After the death of his wife, Andre Kertesz consoled himself by taking up a new camera, the Polaroid SX70. As with earlier equipment, he mastered the camera and produced a provocative body of work that both honored his wife and lifted him out of depression. Here Kertesz dips into his reserves one last time, tapping new people, ideas, and tools to generate a whole new body of work through which he transforms from a broken man into a youthful artist. Taken in his apartment just north of New York City s Washington Square, many of these photographs were shot either from his window or in the windowsill. We see a fertile mind at work, combining personal objects into striking still lifes set against cityscape backgrounds, reflected and transformed in glass surfaces. Almost entirely unpublished work, these photographs are a testament to the genius of the photographer s eye as manifested in the simple Polaroid."

This book provides a comprehensive introduction to Finsler geometry in the language of present-day mathematics. Through Finsler geometry, it also introduces the reader to other structures and techniques of differential geometry. Prerequisites for reading the book are minimal: undergraduate linear algebra (over the reals) and analysis. The necessary concepts and tools of advanced linear algebra (over modules), point set topology, multivariable calculus and the rudiments of the theory of differential equations are integrated in the text. Basic manifold and bundle theories are treated concisely, carefully and (apart from proofs) in a self-contained manner. The backbone of the book is the detailed and original exposition of tangent bundle geometry, Ehresmann connections and sprays. It turns out that these structures are important not only in their own right and in the foundation of Finsler geometry, but they can be also regarded as the cornerstones of the huge edifice of Differential Geometry. The authors emphasize the conceptual aspects, but carefully elaborate calculative aspects as well (tensor derivations, graded derivations and covariant derivatives). Although they give preference to index-free methods, they also apply the techniques of traditional tensor calculus. Most proofs are elaborated in detail, which makes the book suitable for self-study. Nevertheless, the authors provide for more advanced readers as well by supplying them with adequate material, and the book may also serve as a reference.

Computer simulation has become a basic tool in many branches of physics such as statistical physics, particle physics, or materials science. The application of efficient algorithms is at least as important as good hardware in large-scale computation. This volume contains didactic lectures on such techniques based on physical insight. The emphasis is on Monte Carlo methods (introduction, cluster algorithms, reweighting and multihistogram techniques, umbrella sampling), efficient data analysis and optimization methods, but aspects of supercomputing, the solution of stochastic differential equations, and molecular dynamics are also discussed. The book addresses graduate students and researchers in theoretical and computational physics.

Hungarian Imre Kertesz was awarded the Nobel Prize in Literature in 2002 for "writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history." His conversation with literary historian Thomas Cooper that is presented here speaks specifically to this relationship between the personal and the historical. In The Holocaust as Culture, Kertesz recalls his childhood in Buchenwald and Auschwitz and as a writer living under the so-called soft dictatorship of communist Hungary. Reflecting on his experiences of the Holocaust and the Soviet occupation of Hungary following World War II, Kertesz likens the ideological machinery of National Socialism to the oppressive routines of life under communism. He also discusses the complex publication history of Fateless, his acclaimed novel about the experiences of a Hungarian child deported to Auschwitz, and the lack of interest with which it was initially met in Hungary due to its failure to conform to the communist government's simplistic history of the relationship between Nazi occupiers and communist liberators. The underlying theme in the dialogue between Kertesz and Cooper is the difficulty of mediating the past and creating models for interpreting history, and how this challenges ideas of self. The title The Holocaust as Culture is taken from that of a talk Kertesz gave in Vienna for a symposium on the life and works of Jean Amery. That essay is included here, and it reflects on Amery's fear that history would all too quickly forget the fates of the victims of the concentration camps. Combined with an introduction by Thomas Cooper, the thoughts gathered here reveal Kertesz's views on the lengthening shadow of the Holocaust as an ever-present part of the world's cultural memory and his idea of the crucial functions of literature and art as the vessels of this memory.

'While the average reader cannot pretend truly to understand the reality of those who suffered in concentration camps, Kertesz draws us one step closer' Observer Gyuri, a fourteen-year-old Hungarian Jew, gets the day off school to witness his father signing over the family timber business - his final act before being sent to a labour camp. Two months later, Gyuri finds himself assigned to a 'permanent workplace'. This is the start of his journey to Auschwitz. On his arrival Gyuri finds that he is unable to identify with other Jews, and is rejected by them. An outsider among his own people, his estrangement makes him a preternaturally acute observer, dogmatically insisting on making sense of the barbarity - and beauty - he witnesses.

'A fine and powerful piece of work... Dark, at times cryptic, and hugely energetic' Irish Times "No!" is the first word of this haunting novel. It is how a middle-aged Hungarian-Jewish writer answers an acquaintance who asks him if he has a child, and it is how he answered his wife years earlier when she told him that she wanted one. The loss, longing and regret that haunt the years between these two 'No!'s give rise to one of the most eloquent meditations ever written on the Holocaust. As Kertesz's narrator addresses the child he couldn't bear to bring into the world, he takes readers on a mesmerising, lyrical journey through his life, from his childhood to Auschwitz to his failed marriage.

At the age of 14 Georg Koves is plucked from his home in a Jewish section of Budapest and without any particular malice, placed on a train to Auschwitz. He does not understand the reason for his fate. He doesn't particularly think of himself as Jewish. And his fellow prisoners, who decry his lack of Yiddish, keep telling him, "You are no Jew." In the lowest circle of the Holocaust, Georg remains an outsider.
The genius of Imre Kertesz's unblinking novel lies in its refusal to mitigate the strangeness of its events, not least of which is Georg's dogmatic insistence on making sense of what he witnesses-or pretending that what he witnesses makes sense. Haunting, evocative, and all the more horrifying for its rigorous avoidance of sentiment, Fatelessness" "is a masterpiece in the traditions of Primo Levi, Elie Wiesel, and Tadeusz Borowski.

The field of statistical physics has undergone a spectacular development in recent years. The fundamentals of the subject have advanced dynamically with multidisciplinary approaches involving physicists, chemists and mathematicians. Equally spectacular has been the development of applications of statistical mechanics to shed light on a wide range of problems, many of them arising in fields quite distant from traditional physics disciplines. Recent applications range from such topics as oil recovery from porous rock to protein folding, DNA structure, morphogenesis and the cooperative behavior of living creatures. Concepts and methods of statistical physics have been applied successfully to "exotic" problems that seem to be far from physics, such as vehicular and pedestrial traffic, or economy and finance. This book presents not only the keynote invited talks, but a number of high quality, interesting, contributed communications from senior scientists and young students active in the field. Topics covered include DNA migration, wetting, chemical waves, granular media, molecular motors, biological pattern formation and motion, as well as practical problems such as heart diagnosis, internet traffic jamming, oil recovery and econophysics.

Curator and historian, gallerist and writer: Klaus Kertess has long been a decisive and forward-thinking presence in the art world. He founded the Bykert Gallery in 1966, where he represented artists including Chuck Close, Ralph Humphrey, Brice Marden and Dorothea Rockburne; three decades later, he curated the 1995 Whitney Biennial, the follow-up to the famously political 1993 iteration. "What is being proposed here," he wrote in a catalogue essay for the 1995 exhibition, "is not a return to formalism but an art in which meaning is embedded in formal value. An acknowledgment of sensuousness is indispensable--whether as play or sheer joy or the kind of subversity that has us reaching for a rose and grabbing a thorn." The art world has changed considerably from the relatively convivial world of the 60s to today's globalized milieu, but Kertess has been a constant throughout the years, curating shows of provocative new work and writing critical essays on artists whose work challenges and engages him, while also maintaining a vital literary sideline (his short stories are collected in 2000's "South Brooklyn Casket Company"). This volume collects Kertess' critical works from the past 30 years, including meditations on Agnes Martin, Joan Mitchell, John Chamberlain, Vija Celmins, Chris Ofili and Matthew Richie. With each essay accompanied by full-color reproductions of works discussed, "Seen, Written" provides a priceless opportunity to see art through the eyes of a lifelong viewer.

'Liquidation, suspenseful and bleakly comic, reads like a treatise on the mystery of the end of life and the mystery of suicide... A compelling if deeply unsettling work' Independent Kingbitter, an editor at a failing publishing house, believes himself to have been the closest friend of B., a celebrated writer and Auschwitz survivor, who recently committed suicide. Amongst the papers B. has left him, Kingbitter finds a play entitled Liquidation that uncannily predicts the behaviour of B.'s ex-wife, his mistress and Kingbitter himself. As he obsessively reads and rereads the play, Kingbitter becomes transfixed with the idea that buried within these papers is B.'s great novel: the book that will explain his relationship with Auschwitz.

Das vorliegende Buch ist aus einer sechzehnstiindigen Vorlesung hervorgegangen, die ich im Jahre 1971 am Mathematischen Institut der Universitat zu Jyvaskyla in Finnland gehalten habe. Mit diesem Buch wende ich mich an Studenten der Mathematik, die eine gewisse Fertigkeit und Sicherheit in der Anwendung transfiniter Methoden auf die Untersuchung unendlicher algebraischer Strukturen erwerben mochten. Ich war bestrebt, aus zumeist klassischem Material eine geeignete und abwechslungsreiche Auswahl zu treffen. Obwohl diese Schrift yom Inhalt her dem Spezialisten kaum etwas Neues zu bieten hat, diirfte sie in methodischer Hinsicht an einigen Stellen mehr oder weniger neue Gesichtspunkte enthalten. Die Lektiire dieses Buches erfordert keine besonderen mathemati- schen Vorkenntnisse, doch setzt sie eine gewisse Vertrautheit mit der abstrakten Algebra und der Mengenlehre sowie vielleicht ein wenig Routine im mathematischen Denken voraus, iiber die aber ein Student in hoheren Semestern verfiigt. Die im Rahmen dieses Buches nicht defi- nierten Begriffe kann der Leser in jedem ausfiihrlicheren Lehrbuch der Algebra und der Mengenlehre, z. B. in dem von REDEl [1]1 und HALMOS [1], finden. Das Literaturverzeichnis am Ende dieses Buches solI bei einem vertiefteren Studium helfen. Mein aufrichtiger Dank gilt den Herren Prof. Dr. G. FODOR und Dr. G. POLLAK, die das Manuskript dieses Buches sorgfaltig durchgelesen und mir durch kritische Bemerkungen geholfen haben. Mein besonderer Dank gilt meinem Freund, Herrn Dr. CARL-GuNTER D'AMBLY, der den Text des Manuskriptes kritisch gepriift und mich in Fragen des deutschen Stils beraten hat.

Bei der Bearbeitung des vorliegenden Materials ging Verfasser von der Ansicht aus, dass zur Forderung einer Industrie vor allem eine moglichst klare Ubersicht uber ihren allgemeinen Stand er forderlich ist und diese am besten durch Benutzung und Prufung der vorhandenen statistischen Daten erhalten wird. Von diesen hat die Textilindustrie bisher kaum genugenden Gebrauch machen konnen, weil ihr hierzu die entsprechenden Behelfe fehlten. Die Ausarbeitung musste sich dementsprechend in erster Reihe auf die einheitliche Gruppierung der statistischen Unterlagen Deutschlands und der anderen Lander -- soweit diese zuganglich waren - erstrecken. Verfasser ist sich wohl bewusst, dass das Buchelchen auf V 0- standigkeit keinen Anspruch erheben kann. Es soll die erste Grundlage fur die statistische Ubersicht uber die Textilindustrie Deutschlands im Vergleich zu der der anderen Lander bieten. Die erforderlichen Erganzungen werden dann spater leicht folgen konnen. Mainkur bei Frankfurt a. M., September 1915. Der Verfasser. Inhaltsverzeichnis. Allgemeiner Teil. Seite Arbeiterzahl in den Betrieben der Hauptindustrien . . . . . . 2 Beteiligung der Textilindustrie an der Ein- und Ausfuhr. . . Die finanziellen Ergebnisse der Hauptindustrien Deutschlands 2 Die deutsche Textilindustrie auf dem Weltmarkt. . . . . . . 3 6 Die Neuerungen Deutschlands auf dem Gebiete der Textilindustrie 6 Bleichen und Farben in mechanischen Apparaten Das Merzerisieren der Baumwolle 7 Die Herstellung der Kunstseide 8 Textilose (als J ute-Ersatzstoff) . 9 Stranfafaser (als Jute-Ersatzstoff) 10 Stickautomaten . . . . . . . . 11 12 Die Forderung der Textilindustrie Deutschlands Spezieller Teil. Die Textilindustrie der verschiedenen Staaten. A. Die Baumwollindustrie."