This book is an authoritative and unique reference for the history of chaos theory, told by the pioneers themselves. It also provides an excellent historical introduction to the concepts. There are eleven contributions, and six of them are published here for the first time OCo two by Steve Smale, three by Yoshisuke Ueda, and one each by Ralph Abraham, Edward Lorenz, Christian Mira, Floris Takens, T Y Li and James A Yorke, and Otto E Rossler. Contents: On How I Got Started in Dynamical Systems 1959OCo1962 (S Smale); Finding a Horseshoe on the Beaches of Rio (S Smale); Strange Attractors and the Origin of Chaos (Y Ueda); My Encounter with Chaos (Y Ueda); Reflections on the Origin of the Broken-Egg Chaotic Attractor (Y Ueda); The Chaos Revolution: A Personal View (R Abraham); The Butterfly Effect (E Lorenz); I Gumowski and a Toulouse Research Group in the OC PrehistoricOCO Times of Chaotic Dynamics (C Mira); The Turbulence Paper of D Ruelle & F Takens (F Takens); Exploring Chaos on an Interval (T Y Li & J A Yorke); Chaos, Hyperchaos and the Double-Perspective (O E RAssler). Readership: Educators and university students of science and mathematics."

This book is an authoritative and unique reference for the history of chaos theory, told by the pioneers themselves. It also provides an excellent historical introduction to the concepts. There are eleven contributions, and six of them are published here for the first time — two by Steve Smale, three by Yoshisuke Ueda, and one each by Ralph Abraham, Edward Lorenz, Christian Mira, Floris Takens, T Y Li and James A Yorke, and Otto E Rossler.

Addresses the question of how--and to what extent--viewers can make sense of American avant-garde films. Peterson examines the implicit assumptions of other scholars, advocates an alternative to dominant approaches to the avant-garde cinema, and questions some long-standing cliches about the history of the avant garde. Includes numerous (but tiny) photographs. Paper edition (unseen), $19.95. Annotation copyright by Book News, Inc., Portland, OR

The works of the classic European avant-gardes (cubism, futurism, expressionism, Dadaism, constructivism and many other -isms) today still strike many students of modernism as strange or incomprehensible. Is this art? Do we have to take a sound poem seriously? How, at all. are we to read and interpret avant-garde works? And what on earth is the fourth dimension in physics that fascinated so many avant-gardists? This engaging introduction is designed to answer all these questions and more.

Chaotic behavior arises in a variety of control settings. In some cases, it is beneficial to remove this behavior; in others, introducing or taking advantage of the existing chaotic components can be useful for example in cryptography. Chaos in Automatic Control surveys the latest methods for inserting, taking advantage of, or removing chaos in a variety of applications. This book supplies the theoretical and pedagogical basis of chaos in control systems along with new concepts and recent developments in the field. Presented in three parts, the book examines open-loop analysis, closed-loop control, and applications of chaos in control systems. The first section builds a background in the mathematics of ordinary differential and difference equations on which the remainder of the book is based. It includes an introductory chapter by Christian Mira, a pioneer in chaos research. The next section explores solutions to problems arising in observation and control of closed-loop chaotic control systems. These include model-independent control methods, strategies such as H-infinity and sliding modes, polytopic observers, normal forms using homogeneous transformations, and observability normal forms. The final section explores applications in wireless transmission, optics, power electronics, and cryptography. Chaos in Automatic Control distills the latest thinking in chaos while relating it to the most recent developments and applications in control. It serves as a platform for developing more robust, autonomous, intelligent, and adaptive systems.

This catalogue examines the interwar period in its key artistic manifestations. It encompasses painting, photography, film, sculpture, architecture, fashion and decorative arts. The book examines classicism between the wars in Europe.

This study constructs a framework of narratology for art history and rewrites the development of twentieth-century Chinese art from a narratological perspective. Theoretically and methodologically oriented, this is a self-reflective meta-art history studying the art historical narratives while narrating the story of modern and contemporary Chinese art. Thus, this book explores the three layers of narrative within the narratological framework: the first-hand fabula, the secondary narration, and the tertiary narrativization. With this tertiary narrativization, the reader-author presents three types of narrative: the grand narrative of the central thesis of this book, the middle-range narrative of the chapter theses, and case analyses supporting these theses. The focus of this tertiary narrativization is the interaction between Western influence on Chinese art and the Chinese response to this influence. The central thesis is that this interaction conditioned and shaped the development of Chinese art at every historical turning point in the twentieth century. The book will be of interest to scholars working in art history, critical theory, Chinese studies, and cultural studies.