This monograph is based on the third author's lectures on computer architecture, given in the summer semester 2013 at Saarland University, Germany. It contains a gate level construction of a multi-core machine with pipelined MIPS processor cores and a sequentially consistent shared memory. The book contains the first correctness proofs for both the gate level implementation of a multi-core processor and also of a cache based sequentially consistent shared memory. This opens the way to the formal verification of synthesizable hardware for multi-core processors in the future. Constructions are in a gate level hardware model and thus deterministic. In contrast the reference models against which correctness is shown are nondeterministic. The development of the additional machinery for these proofs and the correctness proof of the shared memory at the gate level are the main technical contributions of this work.

This volume brings together dynamic perspectives on the concept of liveness in the performing arts, engaging with the live through the particular analytical focus of audiences and experience. The status and significance of the live in performance has become contested: perceived as variously as a marker of ontological difference, a promotional slogan, or a mystical evocation of cultural value. Moving beyond debates about the relationship between the live and the mediated, this collection considers what we can know and say about liveness in terms of processes of experiencing and processes of making. Drawing together contributions from theatre, music, dance, and performance art, it takes an interdisciplinary approach in asking not what liveness is, but how it matters and to whom. The book invites readers to consider how liveness is produced through processes of audiencing - as spectators bring qualities of (a)liveness into being through the nature of their attention - and how it becomes materialized in acts of performance, acts of making, acts of archiving, and acts of remembering. Theoretical chapters and practice-based reflections explore liveness, eventness and nowness as key concepts in a range of topics such as affect, documentation, embodiment, fandom, and temporality, showing how the relationship between audience and event is rarely singular and more often malleable and multiple. With its focus on experiencing liveness, this collection will be of interest to disciplines including performance, audience and cultural studies, visual arts, cinema, and sound technologies.

This book constitutes the refereed proceedings of the 13th IFIP WG 10.5 Advanced Research Working Conference on Correct Hardware Design and Verification Methods, CHARME 2005, held in Saarbrücken, Germany, in October 2005. The 21 revised full papers and 18 short papers presented together with 2 invited talks and one tutorial were carefully reviewed and selected from 79 submissions. The papers are organized in topical sections on functional approaches to design description, game solving approaches, abstraction, algorithms and techniques for speeding (DD-based) verification, real time and LTL model checking, evaluation of SAT-based tools, model reduction, and verification of memory hierarchy mechanisms.

Pascale Aebischer provides the only comprehensive analysis of early modern drama on screen, expanding the scope of Shakespearean performance studies.

Presence in Play: A Critique of Theories of Presence in the Theatre is the first comprehensive survey and analysis of theatrical presence to be published. Theatre as an art form has often been associated with notions of presence. The 'live' immediacy of the actor, the unmediated unfolding of dramatic action and the 'energy' generated through an actor-audience relationship are among the ideas frequently used to explain theatrical experience – and all are underpinned by some understanding of 'presence.' Precisely what is meant by presence in the theatre is part of what Presence in Play sets out to explain. While this work is rooted in twentieth century theatre and performance since modernism, the author draws on a range of historical and theoretical material. Encompassing ideas from semiotics and phenomenology, Presence in Play puts forward a framework for thinking about presence in theatre, enriched by poststructuralist theory, forcefully arguing in favour of 'presence' as a key concept for theatre studies today.

This ground breaking collection of essays is the first to examine the phenomenon of how, in the twenty-first century, Shakespeare has been experienced as a 'live' or 'as-live' theatre broadcast by audiences around the world. Shakespeare and the 'Live' Theatre Broadcast Experience explores the precursors of this phenomenon and its role in Shakespeare's continuing globalization. It considers some of the most important companies that have produced such broadcasts since 2009, including NT Live, Globe on Screen, RSC Live from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh Theatre Company Live, and Cheek by Jowl, and examines the impact these broadcasts have had on branding, ideology, style and access to Shakespeare for international audiences. Contributors from around the world reflect on how broadcasts impact on actors' performances, changing viewing practices, local and international Shakespearean fan cultures and the use of social media by audience members for whom “liveness” is increasingly tied up in the experience economy. The book tackles vexing questions regarding the 'presentness' and 'liveness' of performance in the 21st century, the reception of Shakespeare in a globally-connected environment, the challenges of sustaining an audience for stage Shakespeare, and the ideological implications of consuming theatre on screen. It will be crucial reading for scholars of the 'live' theatre broadcast, and enormously helpful for scholars of Shakespeare on screen and in performance more broadly.

This volume contains the proceedings of the conference on Computer Aided V- i?cation (CAV 2002), held in Copenhagen, Denmark on July 27-31, 2002. CAV 2002 was the 14th in a series of conferences dedicated to the advancement of the theory and practice of computer-assisted formal analysis methods for software and hardware systems. The conference covers the spectrum from theoretical - sults to concrete applications, with an emphasis on practical veri?cation tools, including algorithms and techniques needed for their implementation. The c- ference has traditionally drawn contributions from researchers as well as prac- tioners in both academia and industry. This year we received 94 regular paper submissions out of which 35 were selected. Each submission received an average of 4 referee reviews. In addition, the CAV program contained 11 tool presentations selected from 16 submissions. For each tool presentation, a demo was given at the conference. The large number of tool submissions and presentations testi?es to the liveliness of the ?eld and its applied ?avor.

The ubiquitous »cultural turn« of the 1990s did not spare the thinkers of economics - however, at the same time, economic topics have gained a new importance in cultural studies. This volume focuses on cultures of economy in regions of former Yugoslavia as part of South-Eastern Europe, supported by theoretical perspectives. It examines narratives and poetics of economy in literature, film, and art, as well as in public discourse. The contributors spotlight different historical periods: the late 19th and the early 20th centuries, Socialist Yugoslavia and the transitional and neoliberal period since the 1990s.

What is theatre? What is performance? What connects them and how are they different? What events, people, practices and ideas have shaped theatre and performance in the twentieth and twenty-first century? The Routledge Companion to Theatre and Performance offers some answers to these big questions. It provides an analytical, informative and engaging introduction to important people, companies, events, concepts and practices that have defined the complementary fields of theatre and performance studies. This fully updated second edition contains three easy to use alphabetized sections including over 120 revised entries on topics and people ranging from performance artist Ron Athey, to directors Vsevold Meyerhold and Robert Wilson, megamusicals , postdramatic theatre and documentation. Each entry includes crucial historical and contextual information, extensive cross-referencing, detailed analysis and an annotated bibliography. The Routledge Companion to Theatre and Performance is a perfect reference guide for the keen student.