that reflects his growth into manhood, he has to pursue and subdue an anotherworldly Fae sex goddess who teaches him some combination of the Kama Sutra and the Malaysian Pile Driver that makes him the master cocksman of the universe. Oh and he gets a cloak and some plot exposition from a powerful talking tree. Can we get this over with please?

So now he comes back and he's banging half the universe, but OK, **NOW** the plot can start getting interesting again? Nope, Tempi's in trouble for teaching the Ketan and Lethani, so now he's going to run off and defend him in Admere. For the love of God, we don't have THAT many pages left in the book and we're off on another tangent. But it's OK because now not only is Kvothe a 16-year-old Sex God, he ends up being the only barbarian admitted to the world's baddest martial arts order as well. But as long as he ends up learning something from it, right?

Wrong. He goes back to the University and he's back EXACTLY where he was before, still headstrong, still angry, only now this time he has money. And the book ends.

I haven't mentioned Denna at all until now. Because the fine, mysterious, intriguing character from the first book became an annoying, obnoxious, forgettable buzzkill in this book. Every time she showed up -- magically, wherever Kvothe seemed to be -- she was the literally equivalent of 17-car pileup in a deep fog. The dynamic of their relationship never changed, and the sum change in their relationship from book to book is nonexistent.

And yet, for all the problems I had with the plot -- and there were many -- it was the details, the universe, the sense of wonder, the dialog, the humor, Rothfuss's prosaic writing style... it was the little things that I loved most. Overall I didn't think too much of the book. Taken on its own, it was fine. It just didn't seem to add up to much in the end, and the narrative kept tripping over itself so much that it never was able to maintain any momentum after the first half of the book or so. Disappointing.

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