How do we understand culture and shape its future? How do we cross the bridge between culture as ideas and feelings and physical, cultural objects, all this within the endless variety and complexity of modern and traditional societies? This book proposes a Physical Culture Theory, taking culture as a self-organizing impulse pattern of electric forces. Bridging the gap to consciousness, the Physical Culture Theory proposes that consciousness content, what we think, hear, feel, or see is also just this: spatio-temporal electric fields. Music is a perfect candidate to elaborate on such a Physical Culture Theory. Music is all three, musical instrument acoustics, music psychology, and music ethnology. They emerge into living musical systems like all life is self-organization. Therefore the Physical Culture Theory knows no split between nature and nurture, hard and soft sciences, brains and musical instruments. It formulates mathematically complex systems as Physical Models rather than Artificial Intelligence. It includes ethical rules for maintaining life and finds culture and arts to be Human Rights. Enlarging these ideas and mathematical methods into all fields of culture, ecology, economy, or the like will be the task for the next decades to come.
Computational Mechanics of the Classical Guitar describes a new dynamic paradigm in instrument acoustics based on time-dependent transient analysis and simulation of complete musical instruments. It describes the current state of theoretical and experimental research into the guitar for engineers, instrument makers and musicians. This includes a summary of the basic equations for the mechanics of vibrating bodies and a presentation of the FDM (finite difference method) model with which the true vibrational behaviour of the instrument as an entire system can be understood for the first time. This monograph presents various new theoretical and experimental results and insights into guitar playing such as the coupling between the strings and the top plate or a description of the finger noise made when the fingers slide over the strings before plucking.
This book offers an overview of models, measurements, calculations and examples connecting musical acoustics and music psychology. Indeed, many mathematical formulations that explain musical acoustics can also be used to help predict human auditory perception.
The book deals with tax planning with holding companies located in Europe, Asia of the Caribbean. It analyses the problem of repatriating U.S. profits from Europe, going far beyond the routing of income via different companies. Instead, the approach includes an analysis of the interdependencies between international tax competition, holding company regimes, and tax planning concepts in order to establish a basis for tax planning measures regardless of the fast changing legal environment for holding companies in the different countries.
How do we understand culture and shape its future? How do we cross the bridge between culture as ideas and feelings and physical, cultural objects, all this within the endless variety and complexity of modern and traditional societies? This book proposes a Physical Culture Theory, taking culture as a self-organizing impulse pattern of electric forces. Bridging the gap to consciousness, the Physical Culture Theory proposes that consciousness content, what we think, hear, feel, or see is also just this: spatio-temporal electric fields. Music is a perfect candidate to elaborate on such a Physical Culture Theory. Music is all three, musical instrument acoustics, music psychology, and music ethnology. They emerge into living musical systems like all life is self-organization. Therefore the Physical Culture Theory knows no split between nature and nurture, hard and soft sciences, brains and musical instruments. It formulates mathematically complex systems as Physical Models rather than Artificial Intelligence. It includes ethical rules for maintaining life and finds culture and arts to be Human Rights. Enlarging these ideas and mathematical methods into all fields of culture, ecology, economy, or the like will be the task for the next decades to come.
Hitler and the Nazis saturated their country with many types of propaganda to convince the German citizenry that the Nazi ideology was the only ideology. One type of propaganda that the Nazis relied on heavily was cinematic. This work focuses on Nazi propaganda feature films and feature-length documentaries made in Germany between 1933 and 1945 and released to the public. Some of them were Staatsauftragsfilme, films produced by order of and financed by the Third Reich. The films are arranged by subject and then alphabetically, and complete cast and production credits are provided for each. Short biographies of actors, directors, producers, and other who were involved in the making of Nazi propaganda films are also provided.
Compounds labeled with carbon-14 and tritium are indispensable tools for research in biomedical sciences, discovery and development of pharmaceuticals and agrochemicals. Preparation of Compounds Labeled with Tritium and Carbon-14 is a comprehensive, authoritative and up-to-date discussion of the strategies, synthetic approaches, reactions techniques, and resources for the preparation of compounds labeled with either of these isotopes. A large number of examples are presented for the use of isotopic sources and building blocks in the preparation of labeled target compounds, illustrating the range of possibilities for embedding isotopic labels in selected moieties of complex structures. Topics include: Formulation of synthetic strategies for preparing labeled compounds Isotope exchange methods and synthetic alternatives for preparing tritiated compounds In-depth discussion of carbon-14 building blocks and their utility in synthesis Preparation of enantiomerically pure isotopically labeled compounds Applications of biotransformations Preparation of Compounds Labeled with Tritium and Carbon-14 is an essential guide to the specialist strategies and tactics used by chemists to prepare compounds tagged with theradioactive atoms carbon-14 and tritium.
Revised, and updated Design and Optimization in Organic Synthesis presents strategies to explore experimental conditions and methodologies for systematic studies of entire reaction systems (substrates, reagent(s), catalyst(s), and solvents). Chemical phenomena are not usually the result of a single factor and this book describes how statistically designed methods can be used to analyse and evaluate synthetic procedures. The methodology is based on multivariate statistical techniques. The accompanying CD contains data tables and programmes. This book is essential reading for anyone working in process design and development in fine chemicals or the pharmaceutical industry, and is suitable for those with no experience in the field.* Contains recalculated models and redrawn figures, as well as new chapters on for example, the design of combinatorial libraries * Presents strategies to explore experimental conditions and methodologies* Enables the analysis and prediction of the best synthetic procedures
The present volume finalizes the coverage of organocopper compounds. A complete formula and ligand index for the Gmelin organocopper series will appear shortly as" Organa copper Compounds" 5. The volume describes mononuclear compounds with ligands bonded by two or more carbon atoms as well as all di- to octanuclear and polymeric compounds. Mononuclear compounds with ligands bonded by one carbon atom have already been described in Vol umes 1 (published in 1985), 2 (published in 1983), and 3 (published in 1986). As structural elucidation in organocopper chemistry gained more attention only in the last few years, the terms "mononuclear", "dinuclear" etc. have been used as explained in "Organocopper Compounds" 1, 1985, pp. 3/4: all compounds are treated with their small est formula unit unless a higher nuclearity has been proved. As a consequence, most of the species treated in volumes 1 to 3 are described there because of insufficient structural information although they are alleged not to be monomeric. This way, many of the better characterized compounds appear in the present volume which is reflected by the more than eighty X-ray structure figures. Generally, nuclearity and structure are not only deter mined by the coordination properties of the ligands, but also by steric requirements, and may therefore widely differ for analogous compounds. For abbreviations and dimensions used throughout this volume, see p. X. Frankfurt am Main, July 1987 Johannes Fussel Remarks on Abbreviations and Dimensions Most compounds and reagents in this volume are presented in tables.
This book offers an overview of models, measurements, calculations and examples connecting musical acoustics and music psychology. Indeed, many mathematical formulations that explain musical acoustics can also be used to help predict human auditory perception.
Computational Mechanics of the Classical Guitar describes a new dynamic paradigm in instrument acoustics based on time-dependent transient analysis and simulation of complete musical instruments. It describes the current state of theoretical and experimental research into the guitar for engineers, instrument makers and musicians. This includes a summary of the basic equations for the mechanics of vibrating bodies and a presentation of the FDM (finite difference method) model with which the true vibrational behaviour of the instrument as an entire system can be understood for the first time. This monograph presents various new theoretical and experimental results and insights into guitar playing such as the coupling between the strings and the top plate or a description of the finger noise made when the fingers slide over the strings before plucking.
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