Computer organization and architecture 10th edition stallings solutions manual

Computer Organization and Architecture 10th Edition Stallings Solutions Manual Visit to download the full and correct content document: https://testbankbell.com/dow nload/computer-organization-and-architecture-10th-edition-stallings-solutions-manual/

CHAPTER 1 BASIC CONCEPTS AND COMPUTER EVOLUTION ANSWERS TO QUESTIONS 1.1 Computer architecture refers to those attributes of a system visible to a programmer or, put another way, those attributes that have a direct impact on the logical execution of a program. Computer organization refers to the operational units and their interconnections that realize the architectural specifications. Examples of architectural attributes include the instruction set, the number of bits used to represent various data types (e.g., numbers, characters), I/O mechanisms, and techniques for addressing memory. Organizational attributes include those hardware details transparent to the programmer, such as control signals; interfaces between the computer and peripherals; and the memory technology used.

1.2 Computer structure refers to the way in which the components of a computer are interrelated. Computer function refers to the operation of each individual component as part of the structure.

1.3 Data processing; data storage; data movement; and control.

1.4 Central processing unit (CPU): Controls the operation of the computer and performs its data processing functions; often simply referred to as processor.

Main memory: Stores data.

I/O: Moves data between the computer and its external environment.

System interconnection: Some mechanism that provides for communication among CPU, main memory, and I/O. A common example of system interconnection is by means of a system bus, consisting of a number of conducting wires to which all the other components attach.

1.5 Control unit: Controls the operation of the CPU and hence the computer Arithmetic and logic unit (ALU): Performs the computer’s data processing functions Registers: Provides storage internal to the CPU © 2016 Pearson Education, Inc., Upper Saddle River, NJ. All rights reserved.

-6CPU interconnection: Some mechanism that provides for communication among the control unit, ALU, and registers 1.6 In a stored program computer, programs are represented in a form suitable for storing in memory alongside the data. The computer gets its instructions by reading them from memory, and a program can be set or altered by setting the values of a portion of memory.

1.7 Moore observed that the number of transistors that could be put on a

single chip was doubling every year and correctly predicted that this pace would continue into the near future.

1.8 Similar or identical instruction set: In many cases, the same set of machine instructions is supported on all members of the family. Thus, a program that executes on one machine will also execute on any other.

Similar or identical operating system: The same basic operating system is available for all family members. Increasing speed: The rate of instruction execution increases in going from lower to higher family members. Increasing Number of I/O ports: In going from lower to higher family members. Increasing memory size: In going from lower to higher family members. Increasing cost: In going from lower to higher family members.

1.9 In a microprocessor, all of the components of the CPU are on a single chip.

ANSWERS TO PROBLEMS 2.1 a Locatio n 0 1 2

Instruction/Value Comments <> 1 2

3

0

4L 4R 5L 5R 6L 6R

LOAD M(0 ADD M(1) MUL M(0) DIV M(2) STOR M(3) JUMP M(6,20:39)

Constant (N) [initialized to some value] Constant; Integer value = 1 Constant; Integer value = 2 Variable Y (initialized to integer zero); Sum(Y) N → AC AC + 1 → AC N(N+1) → AC AC/2 → AC AC → Y; saving the Sum in variable Y Done; HALT

© 2016 Pearson Education, Inc., Upper Saddle River, NJ. All rights reserved.

-7LOAD M(0FA) 08A STOR M(0FB) LOAD M(0FA) 08B b.

Locatio Instruction/Value n 0 <> 1 1 2 1 3

1

Comments Constant (N) [initialized to some value] Constant (loop counter increment) Variable i (loop index value; current) Variable Y = Sum of X values (Initialized to One)

4L 4R 5L 5R 6L 6R 7L 8R 8L

LOAD M(0 SUB M(2) JUMP + M(6,0:19) JUMP + M(5,20:39) LOAD M(2) ADD M(1) STOR M(2) ADD M(3) STOR M(3)

8R

JUMP M(4,0:19)

N → AC (the max limit) Compute N–i → AC Check AC > 0 ? [i < N] i=N; done so HALT i<N so continue; Get loop counter i i+1 in AC AC → i i + Y in AC AC → Y Continue at instruction located at address 4L

2.2 a.

Opcode Operand 00000001 000000000010 b. First, the CPU must make access memory to fetch the instruction. The instruction contains the address of the data we want to load. During the execute phase accesses memory to load the data value located at that address for a total of two trips to memory.

2.3 To read a value from memory, the CPU puts the address of the value it wants into the MAR. The CPU then asserts the Read control line to memory and places the address on the address bus. Memory places the contents of the memory location passed on the data bus. This data is then transferred to the MBR. To write a value to memory, the CPU puts the address of the value it wants to write into the MAR. The CPU also places the data it wants to write into the MBR. The CPU then asserts the Write control line to memory and places the address on the address bus and the data on the data bus. Memory transfers the data on the data bus into the corresponding memory location.

2.4 Address Contents © 2016 Pearson Education, Inc., Upper Saddle River, NJ. All rights reserved.

-808C 08D JUMP +M(08D) LOAD –M(0FA) STOR M(0FB) This program will store the absolute value of content at memory location 0FA into memory location 0FB. 2.5 All data paths to/from MBR are 40 bits. All data paths to/from MAR are 12 bits. Paths to/from AC are 40 bits. Paths to/from MQ are 40 bits.

2.6 The purpose is to increase performance. When an address is presented

to a memory module, there is some time delay before the read or write operation can be performed. While this is happening, an address can be presented to the other module. For a series of requests for successive words, the maximum rate is doubled.

2.7 The discrepancy can be explained by noting that other system components aside from clock speed make a big difference in overall system speed. In particular, memory systems and advances in I/O processing contribute to the performance ratio. A system is only as fast as its slowest link. In recent years, the bottlenecks have been the performance of memory modules and bus speed.

2.8 As noted in the answer to Problem 2.7, even though the Intel machine may have a faster clock speed (2.4 GHz vs. 1.2 GHz), that does not necessarily mean the system will perform faster. Different systems are not comparable on clock speed. Other factors such as the system components (memory, buses, architecture) and the instruction sets must also be taken into account. A more accurate measure is to run both systems on a benchmark. Benchmark programs exist for certain tasks, such as running office applications, performing floating-point operations, graphics operations, and so on. The systems can be compared to each other on how long they take to complete these tasks.

According to Apple Computer, the G4 is comparable or better than a higher-clock speed Pentium on many benchmarks.

2.9 This representation is wasteful because to represent a single decimal digit from 0 through 9 we need to have ten tubes. If we could have an arbitrary number of these tubes ON at the same time, then those same tubes could be treated as binary bits. With ten bits, we can represent 210 patterns, or 1024 patterns. For integers, these patterns could be used to represent the numbers from 0 through 1023.

1.10 a. No. These programs are never considered to be embedded because they are not an integral component of a larger system. © 2016 Pearson Education, Inc., Upper Saddle River, NJ. All rights reserved.

-9b. Yes, regardless of what the disk drive is used for. The software (firmware, actually) within the disk drive controls the HDA (head disk assembly) hardware and is hard realtime as well. c. No, because that computer may be a general-purpose computer that is not part of a larger system. d. No. People often say that PDAs are embedded because they are very small and constrained and because PDA OS and application software is kept in non-volatile memory, but PDAs parallel the desktop systems used to run office productivity applications, and no

special hardware is being controlled. e. Yes. The firmware in the cell phone is controlling the radio hardware. f. Yes. These computers were generally some of the most powerful computers available when the system was built, are located in a large computer room occupying almost one whole floor of a building, and may be hundreds of meters away from the radar hardware. However, the software running in these computers controls the radar hardware; therefore, the computers are an integral component of a larger system. g. If the FMS is not connected to the avionics and is used only for logistics computations, a function readily performed on a laptop, then the FMS is clearly not embedded. h. Yes, both in the simulator, and in the thing being tested in the HIL simulator. Hardware is being controlled on both sides. i. Yes. In this case the “system” is the combination of the pacemaker and the person's heart. j. Yes. It is part of a larger system, the engine, and it is directly monitoring and controlling the engine through special hardware. © 2016 Pearson Education, Inc., Upper Saddle River, NJ. All rights reserved.

-10-

Another random document with no related content on Scribd:

The Project Gutenberg eBook of Blank?

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Blank?

Author: Randall Garrett Illustrator: Robert Engle Release date: August 30, 2023 [eBook #71525] Language: English Original publication: New York, NY: Royal Publications, Inc, 1957 Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK BLANK? ***

Blank?

By RANDALL GARRETT

Illustrated by ENGLE

Amnesia? Well, maybe—but how and where had he earned that $50,000?

[Transcriber's Note: This etext was produced from Infinity June 1957.

Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

Bethelman came to quite suddenly, and found himself standing on the corner of 44th Street and Madison Avenue. He was dizzy for a moment—not from any physical cause, but from the disorientation.

The last thing he could remember, he had been sitting in a bar in Boston, talking to Dr. Elijah Kamiroff. After the interview was over, they'd had a few drinks, and then a few more. After that, things began to get hazy.

Bethelman rubbed his head. It wasn't like a hangover; his head felt perfectly fine. But how in the devil had he gotten here? He looked around. No one was paying any attention to him, but no one pays any attention to anyone on the streets of New York. Still feeling queer, he headed east on 44th Street.

He wanted to sit down for a bit, and the nearest place was the little bar halfway between Madison Avenue and Grand Central Station.

He went in and ordered a beer.

What the hell had happened? He'd had too much to drink on several occasions, but he'd never gone to sleep in one city and awakened in another. Dr. Kamiroff must have put him on the plane; the biochemist didn't drink much, and had probably been in better shape than Bethelman had been.

He glanced at his watch. Two-fifteen! Wow! The city editor would be wondering where he was.

He went to the phone, dropped in a dime, and dialed the city desk.

When the editor's voice answered, he said: "Hickman, this is Bethelman; I'm sorry I'm late, but—" "Late?" interrupted Hickman, "What're you talking about? You've only been gone half an hour. You sick or something?"

"I don't feel too good," Bethelman admitted confusedly.

"That's what you said when you left. Hell, man, take the rest of the day off. It's Friday; you don't need to show up until Monday if you

don't want to. Okay?"

"Yeah," said Bethelman. "Sure." His mind still didn't want to focus properly.

"Okay, boy," said Hickman. "And thanks again for the tip. Who'd have thought Baby Joe would come in first? See you Monday."

And he hung up.

Bethelman stood there looking foolish for a full five seconds. Then things began to connect up. Friday! It shouldn't be Friday.

He cradled the phone and walked over to the bar where the barman was assiduously polishing a beer glass.

"What day is this?" he asked.

"Friday," said the white-jacketed barman, looking up from the shell of gleaming glass.

"I mean the date," Bethelman corrected.

"Fifteenth, I think." He glanced at a copy of the Times that lay on the bar. "Yeah. Fifteenth."

Bethelman sat down heavily on the barstool. The fifteenth!

Somewhere, he had lost two weeks! He searched his memory for some clue, but found nothing. His memory was a perfect blank for those two weeks.

Automatically, his hand went to his shirt pocket for cigarettes. He pulled out the pack and started to shake one out. It wouldn't shake, so he stuck his finger in the half empty pack to dislodge a cigarette.

There was a roll of paper stuck in it.

He took it out and unrolled it. It was a note.

You're doing fine. You know something's wrong, but you don't know what. Go ahead and investigate; I guarantee you'll get the answers.

But be careful not to get anyone too suspicious; you don't want to get locked up in the booby bin. I suggest you try Marco's first.

The note was unsigned, but Bethelman didn't need a signature.

The handwriting was his own.

He looked at himself in the mirror behind the bar. He was clean shaven—which he hadn't been when he was drinking with Dr. Kamiroff in Boston. Also, he was wearing his tweed topcoat, which he had left in New York. A search of his pockets revealed the usual keys and change. In his billfold was three hundred dollars in cash— more than he'd ever carried around in his life—and a receipt for a new twenty-dollar hat. The receipt was dated the tenth.

He took off his hat and looked at it. Brand new, with his initials on the sweatband.

Evidently, he'd been doing something the past two weeks—but what?

He remembered talking to Kamiroff about the variability of time— something about a man named Dunne. And he remembered the biochemist saying that time travel was physically impossible. For a second or two, Bethelman wondered whether he'd been projected into the future somehow. But if he had, he reasoned, he'd still be wearing the same clothes he'd had on in Boston.

No, he decided, it's something else. I've gone off my rocker. I'm daffy as a dung beetle. What I need is a good psychiatrist.

But that didn't explain the note.

He took it out and looked at it again. It still said the same thing. He decided that before he went to a psychiatrist, he'd do what the note said. He'd go to Marco's.

After all, if he couldn't trust himself, who could he trust?

Marco's was a little place down on Second Avenue. It wasn't the most elite bar in New York, but it wasn't the worst dive, either.

Marco was standing near the door when Bethelman entered. "Ah! Mr. Bethelman! The package you were expecting is here. The—ah—

gentleman left it." The beaming smile on his face was a marvel to behold.

"Thanks," Bethelman said.

Marco dived behind the bar and came up with a package wrapped in brown paper and an envelope addressed to Bethelman. The package was about three inches wide, a little less than six inches long, and nearly an inch thick. He slid it into his topcoat pocket and tore open the envelope.

There should be close to ten thousand dollars in the package, the note said. You promised Marco a grand of it if number 367 won— which, of course, it did. He got hold of the runner for you.

Again, the note was in his own handwriting.

He gave Marco the thousand and left. There were some things he'd have to find out. He went to his apartment on 86th Street and put in a long distance call to Dr. Elijah Kamiroff in Boston. After an hour, he was informed that Dr. Kamiroff was out of town and was not expected back for two weeks. Where had he gone? That was confidential; Dr. Kamiroff had some work to do and did not wish to be disturbed.

Bethelman cursed the biochemist roundly and then went to his private files, where he kept clippings of his own stories. Sure enough, there were coverages of several things over the past two weeks, all properly bylined.

Two weeks before, he had written the little article on research being done on cancer at Boston University School of Medicine, most of which he'd gotten from Dr. Kamiroff. No clues there; he'd evidently been behaving naturally for the past two weeks. But why couldn't he remember it? Why was his memory completely blanked out?

He had to know.

He spent the next two weeks running down his activities during the blank period, and the more he worked, the more baffled he became.

He had never been a gambling man, but he seemed to have become one over those two weeks. And a damned lucky one at that.

Horse races, the numbers game, even the stock market, all seemed to break right for him. In the blank two weeks, Bethelman had made himself close to fifty thousand dollars! And every so often, he'd come across a little note from himself, telling him that he was doing fine.

Once, a note he found in his bureau drawer, tucked among the socks, told him to invest every cent he had in a certain security and then sell the next day. He did it and made another nine thousand dollars.

It was exactly four weeks to the day after he had sat in the bar with Dr. Kamiroff that he found the last cryptic note to himself. It was in his unabridged dictionary, laying right on the page which contained the word he happened to be looking up.

Tomorrow morning, it said, you will see Dr. Kamiroff. But don't expect him to explain anything to you until you have explained everything to him.

So he would see Kamiroff in the morning, eh? He'd been trying to get hold of the biochemist every day for the past two weeks—and there had been no results.

That night, just before bed-time, Bethelman drank a glass of beer.

One glass. No more.

And that's why he couldn't understand waking up the next morning with a king-size hangover. He rolled over in bed, moaning—half afraid to open his eyes.

"Oooooh!" he said. "My head!"

"Want a bromo?" a familiar voice asked sympathetically.

Bethelman forced his eyes open. The stocky, smiling face of Dr. Elijah Kamiroff floated above him.

Bethelman sat straight up in bed, his eyes wide. The effort made his head hurt worse. He looked around.

He was in the upstairs guest bedroom of Dr. Kamiroff's suburban home.

He turned to look at the biochemist, who was busily mixing a bromo.

"What date is this?" he asked.

Kamiroff looked at him with mild blue eyes. "It's the second," he said.

"Why?" Bethelman took the glass of fizzing liquid and downed it. The pattern was beginning to make sense. He had gone to sleep in Boston the night of the first and awakened in New York on the fifteenth. Then he had gone to sleep in New York on the twenty-ninth and awakened on the second.

It made a weird kind of sense.

He handed the empty glass back to the biochemist and said: "Dr. Kamiroff, sit down. I want to tell you something."

Half an hour later, Kamiroff was rubbing his chin with a forefinger, deep in concentration. "It sounds wild," he said at last, "but I've heard of wild things before."

"But what caused it?"

"Do you remember what you did last night? I mean the night of the first?"

"Not clearly; we got pretty crocked, I remember."

Kamiroff grinned. "I think you were a few up on me. Do you remember that bottle of white powder I had in the lab down in the basement?"

"No," Bethelman admitted.

"It was diazotimoline, one of the drugs we've been using in cancer research on white mice. That whole family of compounds has some pretty peculiar properties. This one happens to smell like vanilla;

when I let you smell it, you stuck your finger in it and licked off some of the powder before I could stop you.

"It didn't bother me much; we've given it to mice without any ill effects, so I didn't give you an emetic or anything."

The bromo had made Bethelman's head feel better. "But what happened, exactly?" he asked.

"As far as I can judge," the biochemist said, "the diazotimoline has an effect on the mind. Not by itself, maybe; perhaps it needed the synergetic combination with alcohol. I don't know.

"Have you heard the theories that Dunne propounded on the mind?"

"Yeah," Bethelman said. "We discussed them last night, I think."

"Right. The idea is that the mind is independent of time, but just follows the body along through the time stream.

"Evidently, what the diazotimoline did was project your mind two weeks into the future—to the fifteenth. After two weeks—on the twenty-ninth—it wore off, and your mind returned to the second. Now you'll relive those two weeks."

"That sounds like a weird explanation," Bethelman said.

"Well, look at it this way. Let's just say you remember those two weeks in the wrong order. The drug mixed your memory up. You remember the fortnight of the second to the fifteenth after you remember the fortnight of the fifteenth to the twenty-ninth. See?" "Good gosh, yes! Now I see how I made all that money! I read all the papers; I know what the stocks are going to do; I know what horses are going to win! Wow!" "That's right," Kamiroff agreed. "And you'll know where to leave all those notes to yourself."

"Yeah! And on the afternoon of the fifteenth, I'll blank out and wake up in my bed on the morning of the thirtieth!"

"I should think so, yes," Kamiroff said.

"It makes sense, now." Then Bethelman looked up at the biochemist.

"By the way, Dr. Kamiroff, I want to split this money with you; after all, you're responsible for what happened."

The scientist smiled and shook his head. "No need of that. I have the diazotimoline, remember? You said you couldn't get hold of me on the phone; you said I was doing experimental work and couldn't be disturbed.

"Now, just what do you think I'm going to be experimenting on for the next couple of months?"

*** END OF THE PROJECT GUTENBERG EBOOK BLANK? ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research.

Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement.

See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all

copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and

expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages.

If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers.

It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no

prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.