The theory of traces employs techniques and tackles problems from quite diverse areas which include formal language theory, combinatorics, graph theory, algebra, logic, and the theory of concurrent systems. In all these areas the theory of traces has led to interesting problems and significant results. It has made an especially big impact in formal language theory and the theory of concurrent systems. In both these disciplines it is a well-recognized and dynamic research area. Within formal language theory it yields the theory of partially commutative monoids, and provides an important connection between languages and graphs. Within the theory of concurrent systems it provides an important formal framework for the analysis and synthesis of concurrent systems.This monograph covers all important research lines of the theory of traces; each chapter is devoted to one research line and is written by leading experts. The book is organized in such a way that each chapter can be read independently ? and hence it is very suitable for advanced courses or seminars on formal language theory, the theory of concurrent systems, the theory of semigroups, and combinatorics. An extensive bibliography is included. At present, there is no other book of this type on trace theory.

In the TracesRailroad Paintings of Ted RoseIntroduction by Thomas H. Garver Railroad paintings by a major American watercolorist. In the Traces presents 60 paintings by Ted Rose, with commentary by the artist. The works are an eloquent and absorbing view of industrial America, especially of railroads as an integral part of the man-made landscape. Here is the rich narrative of a journey of discovery that began 50 years ago when Rose confronted changes everywhere during the time railroads and the country were in transition. His paintings are a record of his continuing fascination with railroad places, a visual anthology of past and present. These masterful watercolors well describe the atmosphere and life along the tracks during the last half of the 20th century. Rose finds beauty in the commonplace -- the common places of our experience and in the back alleys of a reality we thought we knew so well. These expressive works are visual documents, informed by the rhythmic idiom of blues music and the poignant song of railroad operations in winter bleakness, blazing sun, or darkest night. The artist's empathy with his subjects, human and mechanical, is given through a brilliantly controlled technique which Rose deftly adjusts to match the nature of a scene, from the soft light of dawn on the prairie to the harsh glare of headlights and signal lights at midnight. Although his works evoke the look of earlier American realist paintings, Rose's knowledge of subject matter and his often unorthodox use of the watercolor medium support his narrative purposes without reference to other artists. Ted Rose, a signature member of the American Watercolor Society and the National Watercolor Society, lives and works in Santa Fe, New Mexico. His paintings have received consistent recognition in juried and invitational exhibitions, and appear often in books, magazines, and exhibition catalogues. Recently Rose was honored when the U.S. Postal Service commissioned him to create five watercolors of streamlined American passenger locomotives. The images were subsequently issued as postage stamps. Thomas H. Garver, a former curator and director of several art museums, is author of more than 40 exhibition catalogues.

In most college and university libraries, materials published before 1800 have been moved into special collections, while the post-1923 books remain in general circulation. But books published between these dates are vulnerable to deaccessioning, as libraries increasingly reconfigure access to public-domain texts via digital repositories such as Google Books. Even libraries with strong commitments to their print collections are clearing out the duplicates, assuming that circulating copies of any given nineteenth-century edition are essentially identical to one another. When you look closely, however, you see that they are not. Many nineteenth-century books were donated by alumni or their families decades ago, and many of them bear traces left behind by the people who first owned and used them. In Book Traces, Andrew M. Stauffer adopts what he calls "guided serendipity" as a tactic in pursuit of two goals: first, to read nineteenth-century poetry through the clues and objects earlier readers left in their books and, second, to defend the value of keeping the physical volumes on the shelves. Finding in such books of poetry the inscriptions, annotations, and insertions made by their original owners, and using them as exemplary case studies, Stauffer shows how the physical, historical book enables a modern reader to encounter poetry through the eyes of someone for whom it was personal.

Have you ever wondered what left behind those prints and tracks on the seashore, or what made those marks or dug those holes in the dunes? Life Traces of the Georgia Coast is an up-close look at these traces of life and the animals and plants that made them. It tells about how the tracemakers lived and how they interacted with their environments. This is a book about ichnology (the study of such traces) and a wonderful way to learn about the behavior of organisms, living and long extinct. Life Traces presents an overview of the traces left by modern animals and plants in this biologically rich region; shows how life traces relate to the environments, natural history, and behaviors of their tracemakers; and applies that knowledge toward a better understanding of the fossilized traces that ancient life left in the geologic record. Augmented by illustrations of traces made by both ancient and modern organisms, the book shows how ancient trace fossils directly relate to modern traces and tracemakers, among them, insects, grasses, crabs, shorebirds, alligators, and sea turtles. The result is an aesthetically appealing and scientifically grounded book that will serve as source both for scientists and for anyone interested in the natural history of the Georgia coast.

In Traces, Professor Patricia Wiltshire will take you on a journey through the fascinating edge-land where nature and crime are intertwined. She'll take you on a journey searching for bodies of loved ones - through woodlands, along hedgerows, field-edges, and through plantations - solving time since death, and disposal of remains, from ditches to living rooms. She will give you glimpses of her own history: her loves, her losses, and the narrow, little valley in Wales where she first woke-up to the wonders of the natural world. And Pat will show you how her work with a microscope reveals tell-tale traces of the world around us, and how these have taken suspects of the darkest of criminal activities to court. From flowers, fungi, tree trunks, and car pedals - to walking boots, carpets, and even corpses' hair: Traces is a fascinating, unique, and utterly compelling book on the universal themes of life, death, and one's indelible link with nature.

An innovative multidisciplinary study of the relationship between visual perception and temporal meaning in ancient Greek literature and history writing

Digital Humanities remains a contested, umbrella term covering many types of work in numerous disciplines, including literature, history, linguistics, classics, theater, performance studies, film, media studies, computer science, and information science. In Traces of the Old, Uses of the New: The Emergence of Digital Literary Studies, Amy Earhart stakes a claim for discipline-specific history of digital study as a necessary prelude to true progress in defining Digital Humanities as a shared set of interdisciplinary practices and interests. Traces of the Old, Uses of the New focuses on twenty-five years of developments, including digital editions, digital archives, e-texts, text mining, and visualization, to situate emergent products and processes in relation to historical trends of disciplinary interest in literary study. By reexamining the roil of theoretical debates and applied practices from the last generation of work in juxtaposition with applied digital work of the same period, Earhart also seeks to expose limitations in need of alternative methods—methods that might begin to deliver on the early (but thus far unfulfilled) promise that digitizing texts allows literature scholars to ask and answer questions in new and compelling ways. In mapping the history of digital literary scholarship, Earhart also seeks to chart viable paths to its future, and in doing this work in one discipline, this book aims to inspire similar work in others.