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1. |
Record Nr. |
UNINA9910461633503321 |
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Titolo |
Assessing the use of agent-based models for tobacco regulation / / Committee on Assessment of Agent-Based Models to Inform Tobacco Product Regulation, Board on Population Health and Public Health Practice, Robert Wallace, Amy Geller, and V. Ayano Ogawa, Editors, Institute of Medicine of the National Academies |
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Pubbl/distr/stampa |
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Washington, District of Columbia : , : The National Academies Press, , [2015] |
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©2015 |
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ISBN |
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Descrizione fisica |
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1 online resource (280 p.) |
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Disciplina |
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Soggetti |
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Smoking - Health aspects |
Smoking cessation |
Tobacco use - Prevention |
Tobacco use - Health aspects - Research - United States |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front Matter; Reviewers; Contents; Acronyms and Abbreviations; Preface; Summary; 1 Introduction; 2 Tobacco Control Landscape; 3 Building Effective Models to Guide Policy Decision Making; 4 An Evaluation Framework for Policy-Relevant Agent-Based Models; 5 Review of the Social Network Analysis for Policy on Directed Graph Networks Model; 6 Data and Implementation Needs for Computational Modeling for Tobacco Control; Appendix A: Considerations and Best Practices in Agent-Based Modeling to Inform Policy--Ross A. Hammond; Appendix B: Agent-Based Models for Policy Analysis--Lawrence Blume |
Appendix C: Assessing Agent-Based Models for Regulatory Applications: Lessons from Energy Analysis--Alan H. Sanstad Appendix D: Committee Meeting Agendas; Appendix E: Committee Biographical Sketches; Index |
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2. |
Record Nr. |
UNINA9910132336503321 |
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Autore |
Guldi Jo (Joanna), <1978-> |
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Titolo |
The history manifesto / / Jo Guldi, David Armitage [[electronic resource]] |
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Pubbl/distr/stampa |
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Cambridge : , : Cambridge University Press, , 2014 |
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ISBN |
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1-316-16409-8 |
1-316-16454-3 |
1-139-92388-9 |
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Descrizione fisica |
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1 online resource (x,165 pages) : digital, PDF file(s) |
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Classificazione |
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Disciplina |
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Soggetti |
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History - Philosophy |
Historiography - Philosophy |
Historiography - Political aspects |
Historiography - Social aspects |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Title from publisher's bibliographic system (viewed on 19 Jun 2019). |
Open Access title. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Introduction: The Bonfire of the Humanities? -- Going Forward by Looking Back : the Rise of the Longue Durée -- The Short Past : or, The Retreat of the Longue Durée -- The Long and the Short : Climate Change, Governance and Inequality since the 1970s -- Big Questions, Big Data -- Conclusion: The Public Future of the Past. |
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Sommario/riassunto |
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How should historians speak truth to power - and why does it matter? Why is five hundred years better than five months or five years as a planning horizon? And why is history - especially long-term history - so essential to understanding the multiple pasts which gave rise to our conflicted present? The History Manifesto is a call to arms to historians and everyone interested in the role of history in contemporary society. Leading historians Jo Guldi and David Armitage identify a recent shift back to longer-term narratives, following many decades of increasing specialisation, which they argue is vital for the future of historical scholarship and how it is communicated. This provocative and thoughtful book makes an important intervention in the debate about the role of history and the humanities in a digital age. It will provoke |
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discussion among policymakers, activists and entrepreneurs as well as ordinary listeners, viewers, readers, students and teachers. This title is also available as Open Access. |
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3. |
Record Nr. |
UNINA9910791140103321 |
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Autore |
Massey Irving |
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Titolo |
The neural imagination : aesthetic and neuroscientific approaches to the arts / / Irving Massey |
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Pubbl/distr/stampa |
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Austin : , : University of Texas Press, , 2009 |
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ISBN |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (xvi, 224 pages, 8 unnumbered pages of plates) : illustrations (some color), music |
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Collana |
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Cognitive approaches to literature and culture series |
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Disciplina |
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Soggetti |
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Neurosciences and the arts |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Frontmatter -- Contents -- List of Illustrations -- Preface -- Acknowledgments -- Part 1: The Imagination, Neural -- Chapter 1. Background, Purposes, and Limitations of the Inquiry -- Chapter 2. Neuroscience and the Visual Arts -- Chapter 3. At the Limits of Language -- Chapter 4. Music and Language in Dream -- Part 2: The Imagination, Plain -- Chapter 5. The Three Fields -- Part 3: Conclusions -- Chapter 6. Ideas and Values -- Bibliography -- Index |
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Sommario/riassunto |
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Art and technology have been converging rapidly in the past few years; an important example of this convergence is the alliance of neuroscience with aesthetics, which has produced the new field of neuroaesthetics. Irving Massey examines this alliance, in large part to allay the fears of artists and audiences alike that brain science may "explain away" the arts. The first part of the book shows how neuroscience can enhance our understanding of certain features of art. The second part of the book illustrates a humanistic approach to the arts; it is written entirely without recourse to neuroscience, in order to show the differences in methodology between the two approaches. The humanistic style is marked particularly by immersion in the individual |
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work and by evaluation, rather than by detachment in the search for generalizations. In the final section Massey argues that, despite these differences, once the reality of imagination is accepted neuroscience can be seen as the collaborator, not the inquisitor, of the arts. |
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