The Structure of The Ordinary

A psychopath nicknamed Buffalo Bill is murdering young women across the Midwest. Believing it takes one to know one, the FBI sends Agent Clarice Starling (Jodie Foster) to interview a demented prisoner who may provide clues to the killer's actions. That prisoner is psychiatrist Dr. Hannibal Lecter (Anthony Hopkins), a brilliant, diabolical cannibal who agrees to help Starling only if she'll feed his morbid curiosity with details about her own complicated life. This twisted relationship forces Starling not only to face her own inner demons, but leads her face– to–face with a demented killer, an incarnation of evil so overwhelming, she may not have the courage or strength to stop him. Horrific, disturbing, spellbinding. This thriller set the standard by which all others are measured.

Following the recent successful albums of his transcriptions of music by Philip Glass, pianist Michael Riesman presents a new album of solo transcriptions and arrangements from Philip Glass's opera Beauty and the Beast. In Glass's music, the power of the creative and the raw world of nature, represented respectively by Beauty and the Beast, finally emerges and allows the world of imagination to take flight.

In this chapter we discuss linear ordinary differentia! equations. For the 1110st part we will not find it necessary to assume that these equation are also time invariant, although this is an important special case. We are interested in exposing the structure of the solutions and, to a lesser extent, developing actual solution techniques.