An Essential Reference for Intermediate and Advanced R Programmers Advanced R presents useful tools and techniques for attacking many types of R programming problems, helping you avoid mistakes and dead ends. With more than ten years of experience programming in R, the author illustrates the elegance, beauty, and flexibility at the heart of R. The book develops the necessary skills to produce quality code that can be used in a variety of circumstances. You will learn: The fundamentals of R, including standard data types and functions Functional programming as a useful framework for solving wide classes of problems The positives and negatives of metaprogramming How to write fast, memory-efficient code This book not only helps current R users become R programmers but also shows existing programmers what’s special about R. Intermediate R programmers can dive deeper into R and learn new strategies for solving diverse problems while programmers from other languages can learn the details of R and understand why R works the way it does.
This is both the first authoritative treatment of OOUi and a book which will help designers, developers, analysts, and many others understand and apply object-oriented analysis to user interfaces. Collins delivers a single conceptual model to guide both external and internal design of the user interface. A set of figures, examples, and case studies illustrates the development of new applications and functions & --both stand-alone and integrated & --with existing environments. Throughout, the methodology is grounded in object-oriented principles that are consistent with other object-oriented methodologies for system and database design.
Introduction: What does it mean to be object-oriented, anyway? Object-orientation - Who ordered that? Object-oriented design notation. The basic notation for classes em methods. Inheritance and aggregation diagrams. The object-communication diagram. State-transition diagrams. Additional OODN diagrams. The principles of object-oriented design: Encapsulation and connascence. Domains, encumbrance, and cohesion. Properties of classes and subclasses. The perils of inheritance and polymorphism. Class interfaces. Appendix A: Checklist for an object-oriented design walkthrough. Appendix B: The Object-oriented design owner's manual. Appendix C: Blitz guide to object-oriented terminology.
An introduction to the field for both students and those actively involved in the software industry. Object orientation is discussed before going on to introduce Java, and object oriented concepts are illustrated throughout using Java, backed by examples for readers to follow. Design is included as well as coding, and guidance is given on how to build OO applications in Java. The construction of applications, not just applets is discussed in detail, showing how to turn any application into an applet. Java style guidelines are included, meeting the latest release of Java.
This comprehensive examination of the main approaches to object-oriented language explains key features of the languages in use today. Class-based, prototypes and Actor languages are all examined and compared in terms of their semantic concepts. This book provides a unique overview of the main approaches to object-oriented languages. Exercises of varying length, some of which can be extended into mini-projects are included at the end of each chapter. This book can be used as part of courses on Comparative Programming Languages or Programming Language Semantics at Second or Third Year Undergraduate Level. Some understanding of programming language concepts is required.
Notations and strategies are delivered for: designing the problem domain component; designing the human interaction component; designing the task management component; designing the data management component; applying object-oriented design with object-oriented programming language; applying object-oriented design criteria; and selecting CASE for object-oriented design.
This book was originally written to support an introductory course in Object Orientation through the medium of Smalltalk (and VisualWorks in particular). However, it can be used as a book to teach the reader Smalltalk, to introduce object orientation as well as present object oriented design and analysis. It takes as its basic premise that most Computer Scientists I Software Engineers learn best by doing rather than from theoretical notes. The chapters therefore attempt to introduce concepts by getting you the reader to do things, rather than by extensive theoretical discussions. This means that these chapters take a hands-on approach to the subject and assume that the student/reader has a suitable Small talk environment available to them. The chapters are listed below and are divided into six parts. The reader is advised to work through Parts 1 and 3 thoroughly in order to gain a detailed understanding of object orientation. Part 2 then provides an introduction to the Smalltalk environment and language. Other chapters may then be dipped into as required. For example, if the reader wishes to hone their Smalltalk skills then the chapters in Part 4 would be useful. However, if at that point they wish to get on and discover the delights of graphical user interfaces in Smalltalk, then Part 5 could be read next. Part 6 presents some more advances subjects such as metaclasses and concurrency which are not required for straight forward Small talk development.
“Huhtamo and Parikka, from the first and second generations of media archaeology, have brought together the best writings from almost all of the best authors in the field. Whether we speak of cultural materialism, media art history, new historicism or software studies, the essays compiled here provide not only an anthology of innovative historical case studies, but also a methodology for the future of media studies as material and historical analysis. Media Archaeology is destined to be a key handbook for a new generation of media scholars.” —Sean Cubitt, author of The Cinema Effect "Taken together, this excellent collection of essays by a wide range of scholars and practitioners demonstrates how the emerging field of media archaeology not only excavates the ways in which newer media work to remediate earlier forms and practices but also sketches out how older media help to premediate new ones." —Richard Grusin, author of Premediation: Affect and Mediality after 9/11 “In Media Archaeology, a constellation of interdisciplinary writers explore society’s relationship with the technological imaginary through history, with fascinating essays on influencing machines, Freud as media theorist, interactive games from the 19th century to the present day, just to name a few. As an artist, my mind is set on fire by discussions of the marvelous inventions that never made it to the mainstream, such as optophonic poetry, Christopher Strachey’s 1952 ‘Love letter generator’ for the Manchester Mark II computer, and the ‘Baby talkie.’” —Zoe Beloff, artist and editor of The Coney Island Amateur Psychoanalytic Society and Its Circle "A long-awaited synthesis addressing media archaeology in all of its epistemological complexity. With wide-ranging intellectual breath and creative insight, Huhtamo and Parikka bring together an eminent array of international scholars in film and media studies, literary criticism, and history of science in the spirit of making the discourse of the humanities legible to artist-intellectuals. This foundational volume enables a sophisticated understanding of reproducible audiovisual media culture as apparatus, historical form, and avant-garde space of play." —Peter J. Bloom, author of French Colonial Documentary: Mythologies of Humanitarianism "An essential read for everyone interested in the histories of media and art." —Oliver Grau, author of MediaArtHistories "Media archaeology is a wonderful new shadow field. If you are willing to step outside the glow of new media, this book's approaches can shift how you experience the objects and experiences that fill the new everyday of contemporary life. No one captures the beauty of studying new media in the shadow of older media implements and practices better than Erkki Huhtamo, the Finnish writer, curator, and scholar of media technology and design famous for his creative work as a preservationist and an interpreter of pre-cinematic technologies of visual display. He has teamed up here with Jussi Parikka, the Finnish scholar who has brought us an insect theory of media, to give us this long-awaited collection of essays in media archaeology. The surprise of the book is that the essays collectively bring forward a range of approaches to considering archaeological practice, giving us new ways to think about our embodied and subjective orientations to technologies and objects through the lens of the material remnants of practice, rather than offering a narrow definition of the field. The collection moves between computational machines and influencing machines, preservation and imagination, offering a range of ways to live the new everyday of media experience through the imaginary of archaeology." —Lisa Cartwright, co-author of Practices of Looking: An Introduction to Visual Culture “Where McLuhan’s Understanding Media ends, Media Archaeology actually begins. Refusing the often futile search for the eternal laws of media, Media Archaeology does something more difficult and rare. It literally brings the history of media alive by drawing into presence the enigmatic, heterogeneous, unruly past of the media—its artifacts, machines, imaginaries, tactics, and games. What results is a fabulous cabinet of (media) memories: the imaginary moving with kinetic frenzy, histories of what happens when media collide in the electronic space of the virtual, and stories about those strange interstitial spaces between analogue and digital.” —Arthur Kroker, author of The Will to Technology and the Culture of Nihilism “Rupturing the continuities and established values of traditional media history, this exciting and thought-provoking collection makes a significant contribution to our understanding of media culture, and demonstrates that the presence of the past in present-day media is central to the recognition and re-cognition that media archaeology promotes.” —John Fullerton, editor of Screen Culture: History and Textuality “Here, at last, is a collection of essays that are a critical step to comprehending the history of our impulse to see ourselves in the machines we have made. This could be the beginning of 'Archaeology of Intention.'" —Bernie Lubell, artist “Huhtamo and Parikka’s expertly curated collection is a kaleidoscopic tour of media archaeology, giving us forceful evidence of that unruly domain’s vitality while preserving its wonderful unpredictability. With this essential volume, countless new paths have been opened up for media and cultural historians." —Charles R. Acland, author of Screen Traffic “This brilliant collection of essays provides much needed material and historical grounding for our understanding of new media. At the same time, it animates that ground by recognizing the integral roles that imagination, embodiment, and even productive disturbance play in media historiography. Yet these essays constitute more than a collection of historical case studies; together, they transform the book’s subject into its overall method. Media Archaeology performs media archaeology. Huhtamo and Parikka excavate the intellectual traditions and map the epistemological terrain of media archaeology itself, demonstrating that the field is ripe with possibilities not only for further historical examination, but also for imagining exciting new scholarly and creative futures.” —Shannon Mattern, The New School
