The computer interpretation of line drawings is a classic problem in arti?cial intelligence (AI) which has inspired the development of some fundamental AI tools, including constraint propagation, probabilistic relaxation, the characte- zation of tractable constraint classes and, most recently, the propagationof soft constraintsin?nite-domainoptimizationproblems. Line drawinginterpretation has many distinct applications on the borderline of computer vision and c- puter graphics, including sketch interpretation, the input of 3D object models 1 and the creation of 2 D illustrations in electronic documents. 2 I hope I have made this fascinating topic accessible not only to computer scientistsbutalsotomathematicians,psychologistsandcognitivescientistsand, indeed, to anyone who is intrigued by optical illusions and impossible or - biguous ?gures. This book could not have been written without the support of the CNRS, theFrenchCentreNational deRecherche Scienti?que,who?nancedmyone-year break from teaching at the University of Toulouse III. The UK Engineering and Physical Sciences Research Council also ?nanced several extended visits to the Oxford University Computing Laboratory. Section 9.1 is just a brief summary of the results on tractable constraints that have come out of this very productive joint research programme with David Cohen, Peter Jeavons and Andrei Krokhin. The various soft arc consistency techniques described in Chapter 8 were developed in collaboration with Thomas Schiex and Simon de Givry at INRA, Toulouse. I am also grateful to Ralph Martin and Peter Varley for their comments on the line-labelling constraints presented in Chapter 3.

This book is unique. It gathers texts which give the best presentation of the principles and key concepts of the Theory of Didactical Situations that Guy Brousseau developed in the period from 1970 to 1990. These texts provide a comprehensive presentation of the Theory. In order to facilitate the reading of certain points footnotes have been added, as well as preludes and interludes to place in context the chosen texts and clarify the construction of the book.

Examining work by novelists, filmmakers, TV producers and songwriters, this book uncovers the manner in which the radio – and the act of listening – has been written about for the past 100 years. Ever since the first public wireless broadcasts, people have been writing about the radio: often negatively, sometimes full of praise, but always with an eye and an ear to explain and offer an opinion about what they think they have heard. Novelists including Graham Greene, Agatha Christie, Evelyn Waugh, and James Joyce wrote about characters listening to this new medium with mixtures of delight, frustration, and despair. Clint Eastwood frightened moviegoers half to death in Play Misty for Me, but Lou Reed's ‘Rock & Roll’ said listening to a New York station had saved Jenny's life. Frasier showed the urbane side of broadcasting, whilst Good Morning, Vietnam exploded from the cinema screen with a raw energy all of its own. Queen thought that all the audience heard was ‘ga ga’, even as The Buggles said video had killed the radio star and Tom Petty and the Heartbreakers lamented ‘The Last DJ’. This book explores the cultural fascination with radio; the act of listening as a cultural expression – focusing on fiction, films and songs about radio. Martin Cooper, a broadcaster and academic, uses these movies, TV shows, songs, novels and more to tell a story of listening to the radio – as created by these contemporary writers, filmmakers, and musicians.

The computer interpretation of line drawings is a classic problem in arti?cial intelligence (AI) which has inspired the development of some fundamental AI tools, including constraint propagation, probabilistic relaxation, the characte- zation of tractable constraint classes and, most recently, the propagationof soft constraintsin?nite-domainoptimizationproblems. Line drawinginterpretation has many distinct applications on the borderline of computer vision and c- puter graphics, including sketch interpretation, the input of 3D object models 1 and the creation of 2 D illustrations in electronic documents. 2 I hope I have made this fascinating topic accessible not only to computer scientistsbutalsotomathematicians,psychologistsandcognitivescientistsand, indeed, to anyone who is intrigued by optical illusions and impossible or - biguous ?gures. This book could not have been written without the support of the CNRS, theFrenchCentreNational deRecherche Scienti?que,who?nancedmyone-year break from teaching at the University of Toulouse III. The UK Engineering and Physical Sciences Research Council also ?nanced several extended visits to the Oxford University Computing Laboratory. Section 9.1 is just a brief summary of the results on tractable constraints that have come out of this very productive joint research programme with David Cohen, Peter Jeavons and Andrei Krokhin. The various soft arc consistency techniques described in Chapter 8 were developed in collaboration with Thomas Schiex and Simon de Givry at INRA, Toulouse. I am also grateful to Ralph Martin and Peter Varley for their comments on the line-labelling constraints presented in Chapter 3.

On the occasion of the celebration of Twenty Years of Didactique of Ma- ematics in France, Jeremy Kilpatrick commented that though the works of Guy Brousseau are known through texts referring to them or mentioning their existence, the original texts are unknown, or known only with difficulty, in the non-Fren- speaking world. With very few exceptions, what has been available until now have been interpretations of the works of Brousseau rather than the works themselves. It was in response to this need that two of us, in the euphoria of an unforgettable Mexican evening at the time of the 1990 PME conference, decided to undertake the task of translating into English most of the works of Guy Brousseau. The ceuvre is immense, and once past the initial moments ofenthusiasm, with the accompanying ambition to produce the entire of it, we recognized the need to choose both the texts and a method of proceeding. As far as the texts go, we chose to take the period from 1970 to 1990, in the course of which it seemed to us that Brousseau had forged the essentials of the Theory of Didactical Situations. But even there the collection is huge. So, after an initial translation of most of the publications of the period, we carved out a selection, retaining the texts which gave the best presentation of the principles and key concepts of the Theory."

This is a compilation of 10 short plays, all of which have been performed on the London Fringe. Venues and cast members of performances are detailed before each play. These plays are all between 10 minutes and 30 minutes in length and are ideal for all drama students. An alien invades a New York apartment, a surreal job interview, The Last Judgement that doesn't quite go according to plan, a homicidal axe-wielding maniac in Central Park, a space-warp in a suburban back yard.. these and others are all the subjects of humorous and thought-provoking short plays which will engage students and their audiences! Just read the alleged reviews: "After reading it, I wished I wasn't dead" - Adolf Hitler. "So funny, it made me stop collecting caterpillars" - Reginald Obelisk. "It made me think" - Socrates. "I loved it when I read it tomorrow, and I'll probably feel the same yesterday" - Tralfamadore Daily News.

Pierre Boulez is one of the most influential-and controversial-figures in the world of contemporary music. As composer, conductor, and critic, his challenging views of modern developments are lent a special authority by his high standing as an interpreter of classic composers. Orientations will enhance his reputation as a lucid expositor of the modern composer's world. When writing about composing and analysis Boulez forges a new way of thinking about music. He is immensely illuminating about his own compositions. He offers special insight on composers with whom he has been particularly associated as a conductor-including Berlioz, Debussy, Wagner, Mahler, Schoenberg, Stravinsky, and Messiaen. And he writes about performance and orchestras, tackling the question of how to make new music more familiar for the concert-goer. This rich and wide-ranging volume is truly a special resource for everyone wanting to learn more about twentieth-century music.

Tchaikovsky s music is played by every orchestra everywhere in the world, yet surprisingly little has been written about it. The Music of Tchaikovsky, the most authoritative book to date on the subject, provides a comprehensive survey of all of Tchaikovsky s music, bringing together chapters by well-known music critics, each an authority in his field."

Examining work by novelists, filmmakers, TV producers and songwriters, this book uncovers the manner in which the radio – and the act of listening – has been written about for the past 100 years. Ever since the first public wireless broadcasts, people have been writing about the radio: often negatively, sometimes full of praise, but always with an eye and an ear to explain and offer an opinion about what they think they have heard. Novelists including Graham Greene, Agatha Christie, Evelyn Waugh, and James Joyce wrote about characters listening to this new medium with mixtures of delight, frustration, and despair. Clint Eastwood frightened moviegoers half to death in Play Misty for Me, but Lou Reed's ‘Rock & Roll’ said listening to a New York station had saved Jenny's life. Frasier showed the urbane side of broadcasting, whilst Good Morning, Vietnam exploded from the cinema screen with a raw energy all of its own. Queen thought that all the audience heard was ‘ga ga’, even as The Buggles said video had killed the radio star and Tom Petty and the Heartbreakers lamented ‘The Last DJ’. This book explores the cultural fascination with radio; the act of listening as a cultural expression – focusing on fiction, films and songs about radio. Martin Cooper, a broadcaster and academic, uses these movies, TV shows, songs, novels and more to tell a story of listening to the radio – as created by these contemporary writers, filmmakers, and musicians.