Modern mainstream economics is attracting an increasing number of critics of its high degree of abstraction and lack of relevance to economic reality. Economists are calling for a better reflection of the reality of imperfect information, the role of banks and credit markets, the mechanisms of economic growth, the role of institutions and the possibility that markets may not clear. While it is one thing to find flaws in current mainstream economics, it is another to offer an alternative paradigm which, can explain as much as the old, but can also account for the many 'anomalies'. That is what this book attempts. Since one of the biggest empirical challenges to the 'old' paradigm has been raised by the second largest economy in the world - Japan - this book puts the proposed 'new paradigm' to the severe test of the Japanese macroeconomic reality.

The growing efficiency and lower prices of computers make it possible to apply them more widely in the economy. However, the wide use of computers in every day life is hindered by a number of factors which constitute what we shall call the "problem of contact" or of "talking." The difficulty is that languages used by computers differ substantially from users' languages and are not understood by specialists who are unfamiliar with programming. This is why those specialists who use computers need the help of programmers to communicate. Since this form of communication has many more or less obvious shortcomings, great efforts have been made to find a solution to the problem of contact. Two ap proaches can be distinguished here: (1) making the computer language similar to the natural language; (2) making the user's language resemble that of computers through formalizing the former. This book deals with the first approach. We shall consider those systems which make it possible to "talk" with the user in limited natural language (LNL). The term "natural language" (NL) has been used in the title of this book instead of LNL. The reason for not using the term "limited natural language" is that this term has two meanings: (1) a dialect of a natural language; (2) a formal language whose operators are expressed by words taken from a natural language (e. g."

Modern mainstream economics is attracting an increasing number of critics of its high degree of abstraction and lack of relevance to economic reality. Economists are calling for a better reflection of the reality of imperfect information, the role of banks and credit markets, the mechanisms of economic growth, the role of institutions and the possibility that markets may not clear. While it is one thing to find flaws in current mainstream economics, it is another to offer an alternative paradigm which can explain as much as the old, but can also account for the many 'anomalies'. That is what this book attempts. Since one of the biggest empirical challenges to the 'old' paradigm has been raised by the second largest economy in the world - Japan - this book puts the proposed 'new paradigm' to the severe test of the Japanese macroeconomic reality. In the process, the many 'puzzles' surrounding Japan's economy are explained. However, the new paradigm is found applicable far beyond Japan and provides a consistent explanation of events in many industrialised economies and emerging markets. It also overturns the 'Washington consensus' package of economic development policies and presents

Tommy Ryan witnesses the murder of his father, Michael. Erroneously thinking he is responsible for the death of his father, he becomes the victim of post-traumatic stress disorder. Michael Ryan worked for Crane Refuse Services, a New York City contractor that is part of a larger corporation owned by an association of vampires. The corporation is very generous to loyal employees and Michael Ryan is no exception. His family is well taken care of and when Tommy turns 18, he becomes a driver for Carney's Car Service, a limousine company owned by Crane Corporation. That's when his life gets interesting.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

The pioneering character and continuing success of Schaal's scenic compositions for stage sets and exhibitions is significantly due to this field allowing him to take full advantage of his multiple talents. He succeeds equally in the thinking and practical skills of an architect, a painter, a sculptor, a landscape designer, an urban visionary, cineast, and a man of literature, and this allows him to discover, through his space-embracing scenographic installations, unique three-dimensional equivalents for his paper-drawn 'thought spaces' and 'path spaces' or 'thought buildings' from the 1970s. His renowned compendium entitled Architektonische Situationen, published in 1980 and containing, the essence of his early spatial studies, in fact contains within it the seeds of all his later stage set and exhibition configurations. The symbiotic relationship between legendary director Ruth Berghaus and spatial visionary Schaal first began producing history-making stage sets in the early 1980s. Working with Berghaus, Schaal created elementary spatial compositions possessed of great suggestive power for Les Troyens (1983), Wozzeck (1984), Orpheus (1986), Elektra (1986), Moses und Aron (1987), Tristan und Isolde (1988), Lulu (1988), Fierrabras (1988), Ariane et Barbe-Bleue (1991) and Nachtwache (1993), and also working with other directors to do the same for countless other operas and theatre pieces. In creating his installations and their powerful images, Schaal has never solely been concerned with creating suitable illustrations for scene-related plot action. Instead, he always adds something more, as it were, in the form of a boldly independent interpretation. The same is true of his concepts for temporary or permanent ex-hibitions. Before undertaking any of the individual projects on his long list of exhibition projects, Schaal has always researched archive material, historic background, and repercussions, but also the emotional and psychoanalytical implications of the exhibitions' theme and the exhibits concerned, with the meticulousness of a scientific specialist. In works such as his installations for Berlin Berlin (1987) or Prometheus (1998), for the Filmmuseum Berlin (2000), and for the memorials of the former concentration camps Mittelbau-Dora (2006), Bergen-Belsen (2007) or Esterwegen (2011), he always presents his own view of the world, his own view of things. Frank R. Werner studied painting, architecture and architectural history in Mainz, Hanover and Stuttgart. From 1990 to 1994 he was professor of history and theory of architecture at the Staatliche Akademie der Bildenden Kunste Stuttgart, from 1994 until his retirement in 2011 he was director of the Institut fur Architekturgeschichte und Architekturtheorie at the Bergische Universitat in Wuppertal.

Text in English & Italian. Ivano Gianola is one of the founding members of the so-called Ticino School. Like the other significant figures of this legendary school he is primarily concerned with urban-development and architectonic quality of building in the Canton of Ticino. The extensive uvre that has sprung from this concern has produced a plethora of intuitively designed, distinctive buildings. After more than ten years of planning and building, Gianola's most extensive project and at the same time the largest project of the Canton of Ticino to date is now open to the public. The new Cultural and Art Centre of Lugano is located directly on the shore of Lake Lugano. The spacious and spatially differentiated new building is an architectonic hybrid that combines a museum for contemporary art, a convention centre, various restaurants and cafes as well as a theatre under one roofscape. The theatre is not only equipped as an optimal venue for operas and theatrical performances, but can also be used as a concert hall or convention auditorium. Moreover the urban configuration of the new complex functions as a most convincing contemporary gateway to the largest city in Ticino. This Opus volume tries to decipher not only the obvious and hidden urban-planning aspects of this major project but also its multilayered formal esthetic and haptic connotations. Thereby the book pays tribute to a high point of contemporary Ticino architecture and to Ivano Gianola's late masterpiece.

Text in English & German. From the 1970s to the present day there is scarcely an architect who has produced such pioneering work as a creative explorer of limits, lateral thinker and stimulating inspirational figure than Hans Dieter Schaal. With a high level of professionalism Schaal has regularly provided us with essential food for thought and hypotheses as an architect, painter, sculptor, draughtsman, designer, garden and stage designer, Utopian, philosopher and author. His work has always been driven not by superficial effects, but by existential statement on what surrounds us in terms of facts and things that are concealed or suppressed. Schaal's artistic statements have elicited responses at home and abroad and have influenced whole generations of younger designers to a considerable extent. Thus Schaal embodies an ideal artistic type that one rarely comes across, known in the Renaissance as uomo universale. As anticipated for some time now, the current volume explores all facets of this complex and fruitful oeuvre, revealing above all its synergetic interrelationships. In addition to this Schaal's thought and action patterns as relevant in terms of art and architectural history are emphasised in this comparative survey of his work, and their efficacy demonstrated. An extensive catalogue of Schaal's work rounds the volume off. Thus the present volume offers an indispensable encyclopaedia of the life's work of one of the truly creative design artists of our day.

Eckhard Gerber is one of the most significant architects of our time. Over a number of decades he was able to realise many public and private buildings that meet the highest of architectural standards. Signature buildings in European, Asian and Arabic countries have cemented his reputation as a creative, internationally renowned architect and his works have been awarded national and international prizes. The scope of his realised projects ranges from landscape planning and urban redevelopment to high-rises, from administrative buildings to train stations, from residential buildings to university buildings and cultural venues. Eckhard Gerber Baukunst 2 follows up the monograph about Eckhard Gerber published by JOVIS in 2013 and presents the most significant projects of recent years. The accompanying texts explain the relevance of the building projects with regard to contemporary history and architectural theory. Projects that have not been built and an index of his oeuvre round off the volume edited by the architecture historian Frank R. Werner. Text in English and German.

Reinhold Werner bekleidete in den 80er Jahren des vorigen Jahrhunderts den Rang eines "K niglich-Preu ischer Corvetten-Kapit ns" und war somit einer der wenigen privilegierten Protagonisten der Seefahrt. Sein hier wieder aufgelegtes umfassendes Handbuch der praktischen Seemannschaft und Steuermannskunst diente seinerzeit als universelle Handlungsanleitung f r Schiffsoffiziere im Einsatz. Hierbei ging es Werner in erster Linie um die Darstellung der praktischen Seemannschaft an Bord der Schiffe. Dies gelingt ihm in atemberaubender Weise und hebt sein Werk deutlich von den althergebrachten Darstellungen zeitgen ssischer Seemannschaft ab.

Hans Dieter Schaal is already something of a cultural institution in Germany. Trained as an architect, he always operates outside the "main stream", designing and realizing stage sets, sculptures, cemeteries, parks, squares, spatial installations or book projects, which are often trendsetting in their own field. In the last ten years Schaal has established a focal point that seems to be the sum of all his themes: exhibition architecture. He has provided expansive installations for the broadest possible range of exhibition subjects in such high-volume buildings as the Martin-Gropius-Bau or the Zeughaus in Berlin, the Haus der Geschichte in Bonn, the Kunstvereinsgebaude in Stuttgart, the Deutsches Postmuseum or the Palazzo delle Esposizioni in Rome. His work was never mere exhibition design in these cases. Instead of this he was always concerned to tell spatial stories about the exhibits or their historical background. Of course he was able to draw on his experience in stage-set design here. Admittedly Schaal would not be Schaal, if he were not to use the whole stock of ideas from his decades of lateral thinking or his insatiable search for archetypes and images. On occasions this has meant that Schaal's exhibitions were ad-mired simply of their spatial sensations. It was only the very few people who were prepared to analyse the extraordinarily extensive and complex work more profoundly who found a carefully established subliminal relationship network of selected motifs running through all his exhibition installations like a central theme. Sometimes they come from his own early work, sometimes from literary or cinematic finds, then again from psychological-philosophical footnotes or even private obsessions. Such image particles constitute a thought-edifice perhaps comparable only with Aby Warburg's legendary picture archive which breaks right through the bounds of traditional exhibition architecture. Frank R. Werner has been director of the Institut fur Architektur-geschichte und Architekturtheorie at the Bergische Universitat in Wuppertal since 1993. He studied painting, architecture and architectural history at the Kunstakademie in Mainz, the Technische Hochschule in Hanover and Stuttgart University.

The Graz-based architects Karla Kowalski and Michael Szyszkowitz, operating as Szyskowitz + Kowalski, have enjoyed worldwide recognition over the past two decades. This monograph looks at buildings and projects dating from 1994 to the present, and includes a wealth of images, short descriptions of works, a chapter on unrealized competition entries and an index of built projects.

Text in English and German. Despite their usually very large volumes, works by Eckhard Gerber's Dortmund practice are structurally light and transparent, precise in their detail, and make an unmistakable impact on the urban space. Presenting the new exhibition centre in Karlsruhe, this Opus volume is devoted to a building complex with all the self-confidence of a city-within-a-city. Admittedly visitors are not aware of that until they have passed a breath-taking exhibition loggia whose daring roof, protruding powerfully along the whole length of the building, attracts attention even from a distance. The basic concept, tailored to the urban landscape, the functional ground-plan arrangement, the unusually subtle use of structures and materials for a large building of this kind, and not least the high design quality of all structural parts will certainly mean a high level of acceptance and a long future for the Neue Messe in Karlsruhe.

From the 1960s to the 1980s, new university buildings were regarded as real showcase projects in Germany. With their help, it was hoped to catch up with the international building scene again after the severe destruction of the Second World War. However, deficiencies in the technical execution and also in the subsequent building maintenance often led to the fact that in the course of the years serious structural problems appeared more and more frequently in the former showcase projects, which in some cases even led to the demolition of former demonstrative projects. This opus volume presents such an aging university ensemble on the old campus of the RWTH Aachen, which could not only be saved, but also embodies a renaissance of high-quality urban development and sustainable architecture. This balancing act is thanks to the architects and engineers of the renowned SSP AG from Bochum. First of all, they used the building task to significantly reorganise the old campus area in terms of urban development and to uncover lost urban references. In a next step, they demolished a dilapidated multi-storey car park and built the new technical centre, the Technikum on its foundations. In doing so, they followed the highest construction standards and sustainability strategies down to the smallest detail. However, the architects were able to retain the neighbouring, defective high-rise building of the so-called Sammelbau of the Faculty of Mechanical Engineering. They stripped the high-rise down to its bare supporting structure and then refurbished it to the highest technical and ecological standards, just like the Technikum. In times when terms such as sustainability or building ecology are being used in an almost inflationary manner, the project presented here is a real model, because it not only speaks of high standards, but has in fact implemented the highest standards and because it has given the concept of re-use (ie: the recycling of old, dilapidated building substance, a sensuously appealing structural form and a long-term new utility).

Text in English and German. Julia Bolles-Wilson and Peter L Wilson have built a large number of striking, thoroughly detailed cultural and commercial buildings in recent years, all sharing the characteristic that they stubbornly resist superficial stylistic categorisation. Their buildings are articulated and positioned in an unmistakable way in their respective urban spaces, thanks to pointed breaks with rational space configurations, sculptural shapes for architectural silhouettes and the use of polychrome surfaces.