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An American Family not only moved me but showed me just how much someone will do for the people they love. The book is beautifuly written by both parents, Joh and Michael Galluccio, and includes a heartwarming photo album at the end of the book. Belive me, you won't be disappointed by this incredible and loving stroy. Read An American Family as soon as you can.
One of my favorite reads this year so far!
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'Magic', for Ripellino, means atmosphere; he has NO sympathy for occultism and to him Prague's Golden Age, the late Renaissance period, is a period of fools (Rudolf II and other alchemically-minded aristocrats), swindlers (Edward Kelley and all other alchemists), quacks (John Dee and other mystics), and knaves (Rudolf's ministers.) Half the book is spent archly ridiculing the period and its passions.
In Part Two Ripellino paints an equally grim picture of the period from Rudolf II's abdication in 1612 to, oh, sometime around 1946. But it's still all bits and pieces. We get a gloomy look at a few historical figures, some poets and writers, maybe an artist or two.
Kafka is the dominant spirit of Ripellino's Prague and what he gives us is a dismal, victimized city. There are no maps or pictures (except for 4 on the hardback's book jacket.) This suits the essay, which is more about Ripellino's mental image of Prague than of a physical locale.
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L'auteur du livre nous a raconté une belle histoire, celle des principaux protagonistes de l'invention de la télévision. Il a su vulgariser les notions scientifiques complexes qui intervinrent dans la réalisation du téléviseur moderne. Il s'adressait à un large public. C'est pourquoi son histoire est personnifiée.
Nous retrouvons les principaux inventeurs indépendant qui orientèrent leurs recherches dans le cadre du paradigme mécanique, Jenkins, Baird, Ives. D'autres figures peuplent les recherches dans le cadre du paradigme électronique, Zworykin, Farnsworth. L'auteur entre dans le détail biographique propre à nous illustrer les conditions de l'invention. La personnification de l'histoire permet d'attirer le lecteur.
Par ailleurs, le livre rend bien la complexité du développement de la télévision. Ce n'est pas un seul individu qui trône au dessus de l'histoire. En effet, l'invention de la télévision va d'au moins 1880 à 1939 et elle a mobilisé des chercheurs de partout dans le monde : Allemagne, Japon, Canada, Italie, URSS, France, en plus des États Unis d'Amérique et de la Grande Bretagne. Des inventeurs indépendants, des chercheurs universitaires et des chercheurs de grande compagnies y investirent nombre de jours. Plusieurs brevets furent déposés. Il n'y a pas -le- brevet décisif, mais plusieurs connaissances, savoir faire.
Cependant, pour le spécialiste de l'histoire des techniques, il ne s'agit que d'un livre de vulgarisation respectant avec intelligence les règles de l'art. Les livres publiés antérieurement sur l'histoire de la télévision (et il n'en existe guère peu) étaient soit trop rivés sur les faits, soit trop techniques, soit trop concernés par les débats entourant la télédiffusion de l'apprés seconde guerre mondiale.
Or, nous sommes toujours en attente d'une histoire de la télévision sous l'angle de l'histoire des techniques. Une histoire qui répondrait aux questions suivantes : quelles sont les contraintes exercées sur l'innovation technique par l'option paradigmatique des chercheurs? quel rôle a joué la présence de l'industrie dans le passage de l'invention à l'innovation? comment des inventeurs indépendants, tel Farnsworth ont-ils pu tenir tête à des industries telles RCA? pourquoi les Bell Lab., disposant de compétences techniques et de savoir faire éprouvés, en plus des ressources financières nécessaires, se sont-ils lancés dans l'aventure de la télévision mécanique plutôt que celle électronique?
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b4 you impatiently buy a book on ACID or any other program, try it out first... I don't think a book on ACID is necessary; it can easily be learned on your own... waste of money.
Many see Acid as a toy, and it is anything but as anyone who digs beneath the surface will quickly discover.
Acid 3.0 is a professional tool used in professional environments to achieve professional results faster than ever before and where time is money, Acid shines.
For anyone wanting to push this tool past it's apparent limits, using it as the ultimate tool with which to bring together tracks from various sources (including Cubase) this book is essential to understanding its hidden strengths, and workarounds for inherent weaknesses found in some extreme BPM and pitch-shifting tasks. "Acid 3.0 in 24 Hours" is essential to understanding track management, bus usage, FX options, video scoring, and timing adjustments to name but a few.
Do not be fooled. Acid is a most powerful non-destructive digital audio construction tool, although its name may draw prejudice. This book is as worthy a companion and reference as exists for it.
Buy this book. Even the Acid experienced will learn from it.
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owe much to Alexandra's own account of her journey to Lhasa. Her own books are wonderful to read, all of them , but in particular her 'My Journey to Lhasa' Beacon Press republished it as a paperback in 1993, ISBN 0-8070-5903-X
I can guarantee you will have a most enjoyable read.
I found it a fascinating read about a remarkable woman of whom I knew nothing, a woman who accomplished amazing things in her life. I recommend this biography by Barbara and Michael Foster to anyone interested in tales of high adventure in exploration, in the golden age of exploration and of unknown exotic lands. If the story of resolutely fearless woman pursuing her dream of exploring Forbidden Tibet whets your appetite I recommned you read this well crafted biography. I can recommend it without reservation. ZaneMason