International Standard Serial Number
An International Standard Serial Number is an eight-digit serial number used to uniquely identify a serial publication, such as a magazine. The ISSN is helpful in distinguishing between serials with the same title. ISSN are used in ordering, interlibrary loans, other practices in connection with serial literature; the ISSN system was first drafted as an International Organization for Standardization international standard in 1971 and published as ISO 3297 in 1975. ISO subcommittee TC 46/SC 9 is responsible for maintaining the standard; when a serial with the same content is published in more than one media type, a different ISSN is assigned to each media type. For example, many serials are published both in electronic media; the ISSN system refers to these types as electronic ISSN, respectively. Conversely, as defined in ISO 3297:2007, every serial in the ISSN system is assigned a linking ISSN the same as the ISSN assigned to the serial in its first published medium, which links together all ISSNs assigned to the serial in every medium.
The format of the ISSN is an eight digit code, divided by a hyphen into two four-digit numbers. As an integer number, it can be represented by the first seven digits; the last code digit, which may be 0-9 or an X, is a check digit. Formally, the general form of the ISSN code can be expressed as follows: NNNN-NNNC where N is in the set, a digit character, C is in; the ISSN of the journal Hearing Research, for example, is 0378-5955, where the final 5 is the check digit, C=5. To calculate the check digit, the following algorithm may be used: Calculate the sum of the first seven digits of the ISSN multiplied by its position in the number, counting from the right—that is, 8, 7, 6, 5, 4, 3, 2, respectively: 0 ⋅ 8 + 3 ⋅ 7 + 7 ⋅ 6 + 8 ⋅ 5 + 5 ⋅ 4 + 9 ⋅ 3 + 5 ⋅ 2 = 0 + 21 + 42 + 40 + 20 + 27 + 10 = 160 The modulus 11 of this sum is calculated. For calculations, an upper case X in the check digit position indicates a check digit of 10. To confirm the check digit, calculate the sum of all eight digits of the ISSN multiplied by its position in the number, counting from the right.
The modulus 11 of the sum must be 0. There is an online ISSN checker. ISSN codes are assigned by a network of ISSN National Centres located at national libraries and coordinated by the ISSN International Centre based in Paris; the International Centre is an intergovernmental organization created in 1974 through an agreement between UNESCO and the French government. The International Centre maintains a database of all ISSNs assigned worldwide, the ISDS Register otherwise known as the ISSN Register. At the end of 2016, the ISSN Register contained records for 1,943,572 items. ISSN and ISBN codes are similar in concept. An ISBN might be assigned for particular issues of a serial, in addition to the ISSN code for the serial as a whole. An ISSN, unlike the ISBN code, is an anonymous identifier associated with a serial title, containing no information as to the publisher or its location. For this reason a new ISSN is assigned to a serial each time it undergoes a major title change. Since the ISSN applies to an entire serial a new identifier, the Serial Item and Contribution Identifier, was built on top of it to allow references to specific volumes, articles, or other identifiable components.
Separate ISSNs are needed for serials in different media. Thus, the print and electronic media versions of a serial need separate ISSNs. A CD-ROM version and a web version of a serial require different ISSNs since two different media are involved. However, the same ISSN can be used for different file formats of the same online serial; this "media-oriented identification" of serials made sense in the 1970s. In the 1990s and onward, with personal computers, better screens, the Web, it makes sense to consider only content, independent of media; this "content-oriented identification" of serials was a repressed demand during a decade, but no ISSN update or initiative occurred. A natural extension for ISSN, the unique-identification of the articles in the serials, was the main demand application. An alternative serials' contents model arrived with the indecs Content Model and its application, the digital object identifier, as ISSN-independent initiative, consolidated in the 2000s. Only in 2007, ISSN-L was defined in the
Game theory is the study of mathematical models of strategic interaction between rational decision-makers. It has applications in all fields of social science, as well as in computer science, it addressed zero-sum games, in which one person's gains result in losses for the other participants. Today, game theory applies to a wide range of behavioral relations, is now an umbrella term for the science of logical decision making in humans and computers. Modern game theory began with the idea regarding the existence of mixed-strategy equilibria in two-person zero-sum games and its proof by John von Neumann. Von Neumann's original proof used the Brouwer fixed-point theorem on continuous mappings into compact convex sets, which became a standard method in game theory and mathematical economics, his paper was followed by the 1944 book Theory of Games and Economic Behavior, co-written with Oskar Morgenstern, which considered cooperative games of several players. The second edition of this book provided an axiomatic theory of expected utility, which allowed mathematical statisticians and economists to treat decision-making under uncertainty.
Game theory was developed extensively in the 1950s by many scholars. It was explicitly applied to biology in the 1970s, although similar developments go back at least as far as the 1930s. Game theory has been recognized as an important tool in many fields; as of 2014, with the Nobel Memorial Prize in Economic Sciences going to game theorist Jean Tirole, eleven game theorists have won the economics Nobel Prize. John Maynard Smith was awarded the Crafoord Prize for his application of game theory to biology. Early discussions of examples of two-person games occurred long before the rise of modern, mathematical game theory; the first known discussion of game theory occurred in a letter written by Charles Waldegrave, an active Jacobite, uncle to James Waldegrave, a British diplomat, in 1713. In this letter, Waldegrave provides a minimax mixed strategy solution to a two-person version of the card game le Her, the problem is now known as Waldegrave problem. In his 1838 Recherches sur les principes mathématiques de la théorie des richesses, Antoine Augustin Cournot considered a duopoly and presents a solution, a restricted version of the Nash equilibrium.
In 1913, Ernst Zermelo published Über eine Anwendung der Mengenlehre auf die Theorie des Schachspiels. It proved that the optimal chess strategy is determined; this paved the way for more general theorems. In 1938, the Danish mathematical economist Frederik Zeuthen proved that the mathematical model had a winning strategy by using Brouwer's fixed point theorem. In his 1938 book Applications aux Jeux de Hasard and earlier notes, Émile Borel proved a minimax theorem for two-person zero-sum matrix games only when the pay-off matrix was symmetric. Borel conjectured that non-existence of mixed-strategy equilibria in two-person zero-sum games would occur, a conjecture, proved false. Game theory did not exist as a unique field until John von Neumann published the paper On the Theory of Games of Strategy in 1928. Von Neumann's original proof used Brouwer's fixed-point theorem on continuous mappings into compact convex sets, which became a standard method in game theory and mathematical economics, his paper was followed by his 1944 book Theory of Games and Economic Behavior co-authored with Oskar Morgenstern.
The second edition of this book provided an axiomatic theory of utility, which reincarnated Daniel Bernoulli's old theory of utility as an independent discipline. Von Neumann's work in game theory culminated in this 1944 book; this foundational work contains the method for finding mutually consistent solutions for two-person zero-sum games. During the following time period, work on game theory was focused on cooperative game theory, which analyzes optimal strategies for groups of individuals, presuming that they can enforce agreements between them about proper strategies. In 1950, the first mathematical discussion of the prisoner's dilemma appeared, an experiment was undertaken by notable mathematicians Merrill M. Flood and Melvin Dresher, as part of the RAND Corporation's investigations into game theory. RAND pursued the studies because of possible applications to global nuclear strategy. Around this same time, John Nash developed a criterion for mutual consistency of players' strategies, known as Nash equilibrium, applicable to a wider variety of games than the criterion proposed by von Neumann and Morgenstern.
Nash proved that every n-player, non-zero-sum non-cooperative game has what is now known as a Nash equilibrium. Game theory experienced a flurry of activity in the 1950s, during which time the concepts of the core, the extensive form game, fictitious play, repeated games, the Shapley value were developed. In addition, the first applications of game theory to philosophy and political science occurred during this time. In 1979 Robert Axelrod tried setting up computer programs as players and found that in tournaments between them the winner was a simple "tit-for-tat" program that cooperates on the first step on subsequent steps just does whatever its opponent did on the previous step; the same winner was often obtained by natural selection. In 1965, Reinhard Selten introduced his solution concept of subgame perfect equilibria, which further refined the Nash equilibrium. In 1994 Nash and Harsanyi became Economics Nobel Laureates for their contributi
Eavesdropping is the act of secretly or stealthily listening to the private conversation or communications of others without their consent. The practice is regarded as unethical, in many jurisdictions is illegal; the verb eavesdrop is a back-formation from the noun eavesdropper, formed from the related noun eavesdrop. An eavesdropper was someone who would hang from the eave of a building so as to hear what is said within; the PBS documentaries, Inside the Court of Henry VIII and Secrets of Henry VIII’s Palace include segments that display and discuss "eavedrops", carved wooden figures Henry VIII had built into the eaves of Hampton Court to discourage unwanted gossip or dissension from the King's wishes and rule, to foment paranoia and fear, demonstrate that everything said there was being overheard. Eavesdropping vectors include telephone lines, cellular networks and other methods of private instant messaging. VoIP communications software is vulnerable to electronic eavesdropping via infections such as trojans.
Network eavesdropping is a network layer attack that focuses on capturing small packets from the network transmitted by other computers and reading the data content in search of any type of information. This type of network attack is one of the most effective as a lack of encryption services are used, it is linked to the collection of metadata. Those who perform this type of attack are black-hat hackers; the dictionary definition of eavesdropping at Wiktionary Media related to Eavesdropping at Wikimedia Commons
Bob & Carol & Ted & Alice
Bob & Carol & Ted & Alice is a 1969 American comedy drama film directed by Paul Mazursky, written by Paul Mazursky and Larry Tucker, who produced the film, starring Natalie Wood, Robert Culp, Elliott Gould, Dyan Cannon. The original music score was composed by Quincy Jones; the cinematography for the film was by Charles Lang. The film received four Academy Award nominations, including ones for Cannon. Patricia Welles wrote the paperback novel from Paul Larry Tucker's screenplay. After a weekend of emotional honesty at an Esalen-style retreat, Los Angeles sophisticates Bob and Carol Sanders return home determined to embrace complete openness, they share their enthusiasm and excitement over their new-found philosophy with their more conservative friends Ted and Alice Henderson, who remain doubtful. Soon after, filmmaker Bob has an affair with a young production assistant on a film shoot in San Francisco; when he gets home he admits his liaison to Carol, describing the event as a purely physical act, not an emotional one.
To Bob's surprise, Carol is accepting of his extramarital behavior. Carol gleefully reveals the affair to Ted and Alice as they are leaving a dinner party. Disturbed by Bob's infidelity and Carol's candor, Alice becomes physically ill on the drive home, she and Ted have a difficult time coping with the news in bed that night. But as time passes they grow to accept that Bob and Carol are fine with the affair. Ted admits to Bob that he was tempted to have an affair once, but didn't go through with it. Don't waste it." During another visit to San Francisco, Bob decides to skip a second encounter with the young woman, instead returning home a day early. When he arrives, he discovers Carol having an affair with her tennis instructor. Although outraged, Bob realizes that the encounter was purely physical, like his own affair, he settles down and chats and drinks with the man. When the two couples travel together to Las Vegas and Carol reveal Carol's affair to Ted and Alice. Ted admits to an affair on a recent business trip to Miami.
An outraged Alice demands that this new ethos be taken to its obvious conclusion: a mate-sharing foursome. Ted is reluctant, explaining that he loves Carol "like a sister," but acknowledges that he finds her attractive. After discussing it, all four climb into bed together. Swapping partners and Alice kiss fervently, as do Ted and Carol, but after a few moments all four stop; the scene cuts to the couples walking to the elevator, riding it down, walking out of the casino hand-in-hand with their original partners. A crowd of men and women of various cultures and races congregate in the casino parking lot, wherein the four main characters exchange long stares with each other and with strangers, reminiscent of the non-verbal communication shown in the early scene at the retreat. Over this final scene, the film's theme song reminds the viewer that "what the world needs now is love." The credits roll. Natalie Wood as Carol Sanders Robert Culp as Bob Sanders Elliott Gould as Ted Henderson Dyan Cannon as Alice Henderson Horst Ebersberg as Horst Lee Bergere as Emilio Donald F. Muhich as Psychiatrist Noble Lee Holderread Jr. as Sean Sanders K. T. Stevens as Phyllis Celeste Yarnall as Susan Lynn Borden as Cutter Greg Mullavey as Group Leader Linda Burton as Stewardess Leif Garrett as Jimmy Henderson The film score was composed and conducted by Quincy Jones and featured Jackie DeShannon performing Burt Bacharach and Hal David's "What the World Needs Now Is Love" and Sarah Vaughan performing "I know that my Redeemer liveth" from Part III of Handel's Messiah.
The soundtrack album was released on the Bell label in 1969. The Vinyl Factory said "in 1969, Jones produced this sparkling score, with its lavish string arrangements and jazzy interludes.... What sounds like a lot work went into an unconventional soundtrack for an unconventional movie about sexual experimentation". All compositions by Quincy Jones except where noted "Main Title From Bob & Carol & Ted & Alice" − 2:24 "Sun Dance" − 3:46 "Giggle Grass" − 2:30 "Sweet Wheat" − 3:31 "What The World Needs Now" − 3:07 "What The World Needs Now" − 3:48 "Celebration of Life " − 2:54 "Sun Dance " − 3:31 "Dynamite" − 2:34 "Flop Sweat" − 3:27 Unidentified orchestra arranged and conducted by Quincy Jones Merrilee Rush, Sarah Vaughan − vocals Bob & Carol & Ted & Alice became the signature film of Paul Mazursky and was a critical and commercial success, it was the fifth highest-grossing film of 1969. After this film's release, it led to other movies dealing with wife swapping and other types of experimentation with interpersonal relationships inside American society.
Mazursky himself would do a few more stories set in California, including Alex in Wonderland and Down and Out in Beverly Hills. Writing in The New Yorker the film critic Pauline Kael praised both the film and director Mazursky, calling it "a slick, whorey movie, the liveliest American comedy so far this year. Mazursky, directing his first picture, has developed a style from satiric improvisational revue theatre—he and Tucker were part of the Second City troupe—and from TV situation comedy, with skill and wit, has made this mi
Adi Shamir is an Israeli cryptographer. He is a co-inventor of the Rivest–Shamir–Adleman algorithm, a co-inventor of the Feige–Fiat–Shamir identification scheme, one of the inventors of differential cryptanalysis and has made numerous contributions to the fields of cryptography and computer science. Born in Tel Aviv, Shamir received a Bachelor of Science degree in mathematics from Tel Aviv University in 1973 and obtained his Master of Science and Doctor of Philosophy degrees in Computer Science from the Weizmann Institute in 1975 and 1977 respectively. After a year as a postdoctoral researcher at the University of Warwick, he did research at Massachusetts Institute of Technology from 1977–1980 before returning to be a member of the faculty of Mathematics and Computer Science at the Weizmann Institute. Starting from 2006, he is an invited professor at École Normale Supérieure in Paris. In addition to RSA, Shamir's other numerous inventions and contributions to cryptography include the Shamir secret sharing scheme, the breaking of the Merkle-Hellman knapsack cryptosystem, visual cryptography, the TWIRL and TWINKLE factoring devices.
Together with Eli Biham, he discovered differential cryptanalysis, a general method for attacking block ciphers. It emerged that differential cryptanalysis was known — and kept a secret — by both IBM and the National Security Agency. Shamir has made contributions to computer science outside of cryptography, such as finding the first linear time algorithm for 2-satisfiability and showing the equivalence of the complexity classes PSPACE and IP. Shamir has received a number of awards, including the following: the 2002 ACM Turing Award, together with Rivest and Adleman, in recognition of his contributions to cryptography the Paris Kanellakis Theory and Practice Award. R. G. Baker Award the UAP Scientific Prize The Vatican's PIUS XI Gold Medal the 2000 IEEE Koji Kobayashi Computers and Communications Award the Israel Prize, in 2008, for computer sciences. An honorary DMath degree from the University of Waterloo 2017 Japan Prize in the field of Electronics and Communication for his contribution to information security through pioneering research on cryptography he was elected a Foreign Member of the Royal Society in 2018 for substantial contribution to the improvement of natural knowledge
Prentice Hall is a major educational publisher owned by Pearson plc. Prentice Hall publishes print and digital content for the higher-education market. Prentice Hall distributes its technical titles through the Safari Books Online e-reference service. On October 13, 1913, law professor Charles Gerstenberg and his student Richard Ettinger founded Prentice Hall. Gerstenberg and Ettinger took their mothers' maiden names—Prentice and Hall—to name their new company. Prentice Hall was acquired by Gulf+Western in 1984, became part of that company's publishing division Simon & Schuster. Publication of trade books ended in 1991. Simon & Schuster's educational division, including Prentice Hall, was sold to Pearson by G+W successor Viacom in 1998. There were two or more authors, their books turned up missing. One book'The Roof Builder's Handbook' is still being sold in 2018 for as much as $230 per new copy, but the author William C. McElroy was told by Pearson that all new books were either destroyed or went missing in 1995.
Some 2,385 copies are missing. Prentice Hall is the publisher of Magruder's American Government as well as Biology by Ken Miller and Joe Levine, their artificial intelligence series includes Artificial Intelligence: A Modern Approach by Stuart J. Russell and Peter Norvig and ANSI Common Lisp by Paul Graham, they published the well-known computer programming book The C Programming Language by Brian Kernighan and Dennis Ritchie and Operating Systems: Design and Implementation by Andrew S. Tanenbaum. Other titles include Dennis Nolan's Big Pig, Monster Bubbles: A Counting Book, Wizard McBean and his Flying Machine, Witch Bazooza, Llama Beans, The Joy of Chickens. A Prentice Hall subsidiary, Reston Publishing, was in the foreground of technical-book publishing when microcomputers were first becoming available, it was still unclear who would be buying and using "personal computers," and the scarcity of useful software and instruction created a publishing market niche whose target audience yet had to be defined.
In the spirit of the pioneers who made PCs possible, Reston Publishing's editors addressed non-technical users with the reassuring, mildly experimental, Computer Anatomy for Beginners by Marlin Ouverson of People's Computer Company. They followed with a collection of books, by and for programmers, building a stalwart list of titles relied on by many in the first generation of microcomputers users. Prentice Hall International Series in Computer Science Prentice Hall website Prentice Hall School website Prentice Hall Higher Education website Prentice Hall Professional Technical Reference website
Fiction broadly refers to any narrative, derived from the imagination—in other words, not based on history or fact. It can refer, more narrowly, to narratives written only in prose, is used as a synonym for the novel. In its most narrow usage fiction refers to novels, but it may denote any "literary narrative", including novels and short stories. More broadly, fiction has come to encompass imaginative storytelling in any format, including writings, theatrical performances, films, television programs, games, so on. A work of fiction implies the inventive act of constructing an imaginary world, so its audience does not expect it to be faithful to the real world in presenting only characters who are actual people or descriptions that are factually true. Instead, the context of fiction understood as not adhering to the real world, is more open to interpretation. Characters and events within a fictional work may be set in their own context separate from the known universe: an independent fictional universe.
Fiction's traditional opposite is non-fiction, a narrative work whose creator assumes responsibility for presenting only the historical and factual truth. The distinction between fiction and non-fiction however can be unclear in some recent artistic and literary movements, such as postmodern literature. Traditionally, fiction includes novels, short stories, legends, fairy tales and narrative poetry, plays. However, fiction may encompass comic books, many animated cartoons, stop motions, manga, video games, radio programs, television programs, etc; the Internet has had a major impact on the creation and distribution of fiction, calling into question the feasibility of copyright as a means to ensure royalties are paid to copyright holders. Digital libraries such as Project Gutenberg make public domain texts more available; the combination of inexpensive home computers, the Internet and the creativity of its users has led to new forms of fiction, such as interactive computer games or computer-generated comics.
Countless forums for fan fiction can be found online, where loyal followers of specific fictional realms create and distribute derivative stories. The Internet is used for the development of blog fiction, where a story is delivered through a blog either as flash fiction or serial blog, collaborative fiction, where a story is written sequentially by different authors, or the entire text can be revised by anyone using a wiki. Types of literary fiction in prose include: Short story: A work of at least 2,000 words but under 7,500 words; the boundary between a long short story and a novella is vague. Novella: A work of at least 7,500 words but under 50,000 words. Joseph Conrad's Heart of Darkness is an example of a novella. Novel: A work of 50,000 words or more. Fiction is broken down into a variety of genres: subsets of fiction, each differentiated by a particular unifying tone or style, narrative technique, media content, or popularly defined criterion. Science fiction, for example, predicts or supposes technologies that are not realities at the time of the work's creation: Jules Verne's novel From the Earth to the Moon was published in 1865 and only in 1969 did astronaut Neil Armstrong first land on the moon.
Historical fiction places imaginary characters into real historical events. In the early historical novel Waverley, Sir Walter Scott's fictional character Edward Waverley meets a figure from history, Bonnie Prince Charlie, takes part in the Battle of Prestonpans; some works of fiction are or re-imagined based on some true story, or a reconstructed biography. When the fictional story is based on fact, there may be additions and subtractions from the true story to make it more interesting. An example is Tim O'Brien's The Things They Carried, a series of short stories about the Vietnam War. Fictional works that explicitly involve supernatural, magical, or scientifically impossible elements are classified under the genre of fantasy, including Lewis Carroll's Alice In Wonderland, J. K. Rowling's Harry Potter series, J. R. R. Tolkien's The Lord of the Rings. Creators of fantasy sometimes introduce imaginary beings such as dragons and fairies. Literary fiction is a term used in the book-trade to distinguish novels that are regarded as having literary merit, from most commercial or "genre" fiction.
Neal Stephenson has suggested that while any definition will be simplistic there is today a general cultural difference between literary and genre fiction. On the one hand literary authors nowadays are supported by patronage, with employment at a university or a similar institution, with the continuation of such positions determined not by book sales but by critical acclaim by other established literary authors and critics. On the other hand, he suggests, genre fiction writers tend to support themselves by book sales. However, in an interview, John Updike lamented that "the category of'literary fiction' has sprung up to torment people like me who just set out to write books, if anybody wanted to read them, the more the merrier.... I'm a genre writer of a sort. I write literary fiction, like spy fiction or chick lit". On The Charlie Rose Show, he argued that this term, when applied to his work limited him and his expectations of what might come of his writing, so he does not like it, he suggested that all his works are literary be