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Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama
Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama John Fraim John Fraim 189 Keswick Drive New Albany, OH 43054 760-844-2595 [email protected] www.midnightoilstudios.org www.symbolism.org www.desertscreenwritersgroup.com www.greathousestories.com © 2017 – John Fraim FRAIM / SS 1 “Eternal truth needs a human language that varies with the spirit of the times. The primordial images undergo ceaseless transformation and yet remain ever the same, but only in a new form can they be understood anew. Always they require a new interpretation if, as each formulation becomes obsolete, they are not to lose their spellbinding power.” Carl Jung The Psychology of Transference The endless cycle of idea and action, Endless invention, endless experiment, Brings knowledge of motion, but not of stillness; Knowledge of speech, but not of silence; Knowledge of words, and ignorance of the Word. T.S. Eliot The Rock “The essential problem is to know what is revealed to us not by any particular version of a symbol, but by the whole of symbolism.” Mercea Eliade The Rites and Symbols of Initiation “Francis Bacon never tired of contrasting hot and cool prose. Writing in ‘methods’ or complete packages, he contrasted with writing in aphorisms, or single observations such as ‘Revenge is a kind of wild justice. The passive consumer wants packages, but those, he suggested, who are concerned in pursuing knowledge and in seeking causes will resort to aphorisms, just because they are incomplete and require participation in depth.” Marshall McLuhan Understanding Media FRAIM / SS 2 To Eric McLuhan Relentless provocateur over the years FRAIM / SS 3 Contents Preface 8 Introduction 10 I. -
The Comprehensive LATEX Symbol List
The Comprehensive LATEX Symbol List Scott Pakin <[email protected]>∗ 22 September 2005 Abstract This document lists 3300 symbols and the corresponding LATEX commands that produce them. Some of these symbols are guaranteed to be available in every LATEX 2ε system; others require fonts and packages that may not accompany a given distribution and that therefore need to be installed. All of the fonts and packages used to prepare this document—as well as this document itself—are freely available from the Comprehensive TEX Archive Network (http://www.ctan.org/). Contents 1 Introduction 7 1.1 Document Usage . 7 1.2 Frequently Requested Symbols . 7 2 Body-text symbols 8 Table 1: LATEX 2ε Escapable “Special” Characters . 8 Table 2: Predefined LATEX 2ε Text-mode Commands . 8 Table 3: LATEX 2ε Commands Defined to Work in Both Math and Text Mode . 8 Table 4: AMS Commands Defined to Work in Both Math and Text Mode . 9 Table 5: Non-ASCII Letters (Excluding Accented Letters) . 9 Table 6: Letters Used to Typeset African Languages . 9 Table 7: Letters Used to Typeset Vietnamese . 9 Table 8: Punctuation Marks Not Found in OT1 . 9 Table 9: pifont Decorative Punctuation Marks . 10 Table 10: tipa Phonetic Symbols . 10 Table 11: tipx Phonetic Symbols . 11 Table 13: wsuipa Phonetic Symbols . 12 Table 14: wasysym Phonetic Symbols . 12 Table 15: phonetic Phonetic Symbols . 12 Table 16: t4phonet Phonetic Symbols . 13 Table 17: semtrans Transliteration Symbols . 13 Table 18: Text-mode Accents . 13 Table 19: tipa Text-mode Accents . 14 Table 20: extraipa Text-mode Accents . -
Iconographic Architecture As Signs and Symbols in Dubai
ICONOGRAPHIC ARCHITECTURE AS SIGNS AND SYMBOLS IN DUBAI HARPREET SETH Ph.D. UNIVERSITY OF WOLVERHAMPTON 2013 i ICONOGRAPHIC ARCHITECTURE AS SIGNS AND SYMBOLS IN DUBAI By Harpreet Seth B.Arch., M.Arch. A thesis submitted in partial fulfillment of the requirements of the University of Wolverhmapton for the degree of Doctor of Philosophy School of Technology (STECH) Department of Architecture and Design University of Wolverhampton February 2013 This work or any part thereof has not previously been presented in any form to the University or to any other body whether for the purpose of assessment, publication or for any other purpose (unless otherwise indicated). Save for any express acknowledgements, references and/or bibliographies cited in the work, I confirm that the intellectual content of the work is the result of my own efforts and no other person. The right of Harpreet Seth to be identified as the author of this work is asserted in accordance with ss.77 and 78 of the Copyright, Designs and Patents Act 1988. At this date copyright is owned by the author. Signature (Harpreet Seth) Date 16 / 03/ 2013 Mrs. Harpreet Seth (M.Arch.) Iconic Architecture in Dubai as Signs and Symbols February 2013 ii Abstract This study seeks to investigate the impact of architectural icons on the cities that they are built in, especially those in Dubai to understand the perceptions and associations of ordinary people with these icons, thus analysing their impact on the quality of life in the city. This is an important study with the advent of ‘iconism’ in architecture that has a growing acceptance and demand, wherein the status of a piece of architecture is predetermined as an icon by the media and not necessarily by the people. -
The Comprehensive LATEX Symbol List
The Comprehensive LATEX Symbol List Scott Pakin <[email protected]>∗ 22 September 2005 Abstract This document lists 3300 symbols and the corresponding LATEX commands that produce them. Some of these symbols are guaranteed to be available in every LATEX 2ε system; others require fonts and packages that may not accompany a given distribution and that therefore need to be installed. All of the fonts and packages used to prepare this document—as well as this document itself—are freely available from the Comprehensive TEX Archive Network (http://www.ctan.org/). Contents 1 Introduction 6 1.1 Document Usage . 6 1.2 Frequently Requested Symbols . 6 2 Body-text symbols 7 Table 1: LATEX 2ε Escapable “Special” Characters . 7 Table 2: Predefined LATEX 2ε Text-mode Commands . 7 Table 3: LATEX 2ε Commands Defined to Work in Both Math and Text Mode . 7 Table 4: AMS Commands Defined to Work in Both Math and Text Mode . 7 Table 5: Non-ASCII Letters (Excluding Accented Letters) . 8 Table 6: Letters Used to Typeset African Languages . 8 Table 7: Letters Used to Typeset Vietnamese . 8 Table 8: Punctuation Marks Not Found in OT1 . 8 Table 9: pifont Decorative Punctuation Marks . 8 Table 10: tipa Phonetic Symbols . 9 Table 11: tipx Phonetic Symbols . 10 Table 13: wsuipa Phonetic Symbols . 10 Table 14: wasysym Phonetic Symbols . 11 Table 15: phonetic Phonetic Symbols . 11 Table 16: t4phonet Phonetic Symbols . 12 Table 17: semtrans Transliteration Symbols . 12 Table 18: Text-mode Accents . 12 Table 19: tipa Text-mode Accents . 12 Table 20: extraipa Text-mode Accents . -
12 Notation and List of Symbols
12 Notation and List of Symbols Alphabetic ℵ0, ℵ1, ℵ2,... cardinality of infinite sets ,r,s,... lines are usually denoted by lowercase italics Latin letters A,B,C,... points are usually denoted by uppercase Latin letters π,ρ,σ,... planes and surfaces are usually denoted by lowercase Greek letters N positive integers; natural numbers R real numbers C complex numbers 5 real part of a complex number 6 imaginary part of a complex number R2 Euclidean 2-dimensional plane (or space) P2 projective 2-dimensional plane (or space) RN Euclidean N-dimensional space PN projective N-dimensional space Symbols General ∈ belongs to such that ∃ there exists ∀ for all ⊂ subset of ∪ set union ∩ set intersection A. Inselberg, Parallel Coordinates, DOI 10.1007/978-0-387-68628-8, © Springer Science+Business Media, LLC 2009 532 Notation and List of Symbols ∅ empty st (null set) 2A power set of A, the set of all subsets of A ip inflection point of a curve n principal normal vector to a space curve nˆ unit normal vector to a surface t vector tangent to a space curve b binormal vector τ torsion (measures “non-planarity” of a space curve) × cross product → mapping symbol A → B correspondence (also used for duality) ⇒ implies ⇔ if and only if <, > less than, greater than |a| absolute value of a |b| length of vector b norm, length L1 L1 norm L L norm, Euclidean distance 2 2 summation Jp set of integers modulo p with the operations + and × ≈ approximately equal = not equal parallel ⊥ perpendicular, orthogonal (,,) homogeneous coordinates — ordered triple representing -
A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism
Andrews University Digital Commons @ Andrews University Dissertation Projects DMin Graduate Research 2012 A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism Jessica-Robyn Sarah Trevithick Andrews University Follow this and additional works at: https://digitalcommons.andrews.edu/dmin Recommended Citation Trevithick, Jessica-Robyn Sarah, "A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism" (2012). Dissertation Projects DMin. 132. https://digitalcommons.andrews.edu/dmin/132 This Project Report is brought to you for free and open access by the Graduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Dissertation Projects DMin by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. ABSTRACT A THEOLOGICAL FOUNDATION FOR THE USE OF ARTISTIC MEDIUMS AND TECHNOLOGY IN PREACHING AND EVANGELISM by Jessica-Robyn S. Mayne Trevithick Adviser: Barry Gane ABSTRACT OF GRADUATE STUDENT RESEARCH Project Dissertation Andrews University Seventh-day Adventist Theological Seminary Title: A THEOLOGICAL FOUNDATION FOR THE USE OF ARTISTIC MEDIUMS AND TECHNOLOGY IN PREACHING AND EVANGELISM Name of researcher: Jessica-Robyn S. Mayne Trevithick Name and degree of faculty adviser: Barry Gane, PhD Date completed: December 2012 The Problem Can artistic forms and technology be utilized in making the biblical truth appear attractive in that it may attract the postmodern culture to Jesus? Postmodern preachers are cautious when it entails the use of interactive artistic mediums. -
List of Symbols
Appendix A List of Symbols For convenience, many symbols frequently used in the text are listed below alphabetically. Some of the symbols may play a dual role, in which case the meaning should be obvious from the context. A number in parentheses refers to an Eq. number (or the text or footnote near that Eq. number) in which the symbol is defined or appears for the first time; in a few cases a page number, Table number, Sect. number, footnote (fn.) number, or Fig. number is given instead. Quantum number is abbreviated as q. n. Quantum numbers (atomic): Symbol Description Eq. No. j D l ˙ s Inner q. n. of an electron (3.13) J D L C S Inner (total angular momentum) q. n. of a state (5.51b) l P Azimuthal (orbital) q. n. of an electron (3.1) and (3.2) L D l Azimuthal (orbital) q. n. of a state (5.51c) ml Magnetic orbital q. n. of an electron (3.1) ms Magnetic spin q. n. of an electron (3.1) M Total magnetic q. n. (5.51d) n Principal q. n. of an electron (3.1) s P Spin q. n. of an electron (3.13) S D s Spin q. n. of a state (5.51e) Relativistic azimuthal q. n. of an electron (3.15a) and (3.15b) Relativistic magnetic q. n. of an electron (3.18a) and (3.18b) W.F. Huebner and W.D. Barfield, Opacity, Astrophysics and Space Science Library 402, 457 DOI 10.1007/978-1-4614-8797-5, © Springer Science+Business Media New York 2014 458 Appendix A: List of Symbols Quantum numbers (molecular)1: Symbol Description Eq. -
Armenian Eternity Sign
Armenian Eternity Sign SYMBOL NAME SHORT NAME, ASSUMED PLACE IN NICK UNICODE ISO 10646 Dingbats Range 2700-27BF ETERNITY SIGN armeternity No proposed position Reason: the range is filled up History Armenian Eternity Sign is the ancient national symbol and in Armenian reality it can be met in many variations. The appearance of the Sign resembles both clockwise and anti-clockwise rotating ornament, which is composed with curves running from center of the symbol. As a rule the Sign should have eight curves, as this number stands for revival, rebirth and recurrence. However, the symbol may be represented with four and more curves as well. Right and left rotations have accordingly active and passive meanings, as in case of Swastika, and are used in order to accentuate these meanings. For example, a cradle for а boy is decorated with the right whirling eternity sign and a cradle for а girl with the left whirling eternity sign. It can be performed both two-dimensionally and three-dimensionally. Eternity Sign opens the list of symbols included in ArmSCII . Armenian Standard Code for Information Interchange, in http://en.wikipedia.org/wiki/ArmSCII Armenian Symbol of Eternity is the direct descendent of the pre-historic Swastika and has clear Armenian interpretation. It symbolizes the identity of Armenian nation suchlike a David’s star for Hebrews. The earliest roots of round whirling sun-like symbols in the Armenian Highland are rock inscriptions from the Stone Age. Ancient Armenian stone pictures (Stone Age) In Armenia the eternity sign can be found everywhere, in architecture; on doors, walls and etc. -
The Comprehensive Latex Symbol List
The Comprehensive LATEXSymbolList Scott Pakin <[email protected]>∗ 29 September 2003 Abstract This document lists 2826 symbols and the corresponding LATEX commands that produce them. Some of these symbols are guaranteed to be available in every LATEX2ε system; others require fonts and packages that may not accompany a given distribution and that therefore need to be installed. All of the fonts and packages used to prepare this document—as well as this document itself—are freely available from the Comprehensive TEX Archive Network (http://www.ctan.org). Contents 1 Introduction 6 1.1DocumentUsage.............................................. 6 1.2FrequentlyRequestedSymbols...................................... 6 2 Body-text symbols 7 Table 1: LATEX2ε Escapable“Special”Characters............................. 7 Table 2: LATEX2ε CommandsDefinedtoWorkinBothMathandTextMode.............. 7 Table 3: Predefined LATEX2ε Text-modeCommands............................ 7 Table4: Non-ASCIILetters(ExcludingAccentedLetters)........................ 8 Table5: LettersUsedtoTypesetAfricanLanguages............................ 8 Table6: PunctuationMarksNotFoundinOT1.............................. 8 Table 7: pifont DecorativePunctuationMarks............................... 8 Table 8: wasysym PhoneticSymbols..................................... 8 Table 9: tipa PhoneticSymbols........................................ 9 Table 10: wsuipa PhoneticSymbols...................................... 10 Table 11: phonetic PhoneticSymbols..................................... 11 Table12:Text-modeAccents........................................ -
What Lutherans Believe Gloria Dei Lutheran Church
What Lutherans Believe Gloria Dei Lutheran Church Keith Chuvala, [email protected] Christian Symbols Christian Symbols are nothing new – literally! He built us to understand and to communicate through the use of symbols. The use of symbols, therefore, has been a feature of every culture in all periods of human history. God instituted and promoted the use of symbols for and amongst His people from the beginning. The meaning of any given symbol, however, is not intrinsic; symbolic meaning is always taught, passed on from person to person, generation to generation. A symbol standing alone has no use or meaning; it becomes symbolic through the explanation, and the sharing, of its meaning. Christians have always used symbols to tell people – especially each other -- about the faith. Some symbols recall a story from Jesus’ life. Others remind us about an aspect who God is and what He has done for us. For many contemporary Christians, however, the meaning of certain ancient symbols are a mystery; the inter-generational sharing of the meaning has fallen out of practice. The list of symbols presented here falls far short of being comprehensive; they are among the most common, and most ancient, of symbols. We will also look at a few predominantly Lutheran symbols and their use and meaning. They are not all exclusively Lutheran, but are more likely to be encountered in Lutheran churches than elsewhere. The Cross (Latin) (Greek) (Globus Cruciger) Biblical use: Matthew 10:38, Mark 8:34, Luke 9:23, 1 Corinthians 1:18, Galatians 5:11, Galatians 6:14, etc. -
Ouroboros Genesis: Composable Proof-Of-Stake Blockchains
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Edinburgh Research Explorer Edinburgh Research Explorer Ouroboros Genesis: Composable Proof-of-Stake Blockchains with Dynamic Availability Citation for published version: Badertscher, C, Gazi, P, Kiayias, A, Russell, A & Zikas, V 2018, Ouroboros Genesis: Composable Proof-of- Stake Blockchains with Dynamic Availability. in Proceedings of the 2018 ACM SIGSAC Conference on Computer and Communications Security. CCS '18, ACM, New York, NY, USA, pp. 913-930, 25th ACM Conference on Computer and Communications Security, Toronto, Canada, 15/10/18. DOI: 10.1145/3243734.3243848 Digital Object Identifier (DOI): 10.1145/3243734.3243848 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Proceedings of the 2018 ACM SIGSAC Conference on Computer and Communications Security General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately -
The Beauty of the Cross: the Passion of Christ in Theology and the Arts from the Catacombs to the Eve of the Renaissance
The Beauty of the Cross This page intentionally left blank The Beauty of the Cross The Passion of Christ in Theology and the Arts, from the Catacombs to the Eve of the Renaissance richard viladesau 1 2006 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright ᭧ 2006 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Viladesau, Richard. The beauty of the cross: the passion of Christ in theology and the arts, from the catacombs to the eve of the Renaissance / Richard Viladesau. p. cm. Includes index. ISBN-13 978-0-19-518811-0 ISBN 0-19-518811-X 1. Crosses. 2. Crosses in art. 3. Christian art and symbolism. 4. Jesus Christ—Passion. I. Title. BV160.V55 2005 246'.558—dc22 2005008224 987654321 Printed in the United States of America on acid-free paper To the new generation of my family Jack Alden Truett Julia Christine and Caroline Rose Lowe Michael Ivan and Dominic Marino Griffin Walsh Vivienne and Grant Geyerhahn This page intentionally left blank Preface This volume represents the first part of a study of the concept and the symbol of the cross in Christian theology and imagination.