In a secret war waged in worlds both virtual and real, the fates of nations depend on the definitive weapon. And that weapon is knowledge—knowledge to die for. . . . The race is heating up between the U.S. and China to develop a quantum computer with infinite capabilities to crack any enemy’s codes, yet keep secure its own secrets. The government that achieves this goal will win a crucial prize. No other computer system will be safe from the reach of this master machine. Dr. Jaron Kwok was working for the U.S. government to build such a computer. But in a posh hotel in Hong Kong, a Chinese policewoman sifts through the bizarre, ashlike remains of what’s left of the doctor. With the clock ticking, alliances will be forged—and there are those who will stop at nothing to discover what the doctor knew. As the search for answers intensifies, it becomes chillingly clear that the quantum computer both sides so desperately want will be more powerful, more dangerous than anyone could have ever imagined. For in the twenty-first century, machines become gods, gods become machines, and the once-impossible now lies within reach. The key to unlimited knowledge will create the ultimate weapon of mass destruction—or humanity’s last chance to save itself. . . .

Labyrinth spillways are almost as old as dam engineering. In spite of the fact that they appear as a very good technical-economical compromise, only 0.1% of large dams are equipped with such weirs. The main reason for this is that traditional labyrinth weirs usually cannot be installed on top of concrete gravity dams as they require a large foundat

Dam engineering is currently experiencing a strong revival of labyrinth oriented weirs. Labyrinth weirs, with a repetitive constructional character and an increased specific discharge capacity, are a very good technical-economical compromise. The concept of Piano Key Weir (PKW), with alveoli developed in overhangs from a reduced support area, enabl

Ancient and medieval labyrinths embody paradox, according to Penelope Reed Doob. Their structure allows a double perspective—the baffling, fragmented prospect confronting the maze-treader within, and the comprehensive vision available to those without. Mazes simultaneously assert order and chaos, artistry and confusion, articulated clarity and bewildering complexity, perfected pattern and hesitant process. In this handsomely illustrated book, Doob reconstructs from a variety of literary and visual sources the idea of the labyrinth from the classical period through the Middle Ages. Doob first examines several complementary traditions of the maze topos, showing how ancient historical and geographical writings generate metaphors in which the labyrinth signifies admirable complexity, while poetic texts tend to suggest that the labyrinth is a sign of moral duplicity. She then describes two common models of the labyrinth and explores their formal implications: the unicursal model, with no false turnings, found almost universally in the visual arts; and the multicursal model, with blind alleys and dead ends, characteristic of literary texts. This paradigmatic clash between the labyrinths of art and of literature becomes a key to the metaphorical potential of the maze, as Doob's examination of a vast array of materials from the classical period through the Middle Ages suggests. She concludes with linked readings of four "labyrinths of words": Virgil's Aeneid, Boethius' Consolation of Philosophy, Dante's Divine Comedy, and Chaucer's House of Fame, each of which plays with and transforms received ideas of the labyrinth as well as reflecting and responding to aspects of the texts that influenced it. Doob not only provides fresh theoretical and historical perspectives on the labyrinth tradition, but also portrays a complex medieval aesthetic that helps us to approach structurally elaborate early works. Readers in such fields as Classical literature, Medieval Studies, Renaissance Studies, comparative literature, literary theory, art history, and intellectual history will welcome this wide-ranging and illuminating book.

A seminal work by an artist whose drawings in The New Yorker, LIFE, Harper's Bazaar, and many other publications influenced an entire generation of American artists and writers. Saul Steinberg’s The Labyrinth, first published in 1960 and long out of print, is more than a simple catalog or collection of drawings. These carefully arranged pages record a brilliant, constantly evolving imagination confronting modern life. Here is Steinberg, as he put it at the time, discovering and inventing a great variety of events: "Illusion, talks, music, women, cats, dogs, birds, the cube, the crocodile, the museum, Moscow and Samarkand (winter, 1956), other Eastern countries, America, motels, baseball, horse racing, bullfights, art, frozen music, words, geometry, heroes, harpies, etc.” This edition, featuring a new introduction by Nicholson Baker, an afterword by Harold Rosenberg, and new notes on the artwork, will allow readers to discover this unique and wondrous book all over again.

NASDAQ Key - Labyrinth 1: Financial Journal - 500 Pages

The discovery and deciphering of Europe’s earliest known written language is recounted with “almost nail-biting suspense” in this prize-winning account (Booklist, starred review). In 1900, famed archaeologist Arthur Evans uncovered the ruins of Knossos, a sophisticated Bronze Age civilization that flowered on Crete 1,000 years before Greece’s Classical Age. The massive discovery included a cache of ancient tablets, Europe’s earliest written records. For half a century, the meaning of the inscriptions, and even the language in which they were written, would remain an enigma. Award–winning New York Times journalist Margalit Fox follows this intellectual mystery from the Bronze Age Aegean to a legendary archeological dig at the turn of the twentieth century, and on to the brilliant decipherers who finally cracked the code in the 1950s. These include Michael Ventris, the amateur linguist who deciphered the script but met with a sudden, mysterious death that may have been a direct consequence of his findings; and Alice Kober, the unsung heroine of the story whose painstaking work allowed Ventris to crack the code. Winner of the William Saroyan International Prize for Writing