Bitcoin: A Peer-to-Peer Electronic Cash System
Satoshi Nakamoto
satoshin@gmx.com
www.bitcoin.org
Abstract.
A purely peer-to-peer version of electronic cash would allow online
payments to be sent directly from one party to another without going through a
financial institution. Digital signatures provide part of the solution, but the main
benefits are lost if a trusted third party is still required to prevent double-spending.
We propose a solution to the double-spending problem using a peer-to-peer network.
The network timestamps transactions by hashing them into an ongoing chain of
hash-based proof-of-work, forming a record that cannot be changed without redoing
the proof-of-work. The longest chain not only serves as proof of the sequence of
events witnessed, but proof that it came from the largest pool of CPU power. As
long as a majority of CPU power is controlled by nodes that are not cooperating to
attack the network, they'll generate the longest chain and outpace attackers. The
network itself requires minimal structure. Messages are broadcast on a best effort
basis, and nodes can leave and rejoin the network at will, accepting the longest
proof-of-work chain as proof of what happened while they were gone.
Bitcoin: A Peer-to-Peer Electronic Cash System
Satoshi Nakamoto
satoshin@gmx.com
www.bitcoin.org
Abstract.
A purely peer-to-peer version of electronic cash would allow online
payments to be sent directly from one party to another without going through a
financial institution. Digital signatures provide part of the solution, but the main
benefits are lost if a trusted third party is still required to prevent double-spending.
We propose a solution to the double-spending problem using a peer-to-peer network.
The network timestamps transactions by hashing them into an ongoing chain of
hash-based proof-of-work, forming a record that cannot be changed without redoing
the proof-of-work. The longest chain not only serves as proof of the sequence of
events witnessed, but proof that it came from the largest pool of CPU power. As
long as a majority of CPU power is controlled by nodes that are not cooperating to
attack the network, they'll generate the longest chain and outpace attackers. The
network itself requires minimal structure. Messages are broadcast on a best effort
basis, and nodes can leave and rejoin the network at will, accepting the longest
proof-of-work chain as proof of what happened while they were gone.
Geoff Krawczyk's Art Survey course, Art since 1945.
The Rise of Modernism: 1800-1917
The first slide lecture discusses the roots of Modernism in the Romanticism and political turmoil of the 19th century; the formation of the avant-garde in Europe; Paris as a cultural hub; the optimism for industry and the beginning of WWI.
ART 315 LECTURE 4Pablo Picasso, La Vie, 1903Pa.docxfestockton
ART 315 LECTURE 4
Pablo Picasso, La Vie, 1903
Pablo Picasso, Portrait of Gertrude
Stein, 1905
Pablo Picasso, Family of Saltimbanques, 1905
Pablo Picasso, Les
Demoiselle d'Avignon,
1907
Georges Braque, The Portuguese, 1911
Picasso, Still Life with Chair Caning, 1912
Picasso, Ma Jolie, 1911 - 12
Fernand Léger, The City, 1919
Robert Delaunay, Circular Forms, 1930
Giacomo Balla, Dynamism of a Dog on a Leash, 1912
Henri Rousseau, The Snake Charmer, 1907
Paul Klee, The Goldfish, 1925
Paul Klee, The Twittering Machine, 1922
Paul Klee, Senecio, 1922
Amedeo Modigliani, The Bride and
Groom, c. 1915-16
Amedeo Modigliani, Head, 1911 - 12
Constantin Brancusi, The Kiss, 1912
Constantin Brancusi, Bird in Space, 1928
Picasso, Guitar, 1912
Umberto Boccioni, Unique Forms of
Continuity in Space, 1913
Wilhelm Lehmbruck, Standing Youth, 1913
Wilhelm Lehmbruck, Der Gestürzte, 1915 - 16
Alfred Stieglitz, Steerage, 1907
André Kertesz, Champs Elysées, 1930
ART 315 LECTURE 5
Raoul Hausmann, The Art Critic, 1919
Raoul Hausmann, Tatlin at Home, 1920
Raoul Hausmann, Mechanical Head (The
Spirit of our Times), 1919-20
Morton Shamburg & Elsa von
Freytag-Loringhoven, God, 1917
First International Dada Fair, Berlin, 1920
Raoul Hausmann, ABCD (Self-Portrait),
1923-24
Hannah Höch, Cut with a Kitchen
Knife Through the Beer Belly of the
Weimar Republic, 1919
Marcel Duchamp, Fountain, 1917
Man Ray, The Gift, 1921
Max Ernst, Fruit of a Long Experience, 1919
Max Ernst, Two Children Are
Threatened by a Nightingale,
1924
Marcel Duchamp, Nude Descending a Staircase
#2, 1912
Marcel Duchamp, Chocolate
Grinder no. 1, 1914
Francis Picabia, Love Parade, 1917
Salvador Dali, The Persistence of Memory, 1931
René Magritte, The Treachery of Images, 1928/9
René Magritte, Time Transfixed, 1939
René Magritte, The Human Condition,
1933
Joan Miro, Person Throwing a Stone at a Bird, 1926
Joan Miro, Harlequin's Carnival, 1924/5
André Masson, Battle of Fishes, 1926
Meret Oppenheim, The Fur-Lined Teacup Object, 1936
Joseph Cornell, Hotel de l'Océan, 1959/60
Alberto Giacometti, The Palace at 4 A.M., 1932/33
Man Ray, Kiki, Violon d'Ingres, 1924
ART 315 LECTURE 2
Claude Monet, Impression: Sunrise, 1872
Claude Monet, Haystacks, 1880 - 81
Edgar Degas, Dance Studio of the Opera, 1872
Edgar Degas, Place de La Concorde, 1875
Pierre-Auguste Renoir, Le Moulin de la Galette, 1876
Eadweard Muybridge, Horse in Motion, 1872
Auguste Rodin, Monument to Balzac, 1897
Auguste Rodin, Walking Man, 1877 - 78
Paul Gauguin, The Birth of Christ, 1896
Paul Gauguin, Yellow Christ, 1889
Vincent Van Gogh, Starry Night, 1889
Paul Cézanne, Still Life with Apples, 1890 - 94
Paul Cézanne, Portrait of Mme Cézanne
with a Fan, 1881
Paul Cézanne, Three Bathers, 1879 - 82
Claude Monet, Water Lilies, 1919
...
Powerpoint presentation of Saint-Tropez for the students of Baker elementary in New York state, from the students of Sainte-Anne elementary school in St-Tropez, France.
Presentación del dispositivo para la gestión integral del padecimiento mental. Contacto en http://rancharg.wix.com/gipm, estamos en facebook http://www.facebook.com/PSICOTECNIA
Modelo de intervención en el ámbito público:Modelo de revision estrategica participativa. Pueden disponer del material libremente solicitándolo en esta página:
http://psicotecnia.webcindario.com/CONTACTO.htm