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Books on the topic 'Crypto Processor'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Fabris, Flavia. Waddington’s Processual Epigenetics and the Debate over Cryptic Variability. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779636.003.0012.

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This chapter reappraises Waddington’s processual theory of epigenetics and examines its implications for contemporary evolutionary biology. It focuses in particular on the ontological difference between two conflicting assumptions that have been conflated in the recent debate over the nature of cryptic variability: a substance view that is consistent with the modern synthesis and construes variability as a preexisting pool of random genetic variation; and a processual view, which derives from Waddington’s conception of developmental canalization and understands variability as an epigenetic process. The chapter also discusses how these opposing interpretations fare in their capacity to explain the genetic assimilation of acquired characters.

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2

Minelli, Alessandro. Evolvability and Its Evolvability. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199377176.003.0007.

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No universally accepted notion of evolvability is available, focus being alternatively put onto either genetic or phenotypic change. The heuristic power of this concept is best found when considering the intricacies of the genotype→phenotype map, which is not necessarily predictable, expression of variation depending on the structure of gene networks and especially on the modularity and robustness of developmental systems. We can hardly ignore evolvability whenever studying the role of cryptic variation in evolution, the often pervious boundary between phenotypic plasticity and the expression of a genetic polymorphism, the major phenotypic leaps that the mechanisms of development can produce based on point mutations, or the morphological stasis that reveals how robust a developmental process can be in front of genetic change. Evolvability is subject itself to evolution, but it is still uncertain to what extent there is positive selection for enhanced evolvability, or for evolvability biased in a specific direction.

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3

McEvoy, Rory, and Jonathan Betts, eds. Harrison Decoded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198816812.001.0001.

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This volume centres on a clock, known as Clock B, built in the mid-1970s that achieved considerable acclaim after an extraordinary performance in a 2015 peer-reviewed public trial at the Royal Observatory, Greenwich. The clock was built according to an understanding of John Harrison’s unique theoretical approach to making precision pendulum clocks, which defies the standard approaches to making accurate clocks. The clock represents the culmination of over forty years of collaborative research into Harrison’s writing on the subject, which is scattered across a number of manuscripts and a book, printed shortly before his death. Ostensibly, Harrison set out to describe how to make his precision pendulum clock, but it is a mixture of his peripheral interests. Horological information is almost completely lost among vitriolic sentiments relating to his experiences with the Board of Longitude. However, as one reviewer surmised: ‘we are sorry to say that the public will be disappointed’ and another concluded that ‘it can only be excused by superannuated dotage’. The chapters provides contextual history and documentation of the analysis and decoding of the cryptic written descriptions. It presents this in parallel to the modern horological story of making, finishing, and adjusting Clock B; the process of testing, using electronic equipment to monitor the its performance and reaction to changes in environmental conditions, and, indeed, the mechanics behind the various compensating features of the design.

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4

Dworkin, Craig. Dictionary Poetics. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287987.001.0001.

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Dictionary Poetics analyses book-length poems from a number of writers who have used particular editions of specific dictionaries to structure their work. Spanning most of the 20th century, this study investigates poems by Louis Zukofsky and George Oppen (two “Objectivist” writers of the late 1920s and early 1930s), Clark Coolidge and Tina Darragh (two “Language Poets” with books from the 1970s and 1980s, respectively), and Harryette Mullen (a post-Black-Arts writer who flourished in the 1990s). By reverse-engineering poems, this study sets the critical record straight on multiple counts. Moreover, reading these poems in tandem with their source texts puts paid to the notion that even the most abstract and fragmentary avant-garde poems are nonsensical, meaningless, or impenetrable. When read from the right perspective, passages that at first appear to be discontinuous, irrational, or hopelessly cryptic suddenly appear logically consistent, rationally structured, and thematically coherent. Indeed, beyond the particular arguments and local readings, Dictionary Poetics argues that the new ways of writing pioneered by the literary avant-garde invite new ways of reading commensurate with their modes of composition. Dictionary Poetics maps and articulates the material surfaces of poems, tracing the networks of signifiers that undergird the more familiar representational schemes with which conventional readings have been traditionally concerned. In the process, this book demonstrates that new ways of reading can yield significant interpretive payoffs, open otherwise unavailable critical insights into the formal and semantic structures of a composition and transform our understanding of literary texts at their most fundamental levels.

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5

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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6

Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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7

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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8

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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9

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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10

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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11

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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12

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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13

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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14

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2004.

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15

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2007.

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16

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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17

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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18

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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