Pattern-oriented software architecture is a new approach to software development. This book represents the progression and evolution of the pattern approach into a system of patterns capable of describing and documenting large-scale applications. A pattern system provides, on one level, a pool of proven solutions to many recurring design problems. On another it shows how to combine individual patterns into heterogeneous structures and as such it can be used to facilitate a constructive development of software systems. Uniquely, the patterns that are presented in this book span several levels of abstraction, from high-level architectural patterns and medium-level design patterns to low-level idioms. The intention of, and motivation for, this book is to support both novices and experts in software development. Novices will gain from the experience inherent in pattern descriptions and experts will hopefully make use of, add to, extend and modify patterns to tailor them to their own needs. None of the pattern descriptions are cast in stone and, just as they are borne from experience, it is expected that further use will feed in and refine individual patterns and produce an evolving system of patterns.

The eagerly awaited Pattern-Oriented Software Architecture (POSA) Volume 4 is about a pattern language for distributed computing.

The authors will guide you through the best practices and introduce you to key areas of building distributed software systems. POSA 4 connects many stand-alone patterns, pattern collections and pattern languages from the existing body of literature found in the POSA series. Such patterns relate to and are useful for distributed computing to a single language.The panel of experts provides you with a consistent and coherent holistic view on the craft of building distributed systems.Includes a foreword by Martin FowlerA must read for practitioners who want practical advice to develop a comprehensive language integrating patterns from key literature.

This single-volume resource explores the five major oceans of the world, addressing current issues such as sea rise and climate change and explaining the significance of the oceans from historical, geographic, and cultural perspectives. The World's Oceans: Geography, History, and Environment is a one-stop resource that describes in-depth the Arctic, Atlantic, Indian, Pacific, and Southern Oceans and identifies their importance, today and throughout history. Essays address the subject areas of oceans and seas in world culture, fishing and shipping industries through history, ocean exploration, and climate change and oceans. The book also presents dozens of entries covering a breadth of topics on human culture, the environment, history, and current issues as they relate to the oceans and ocean life. Sample entries provide detailed information on topics such as the Bermuda Triangle, Coral Reefs, the Great Pacific Garbage Patch, Ice Melt, Myths and Legends, Piracy, and Whaling. Contributions to the work come from top researchers in the fields of history and maritime studies, including Paul D'Arcy, John Gillis, Tom Hoogervorst, Michael North, and Lincoln Paine. The volume highlights the numerous ways in which Earth's oceans have influenced culture and society, from the earliest seafaring civilizations to the future of the planet. Introduces readers to the five major oceans of the world and provides ready-reference entries relating to geography, the environment, science, history, and culture Entries are engaging and accessible to all readers from high school to university students to general readers Includes sidebars of "fun facts" throughout the text that highlight interesting oceanic subtopics

Hoarding New Guinea provides a new cultural history of colonialism that pays close attention to the millions of Indigenous artifacts that serve as witnesses to Europe's colonial past in ethnographic museums. Rainer F. Buschmann investigates the roughly two hundred thousand artifacts extracted from the colony of German New Guinea from 1870 to 1920. Reversing the typical trajectories that place ethnographic museums at the center of the analysis, he concludes that museum interests in material culture alone cannot account for the large quantities of extracted artifacts. Buschmann moves beyond the easy definition of artifacts as trophies of colonial defeat or religious conversion, instead employing the term hoarding to describe the irrational amassing of Indigenous artifacts by European colonial residents. Buschmann also highlights Indigenous material culture as a bargaining chip for its producers to engage with the imposed colonial regime. In addition, by centering an area of collection rather than an institution, he opens new areas of investigation that include non-professional ethnographic collectors and a sustained rather than superficial consideration of Indigenous peoples as producers behind the material culture. Hoarding New Guinea answers the call for a more significant historical focus on colonial ethnographic collections in European museums.