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.

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.

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.

Catalog of an exhibition held at the Museum of Modern Art, New York, Nov. 18, 2012-Feb. 25, 2013.

Working in Germany between the two world wars, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the meaning of the originals. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of a brilliant, radical artist whose desire to disclose the truth obscured by the mainstream press and imperial propaganda made him a de facto prosecutor of Germany’s visual culture. Zervigón charts the evolution of Heartfield’s photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic. Appearing on everything from campaign posters to book covers, the photomonteur’s notorious pictures challenged well-worn assumption and correspondingly walked a dangerous tightrope over the political, social, and cultural cauldron that was interwar Germany. Zervigón explains how Heartfield’s engagement with montage arose from a broadly-shared dissatisfaction with photography’s capacity to represent the modern world. The result was likely the most important combination of avant-garde art and politics in the twentieth century. A rare look at Heartfield’s early and middle years as an artist and designer, this book provides a new understanding of photography’s role at this critical juncture in history.

Is late modern art 'anti-aesthetic'? What does it mean to label a piece of art 'affectless'? These traditional characterizations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. The book focuses on four highly influential female artists--Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha--and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analyzed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.

In the history of Jewish, Christian and Muslim culture, religious identity was not only formed by historical claims, but also by the usage of certain images: "images of God," "images of the others," "images of the self."This book includes a discussion of the role of these images in society and politics, in theology and liturgy, yesterday and today.