"On a stock exchange, trading activity has an impact on stock prices. Market agents place limit orders, which come in the form of bids and asks. These orders wait in the market to be executed when another agent agrees to fulfill the transaction. We examine an "inventory-based" quoting strategy model developed by Marco Avellaneda and Sasha Stoikov. We expand on their work by developing a method to calibrate the model to market data using limit order data provided by Morgan Stanley. We consider solving a least squares problem which fits the model to the data using a sensitivity parameter."

Digitized by Kansas Correctional Industries

The purpose of this thesis is to examine alternative forms of media developed in the USA between the 1940's and 1980's, which were proposed in order to come to terms with the faults associated with printed text and the paper medium. The examination is concentrated on relevant literature on the media and not the actual media themselves. The questions asked were:1. Why were alternative forms of media presented for replacing printed text and what were the aims of those wanting to replace it?2. What were these alternative forms of media and how did they compare with printed text with regard to storing and disseminating text? The study concentrates on two aspects of the different media: their ability to store and disseminate text. Due to the increasing amount of scientific research results in the form of printed text the research community experienced growing problems with text dissemination and recall. These problems caused delays in research procedures hampering scientific development. Due to the increasing importance of scientific research, not least its role in international conflicts, a solution to these problems was regarded as being of the utmost importance. The reasons behind wanting to replace printed text were to alleviate problems of distribution, recall and storage. Alternative media were developed with the hope of coming to terms with one or more of these problems. The study has found that media development has partly solved these problems but that new or different media are not completely problem free. / Uppsatsnivå: D

This thesis examines reading habits in Scotland between circa 1750 and 1820, a subject surprisingly little studied by historians before, given the backdrop of the Enlightenment, and traditional ideas about Scottish education and literacy. From a methodological viewpoint, reading as an activity at this time is often little recorded, frequently invisible in surviving historical records. Nevertheless, enough evidence exists for it to be studied analytically, using individual case studies alongside larger data sets, and varied records such as contemporary accounts and later memoirs, library catalogues and borrowing registers, and evidence for book ownership, such as after-death inventories and records of booksellers. To aid the analysis, a three-part subject classification system is introduced in this thesis to differentiate between different categories of reading - religious, entertainment and improvement - and to facilitate comparisons between individual examples of reading. Successive chapters explore how opportunities for reading evolved, how Scots fitted reading into their lives, what they chose to read, their reasons for reading and styles of reading, and book ownership and its relationship to reading. Each of these chapters explores a particular aspect of reading habits in more detail than has been done before. The final concluding chapter collates the evidence to explore the wider question of change over time. In particular, it argues for the growth of reading, a dramatic change in the subjects people chose to read - specifically the growth of improvement and self-education reading - and a marked permeation of reading throughout Scottish society by the end of the period, not being confined to the leisured classes. In addition, distinctive aspects of Scottish reading during this period are highlighted and discussed, and Scotland compared with England. Overall, the importance of reading to Scottish people during this period is clear, providing a valuable insight into Scottish minds and attitudes two centuries ago.

Esta pesquisa foi efetivada com a finalidade de mapear os artefatos que são atualmente denominados 'livros digitais', caracterizando-os a partir do cruzamento dos recursos próprios do meio digital com as principais especificidades dos livros impressos. A metodologia utilizada abrangeu revisão bibliográfica e observação do objeto de estudo. Para alcançar o objetivo proposto, realizou-se um resgate histórico, identificando as características associadas à noção de 'livro', levando em consideração as modificações ocorridas a partir de sua materialidade. Após esse estudo, foi possível compreender a remediação dos livros impressos nos e-books, principalmente naqueles que podem ser acessados através de e-readers e tablets. Outro recorte abordado por esta pesquisa focaliza a identificação e o registro dos recursos que vêm sendo explorados nas produções que estão sendo chamadas de livros digitais. Efetuada a revisão bibliográfica, foram estudadas as potencialidades do hipertexto, da multimídia e da interatividade dentro do livro eletrônico. Ademais, foram comentadas diferentes maneiras de o leitor se aproximar e interagir com o conteúdo da obra, através da utilização dos recursos citados. Antes de se realizar a análise dos artefatos em questão, foi necessário, ainda, aprender mais sobre a materialidade dos mesmos, percebendo como o hardware, o software e o conteúdo interagem entre si, restringindo, assim, as possibilidades que podem ser ofertadas ao leitor. Na tabela final de análise foram avaliadas as particularidades das seguintes macrocategorias: Identificação, Acesso, Funcionalidades, Potencialidades do meio digital, Aproximação da ideia de livro impresso (remediação) e Projeto gráfico. A partir do estudo teórico e empírico realizado, percebeu-se que o livro é um artefato com propriedades flexíveis, decidindo-se, por isto, propor uma série de princípios que, juntos, possam ser utilizados para caracterizar esse tipo de publicação, independente de ela ser digital ou impressa. Logo, chegou-se a conclusão de que o e-book é um conteúdo digital com as mesmas características de um livro e que pode explorar, além do texto e da imagem, recursos da mídia digital, tais como interatividade, som, vídeo e animação. Através das características predominantes dos artefatos analisados, foram identificados os seguintes tipos de livros digitais: customizável, PDF, digitalizado, multimídia e interativo. / This research has as its purpose to map out the artifacts so-called ‘digital books’ nowadays. They were characterized from a crossing between printed books main specificities and those related to digital environment very own resources. The research methodology applied to it was of two kinds: literature review and an observational study of the object of study. A historical overview was unearthed in order to achieve the intended purpose, identifying the characteristics linked to the notion of ‘book’, taking into account changes that have taken place stemming from its materiality. Given this perception it was possible to understand the remediation of the print book proposed in e-books, the ones accessed through e-readers and tablets mainly. Identification and registration of the latest developments in digital books resources were another point covered in this work. From a literature review standpoint, interactivity, multimedia and hypertext potentialities were crossexamined. Moreover, there had been discussed some of the alternatives to offer readers proximity and different ways to interact with the work content through the use of cited resources. Still, before realizing the artifact analysis, a more in-depth study of e-book materiality was needed. That is, to perceive how hardware, content and software interact among themselves restricting the possibilities that might be made available to the reader. The singularities of the following macro categories: Identification, Access, Functionalities, Potentialities of the digital environment and the approach of the printed book concept (remediation) to graphic project were evaluated in the table analysis. After an empirical and theoretical study, it was realized that book is an artifact with flexible properties, thus, a definition was set forth based upon a series of principles that together characterize this type of publication, regardless of being in printed or digital form. Therefore, we came to the conclusion the e-book is a digital content with the same features of a printed book and the former can exploit digital media resources such as sound, video, animation and interactivity besides virtually text and image. We were also able to identify through the artifacts primary features that were under analysis the following types of digital books: customized, PDF, digitized, multimedia and interactive.

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No description available.

The purpose of this dissertation is to present a clear characterization and history of the painter’s book in France, and distinguish the genre from other book arts; to examine the works as inseparable objects through bibliographic, auratic, and site-specific theory; and to explore specific instances that illuminate the socio-cultural context and historic era of the work, and the necessary interdependence of image-text. Painter’s book projects are novels, poems, plays, and short compilations, with original prints by an artist whose principal medium is other than graphic, published by a gallery owner or small publishing house in an artisanal format, and in a small edition under 501 examples. A painter’s book is meant to be experienced through space and time, where the act of reading-viewing while turning pages synthesizes the concurrent arts. Many images from painter’s book projects are reconstituted as independent graphic works for sale, and I argue that the books must remain intact. In the first chapter, I argue, through theories of bibliographic code, Benjamin’s concept of aura, and site-specific artwork, that the purpose, understanding, and experience of the painter’s book is corrupted and lost when the artwork is removed from its original location. In Chapter Two, I explore two genres of the book, the illustrated and artist’s books, explain why the painter’s book cannot be considered an illustrated or artist’s book, and provide evidence that delineates the genres through specific examples, research, analysis, and hermeneutical consideration. I explore what constitutes the painter’s book in Chapter Three, and suggest the name of the genre be accepted and adopted as painter’s book in English. I also indicate precedents and the history of the painter’s book, and give succinct characteristics for the genre. Through specific examples in the nineteenth and twentieth centuries I demonstrate how the painter’s book reflects modern historical processes, and how this literary-arts genre helped shape cultural discourses in the final two chapters. This project will bring awareness to a genre whose very name has been misconstrued and mislabeled, whose works tell a tale of collaboration and harmonious expression in literary and visual form, whose individual instances inform the reader-viewer of important cultural, societal, and historical moments, and whose perpetuation is in danger.

I am inspired by the serendipitous connections to people, places, and things in the world around me. I approach art, much like my life, with an initial idea or plan, only to end up changing it. My pieces are records in the form of mixed media altered books that act as visual journals of my experiences. Phases of a 1st Year Teacher focuses on how I personally worked through these phases and attitudes my first year of teaching, and helped me to rediscover why I chose the teaching profession.

Six flash nonfiction comic essays composed in direct conversation with the combination of the flash nonfiction form and the comic form make up the body of this creative thesis. In addition to this creative work, a comparison of several essential craft aspects of flash nonfiction and comic composition are discussed, and an argument is made for the benefit of melding the two forms. This hybrid genre of flash nonfiction comics benefits from aspects of both forms craft, including: heightened potency of images and themes, a dependence on association, and narrative structures based on expanding larger ideas from “miniatures.” The comic form’s difficulties in dealing with nonfiction approaches to authorial presence and figurative language is also discussed. Ultimately, the melding of the flash nonfiction form and the comic form creates valuable opportunities for both genres and their writers—as the six flash nonfiction comic essays, which make up the body of this creative thesis, illustrate.