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James Gleick, the author of the best sellers Chaos and Genius, now brings us a work just as astonishing and masterly: a revelatory chronicle and meditation that shows how information has become the modern era’s defining quality—the blood, the fuel, the vital principle of our world.

The story of information begins in a time profoundly unlike our own, when every thought and utterance vanishes as soon as it is born. From the invention of scripts and alphabets to the long-misunderstood talking drums of Africa, Gleick tells the story of information technologies that changed the very nature of human consciousness. He provides portraits of the key figures contributing to the inexorable development of our modern understanding of information: Charles Babbage, the idiosyncratic inventor of the first great mechanical computer; Ada Byron, the brilliant and doomed daughter of the poet, who became the first true programmer; pivotal figures like Samuel Morse and Alan Turing; and Claude Shannon, the creator of information theory itself.

And then the information age arrives. Citizens of this world become experts willy-nilly: aficionados of bits and bytes. And we sometimes feel we are drowning, swept by a deluge of signs and signals, news and images, blogs and tweets. The Information is the story of how we got here and where we are heading.

Amazon Best Books of the Month, March 2011: In a sense, The Information is a book about everything, from words themselves to talking drums, writing and lexicography, early attempts at an analytical engine, the telegraph and telephone, ENIAC, and the ubiquitous computers that followed. But that's just the "History." The "Theory" focuses on such 20th-century notables as Claude Shannon, Norbert Wiener, Alan Turing, and others who worked on coding, decoding, and re-coding both the meaning and the myriad messages transmitted via the media of their times. In the "Flood," Gleick explains genetics as biology's mechanism for informational exchange--Is a chicken just an egg's way of making another egg?--and discusses self-replicating memes (ideas as different as earworms and racism) as information's own evolving meta-life forms. Along the way, readers learn about music and quantum mechanics, why forgetting takes work, the meaning of an "interesting number," and why "[t]he bit is the ultimate unsplittable particle." What results is a visceral sense of information's contemporary precedence as a way of understanding the world, a physical/symbolic palimpsest of self-propelled exchange, the universe itself as the ultimate analytical engine. If Borges's "Library of Babel" is literature's iconic cautionary tale about the extreme of informational overload, Gleick sees the opposite, the world as an endlessly unfolding opportunity in which "creatures of the information" may just recognize themselves. --Jason Kirk

The Nikon F3 is Nikon's third professional single lens reflex camera body, preceded by the F and F2. Introduced in 1980, it had manual and semi-automatic exposure control whereby the camera would select the correct shutter speed (aperture priority automation). The Nikon F3 series cameras had the most model variations of any Nikon F camera. It was also the first of numerous Nikon F-series cameras to be styled by Italian designer Giorgetto Giugiaro, and to include a red stripe on the handgrip -- a feature that would later become (with variants of stripes and various other shapes) a signature feature of many Nikon cameras.

The F2AS was a current model when the F3 was introduced, and for a while both were sold concurrently. The earlier Nikons had developed such a sterling reputation for extreme ruggedness and durability that many Nikon F and F2 owners were initially reluctant to transition to the new F3 from the F2 series. Not surprisingly, this phenomenon would reappear when the F3 was superseded by the F4 in 1988.

A specially-modified F3 was used by Industrial Light and Magic to film POV shots during the mine-car sequence in Indiana Jones and the Temple of Doom. The camera back was removed to accommodate a custom magazine, and the camera itself was mounted on a miniature gimbal that trailed the mine-car model. The gimbal was programmed to pan and tilt to simulate the point-of-view of a following mine car.

F3 Variants
Nikon F3 HP

Initially, the F3 model with the DE-2 eye-level finder was introduced, soon followed by the popular F3HP, or High Point camera, with the DE-3 High Eyepoint prism/finder. The major advantage of this finder was that the entire viewfinder image could be seen from a distance of 2.5cm from the viewfinder. This made the F3 more usable by those who wear glasses when shooting, or were forced to shoot in high glare situations while wearing sunglasses. The only down-side to this was a smaller image through the viewfinder compared to the standard prism. With the exception of the "P" spec camera – all viewfinders are completely interchangeable. The F3 and F3HP unfortunately retained the somewhat awkward flash mount on the rewind dial, which (with flash mounted) obstructed that area of the camera.[1]
Nikon F3AF

A luxurious titanium version of the F3HP was also offered, initially in "Champagne" coloring, and later in Black. The "Champagne" offering was introduced in 1982 and discontinued around 1985, making it the rarer (and costlier used) of the two Titanium models.

The F3H, a high speed camera, was introduced for action and sports photography. It featured a fixed pellicule semi-transparent mirror, allowing the camera and MD-4H motor drive to achieve up to 13 frames per second. Production was short, official reports from Nikon claiming only around 100 such cameras made, while F3 collectors claim that number could be as high as 500.

Next to be introduced was the F3P. Built primarily for use by photojournalists, the F3P included additional weathersealing, O-ring gaskets, the MF-6 Auto Film-Stop Back, Type-B Matte focusing screen, a modified Titanium DE-5 pentaprism with ISO-type accessory shoe and no eyepiece blind, rubber-covered waterproof shutter release with a modified lockout, a round frame counter window with white numerals, and an extended shutter speed operating knob for easier operation in cold or wet environments. The F3P lacked a film door release lock, self-timer and multiple-exposure lever. A variant of the F3P called the F3 Limited was also sold in Japan.

Finally there was the rarely seen F3AF, an model which included an autofocus (AF) pentaprism finder capable of autofocusing with two special AF Nikkor lenses -- the first of their kind, which included focus motors in the lens bodies.

However, even while the more successful subsequent Nikon AF design for the F4 and other models put the focus motor in the camera body, the F3AF's in-lens approach foreshadowed better and faster in-lens autofocus designs that would later come to dominate the market more than 15 years in the future, such as Canon's USM and Nikon's own Silent Wave Motor (SWM) lenses. In addition, the F4's support of the two special F3AF lenses now permits it to work with new Nikon SWM lenses that were designed long after both the F3 and F4 ceased production.

Construction

Nikon abandoned the earlier mechanically-operated shutter of the F2 for a modern, electronically-controlled, horizontally-traveled metal curtain design. The new shutter proved to be equally reliable and less maintenance-intensive overall, though the decision to retain the horizontal-travel design significantly limited its top flash sync speed (1/80 sec.) compared to later Nikons, some of which used the Copal shutter. In contrast to the manually-operated F2, the F3's electronic shutter required battery power to operate, although the camera included a small backup mechanical release lever that tripped the shutter at 1/6

Trekking tambem e conhecido como Enduro a pe de regularidade.

Enduro de Regularidade consiste em uma trilha pre-estabelecida por uma organizacao onde os integrantes das equipes recebem uma planilha contendo os trechos a serem seguidos, suas velocidades e distancias. A velocidade media se encontra em metros por minuto e a distancia em metros.

Existem tambem Postos de Controle (PC's) espalhados aleatoriamente entre os trechos sao responsaveis pela verificacao da regularidade.

As equipes vao munidas apenas de calculadoras, cronometro, bussola, muito senso de direccao e capacidade de interpretacao das planilhas. Nas planilhas existem informacoes desenhadas que ajudam a identificar as trilhas a serem seguidas. Esses desenhos sao: arvores caidas, cercas, rios, mata-burros, porteiras, construcoes, etc.

Como o proprio nome diz, ganha a equipe que conseguir ser mais regular, ou seja, a equipe que conseguir passar em todos os PC's com o tempo mais proximo do desejado pela organizacao. Isso e obtido controlando as distancias e a velocidade media. Cada segundo antecipado ou atrasado e penalizado, sendo calculado da seguinte maneira: Cada segundo que a equipe passar atrasado no posto de controle (PC) sera penalizado com 1 (um) ponto, agora se a equipe passar um segundo adiantado a mesma recebera a penalidade de 2 (dois) pontos, ou seja, e muito melhor atrasar do que ser apressado. Lembrem-se nao e corrida e sim enduro de regularidade. Ganha quem tiver maior controle de distancia, velocidade e interpretacao de planilha.

As equipes podem ter de 3 ate 6 membros, sendo ocupados por 3 funcoes distintas: Navegador(es), Contador(es) de passo(s) e Calculista(s).

Navegador: membro responsavel por interpretar a planilha fornecida pela organizacao.

Contador de passos: responsavel por contar os passos, ou seja, controlar a distancia percorrida. Tambem cabe ao contador de passos juntamente com calculista controlar a velocidade das passadas, ou seja, velocidade media.

Calculista: faz todas as contas necessarias para a equipe se manter na velocidade media exigida pela organizacao. Responsavel tambem por cronometrar o tempo de prova.

Todas as informacoes necessarias sao fornecidas pela organizacao momentos antes da prova. Cabe agora a voces juntar uma galera e participar da proxima etapa de enduro de regularidade.

Procure um organizador proximo a sua cidade.

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Backpacking (in US; tramping, trekking, or bushwalking in other countries) combines hiking and camping in a single trip. A backpacker hikes into the backcountry to spend one or more nights there, and carries supplies and equipment to satisfy sleeping and eating needs.

A backpacker packs all of his or her gear into a backpack. This gear must include food, water, and shelter, or the means to obtain them, but very little else, and often in a more compact and simpler form than one would use for stationary camping. A backpacking trip must include at least one overnight stay in the wilderness (otherwise it is a day hike). Many backpacking trips last just a weekend (one or two nights), but long-distance expeditions may last weeks or months, sometimes aided by planned food and supply drops.

Backpacking camps are more spartan than ordinary camps. In areas that experience a regular traffic of backpackers, a hike-in camp might have a fire ring and a small wooden bulletin board with a map and some warning or information signs. Many hike-in camps are no more than level patches of ground without scrub or underbrush. In very remote areas, established camps do not exist at all, and travelers must choose appropriate camps themselves.

In some places, backpackers have access to lodging that are more substantial than a tent. In the more remote parts of Great Britain, bothies exist to provide simple (free) accommodation for backpackers. Another example is the High Sierra Camps in Yosemite National Park. Mountain huts provide similar accommodation in other countries, so being a member of a mountain hut organization is advantageous (perhaps required) to make use of their facilities. On other trails (e.g. the Appalachian Trail) there are somewhat more established shelters of a sort that offer a place for weary hikers to spend the night without needing to set up a tent.

Most backpackers purposely try to avoid impacting on the land through which they travel. This includes following established trails as much as possible, not removing anything, and not leaving residue in the backcountry. The Leave No Trace movement offers a set of guidelines for low-impact backpacking ("Leave nothing but footprints. Take nothing but photos. Kill nothing but time. Keep nothing but memories").

Almost all backpackers seek to minimize the weight and bulk of gear carried. A lighter pack causes less fatigue, injury and soreness, and allows the backpacker to travel longer distances. Every piece of equipment is evaluated for a balance of utility versus weight. Significant reductions in weight can usually

We live in a society that is awash with information, but few of us really understand what information is. In this Very Short Introduction, one of the world's leading authorities on the philosophy of information and on information ethics, Luciano Floridi, offers an illuminating exploration of information as it relates to both philosophy and science. He discusses the roots of the concept of information in mathematics and science, and considers the role of information in several fields, including biology. Floridi also discusses concepts such as "Infoglut" (too much information to process) and the emergence of an information society, and he addresses the nature of information as a communication process and its place as a physical phenomenon. Perhaps more important, he explores information's meaning and value, and ends by considering the broader social and ethical issues relating to information, including problems surrounding accessibility, privacy, ownership, copyright, and open source. This book helps us understand the true meaning of the concept and how it can be used to understand our world.

About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.