Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This work provides an assessment of the current state of near field communication (NFC) security, it reports on new attack scenarios, and offers concepts and solutions to overcome any unresolved issues. The work describes application-specific security aspects of NFC based on exemplary use-case scenarios and uses these to focus on the interaction with NFC tags and on card emulation. The current security architectures of NFC-enabled cellular phones are evaluated with regard to the identified security aspects.

This work provides an assessment of the current state of near field communication (NFC) security, it reports on new attack scenarios, and offers concepts and solutions to overcome any unresolved issues. The work describes application-specific security aspects of NFC based on exemplary use-case scenarios and uses these to focus on the interaction with NFC tags and on card emulation. The current security architectures of NFC-enabled cellular phones are evaluated with regard to the identified security aspects.

NFC geht aus der Kombination von kontaktloser Smart Card Identifikation und RFReader Technologie hervor. Es handelt sich um eine systematische Weiterentwicklung von RFID, die vor allem auf den Endverbrauchermarkt abzielt.

Das Buch NFC-Near Field Communication ist das Standardwerk zur NFCTechnologie. Es bietet einen umfassenden Aoeberblick A1/4ber Anwendungen und Technik des gesamten Themengebietes. FA1/4r Praxis und Ausbildung kann es sowohl als EinfA1/4hrung sowie als Grundlagen- und Nachschlagswerk dienen.

Ziel des Buches ist es, einen umfassenden Aoeberblick A1/4ber Grundlagen, Technik und Anwendungsszenarien von NFC zu gegeben. Hierzu wird zu Beginn NFC der klassischen RFID Technologie gegenA1/4bergestellt und Unterscheidungsmerkmale erArtert. Neben physikalischen Grundlagen der Aoebertragungstechnik wird auch detailliert auf die Protokolle fA1/4r die unterschiedlichen Operationsmodi eingegangen. Im Buch wird auch auf der aktuelle Stand der Normung von NFC diskutiert. Ein weiterer wichtiger Aspekt von NFC - die Sicherheitsthematik - findet in einem gesonderten Kapitel ihren Niederschlag. Auch zahlreiche Anwendungen, die einen praxisnahen Einblick in die Umsetzung der Technologie geben, werden erlAutert (z.B. Smart Poster, Zahlungsverkehr, Zutritt). Ein Aoeberblick A1/4ber Hersteller und EndgerAte sowie Gremien und Institute, die sich mit NFC beschAftigen, findet sich im Anhang.

Cinema in Central Asia is the first comprehensive and up-to-date account of the cinema of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan from its origins to the present day. Bringing together specialists from Central Asia, Russia, Europe and the United States, this companion to the cinema of the region combines serious scholarly study with practical accessibility to construct an historical narrative, discuss aspects of film production and consider the impact of film. The book also offers a deeper understanding of Central Asian culture that is invaluable with the geopolitical and economic emergence of this exciting region. The book opens with a broad history, paying particular attention to the emergence and expansion of the film industry, competing visions of nationalism and distinct phases of the post-Soviet film experience. A series of incisive articles written by specialists on Central Asian film follows. They explain early film institutions and themes, the impact of the Second World War, expressions of identity and protest during the Soviet era, as well as regional variations of post-Soviet filmmaking and political involvement. The final section comprises biographical and filmographical entries on the principal figures of Central Asian cinema that offer a much-needed reference for scholars and filmgoers.

The enormous size of polymer molecules causes their molecular motions to span a broad range of length scales and give rise to viscoelastic behavior. This rate-dependence of the properties is a predominant characteristic of soft materials (rubbers, biopolymers, lubricants, adhesives, etc.). Improving the performance and developing new applications for soft materials require an understanding of the basic principles of how molecular motions underlie physical properties.
This text is intended to provide grounding in fundamental aspects of the dynamic behavior of rubbery materials, adopting a molecular perspective in its treatment to emphasize how microscopic processes are connected to the observed macroscopic behavior. The latest discoveries and advances in the science and technology of rubbery materials are described and critically analyzed.

Cinema in Central Asia is the first comprehensive and up-to-date account of the cinema of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan from its origins to the present day. Bringing together specialists from Central Asia, Russia, Europe and the United States, this companion to the cinema of the region combines serious scholarly study with practical accessibility to construct an historical narrative, discuss aspects of film production and consider the impact of film. The book also offers a deeper understanding of Central Asian culture that is invaluable with the geopolitical and economic emergence of this exciting region. The book opens with a broad history, paying particular attention to the emergence and expansion of the film industry, competing visions of nationalism and distinct phases of the post-Soviet film experience. A series of incisive articles written by specialists on Central Asian film follows. They explain early film institutions and themes, the impact of the Second World War, expressions of identity and protest during the Soviet era, as well as regional variations of post-Soviet filmmaking and political involvement. The final section comprises biographical and filmographical entries on the principal figures of Central Asian cinema that offer a much-needed reference for scholars and filmgoers.