Prefixes in Physics Worksheet
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No. 25 a Secret Index—
a secret index— division leap no. 25 a secret index— Booksellers, publishers and researchers of the history of print culture. Collections purchased. Books found. Appraisals performed. Libraries built. divisionleap.com no. 25 83. 35. 59. 39. 39. 27. 30. 25. 21. 65. 48. 72. 6. contents a. Walter Benjamin—German Expressionism—Raubdrucke 17 b. Reproduction—Computing—Classification—Architecture 23 c. The Body—Tattooing—Incarceration—Crime—Sexuality 33 d. Social Movements—1968—Feminism—The SI & After 47 e. Music 57 f. Literature—Poetry—Periodicals 63 g. Film—Chris Marker 77 h. Art 85 i. Punk Zines 91 Additional images of all items available at divisionleap.com or by request. a. Walter Benjamin—German Expressionism—Raubdrucke 17 2. 1. 18 a. The Birth of Walter Benjamin’s Theory Heuber so messianically feels is near … ” of the Messianic McCole, analyzing this same letter, notes that this appears to be Benjamin’s first use of the term 1. [Victor Hueber] Die Organisierung der “Messianic” in his writings [McCole, p. 61]. The Intelligenz. Ein Aufruf. Zweite, erweiterte Auflage. idea would haunt Benjamin’s subsequent works Als Manuskript gedruckt. on history, and reach its conclusion in the second [Prague]: Druck H. Mercy, [1910]. 8vo, thesis in On the Concept of History, written just 107 pp, stab-stapled and glue bound into violet before his march into the mountains. “The past printed wraps. Front and back panels of wraps carries with it a secret index, by which it is referred detached but present, with the paper covering to its resurrection. There is an agreement and an the spine mostly perished. -
Metric Conversion Worksheet – Solutions
Name: Mr Judd’s Solutions Section: Metric Conversions Metric Conversions Worksheet I T tera- 1 000 000 000 000 1012 9 G giga- 1 000 000 000 10 M mega- 1 000 000 106 k kilo- 1 000 103 These are the metric units. h hecto- 100 102 The letter in the first column 1 Going table up the movethe decimal to theleft D deka 10 10 is used as the prefix before the unit. Some common NO PREFIX ( UNIT) 1 100 types of units are: grams (g), meters (m), liters (L), d deci 0.1 10-1 joules (J), seconds (s), c centi- 0.01 10-2 and bytes (B). m milli- 0.001 10-3 -6 μ micro- 0.000001 10 Goingtable the down movethe decimal to theright n nano- 0.000000001 10-9 When working in the metric system it is helpful to use a “metric map.” This metric map will enable you to successfully convert your units. Units Liters Tera Giga Mega Kilo Hecto Deka Meters deci centi milli micro nano Grams Joules Seconds Bytes indicates that there is a difference of three steps/decimal places/zeros to get from one prefix to the next. indicates that there is a difference of only one step/decimal place/zero to get from one prefix to the next. EXAMPLES 1.0 kg = ? mg 1.0 kg = 1 000 000 mg Kilo Hecto Deka Unit deci centi milli Grams 2.3 cm = ? m 2.3 cm = 0.023 m (unit) is going to the left on the “map”; therefore move the decimal two places to the left Kilo Hecto Deka Unit deci centi milli Meters From To Difference Move decimal in zeros/ left or right? prefix unit prefix unit decimal places/steps km kilo Meters m no prefix Meters 3 right Mg mega grams Gg giga grams 3 left mL milli Litres L no prefix Litres 3 left kJ kilo Joules mJ milli Joules 6 right μs micro seconds ms milli seconds 3 left B no prefix bytes kB kilo bytes 3 left cm centi metre mm milli metre 1 right cL centi Litres μL micro Litres 4 right PROBLEMS 1. -
Revisiting the So-Called “Legibility Wars” of the '80S and '
58 PRINT 70.3 FALL 2016 PRINTMAG.COM 59 HAT DID YOU DO during the Legibility Wars?” asked one of my more inquisitive design history students. “Well, it wasn’t actually a war,” I said, recalling the period during the mid-’80s through the mid- to late-’90s when there were stark divisions “Wbetween new and old design generations—the young anti- Modernists, and the established followers of Modernism. “It was rather a skirmish between a bunch of young designers, like your age now, who were called New Wave, Postmodern, Swiss Punk, whatever, and believed it necessary to reject the status quo for something freer and more contemporary. Doing that meant criticizing old-guard designers, who believed design should be simple—clean on tight grids and Helveticized.” “Do you mean bland?” he quizzed further. “Maybe some of it was bland!” I conceded. “But it was more like a new generation was feeling its oats and it was inevitable.” New technology was making unprecedented options possible. Aesthetic standards were changing because young designers wanted to try everything, while the older, especially the devout Modern ones, believed everything had already been tried. “I read that Massimo Vignelli called a lot of the new digital and retro stuff ‘garbage,’” he said. “What did you say or do about it back then?” “I was more or less on the Modernist side and wrote about it in a 1993 Eye magazine essay called ‘Cult of the Ugly.’” I wasn’t against illegibility per se, just the stuff that seemed to be done badly. I justified biased distinctions not between beauty and ugly, but between good ugly and bad ugly, or what was done with an experimental rationale and with merely style and fashion as the motive. -
How to Re-Shine Depeche Mode on Album Covers
Sociology Study, December 2015, Vol. 5, No. 12, 920‐930 D doi: 10.17265/2159‐5526/2015.12.003 DAVID PUBLISHING Simple but Dominant: How to Reshine Depeche Mode on Album Covers After 80’s Cinla Sekera Abstract The aim of this paper is to analyze the album covers of English band Depeche Mode after 80’s according to the principles of graphic design. Established in 1980, the musical style of the band was turned from synth‐pop to new wave, from new wave to electronic, dance, and alternative‐rock in decades, but their message stayed as it was: A non‐hypocritical, humanist, and decent manner against what is wrong and in love sincerely. As a graphic design product, album covers are pre‐print design solutions of two dimensional surfaces. Graphic design, as a design field, has its own elements and principles. Visual elements and typography are the two components which should unite with the help of the six main principles which are: unity/harmony; balance; hierarchy; scale/proportion; dominance/emphasis; and similarity and contrast. All album covers of Depeche Mode after 80’s were designed in a simple but dominant way in order to form a unique style. On every album cover, there are huge color, size, tone, and location contrasts which concluded in simple domination; domination of a non‐hypocritical, humanist, and decent manner against what is wrong and in love sincerely. Keywords Graphic design, album cover, design principles, dominance, Depeche Mode Design is the formal and functional features graphic design are line, shape, color, value, texture, determination process, made before the production of and space. -
Importing and Exporting Data
Chapter II-9 II-9Importing and Exporting Data Importing Data................................................................................................................................................ 117 Load Waves Submenu ............................................................................................................................ 119 Line Terminators...................................................................................................................................... 120 LoadWave Text Encodings..................................................................................................................... 120 Loading Delimited Text Files ........................................................................................................................ 120 Determining Column Formats............................................................................................................... 120 Date/Time Formats .................................................................................................................................. 121 Custom Date Formats ...................................................................................................................... 122 Column Labels ......................................................................................................................................... 122 Examples of Delimited Text ................................................................................................................... 123 The Load -
The Political Delinquent: Crime, Deviance, and Resistance in Black America
The Political Delinquent: Crime, Deviance, and Resistance in Black America Trevor Gardner II∗ I. Introduction This Article is largely an argument that the pervasive sense of cultural resistance in the African American community must be considered by criminal theorists as, at least, a partial explanation of “criminality” within the African American community. Woven into the fabric of African Ameri- can culture is a vital oppositional element. This element, spoken of in many circles as “oppositional culture” constitutes a bold and calculated rejection of destructive mainstream values that have perpetuated social inequalities and power imbalances. African American resistance culture is captured by novelist John Edgar Wideman in his account of his brother’s criminal lifestyle and the ambivalent attitude of some urban blacks to- ward street crime: “We can’t help but feel some satisfaction seeing a brother, a black man, get over on these people, on their system without playing by their rules. No matter how much we have incorporated these rules as our own, we know that they were forced on us by people who did not have our best interest at heart. We know they represent rebel- lion—what little is left in us.”1 If this sentiment is any way indicative of a broader cultural perspective, criminal theorists in law and social science should be more curious and critical about the meaning and consequences of the minority oppositional mindset. To a lesser extent, this Project is a response to the moral poverty ar- guments of criminal theories that explain high arrest and incarceration rates among blacks as a failure in the transferal of social norms from “main- stream” communities to minority communities. -
Metric System Conversion Factors1 J
AGR39 Metric System Conversion Factors1 J. Bryan Unruh, Barry J. Brecke, and Ramon G. Leon-Gonzalez2 Area Equivalents 1 Hectare (ha) 2 1 Acre (A) = 10,000 square meters (m ) 2 = 100 are (a) = 43,560 square feet (ft ) = 2.471 acres (A) = 4,840 square yards (yd2) = 0.405 hectares (ha) 1 Square Foot (ft) = 160 square rods (rd2) 2 = 4,047 square meters (m2) = 144 square inches (in ) = 929.03 square centimeters (cm2) 2 1 Acre-inch (ac-in) = 0.0929 square meters (m ) 3 = 102.8 cubic meters (m ) 1 Square Mile (mi) = 27,154 gallons, US (gal) 2 = 3,630 cubic feet (ft3) = 27,878,400 square feet (ft ) = 3,097,600 square yards (yd2) 2 1 Are (a) = 640 square acres (A ) = 2,589,988.11 square meters (m2) = 100 square meters (m2) 2 = 119.6 square yards (yd ) 1 Square Rod (rd) = 0.025 acre (A) = 39,204 square inches (in2) = 272.25 square feet (ft2) 1 Cubic Foot (ft) 2 3 = 30.25 square yards (yds ) = 1,728 cubic inches (in ) = 25.3 square meters (m2) = 0.037 cubic yards (yds3) 3 = 0.02832 cubic meters (cm ) 1 Square Yard (yd) = 28,320 cubic centimeters (cm3) = 9 square feet (ft2) 2 1 Cubic Yard (yd) = 0.836 square meters (m ) = 27 cubic feet (ft3) = 0.764 cubic meters (m3) 1. This document is AGR39, one of a series of the Environmental Horticulture Department, UF/IFAS Extension. Original publication date November 1993. Revised December 2014. Reviewed December 2017. Visit the EDIS website at http://edis.ifas.ufl.edu. -
Sternberg Press / Style Sheet
STERNBERG PRESS / STYLE SHEET • Titles: First and all significant words in text/essay titles are capitalized • Titles of books, artworks, films, musical albums etc. are italicized • Titles of exhibitions, essays, poems, songs, short stories, etc. appear within double quotation marks (“ ”) • Punctuation: following American standards, punctuation appears within the quotation marks (with the exception of colons or semi-colons, i.e. “free speech”:). Also consistent with American standards, a serial comma is used in a phrase with three or more elements, preceding an “and,” “or,” etc.: “There were lectures, performances, and screenings.” • Quoted material: All quotes appear within double (“ ”) quotation marks. The same is the case with words used by an author in a pejorative (critical/disbelieving/sardonic) way, i.e. I became a “serious” artist. Single quotations appear only when there is a quotation within a quotation. Quotations within block quotations should be contained with double quotation marks. • Foreign words and words that need special emphasis are italicized, although the use of italics for emphasis should be done sparingly. • Artistic/Architectural styles: Names of specific artistic styles are uppercased unless they are used in a context that does not refer to their specific art-historical meaning, however “modernism” is always lowercase. Example 1: “Her piece was characteristically minimalistic.” Example 2: “This sculpture bears all the markings of the Minimalist movement.” • Dates/Years: Consistent with American format: February 6, 2005 / 1960s / 1990 / centuries are spelled out, i.e. the twentieth century, and hyphenated when used as an adjective, i.e. twentieth-century architecture. Abbreviated decades are written with an apostrophe (not single quotation mark) (i.e., ’60s). -
Orders of Magnitude (Length) - Wikipedia
03/08/2018 Orders of magnitude (length) - Wikipedia Orders of magnitude (length) The following are examples of orders of magnitude for different lengths. Contents Overview Detailed list Subatomic Atomic to cellular Cellular to human scale Human to astronomical scale Astronomical less than 10 yoctometres 10 yoctometres 100 yoctometres 1 zeptometre 10 zeptometres 100 zeptometres 1 attometre 10 attometres 100 attometres 1 femtometre 10 femtometres 100 femtometres 1 picometre 10 picometres 100 picometres 1 nanometre 10 nanometres 100 nanometres 1 micrometre 10 micrometres 100 micrometres 1 millimetre 1 centimetre 1 decimetre Conversions Wavelengths Human-defined scales and structures Nature Astronomical 1 metre Conversions https://en.wikipedia.org/wiki/Orders_of_magnitude_(length) 1/44 03/08/2018 Orders of magnitude (length) - Wikipedia Human-defined scales and structures Sports Nature Astronomical 1 decametre Conversions Human-defined scales and structures Sports Nature Astronomical 1 hectometre Conversions Human-defined scales and structures Sports Nature Astronomical 1 kilometre Conversions Human-defined scales and structures Geographical Astronomical 10 kilometres Conversions Sports Human-defined scales and structures Geographical Astronomical 100 kilometres Conversions Human-defined scales and structures Geographical Astronomical 1 megametre Conversions Human-defined scales and structures Sports Geographical Astronomical 10 megametres Conversions Human-defined scales and structures Geographical Astronomical 100 megametres 1 gigametre -
Punk · Film RARE PERIODICALS RARE
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES Please ask for our Catalogues and come to visit us at: rare PERIODIcAlS http://antiq.benjamins.com music · pop · beat · PUNk · fIlM RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 296 Underground and Counterculture and much more Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM cat.296.cover.indd 1 05/10/2016 12:39:06 antiquarian PERIODIcAlS MUSIC · POP · BEAT · PUNK · FILM Cover illustrations: DOWN BEAT ROLLING STONE [#19111] page 13 [#18885] page 62 BOSTON ROCK FLIPSIDE [#18939] page 7 [#18941] page 18 MAXIMUM ROCKNROLL HEAVEN [#16254] page 36 [#18606] page 24 Conditions of sale see inside back-cover Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM 111111111111111 [#18466] DE L’AME POUR L’AME. The Patti Smith Fan Club Journal Numbers 5 and 6 (out of 8 published). October 1977 [With Related Ephemera]. - July 1978. [Richmond Center, WI]: (The Patti Smith Fan Club), (1978). Both first editions. 4to., 28x21,5 cm. side-stapled wraps. Photo-offset duplicated. Both fine, in original mailing envelopes (both opened a bit rough but otherwise good condition). EUR 1,200.00 Fanzine published in Wisconsin by Nanalee Berry with help from Patti’s mom Beverly. -
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory .................. -
Art Terrorism in Ohio: Cleveland Punk, the Mimeograph Revolution, Devo, Zines, Artists’ Periodicals, and Concrete Poetry, 1964-2011
Art Terrorism in Ohio: Cleveland Punk, The Mimeograph Revolution, Devo, Zines, Artists’ Periodicals, and Concrete Poetry, 1964-2011. The Catalog for the Inaugural Exhibition at Division Leap Gallery. Part 1: Cleveland Punk [Nos. 1-22] Part 2: Devo, Evolution, & The Mimeograph Revolution [Nos. 23-33] Part 3: Zines, Artists’ Periodicals, The Mimeograph Revolution & Poetry [Nos.34-100] This catalog and exhibition arose out two convictions; that the Cleveland Punk movement in the 70’s is one of the most important and overlooked art movements of the late 20th century, and that it is fruitful to consider it in context of its relationship with several other equally marginalized contemporary postwar Ohio art movements in print; The Mimeograph Revolution, the zine movement, concrete poetry, and mail art. Though some pioneering music criticism, notably the work of Heylin and Savage, has placed Cleveland as being of central importance to the proto-punk narrative, it remains largely marginalized as an art movement. This may be because of geographical bias; Cleveland is a long way from New York or London. This is despite the fact that the bands involved were heavily influenced by previous art movements, especially the electric eels, who, informed by Viennese Aktionism, Albert Ayler, and theories of anti- music, were engaged in a savage form of performance art which they termed “Art Terrorism” which had no parallel at the time (and still doesn’t). It is tempting to imagine what response the electric eels might have had in downtown New York in the early 70’s, being far more provocative than their distant contemporaries Suicide.