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Friday, July 29, 2011

Download PDF The Spycraft Manual: The Insider's Guide to Espionage Techniques

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The Spycraft Manual: The Insider's Guide to Espionage Techniques

  • Published on: 1800
  • Binding: Paperback

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Saturday, July 16, 2011

PDF Download Mind, Brain, and Free WillBy Richard Swinburne

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Mind, Brain, and Free WillBy Richard Swinburne

Mind, Brain, and Free Will presents a powerful new case for substance dualism (the idea that humans consist of two parts--body and soul) and for libertarian free will (that humans have some freedom to choose between alternatives, independently of the causes which influence them). Richard Swinburne argues that answers to questions about mind, body, and free will depend crucially on the answers to more general philosophical questions. He begins by analyzing the criteria for one event being the same as another, one substance being the same as another, and a state of affairs being metaphysically possible; and then goes on to analyze the criteria for a belief about these issues being justified. Pure mental events (including conscious events) are distinct from physical events and interact with them. Swinburne claims that no result from neuroscience or any other science could show that interaction does not take place; and illustrates this claim by showing that recent scientific work (such as Libet's experiments) has no tendency whatever to show that our intentions do not cause brain events. He goes on to argue for agent causation, and claims that--to speak precisely--it is we, and not our intentions, that cause our brain events. It is metaphysically possible that each of us could acquire a new brain or continue to exist without a brain; and so we are essentially souls. Brain events and conscious events are so different from each other that it would not be possible to establish a scientific theory which would predict what each of us would do in situations of moral conflict. Hence given a crucial epistemological principle (the Principle of Credulity) we should believe that things are as they seem to be: that we make choices independently of the causes which influence us. According to Swinburne's lucid and ambitious account, it follows that we are morally responsible for our actions.

  • Sales Rank: #1004796 in Books
  • Published on: 2013-05-15
  • Released on: 2013-05-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.10" h x .60" w x 9.10" l, .85 pounds
  • Binding: Paperback
  • 256 pages

Review

"Mind, Brain, and the Free Will is the latest in a prolific list of titles from the pen of Richard Swinburne, raising a host of fascinating issues, and there is a fair amount of thought provoking textual analysis in it."--Review of Contemporary Philosophy


"This is an interesting and provocative book."--David Palmer, Notre Dame Philosophical Reviews


"Swinburne's philosophical system certainly gives us much to think about. Even if one disagrees with Swinburne's conclusions, it is a task to locate which premise is mistaken and to clearly explain why. Swinburne's latest book makes it even more difficult to resist his views about the nature of human beings." -- Journal of Analytic Theology


About the Author

Richard Swinburne was Professor of the Philosophy of Religion at Oxford University from 1985 until 2002. He is a Fellow of the British Academy. He is the author of many books on philosophical issues, most of them concerned with the philosophy of religion, but others concerned with space and time, probability, epistemology, and mind and body. He lectures frequently in many different countries.

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Monday, July 11, 2011

Free PDF The Secret Architecture of Our Nation's Capital: The Masons and the Building of Washington, D.C.By David Ovason

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The Secret Architecture of Our Nation's Capital: The Masons and the Building of Washington, D.C.By David Ovason

Today, there are more than twenty complete zodiacs in Washington, D.C., each one pointing to an extraordinary mystery. David Ovason, who has studied these astrological devices for ten years, now reveals why they have been placed in such abundance in the center of our nation's capital and explains their interconnections. His richly illustrated text tells the story of how Washington, from its foundation in 1791, was linked with the zodiac, with the meaning of certain stars, and with a hidden cosmological symbolism that he uncovers here for the first time.

Fascinating and thoroughly researched, The Secret Architecture of Our Nation 's Capital is an engrossing book that raises provocative questions and otters complex insights into the meanings behind the mysterious symbols in Washington.

  • Sales Rank: #351971 in Books
  • Color: White
  • Brand: Ovason, David
  • Published on: 2002-03-26
  • Released on: 2002-03-26
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x 1.19" w x 5.31" l, .88 pounds
  • Binding: Paperback
  • 528 pages

From Publishers Weekly
In this audacious, erudite study, Ovason (The Secrets of Nostradamus) sets out to prove that Washington, D.C., was designed and built largely by Masonic architectsAand that they imprinted the beliefs of their brotherhood on the city's layout. Benjamin Franklin, architect James Hoban (who designed the White House), Presidents Garfield and Polk and Statue of Liberty sculptor Frederic Bartholdi were all Masons. Indeed, when President George Washington laid the cornerstone of the Capitol building in 1793, he wore a Masonic apron adorned with occult Masonic symbols and an image of the zodiac. And although textbooks teach that the federal city was the brainchild of French engineer Pierre-Charles L'Enfant, Ovason argues that Washington, Jefferson, U.S. Surveyor General Andrew Ellicott and othersAmany of them MasonsAsubstantially modified L'Enfant's original blueprint. As a result, Masonic symbolism appears in the marble, plaster, concrete, glass and paint facades of the Federal Reserve, the Library of Congress and other landmarks. This book, the result of a decade of thought and research, establishes the plausibility of Ovason's theory. However, the volumeAa labyrinthine, illustrated tomeAalso contains a good deal of wild speculation. Ovason posits, for example, that the "earthly triangle" formed by Capitol/White House/Washington Monument mirrors a triangle of stars in the constellation Virgo, an astrological sign important to the Masons. This, he contends, proves that Masons secretly consecrated the nation's capital to the celestial Virgo. It's an interesting, if dubious, suggestionAbut Ovason never establishes the significance of the link between the capital and the occult. (July)
Copyright 2000 Reed Business Information, Inc.

From Library Journal
Ovason, an astrology teacher, analyzes the symbols in the architecture of Washington, DC, and connects them to the influences of the arcane traditions of Masonry. This ambitious work looks at the Capitol, the Washington Monument, city planning, and the numerous zodiacs located throughout the city. A major theme is the importance of the Virgo sign of the zodiac and how it is reflected in the sculpture, design, and ceremony involved in the construction of the capital. In general, the work contains thorough research and brilliant analysis, but the reader may find that Ovason reads too much into some symbols, especially when locating ties to Virgo. A minor problem is the overuse of substantive endnotes, which displaces some important information that could have been incorporated into the text. Recommended for academic libraries with collections of architectural history, Masonic, or esoteric literature. By contrast, The United States Capitol is a collection of specialists' papers offering numerous points of view on a single building in the nation's capital. The first section, on architecture, traces the design and construction of the building from its beginnings in 1790 through the present Office of the Architect. Much emphasis is placed on the conflicts of personality and philosophy that have burdened the building's development. The second section, on painting and sculpture, focuses more on the objects than the artists, giving considerable attention to techniques and hidden meanings within the works. Altogether, the book is well researched and appropriately illustrated with photographs and architectural drawings. Recommended for both academic and larger public libraries.DEric Linderman, Ida Rupp P.L., Port Clinton, OH
Copyright 2000 Reed Business Information, Inc.

About the Author

David Ovason has spent more than a decade researching the architecture and zodiacs of Washington, D.C. He teaches astrology and has studied the life and writings of Nostradamus for more than forty years. He is the author of several books, including The Secrets of Nostradamus and Nostradamus: Prophecies for America. Mr. Ovason lives and works in England.

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Sunday, July 10, 2011

PDF Download Core Concepts of Information Technology AuditingBy James E. Hunton, Stephanie M. Bryant, Nancy A. Bagranoff

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Core Concepts of Information Technology AuditingBy James E. Hunton, Stephanie M. Bryant, Nancy A. Bagranoff

Offering concise, readable coverage of information technology auditing, this new book helps readers understand the impact of information and communication technologies on organizations and accountants, and shows how to apply IT-auditing techniques using computer-assisted auditing tools. The book also explores security issues, legal and ethical issues, and more.
* Describes the use of computer assisted audit techniques and computer fraud auditing
* Explains IT audit in the context of the CobiT(r) framework.
* Accompanied by a CD with ACL software, and an appendix contains an audit case requiring its usage. There is also and appendix of IT audit terminology and definitions.

  • Sales Rank: #62844 in Books
  • Published on: 2003-07-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.88" h x .43" w x 7.01" l, 1.15 pounds
  • Binding: Paperback
  • 304 pages

From the Back Cover
A CONCISE, HOW-TO APPROACH TO IT AUDITING

Whether you’re a student or professional in the areas of information technology (IT) auditing, financial statement auditing, accounting, or management information systems, this book provides a solid foundation for understanding a wide array of key internal control issues that lie at the intersection of IT, accounting, and auditing.

Concise coverage of all the basic of IT auditing.

Although this book focuses on core concepts of IT auditing, the breadth and depth of coverage allows you to focus on those topics you need to meet your objectives. Instructors can use it as a stand-alone text in an IT auditing class or as a supplement to a Principles of Auditing or Advanced Auditing course.

Core concepts presented in the context of the CobiT® framework.

The authors draw heavily from IT auditing practice and from CobiT®, the Information Systems Audit and Control Association’s integrated framework for control in an IT environment.

A strong emphasis on managing information technology risks.

Core Concepts of Information Technology Auditing takes a risk approach to IT auditing, and covers in detail the risks associated with information systems deployment, operations, networks and telecommunications, and e-business.

Insight into recent developments in the field.

The book incorporates current rules and regulations, such as The Sarbanes-Oxley Act, Statement of Auditing Standards 94, and Statement of Auditing Standards 99, and provides insight on how they are affecting the profession.

Complete with hands-on software.

A CD featuring a student version of ACL software accompanies the text. The text also includes a comprehensive ACL case, which is both an exercise in using ACL and problem solving, ACL data files are available on the book’s web site.

About the Author
James E. Hunton earned his B.B.A. degree in accounting from West Texas State University. He received his M.B.A. degree in management from River College in Nashua, New Hampshire, and earned his Ph.D. in business administration (majoring in accounting and information systems) from the University of Texas at Arlington. Professor Hunton is also a certified public accountant (Texas).

Stephanie M. Bryant, Ph.D., CPA, is an associate professor of Accounting at the University of South Florida, where she holds the position of Advisory Council Professor of Accounting. She previously taught at James Madison University, in Harrisonburg, Virginia, where she served as the director of the Accounting Information Systems Program. She earned both her B.S. in accounting and Ph.D. in accounting (concentration in information systems) at Louisiana State University. Dr. Bryant teaches graduate and undergraduate classes in consulting, accounting information systems, and information systems audit, and previously worked for KPMG Peat Marwick.

Nancy A. Bagranoff received her A.A. degree from Briarcliff College, B.S. degree from the Ohio State University, and M.S. degree in accounting from Syracuse University. Her D.B.A. degree was conferred by the George Washington University in 1986 (accounting major and information systems minor). From 1973 to 1976, she was employed by General Electric in Syracuse, New York, where she completed the company’s Financial Management Training Program. Dr. Bagranoff is a certified public accountant, licensed in the District of Columbia, since 1982. She taught at American University for many years and served as the chair of the Department of Accounting from 1995 to 1998.

 

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Monday, July 4, 2011

Download Ebook The Turning Point: Creating Resilience in a Time of ExtremesBy Gregg Braden

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There’s a time when every crisis can become transformation; when simply surviving can become joyous thriving. In our lives that time is The Turning Point. In our world that time is now!       We live in a time of extremes. And because the conditions of global finance, markets, resources, and jobs touch so much of our lives, we can no longer separate our everyday routines from the extremes of the world. The crises of climate change, extreme weather, and failing economies, for example, translate directly into the cost of the fuel that gets us back and forth to work each day; the interest we pay on our loans and that we’re in turn paid on our savings; the loss of neighborhood businesses and local jobs; and the closing of factories, with the many benefits they bring to our communities. All of this means that our lives are changing in ways we’ve never seen in the past, and they’re changing faster than we’ve been prepared to deal with.       The good news is that nature gives us the key to turn the frightening Tipping Points of such extremes into life-affirming Turning Points of transformation. Fact: The solutions to our biggest problems already exist! Fact: We already have the technology and the means to adapt to the extremes! Fact: All that stands between the suffering of the present and the world transformed is the shift in thinking that allows the existing solutions into our lives.      In this compelling new work, best-selling author and visionary Gregg Braden merges his expertise in leading-edge science with present-day realities to answer the questions on everyone’s minds: What’s causing the extremes in our world? What do the global trends mean in our personal lives? How do we make everyday life better for us and our families? Through his powerful synthesis of easy-to-understand science and real-world circumstances, Gregg uniquely: 1.      Identifies the facts underlying the crises of personal, as well as global, change.2.      Describes new scientific discoveries that hold the key to turning global crises into personal transformation. 3.      Reveals simple strategies of resilient thinking for our finances and lifestyles and resilient living for our families and communities as we navigate the greatest shift in power, wealth, and resources in the modern world! Will we choose the Turning Point to the greatest transformation of living and thinking the world has ever seen?  

  • Sales Rank: #131455 in Books
  • Published on: 2014-01-28
  • Released on: 2014-01-28
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.30" h x 1.20" w x 6.30" l, 1.10 pounds
  • Binding: Hardcover
  • 236 pages

About the Author
      Gregg Braden is a New York Times best-selling author whose work has led to cutting-edge books such as The God Code, The Divine Matrix, The Spontaneous Healing of Belief, Fractal Time, and Deep Truth. Gregg’s work is now published in 17 languages and 33 countries and shows beyond any reasonable doubt that the key to our future lies in the wisdom of our past.      Website: www.greggbraden.com

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Monday, June 27, 2011

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  • Sales Rank: #5614722 in Books
  • Published on: 2009
  • Binding: Comic

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Tuesday, June 21, 2011

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Essentials of Music TechnologyBy Mark Ballora

Computers in music have gone from being a niche subject to becoming a ubiquitous presence that all music students are bound to encounter in their professional lives. Meant to serve as a general reference for music technology courses, Essentials of Music Technology provides an overview of musical acoustics, psychoacoustics, MIDI, digital audio, and sound recording.

Topics covered include:

* The Internet

* MIDI software

* The nature of digital audio storage

* Filters

* Effects

* Room acoustics

* Sampling and synthesis techniques

  • Sales Rank: #1110130 in Books
  • Published on: 2015-04-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .60" w x 10.20" l, .0 pounds
  • Binding: Paperback
  • 256 pages

From the Back Cover

Within the span of the last decade, computers in music have gone from being a niche subject to becoming a ubiquitous presence that all music students are bound to encounter in their professional lives. Meant to serve as a general reference for music technology courses, Essentials of Music Technology provides an overview of musical acoustics, psychoacoustics, MIDI, digital audio, and sound recording.

Among the topics covered in this book are:
  • The Internet
  • MIDI software
  • The nature of digital audio storage
  • Filters
  • Effects
  • Microphone types
  • Room acoustics
  • Sampling and synthesis techniques

The author has a background in theater arts, music composition, and multi-media production. He studied music technology at New York University and McGill University. He is assistant professor of Music Technology at the Pennsylvania State University.

About the Author

Mark Ballora has a background in theater arts, music composition, and multimedia production. He studied music technology at New York University and McGill University. He is Associate Professor of Music Technology at Pennsylvania State University.

Excerpt. © Reprinted by permission. All rights reserved.
What Is Music Technology?

This newly defined component of music education means many things to many people. Music technology, a broad subject, has meanings that may differ for music educators, composers, performers, audio producers, electrical engineers, computer programmers, or perceptual psychologists. All of the music activities in these fields intersect in the personal computer. Within the span of the last decade or so, computers in music have gone from being a niche subject to becoming a ubiquitous presence that all music students are bound to encounter in their professional lives. Furthermore, the new and varied role of the computer in music making brings about surprising overlaps with all of these fields.

Prior to the 1980s, "music technology" (if the term was used at all) would most likely have referred to audio engineering, the conversion (transduction) of musical material into electricity for purposes of amplification, broadcasting, or recording. The first step in the process was the microphone, which performed the acoustic-to-electronic conversion. Once the musical material existed in the form of electrical current, it could be sent to an amplifier that would drive a set of speakers, thus relaying the material over a public address system. Alternatively, the electromagnetic radiation that resulted from the electrical current could be broadcast from an antenna for television or radio reception. Or, if the signal were to be recorded, the musicians were likely to be assembled in a recording studio, with a number of microphones strategically placed for optimal sound capture. The signals from the various microphones were combined in a mixer, which allowed a technician to adjust the relative volumes and stereo positions of each microphone's signal. With a mixer, it was also possible to send the signal to processing devices to adjust the character of the sound, making it, for example, sound as though it were occurring in a large room. Following effects processing, the mixed signals could be sent to tape for storage.

Other possible meanings for "music technology" might have included the use of synthesizers for composing electronic music, an activity attractive to musicians who had a penchant for electrical assembly or who had the means to employ technicians to create and maintain the machinery. Perhaps least known to the general public were those who worked in high-end research institutions who had access to computers, sharing time on these mysterious machines with engineers and rocket scientists and programming them to emit sounds and music.

The personal computer has generalized and expanded these models and affected every area of education. Music technology, implying "the use of computers as an aid to music making" is now a subject that all music educators must address in some way. Small desktop computers may now be part of every step of the musical production process just described, acting as performer, mixer, processor, and storage medium. This development has implications for all practitioners of music, regardless of their specialty. Whether they find themselves working at a school, a recording studio, or concert hall, musicians can count on finding computers at work in the production of musical activity. Performers are often expected to send CDs of their performances as part of applications for jobs. Educators are expected to employ the resources of the Internet and multimedia technology to teach students about music rudiments. Composers are expected to provide performers with laser-printed scores and parts. Thus, knowledge of music technology is becoming a core skill of musical training, along with history, figured bass, and Roman numeral notation. Purpose of This Book

Things should be made as simple as possible, but no simpler.
— Albert Einstein

With any learning endeavor, it is typically the basics that are most difficult to master. This book is meant to provide an overview of essential elements of acoustics, MIDI, digital audio, and sound recording so that students may understand what musical elements may be stored in a computer and what type of manipulations and representations of musical information are possible. It is written in an attempt to find a balance between simple and straightforward presentations and descriptions that are thorough enough to explain the material without "dumbing it down."

The book is not meant to be a substitute for a qualified instructor. A performer cannot master an instrument without the help of an experienced musician, just as an athlete cannot excel at a sport without the guidance of a coach. But even experienced performers and athletes find it useful to consult a fingering chart or a rule book as a reference. This book is intended to play a similar role for a student learning some aspect of music technology. Different sections will be relevant for different types of projects or different levels of learning. It is broken into short sections in order to allow an instructor to assign reading selectively to focus on areas that are important for a given group of students.

The only assumptions are that students are familiar with a computer operating system and fundamentals of music. Certain concepts are best presented with equations, but no advanced mathematical training is necessary to understand the main points. Computers deal with information in the form of numbers, and different programs may require information to be entered differently. A given program may ask for frequency values or musical pitches, for loudness in decibels or in arbitrary units. Mathematics is not presented for its own sake, but rather to give students alternative views of how to understand and work with music in a computer environment. The cognitive psychologist Marvin Minsky has stated that a thing or idea seems meaningful only when we have a variety of different ways to represent it, providing different perspectives and different associations. Viewing music through the lenses of acoustics, physics, or computer science has the potential to yield rich rewards in the form of new perspectives and associations that they bring to the meaning of music.

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