Stories of the open road have a powerful sway over our imagination, particularly in America, where the vast web of interstate highways transformed the national identity as well as the national landscape. Sometimes seen as the harbinger of a golden future, other times as the conduit of a dehumanized dystopia, the highway reflects some of our most potent fantasies as well as our deepest anxieties about modernity, ecology, commerce, and individuality. In a work rich in embedded multimedia, Helen J. Burgess and Jeanne Hamming look at cultural and media representations of the highway in planning documents, industrial films, corporate ephemera, and science fiction narratives to explore how these stories of the road have reconfigured how we think about ourselves and our world. Highways of the Mind, available only on the Apple iBookstore site in iBook format, shows how the stories we tell about the highway—whether in the service of national pride, corporate advertising, urban planning, or apocalyptic warnings—determine how we imagine, or fail to imagine, the possibilities for human action in built environments.
Stories of the open road have a powerful sway over our imagination, particularly in America, where the vast web of interstate highways transformed the national identity as well as the national landscape. Sometimes seen as the harbinger of a golden future, other times as the conduit of a dehumanized dystopia, the highway reflects some of our most potent fantasies as well as our deepest anxieties about modernity, ecology, commerce, and individuality. In a work rich in embedded multimedia, Helen J. Burgess and Jeanne Hamming look at cultural and media representations of the highway in planning documents, industrial films, corporate ephemera, and science fiction narratives to explore how these stories of the road have reconfigured how we think about ourselves and our world. Highways of the Mind, available only on the Apple iBookstore site in iBook format, shows how the stories we tell about the highway—whether in the service of national pride, corporate advertising, urban planning, or apocalyptic warnings—determine how we imagine, or fail to imagine, the possibilities for human action in built environments.
Mindy, Kimmy, and Sonia are beginning the summer between seventh and eighth grade and none of them are feeling very good about it. Mindy gained a lot of weight over the winter, and at the same time, her best friend ditched her for two more popular girls, so she spends most of her time alone, watching reruns of Friends. Kimmy has always been painfully shy, and now that her parents are getting a divorce, she has to move in with her grandparents and be the only new girl in the eighth grade. Sonia's mother has been battling cancer for the last two years, and Sonia's anxiety attacks are so bad that she had to be homeschooled for a year. All three girls reluctantly find themselves in a local theater camp where they get so swept up with the magic of putting on a musical revue that they start to forget about their own problems. Throughout the course of the summer, the three girls work through their personal issues while having the time of their lives with all the new interesting people they've been thrown in with. By the end of the summer, Mindy, Kimmy, and Sonia are officially "theater kids." They and their new friends are ready to take on eighth grade.
“I was married eleven years before I started imagining how different life could be if my husband were dead. . . .” At thirty-eight, Jessie Maddox subscribes to House Beautiful, Southern Living, even Psychology Today. She has a comfortable life in Glenville, Georgia, with Turner, the most reliable, responsible husband in the world. But after the storybook romance, “happily ever after” never came. Now the housewife who once wanted to be Martha Stewart before there was a Martha Stewart is left to wonder: Where did the marriage go wrong? Why can’t she stop picturing herself as the perfect grieving widow? As Jessie dives headlong into her midlife crisis, she is aided and abetted by a colorful cast of characters in the true Southern tradition: her best friend and next door neighbor Donna, who is having a wild adulterous affair with a younger man; Wanda McNab, the sweater-knitting, cookie-baking grandmother who is charged with killing her abusive husband. Then there’s Jessie’s eccentric family. Her younger sister Ellen, born to be a guest on Jerry Springer, has taken her seven-year-old son and squawking pet birds and left her husband “for good this time” . . . while their mother crosses the dirty words out of library books and alerts everyone to the wonderful bargains at Winn-Dixie, often at the same time. And then there’s the stuffed green headless duck . . . When a trip home to the small town of her childhood raises more questions than it answers, Jessie is forced to face the startling truth head-on–and confront the tragedy that has shadowed her heart and shaken her faith in love . . . and the future. From a brilliant new voice in fiction, here is a darkly comic novel full of revelation and insight. The danger of secrets and the power of confession . . . The pull of family, no matter how crazy. . . The fate of wedlock when one can’t find the key . . . Jeanne Braselton weaves these potent themes into a funny, poignant, utterly engaging story of a woman at the crossroads–and the unforgettable journey she must take to get back home.
The simplest method of transferring data through the inputs or outputs of a silicon chip is to directly connect each bit of the datapath from one chip to the next chip. Once upon a time this was an acceptable approach. However, one aspect (and perhaps the only aspect) of chip design which has not changed during the career of the authors is Moore’s Law, which has dictated substantial increases in the number of circuits that can be manufactured on a chip. The pin densities of chip packaging technologies have not increased at the same pace as has silicon density, and this has led to a prevalence of High Speed Serdes (HSS) devices as an inherent part of almost any chip design. HSS devices are the dominant form of input/output for many (if not most) high-integration chips, moving serial data between chips at speeds up to 10 Gbps and beyond. Chip designers with a background in digital logic design tend to view HSS devices as simply complex digital input/output cells. This view ignores the complexity associated with serially moving billions of bits of data per second. At these data rates, the assumptions associated with digital signals break down and analog factors demand consideration. The chip designer who oversimplifies the problem does so at his or her own peril.
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