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Every evening my son walks out of his room with the book hidden behind his back and a big grin on his face. He holds it up in front of me and asks "ready?" We absolutely LOVE this book!
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The Chapters are as follows: (1) Introduction (2) Probability Theory (3)Random Waveforms (4)Optimum Receiver Principles (5)Efficient Signaling for Message Sequences (6) Implementation of Coding Systems (7) Important Channel Models (8) Waveforms Communications and appendixes (A-D)
The chapter on probability is bar-none the most comprehensive I have ever seen in any digital communications book, and covers multidimensional pdf's and explains the significance of moments and other things you might only find in a book dedicated specifically to stochastic processes. The coverage of the topics on signal-spaces is fantastic, and the chapter on optimum receivers is also extremely thorough despite the age of this book. Wozencrafts treatment of "channel capacity" and the derivations which he provides are unlike anything in any other book, covering the sphere packing argument quite thoroughly (the only other author to ever get this comprehensive was Shannon himself, and Pierce in his 1960'is vintage book on information theory). His coverage of various important bounds is covered very well (i.e. Chernoff bound) such that even an undergraduate can understand it. Other chapters are equally well written. No, the book obviously is not as up to date as Sklar or Proakis and doesn't cover alot of the more "practical" aspects of modern communications.... but if you want a die-hard communication theory book... this is a classic must-have.
The highlight of this book is its excellence in explaning "signal space concept" and "sufficiency of observables for optimum detection". Forget other textbooks and references you have. Read this book. I haven't yet found any other book that has better explanation on these topics.
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Fr. Raub is to be commended for writing this book and by so doing, filling a real need -- A COURSE IN MIRACLES may well be the best-kept secret among Christians today: few members of churches have even heard of it. Fr. Raub has helped to put these immeasurably important teachings on the map in a highly readable manner for the Christian community and we can all be grateful to him for doing so.
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No, social policy is not the most glamorous field for college students to enter, and unarguably the American system's shrinkage is going to pose severe problems in the next couple of years, but emotional and moral rewards of doing what is right make this venture worth it. Alternately, the authors balance this view with pragmatic political approaches that equip the reader with introductory strategies to hold off or even staunch further erosion of American social policy.
The book by itself is enjoyable, but advanced classes should use the American Welfare State as a supplementary text for historical background.
As a student I eagerly read the text each week, having found it both informative and engaging. Most of the chapters were enlightening, especially the ones that dealt with problems and issues that receive poor media coverage and therefore are not popular topics in today's political elections. For example, Chapter 5, Poverty in America, shined light on this oft-overlooked problem.
I highly recommend "American Social Welfare Policy: A Pluralist Perspective" to anyone looking for a great book that delivers a solid, high-level introduction to America's social policies.
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After a little growing up prompted by a lot of suffering, I reread it, and now realize I barely read it the first time. Yes, love benefits greatly from working on and with it, but I'd totally missed the other, more fundamental points of the book-that we we love the search, the struggle for understanding of 'life beyond life', in each other, the duality of love (selfish versus selfless), and the idea that what we identify as love in contemporary culture may only be passion, need, desire, and egoism.
I'm humbled enough to realize I can benefit from reading this book, with more of my attention, in times of suffering and times of joy, throughout the rest of my life.
Oh, and I keep buying it so often because I keep giving it away...I suspect there's no open human who cannot benefit from reading this book.
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"I Waxed My Legs for This?" sounds too much like the country song, but it was the better story with a lot of humor. Nicely-turned characters, great magnetism, and keep your hanky at the ready. Just the right length for this format.
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True to the title of the book "Some People Can't Surf" there isn't one website design to be found, but that may not be a bad thing as Chantry is a master within his medium. A very large body of work that spans three decades is showcased which includes everything from his very first poster design for a school concert to promotional work for major Hollywood record labels. One pleasant surprise is seeing quite a bit of logo design work which involves the charm and craft of hand lettering. In end Chantry reminds one of a later day Milton Glaser with a punk rock point of view.
At some points the book can become too crammed by trying to jam several posters onto a page by shrinking them down to matchbook size, however the work holds up pretty well under the strain. This volume would be valuable to any graphic designer looking for inspiration or anyone who is a fan of the Seattle music from the 90's.
In early 1991, I discovered and became obsessed with underground garagepunk & instro-surf music, the most exciting of which was coming out of the Pacific Northwest, and specifically Estrus Records, in Bellingham, Washington. It was the Estrus label that started my appreciation, and later, reverence, for Art Chantry's ir-reverent style of graphic design. When Nirvana's "Nevermind" was released later that year, the wall that previously kept mainstream riffraff from crashing "our" underground party came crumbling down, and as a result, grungy Northwest music had become suddenly (and inexplicably) marketable. The sudden onslaught of new bands inspired by this alleged "rebirth" of punkrock quickly caused the quality of Estrus' releases to assume an inversely proportional relationship to the quantity of records they put out (well, that's MY theory, at least...). Simply put, the really good music on Estrus soon became a rare commodity. Thankfully, what didn't change was the brilliant package design that thier slabs o' vinyl and silver frisbees were encased in. Art Chantry was responsible for the bulk of these designs, and is the only reason why a big chunk of my record and CD collection isn't fermenting in some used-record store somewhere. His artwork transcended the actual product it was emblazoned on, and made it worth keeping even if the music it promoted was supremely lame.
Chantry's work led me to notice and gain an appreciation for artists such as Stealworks' John Yates, Frank Kozik and even Roy Lichtenstein. But as great as those artists are, Chantry's work is the perfect amalgam of irony, humor, subversion, obnoxiousness and kitsch, and no one that I'm aware of has yet to outshadow him in this regard, even though he is without a doubt a man with many imitators. In fact, many people directly point the finger at him for popularizing the now passè movement in "grunge" design and layout. Whether this is actually true or not is debatable (although it certainly makes sense), but "Some People Can't Surf" is interesting in that it showcases a non-"grunge" (god, I hate that term) side of Chantry that most people would be very surprised to see. The same man responsible for some of the most outrageous and iconoclastic posters and album covers in music history was at the same time designing nondescript logos and brochures for boring, faceless corporations--biotech companies, architectural firms, airlines, etc.--and it's extremely interesting to see this real-world dichotomy brought to light in this book.
Another notable section of the book recalls the time when Art creatively attempted to get around a draconian 1994 Seattle anti-postering ordinance by posting up 'zine-like tabloids to telephone poles instead, ostensibly daring the city to attempt to fine him for what is fundamentally a First Amendment issue. As someone who firmly believes that graphic design and traditional "art" are not mutually exclusive, I found it refreshing to read this shining example of how designers can use their talent to actively influence and challenge the cultural status quo, instead of simply generating pretty pictures for passive consumer consumption.
When I first saw Art years ago in the documentary film, "Hype!" (which I also HIGHLY recommend), talking about the early Northwest music scene, and then proceeding to chop up his super-rare (and super-expensive) posters with a paper cutter, it completely validated what I always thought--this man is an ironic and wonderfully irreverent genius. "Some People Can't Surf" bolsters this fact even further, and I enjoyed reading this book's narrative at /least/ as much as looking at all the cool, full-color images of his brilliant work. I highly recommend this to any graphic designer who is tired of all the c.r.a.p. that tries to pass itself off as "cool", "grungy" or "retro" nowadays.