Come take a journey of exploration and discovery into the underworld of complexity, searching for simple understanding of our world and everything in it! Author Philip Gervase Jackson’s search for answers started at the age of five and within two years he was debating things others routinely took for granted. As an adult, Mr. Jackson used his new, evolving observations to develop a wonderfully powerful problem-solving method that helped him make discoveries in many different fields including mathematics and software design. As he applied the critical thinking skills he had nurtured, he realized that this problem-solving method is indeed universal - it can be applied to anything. Simplicity Instinct: Why Prime Numbers are Elusive! is a how-to book that shares all the opportunities provided by this method. Life often presents hurdles and barriers, but the search for deeper understanding will win over, every time.

Issues for 1904-47 include the Proceedings of the society.

This book examines Freud's changing views of human instincts, exploring the moral and social implications. Part One investigates Freud's concept of instinct and discusses the phases of his ongoing attempt to classify the instincts. In Part Two the author argues that Freud's instinct theory leads to a moral philosophy, and he relates this philosophy to Freud's views on group psychology. The notion of instinct is central to psychoanalytic theory, but never before has it been treated so comprehensively, with such close attention to the text. Nor has anyone previously examined in detail the moral and social implications of Freud's instinct theory. In examining these implications, Abel bridges the fields of psychology and philosophy.

Ten laws of simplicity for business, technology, and design that teach us how to need less but get more. Finally, we are learning that simplicity equals sanity. We're rebelling against technology that's too complicated, DVD players with too many menus, and software accompanied by 75-megabyte "read me" manuals. The iPod's clean gadgetry has made simplicity hip. But sometimes we find ourselves caught up in the simplicity paradox: we want something that's simple and easy to use, but also does all the complex things we might ever want it to do. In The Laws of Simplicity, John Maeda offers ten laws for balancing simplicity and complexity in business, technology, and design--guidelines for needing less and actually getting more. Maeda--a professor in MIT's Media Lab and a world-renowned graphic designer--explores the question of how we can redefine the notion of "improved" so that it doesn't always mean something more, something added on. Maeda's first law of simplicity is "Reduce." It's not necessarily beneficial to add technology features just because we can. And the features that we do have must be organized (Law 2) in a sensible hierarchy so users aren't distracted by features and functions they don't need. But simplicity is not less just for the sake of less. Skip ahead to Law 9: "Failure: Accept the fact that some things can never be made simple." Maeda's concise guide to simplicity in the digital age shows us how this idea can be a cornerstone of organizations and their products--how it can drive both business and technology. We can learn to simplify without sacrificing comfort and meaning, and we can achieve the balance described in Law 10. This law, which Maeda calls "The One," tells us: "Simplicity is about subtracting the obvious, and adding the meaningful."

What role did music play in the creation of a new aesthetics of poetry in French from the 1860s to the 1930s? How did music serve as an unassimilable 'other' against which the French symbolist poets crafted a new poetics? And why did music gradually disappear from early twentieth-century poetic discourse? These are among the questions Joseph Acquisto poses in his lively study of the ways in which Baudelaire, Mallarmé, Ghil, and Royère question the nature and function of the lyric through an ever-shifting set of intertextual and cultural contexts. Rather than focusing on 'musicality' in verse, the author addresses the consequences of choosing music as a site of dialogue with poetry. Acquisto argues that memory plays an under acknowledged yet vital role in these poets' rewriting of symbolist poetics. His reading of their interactions, and his focus on both major and neglected poets, exposes the myth of a small handful of 'great authors' shaping symbolism while a host of disciples propagated the tradition. Rather, Acquisto proposes, the multiplicity of authors writing and rewriting symbolism invites a dialogic approach to the poetics of the period. Moreover, music, as theorized rather than performed or heard, serves as a privileged mobile space of poetic creation and dialogue for these poet-critics; it is through engagement with music, supposedly the purest or most abstract of the arts, that one can retrace the textual and cultural transformations accomplished by the symbolist tradition. By extension, these poets' rethinking of poetics is an occasion for present-day critics to re-examine assumptions, not only about the intersections of music and poetry and our understanding of symbolist poetics but also about the role that the aesthetic implicitly plays in the creation, preservation, or reshaping of cultural memory.