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2019 TS Q Intermediate
INTERMEDIATE Grades 8 and 9 NOT TO BE USED BEFORE 4 MARCH 2019 If you are NOT in grades 8 or 9, please report that you have the wrong paper. Only when the teacher says “START”, may you begin. 1. Write your personal details and your answers on the answer sheet provided. 2. You will have 45 minutes to complete the 15 tasks. 3. You may answer the questions in any order, but it is important to place the answer in the correct line on the answer sheet. 4. Leave the tasks you find difficult for later. The mark allocation is as follows: A section: +6 marks for every correct answer B section: +7 marks for every correct answer C section: +7 marks for every correct answer The maximum mark is 100. Wait for the teacher to say “START”. A1 Help Smiley Home A2 Lemonade Party Janet made 37 liters of lemonade at home and now she needs to put it in bottles to take it to school for a party. She has several empty bottles of various sizes, but she wants to use the smallest number of bottles AND all of the bottles have to be full. Task: Which bottles does she have to use? Write the answer in the correct block on your answer sheet as per example: 16+8+8+1= 33 A3 Mutation of an Alien An alien has a head, a body, two arms, and two legs. The alien can be mutated by using the following commands: (It is possible that the shape of a part is mutated more than once.) Mutasie Bevele H(C): change the head to , H(S): change the head to , H(T): change the head to B(C): change the body to , B(S): change the body to , B(T): change the body to A(+): make the arms long , A(-):make the arms short L(+): make the legs long , L(-):make the legs short Transformation example for H(S), B(S), A(-), L(-): Question: What will the alien look like after receiving the following commands? H(T), L(+), B(T), A(+), H(C), A(-), B(C) A B C D A4 Switch On Below you see a network of 7 light bulbs and 7 light switches. -
What the Renaissance Knew Piero Scaruffi Copyright 2018
What the Renaissance knew Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know 1 What the Renaissance knew • The 17th Century – For tens of thousands of years, humans had the same view of the universe and of the Earth. – Then the 17th century dramatically changed the history of humankind by changing the way we look at the universe and ourselves. – This happened in a Europe that was apparently imploding politically and militarily, amid massive, pervasive and endless warfare – Grayling refers to "the flowering of genius“: Galileo, Pascal, Kepler, Newton, Cervantes, Shakespeare, Donne, Milton, Racine, Moliere, Descartes, Spinoza, Leibniz, Locke, Rubens, El Greco, Rembrandt, Vermeer… – Knowledge spread, ideas circulated more freely than people could travel 2 What the Renaissance knew • Collapse of classical dogmas – Aristotelian logic vs Rene Descartes' "Discourse on the Method" (1637) – Galean medicine vs Vesalius' anatomy (1543), Harvey's blood circulation (1628), and Rene Descartes' "Treatise of Man" (1632) – Ptolemaic cosmology vs Copernicus (1530) and Galileo (1632) – Aquinas' synthesis of Aristotle and the Bible vs Thomas Hobbes' synthesis of mechanics (1651) and Pierre Gassendi's synthesis of Epicurean atomism and anatomy (1655) – Papal unity: the Thirty Years War (1618-48) shows endless conflict within Christiandom 3 What the Renaissance knew • Decline of – Feudalism – Chivalry – Holy Roman Empire – Papal Monarchy – City-state – Guilds – Scholastic philosophy – Collectivism (Church, guild, commune) – Gothic architecture 4 What -
Classical and Modern Diffraction Theory
Downloaded from http://pubs.geoscienceworld.org/books/book/chapter-pdf/3701993/frontmatter.pdf by guest on 29 September 2021 Classical and Modern Diffraction Theory Edited by Kamill Klem-Musatov Henning C. Hoeber Tijmen Jan Moser Michael A. Pelissier SEG Geophysics Reprint Series No. 29 Sergey Fomel, managing editor Evgeny Landa, volume editor Downloaded from http://pubs.geoscienceworld.org/books/book/chapter-pdf/3701993/frontmatter.pdf by guest on 29 September 2021 Society of Exploration Geophysicists 8801 S. Yale, Ste. 500 Tulsa, OK 74137-3575 U.S.A. # 2016 by Society of Exploration Geophysicists All rights reserved. This book or parts hereof may not be reproduced in any form without permission in writing from the publisher. Published 2016 Printed in the United States of America ISBN 978-1-931830-00-6 (Series) ISBN 978-1-56080-322-5 (Volume) Library of Congress Control Number: 2015951229 Downloaded from http://pubs.geoscienceworld.org/books/book/chapter-pdf/3701993/frontmatter.pdf by guest on 29 September 2021 Dedication We dedicate this volume to the memory Dr. Kamill Klem-Musatov. In reading this volume, you will find that the history of diffraction We worked with Kamill over a period of several years to compile theory was filled with many controversies and feuds as new theories this volume. This volume was virtually ready for publication when came to displace or revise previous ones. Kamill Klem-Musatov’s Kamill passed away. He is greatly missed. new theory also met opposition; he paid a great personal price in Kamill’s role in Classical and Modern Diffraction Theory goes putting forth his theory for the seismic diffraction forward problem. -
Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle. -
Installation, Care, and Maintenance of Wood Shake and Shingle Siding
United States Department of Agriculture Installation, Care, and Forest Service Maintenance of Wood Forest Products Laboratory Shake and Shingle Siding General Jack Dwyer Technical Report Tony Bonura FPL–GTR–202 Arnie Nebelsick Sam Williams Christopher G. Hunt Abstract Contents This article gives general guidelines for selection, instal- Introduction ......................................................................... 1 lation, finishing, and maintenance of wood shakes and Selection .............................................................................. 1 shingles. The authors gathered information from a variety of Shakes ............................................................................. 1 sources: research publications on wood finishing, technical data sheets from paint manufacturers, installation instruc- Shingles ........................................................................... 2 tions for shake and shingle siding, and interviews with Specialty Sidewall Products ............................................ 3 experts having experience constructing and inspecting shake Installation ........................................................................... 5 and shingle siding. If research reports could not be found, the recommendations are based on opinions of experts and Rain-Screen Method ....................................................... 5 practices that have been shown to give good service life for Direct Application ........................................................... 6 shakes and shingles. -
Martin Kemp MA, D
Martin Kemp MA, D. LITT, FBA, FRSE, HRSA, HRIAS, FRSSU Curriculum Vitae: Summary Education Windsor Grammar School 1960-3 Downing College, Cambridge University (Part I, Natural Sciences, Part II History of Art) 1963-5 Academic Diploma in the History of Western Art, Courtauld Institute Appointments and Activities a. Teaching and Research Posts, and Visiting Professorships etc 1965-1966 Lecturer in the History of Fine Art, Dalhousie University, Halifax, N.S., Canada 1966-1981 Lecturer in the History or Fine Art, University of Glasgow 1981-1990 Professor of Fine Arts, University of St. Andrews 1984-1985 Member of Institute for Advanced Study, Princeton 1990-1995 Professor of the History and Theory of Art, St. Andrews 1987-1988 Slade Professor, University of Cambridge 1988 Benjamin Sonenberg Visiting Professor, Institute of Fine Arts, New York University 1993 Dorothy Ford Wiley Visiting Professor in Renaissance Culture, University of North Carolina, Chapel Hill 1993-1998 British Academy Wolfson Research Professor 1995-1997 Professor of the History of Art, Oxford University 2000 Louise Smith Brosse Professor at the University of Chicago 2001 Research Fellow, Getty Institute, Los Angeles 2004 Mellon Senior Research Fellow, Canadian Centre for Architecture, Montreal 2007-2008 Research Professor in the History of Art, Oxford University 2008- Emeritus Professor in the History of Art, Oxford University 2010 Lila Wallace - Reader’s Digest Visiting Professor, I Tatti, Harvard University b. Invited lectures Britain and Ireland (various), America (Ann -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Newsletter Nov 2015
Leonardo da Vinci Society Newsletter Editor: Matthew Landrus Issue 42, November 2015 Recent and forthcoming events did this affect the science of anatomy? This talk discusses the work of Leonardo da Vinci, The Annual General Meeting and Annual Vesalius and Fabricius and looks at how the Lecture 2016 nature of the new art inspired and shaped a new wave of research into the structure of the Professor Andrew Gregory (University College, human body and how such knowledge was London), will offer the Annual Lecture on Friday, transmitted in visual form. This ultimately 13 May at 6 pm. The lecture, entitled, ‘Art and led to a revolution in our under-standing of Anatomy in the 15th & 16th Centuries’ will be anatomy in the late 16th and early 17th centu- at the Kenneth Clark Lecture Theatre of the ries. Courtauld Institute of Art (Somerset House, The Strand). Before the lecture, at 5:30 pm, the annual Lectures and Conference Proceedings general meeting will address matters arising with the Society. Leonardo in Britain: Collections and Reception Venue: Birkbeck College, The National Gallery, The Warburg Institute, London Date: 25-27 May 2016 Organisers: Juliana Barone (Birkbeck, London) and Susanna Avery-Quash (National Gallery) Tickets: Available via the National Gallery’s website: http://www.nationalgallery.org.uk/whats- on/calendar/leonardo-in-britain-collections-and- reception With a focus on the reception of Leonardo in Britain, this conference will explore the important role and impact of Leonardo’s paintings and drawings in key British private and public collec- tions; and also look at the broader British context of the reception of his art and science by address- ing selected manuscripts and the first English editions of his Treatise on Painting, as well as historiographical approaches to Leonardo. -
DOW Final Text Panels
Wunderkammer In the 1550s a new kind of collecting emerged among wealthy Europeans as they confronted the explosion of knowledge following the discovery of distant lands and new, basic scientific principles. Emperors, princes, nobles, and merchants assembled paintings, precious objects, scientific instruments, games, and natural wonders to create individualized micro- cosms. In these chambers of wonder (Wunderkammern)—and their smaller counterparts, the cabinets of wonder (Wunderkabinette)—rare and unusual natural specimens co-existed with exquisite artificial pro- ductions and the latest technological inventions. Designed as store- houses of knowledge and instruments for learning, these all-embracing collections also provided occasions for intellectual amusement, med- itation on God’s creation, and the display of wealth and status. Playful and profound, compact yet universal, these singular spaces encouraged visitors to assemble objects into ever-changing configu- rations—like their cyber equivalent, the Internet. Both invite constant visual engagement as the primary mode of interaction. By bringing the exceptional into the world at hand, Wunderkammern accustomed the eye to visual stimulations not unlike those dominating our contemporary life. Leading toward the modern public museum, Wunderkammern inspired the mind to expand the limits of imagination and to be transported beyond the here and now. Little Epiphanies With the invention of the microscope in the early 1600s, viewers could experience sudden insight (epiphanies) into a formerly invisible universe of minute things. The multiple-lens compound microscope, initially produced by Dutch opticians and commercialized about 1660, was the first such instrument. Paradoxically, the single-lens microscope seems to have been invented after the compound microscope. Even though chromatic aberration—caused by the differences in refraction of the colored rays of the spectrum—often blurred and distorted the images, fundamental scientific discoveries were enabled by both types of early microscopes. -
The Norwich School John Old Crome John Sell Cotman George Vincent
T H E NO RW I CH SCH OOL JOH N “ OLD ” CROME JOH N SELL c o TMAN ( ) , G E OR G E ‘D I N C E N T JA ME A , S S T RK 1 B N Y C OM JOHN I T . E E E R R , TH R LE D BROOKE D A ’DI D H OD N R. LA , GSO ? J J 0 M. E . 0TM 89 . g/{N E TC . WITH ARTI LES BY M UND ALL C H . C P S A , . CONT ENTS U A P S A R I LES BY H M C ND LL . A T C . , Introduction John Crome John Sell Cotman O ther Members of the Norwich School I LLUSTRATIONS I N COLOURS l Cotman , John Sel Greta rid Yorkshire t - B ge, (wa er colour) Michel Mo nt St. Ruined Castle near a Stream B oats o n Cromer Beach (oil painting) Crome , John The Return ofthe Flock— Evening (oil painting) The Gate A athin Scene View on the Wensum at Thor e Norivtch B g p , (oil painting) Road with Pollards ILLUSTRAT IONS IN MONOTONE Cotman , John Joseph towards Norwich (water—colour) lx x vu Cotman , John Sell rid e Valle and Mountain B g , y, Llang ollen rid e at Sa/tram D evo nshire B g , D urham Castle and Cathedral Windmill in Lincolnshire D ieppe Po wis Cast/e ‘ he alai d an e t Lo T P s e Justic d the Ru S . e , Ro uen Statue o Charles I Chart/2 Cross f , g Cader I dris Eto n Colleg e Study B oys Fishing H o use m th e Place de la Pucelle at Rouen Chdteau at Fo ntame—le— en i near aen H r , C Mil/hank o n the Thames ILLUSTRATIONS IN MONOTONE— Continued PLATE M Cotman , iles Edmund Boats on the Medway (oil painting) lxxv Tro wse Mills lxxvi Crome , John Landscape View on th e Wensum ath near o w ch Mousehold He , N r i Moonlight on the Yare Lands cape : Grov' e Scene The Grove Scene Marlin o rd , gf The Villag e Glade Bach o the Ne w Mills Norwich f , Cottage near L ahenham Mill near Lahenham On th e Shirts of the Forest ive orwich Bach R r, N ru es Ri'ver Ostend in the D istance B g , ; Moo nlight Yarmouth H arho ur ddes I tal e s Parts 1 oulevar i n 1 8 . -
Claudius Ptolemy: Astronomy and Cosmography Johann Stöffler And
Issue 12 I 2012 MUSEUM of the BROADSHEET communicates the work of the HISTORY Museum of the History of Science, Oxford. of Available at www.mhs.ox.ac.uk, sold in the SCIENCE museum shop, and distributed to members Books, Globes and Instruments in the Exhibition of the Museum. 1. Claudius Ptolemy, Almagest (Venice, 1515) 2. Johann Stöffler, Elucidatio fabricae ususque astrolabii (Oppenheim, 1513) Broad Sheet is produced by the Museum of the History of Science, Broad Street, Oxford OX1 3AZ 3. Paper astrolabe by Peter Jordan, Mainz, 1535, included in his edition of Stöffler’s Elucidatio Tel +44(0)1865 277280 Fax +44(0)1865 277288 Web: www.mhs.ox.ac.uk Email: [email protected] 4. Armillary sphere by Carlo Plato, 1588, Rome, MHS inventory no. 45453 5. Celestial globe by Johann Schöner, c.1534 6. Johann Schöner, Globi stelliferi, sive sphaerae stellarum fixarum usus et explicationes (Nuremberg, 1533) 7. Johann Schöner, Tabulae astronomicae (Nuremberg, 1536) 8. Johann Schöner, Opera mathematica (Nuremberg, 1561) THE 9. Astrolabe by Georg Hartmann, Nuremberg, 1527, MHS inventory no. 38642 10. Astrolabe by Johann Wagner, Nuremberg, 1538, MHS inventory no. 40443 11. Astrolabe by Georg Hartmann (wood and paper), Nuremberg, 1542, MHS inventory no. 49296 12. Diptych dial by Georg Hartmann, Nuremberg, 1562, MHS inventory no. 81528 enaissance 13. Lower leaf of a diptych dial with city view of Nuremberg, by Johann Gebhart, Nuremberg, c.1550, MHS inventory no. 58226 14. Peter Apian, Astronomicum Caesareum (Ingolstadt, 1540) R 15. Nicolaus Copernicus, De revolutionibus orbium cœlestium (Nuremberg, 1543) 16. Georg Joachim Rheticus, Narratio prima (Basel, 1566), printed with the second edition of Copernicus, De revolutionibus inAstronomy 17. -
Astronomy 113 Laboratory Manual
UNIVERSITY OF WISCONSIN - MADISON Department of Astronomy Astronomy 113 Laboratory Manual Fall 2011 Professor: Snezana Stanimirovic 4514 Sterling Hall [email protected] TA: Natalie Gosnell 6283B Chamberlin Hall [email protected] 1 2 Contents Introduction 1 Celestial Rhythms: An Introduction to the Sky 2 The Moons of Jupiter 3 Telescopes 4 The Distances to the Stars 5 The Sun 6 Spectral Classification 7 The Universe circa 1900 8 The Expansion of the Universe 3 ASTRONOMY 113 Laboratory Introduction Astronomy 113 is a hands-on tour of the visible universe through computer simulated and experimental exploration. During the 14 lab sessions, we will encounter objects located in our own solar system, stars filling the Milky Way, and objects located much further away in the far reaches of space. Astronomy is an observational science, as opposed to most of the rest of physics, which is experimental in nature. Astronomers cannot create a star in the lab and study it, walk around it, change it, or explode it. Astronomers can only observe the sky as it is, and from their observations deduce models of the universe and its contents. They cannot ever repeat the same experiment twice with exactly the same parameters and conditions. Remember this as the universe is laid out before you in Astronomy 113 – the story always begins with only points of light in the sky. From this perspective, our understanding of the universe is truly one of the greatest intellectual challenges and achievements of mankind. The exploration of the universe is also a lot of fun, an experience that is largely missed sitting in a lecture hall or doing homework.