A compilation of high-quality illustrations of bicycles and bicycle components and accessories by the French master-illustrator Daniel Rebour. The book contains some 2,000 nicely rendered line drawings with captions explaining the function of the items depicted and references to each illustration's source. This second edition includes additional materials and corrections based on information that has become available since release of the first edition of the book, in 2014. In addition the book contains an updated biography of Daniel Rebour.

Lin Foxhall explores the cultivation of the olive as an extended case study for understanding ancient Greek agriculture in its landscape, economic, social, and political settings. Evidence from written sources, archaeology, and visual images is assembled to focus on what was special about the cultivation and processing of the olive in classical and archaic Greece, and how and why these practices differed from Roman ones. This investigation opens up new ways of thinking about the economies of the archaic and classical Greek world.

An authoritative and comprehensive account of the bicycle's two-hundred-year evolution. The bicycle ranks as one of the most enduring, most widely used vehicles in the world, with more than a billion produced during almost two hundred years of cycling history. This book offers an authoritative and comprehensive account of the bicycle's technical and historical evolution, from the earliest velocipedes (invented to fill the need for horseless transport during a shortage of oats) to modern racing bikes, mountain bikes, and recumbents. It traces the bicycle's development in terms of materials, ergonomics, and vehicle physics, as carried out by inventors, entrepreneurs, and manufacturers. Written by two leading bicycle historians and generously illustrated with historic drawings, designs, and photographs, Bicycle Design describes the key stages in the evolution of the bicycle, beginning with the counterintuitive idea of balancing on two wheels in line, through the development of tension-spoked wheels, indirect drives (employing levers, pulleys, chains, and chainwheels), and pneumatic tires. The authors examine the further development of the bicycle for such specific purposes as racing, portability, and all-terrain use; and they describe the evolution of bicycle components including seats, transmission, brakes, lights (at first candle-based), and carriers (racks, panniers, saddlebags, child seats, and sidecars). They consider not only commercially successful designs but also commercial failures that pointed the way to future technological developments. And they debunk some myths about bicycles—for example, the mistaken but often-cited idea that Leonardo sketched a chain-drive bike in his notebooks. Despite the bicycle's long history and mass appeal, its technological history has been neglected. This volume, with its engaging and wide-ranging coverage, fills that gap. It will be the starting point for all future histories of the bicycle.

This book gathers a collection of extended papers based on presentations given during the SimHydro 2017 conference, held in Sophia Antipolis, Nice, France on June 14–16, 2017. It focuses on how to choose the right model in applied hydraulics and considers various aspects, including the modeling and simulation of fast hydraulic transients, 3D modeling, uncertainties and multiphase flows. The book explores both limitations and performance of current models and presents the latest developments in new numerical schemes, high-performance computing, multiphysics and multiscale methods, and better interaction with field or scale model data. It gathers the lastest theoretical and innovative developments in the modeling field and presents some of the most advance applications on various water related topics like uncertainties, flood simulation and complex hydraulic applications. Given its breadth of coverage, it addresses the needs and interests of practitioners, stakeholders, researchers and engineers alike.

Asymptote: An Approach to Decadent Fiction offers a radically new approach to the psychology of Decadent creation. Rejecting traditional arguments that Decadence is a celebration of deviance and exhaustion, this study presents the fin-de-siecle novel as a transformative process, a quest for health. By allowing the writer to project into fiction unwanted traits and destructive tendencies - by permitting the playful invention of provisional identities -, Decadent creation itself becomes a dynamic act of creative regeneration. In describing the interrelationship of Decadent authors and their fictions, Asymptote uses the mathematical figure of the asymptote to show how they converge, then split apart, and grow distant. The author's approach to the facsimile selves he plays with and discards is the curve that never merges with his authorial identity. In successive chapters, this study describes the Decadents' experimentation with perversion (Huysmans's A rebours and Mendes's Zo'har), and their subsequent validation of social regulation and creative discipline. It examines magic and its appeal to fantasies of elitism and omnipotence (Péladan's Le Vice supreme and Villiers's Axël ), then shows authors embracing the values of community and service. It considers the Decadent text as a vehicle of change in which an artist ventilates fantasies of aggression and revenge (Mirbeau's Le Journal d'une femme de chamber and Rachilde's La Marquise de Sade) then employs writing as the means by which these feelings are discharged. It examines creation as a form of play, "une aliénation grâce à laquelle l'esprit se récupère sous la forme des autres" (Schwob's Vies imaginaries and Lorrain's Histoires de masques), yet notes the Decadents' decision to return to a single generative center. Finally, it examines creation as an expression of artistic transience and failure, yet shows the Decadents' success in commemorating the very forces of disintegration (Rodenbach's L'Art en exil). In considering the Decadents' insistence on subjectivism and aloneness, this study concludes (Gourmont's Sixtine) by showing their wish to escape the prison of identity and to redefine their art as cooperative creation.