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Chapter 11. Three Dimensional Analytic Geometry and Vectors
Chapter 11. Three dimensional analytic geometry and vectors. Section 11.5 Quadric surfaces. Curves in R2 : x2 y2 ellipse + =1 a2 b2 x2 y2 hyperbola − =1 a2 b2 parabola y = ax2 or x = by2 A quadric surface is the graph of a second degree equation in three variables. The most general such equation is Ax2 + By2 + Cz2 + Dxy + Exz + F yz + Gx + Hy + Iz + J =0, where A, B, C, ..., J are constants. By translation and rotation the equation can be brought into one of two standard forms Ax2 + By2 + Cz2 + J =0 or Ax2 + By2 + Iz =0 In order to sketch the graph of a quadric surface, it is useful to determine the curves of intersection of the surface with planes parallel to the coordinate planes. These curves are called traces of the surface. Ellipsoids The quadric surface with equation x2 y2 z2 + + =1 a2 b2 c2 is called an ellipsoid because all of its traces are ellipses. 2 1 x y 3 2 1 z ±1 ±2 ±3 ±1 ±2 The six intercepts of the ellipsoid are (±a, 0, 0), (0, ±b, 0), and (0, 0, ±c) and the ellipsoid lies in the box |x| ≤ a, |y| ≤ b, |z| ≤ c Since the ellipsoid involves only even powers of x, y, and z, the ellipsoid is symmetric with respect to each coordinate plane. Example 1. Find the traces of the surface 4x2 +9y2 + 36z2 = 36 1 in the planes x = k, y = k, and z = k. Identify the surface and sketch it. Hyperboloids Hyperboloid of one sheet. The quadric surface with equations x2 y2 z2 1. -
Swimming in Spacetime: Motion by Cyclic Changes in Body Shape
RESEARCH ARTICLE tation of the two disks can be accomplished without external torques, for example, by fixing Swimming in Spacetime: Motion the distance between the centers by a rigid circu- lar arc and then contracting a tension wire sym- by Cyclic Changes in Body Shape metrically attached to the outer edge of the two caps. Nevertheless, their contributions to the zˆ Jack Wisdom component of the angular momentum are parallel and add to give a nonzero angular momentum. Cyclic changes in the shape of a quasi-rigid body on a curved manifold can lead Other components of the angular momentum are to net translation and/or rotation of the body. The amount of translation zero. The total angular momentum of the system depends on the intrinsic curvature of the manifold. Presuming spacetime is a is zero, so the angular momentum due to twisting curved manifold as portrayed by general relativity, translation in space can be must be balanced by the angular momentum of accomplished simply by cyclic changes in the shape of a body, without any the motion of the system around the sphere. external forces. A net rotation of the system can be ac- complished by taking the internal configura- The motion of a swimmer at low Reynolds of cyclic changes in their shape. Then, presum- tion of the system through a cycle. A cycle number is determined by the geometry of the ing spacetime is a curved manifold as portrayed may be accomplished by increasing by ⌬ sequence of shapes that the swimmer assumes by general relativity, I show that net translations while holding fixed, then increasing by (1). -
Art Concepts for Kids: SHAPE & FORM!
Art Concepts for Kids: SHAPE & FORM! Our online art class explores “shape” and “form” . Shapes are spaces that are created when a line reconnects with itself. Forms are three dimensional and they have length, width and depth. This sweet intro song teaches kids all about shape! Scratch Garden Value Song (all ages) https://www.youtube.com/watch?v=coZfbTIzS5I Another great shape jam! https://www.youtube.com/watch?v=6hFTUk8XqEc Cookie Monster eats his shapes! https://www.youtube.com/watch?v=gfNalVIrdOw&list=PLWrCWNvzT_lpGOvVQCdt7CXL ggL9-xpZj&index=10&t=0s Now for the activities!! Click on the links in the descriptions below for the step by step details. Ages 2-4 Shape Match https://busytoddler.com/2017/01/giant-shape-match-activity/ Shapes are an easy art concept for the littles. Lots of their environment gives play and art opportunities to learn about shape. This Matching activity involves tracing the outside shape of blocks and having littles match the block to the outline. It can be enhanced by letting your little ones color the shapes emphasizing inside and outside the shape lines. Block Print Shapes https://thepinterestedparent.com/2017/08/paul-klee-inspired-block-printing/ Printing is a great technique for young kids to learn. The motion is like stamping so you teach little ones to press and pull rather than rub or paint. This project requires washable paint and paper and block that are not natural wood (which would stain) you want blocks that are painted or sealed. Kids can look at Paul Klee art for inspiration in stacking their shapes into buildings, or they can chose their own design Ages 4-6 Lois Ehlert Shape Animals http://www.momto2poshlildivas.com/2012/09/exploring-shapes-and-colors-with-color.html This great project allows kids to play with shapes to make animals in the style of the artist Lois Ehlert. -
Geometric Modeling in Shape Space
Geometric Modeling in Shape Space Martin Kilian Niloy J. Mitra Helmut Pottmann Vienna University of Technology Figure 1: Geodesic interpolation and extrapolation. The blue input poses of the elephant are geodesically interpolated in an as-isometric- as-possible fashion (shown in green), and the resulting path is geodesically continued (shown in purple) to naturally extend the sequence. No semantic information, segmentation, or knowledge of articulated components is used. Abstract space, line geometry interprets straight lines as points on a quadratic surface [Berger 1987], and the various types of sphere geometries We present a novel framework to treat shapes in the setting of Rie- model spheres as points in higher dimensional space [Cecil 1992]. mannian geometry. Shapes – triangular meshes or more generally Other examples concern kinematic spaces and Lie groups which straight line graphs in Euclidean space – are treated as points in are convenient for handling congruent shapes and motion design. a shape space. We introduce useful Riemannian metrics in this These examples show that it is often beneficial and insightful to space to aid the user in design and modeling tasks, especially to endow the set of objects under consideration with additional struc- explore the space of (approximately) isometric deformations of a ture and to work in more abstract spaces. We will show that many given shape. Much of the work relies on an efficient algorithm to geometry processing tasks can be solved by endowing the set of compute geodesics in shape spaces; to this end, we present a multi- closed orientable surfaces – called shapes henceforth – with a Rie- resolution framework to solve the interpolation problem – which mannian structure. -
Shape Synthesis Notes
SHAPE SYNTHESIS OF HIGH-PERFORMANCE MACHINE PARTS AND JOINTS By John M. Starkey Based on notes from Walter L. Starkey Written 1997 Updated Summer 2010 2 SHAPE SYNTHESIS OF HIGH-PERFORMANCE MACHINE PARTS AND JOINTS Much of the activity that takes place during the design process focuses on analysis of existing parts and existing machinery. There is very little attention focused on the synthesis of parts and joints and certainly there is very little information available in the literature addressing the shape synthesis of parts and joints. The purpose of this document is to provide guidelines for the shape synthesis of high-performance machine parts and of joints. Although these rules represent good design practice for all machinery, they especially apply to high performance machines, which require high strength-to-weight ratios, and machines for which manufacturing cost is not an overriding consideration. Examples will be given throughout this document to illustrate this. Two terms which will be used are part and joint. Part refers to individual components manufactured from a single block of raw material or a single molding. The main body of the part transfers loads between two or more joint areas on the part. A joint is a location on a machine at which two or more parts are fastened together. 1.0 General Synthesis Goals Two primary principles which govern the shape synthesis of a part assert that (1) the size and shape should be chosen to induce a uniform stress or load distribution pattern over as much of the body as possible, and (2) the weight or volume of material used should be a minimum, consistent with cost, manufacturing processes, and other constraints. -
Geometry and Art LACMA | | April 5, 2011 Evenings for Educators
Geometry and Art LACMA | Evenings for Educators | April 5, 2011 ALEXANDER CALDER (United States, 1898–1976) Hello Girls, 1964 Painted metal, mobile, overall: 275 x 288 in., Art Museum Council Fund (M.65.10) © Alexander Calder Estate/Artists Rights Society (ARS), New York/ADAGP, Paris EOMETRY IS EVERYWHERE. WE CAN TRAIN OURSELVES TO FIND THE GEOMETRY in everyday objects and in works of art. Look carefully at the image above and identify the different, lines, shapes, and forms of both GAlexander Calder’s sculpture and the architecture of LACMA’s built environ- ment. What is the proportion of the artwork to the buildings? What types of balance do you see? Following are images of artworks from LACMA’s collection. As you explore these works, look for the lines, seek the shapes, find the patterns, and exercise your problem-solving skills. Use or adapt the discussion questions to your students’ learning styles and abilities. 1 Language of the Visual Arts and Geometry __________________________________________________________________________________________________ LINE, SHAPE, FORM, PATTERN, SYMMETRY, SCALE, AND PROPORTION ARE THE BUILDING blocks of both art and math. Geometry offers the most obvious connection between the two disciplines. Both art and math involve drawing and the use of shapes and forms, as well as an understanding of spatial concepts, two and three dimensions, measurement, estimation, and pattern. Many of these concepts are evident in an artwork’s composition, how the artist uses the elements of art and applies the principles of design. Problem-solving skills such as visualization and spatial reasoning are also important for artists and professionals in math, science, and technology. -
Calculus Terminology
AP Calculus BC Calculus Terminology Absolute Convergence Asymptote Continued Sum Absolute Maximum Average Rate of Change Continuous Function Absolute Minimum Average Value of a Function Continuously Differentiable Function Absolutely Convergent Axis of Rotation Converge Acceleration Boundary Value Problem Converge Absolutely Alternating Series Bounded Function Converge Conditionally Alternating Series Remainder Bounded Sequence Convergence Tests Alternating Series Test Bounds of Integration Convergent Sequence Analytic Methods Calculus Convergent Series Annulus Cartesian Form Critical Number Antiderivative of a Function Cavalieri’s Principle Critical Point Approximation by Differentials Center of Mass Formula Critical Value Arc Length of a Curve Centroid Curly d Area below a Curve Chain Rule Curve Area between Curves Comparison Test Curve Sketching Area of an Ellipse Concave Cusp Area of a Parabolic Segment Concave Down Cylindrical Shell Method Area under a Curve Concave Up Decreasing Function Area Using Parametric Equations Conditional Convergence Definite Integral Area Using Polar Coordinates Constant Term Definite Integral Rules Degenerate Divergent Series Function Operations Del Operator e Fundamental Theorem of Calculus Deleted Neighborhood Ellipsoid GLB Derivative End Behavior Global Maximum Derivative of a Power Series Essential Discontinuity Global Minimum Derivative Rules Explicit Differentiation Golden Spiral Difference Quotient Explicit Function Graphic Methods Differentiable Exponential Decay Greatest Lower Bound Differential -
Section 6.2 Introduction to Conics: Parabolas 103
Section 6.2 Introduction to Conics: Parabolas 103 Course Number Section 6.2 Introduction to Conics: Parabolas Instructor Objective: In this lesson you learned how to write the standard form of the equation of a parabola. Date Important Vocabulary Define each term or concept. Directrix A fixed line in the plane from which each point on a parabola is the same distance as the distance from the point to a fixed point in the plane. Focus A fixed point in the plane from which each point on a parabola is the same distance as the distance from the point to a fixed line in the plane. Focal chord A line segment that passes through the focus of a parabola and has endpoints on the parabola. Latus rectum The specific focal chord perpendicular to the axis of a parabola. Tangent A line is tangent to a parabola at a point on the parabola if the line intersects, but does not cross, the parabola at the point. I. Conics (Page 433) What you should learn How to recognize a conic A conic section, or conic, is . the intersection of a plane as the intersection of a and a double-napped cone. plane and a double- napped cone Name the four basic conic sections: circle, ellipse, parabola, and hyperbola. In the formation of the four basic conics, the intersecting plane does not pass through the vertex of the cone. When the plane does pass through the vertex, the resulting figure is a(n) degenerate conic , such as . a point, a line, or a pair of intersecting lines. -
C) Shape Formulas for Volume (V) and Surface Area (SA
Formula Reference Sheet Shape Formulas for Area (A) and Circumference (C) Triangle ϭ 1 ϭ 1 ϫ ϫ A 2 bh 2 base height Rectangle A ϭ lw ϭ length ϫ width Trapezoid ϭ 1 + ϭ 1 ϫ ϫ A 2 (b1 b2)h 2 sum of bases height Parallelogram A ϭ bh ϭ base ϫ height A ϭ πr2 ϭ π ϫ square of radius Circle C ϭ 2πr ϭ 2 ϫ π ϫ radius C ϭ πd ϭ π ϫ diameter Figure Formulas for Volume (V) and Surface Area (SA) Rectangular Prism SV ϭ lwh ϭ length ϫ width ϫ height SA ϭ 2lw ϩ 2hw ϩ 2lh ϭ 2(length ϫ width) ϩ 2(height ϫ width) 2(length ϫ height) General SV ϭ Bh ϭ area of base ϫ height Prisms SA ϭ sum of the areas of the faces Right Circular SV ϭ Bh = area of base ϫ height Cylinder SA ϭ 2B ϩ Ch ϭ (2 ϫ area of base) ϩ (circumference ϫ height) ϭ 1 ϭ 1 ϫ ϫ Square Pyramid SV 3 Bh 3 area of base height ϭ ϩ 1 l SA B 2 P ϭ ϩ 1 ϫ ϫ area of base ( 2 perimeter of base slant height) Right Circular ϭ 1 ϭ 1 ϫ ϫ SV 3 Bh 3 area of base height Cone ϭ ϩ 1 l ϭ ϩ 1 ϫ ϫ SA B 2 C area of base ( 2 circumference slant height) ϭ 4 π 3 ϭ 4 ϫ π ϫ Sphere SV 3 r 3 cube of radius SA ϭ 4πr2 ϭ 4 ϫ π ϫ square of radius 41830 a41830_RefSheet_02MHS 1 8/29/01, 7:39 AM Equations of a Line Coordinate Geometry Formulas Standard Form: Let (x1, y1) and (x2, y2) be two points in the plane. -
Line, Color, Space, Light, and Shape: What Do They Do? What Do They Evoke?
LINE, COLOR, SPACE, LIGHT, AND SHAPE: WHAT DO THEY DO? WHAT DO THEY EVOKE? Good composition is like a suspension bridge; each line adds strength and takes none away… Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer—that is composition. —Robert Henri, American painter and teacher The elements and principals of art and design, and how they are used, contribute mightily to the ultimate composition of a work of art—and that can mean the difference between a masterpiece and a messterpiece. Just like a reader who studies vocabulary and sentence structure to become fluent and present within a compelling story, an art appreciator who examines line, color, space, light, and shape and their roles in a given work of art will be able to “stand with the artist” and think about how they made the artwork “work.” In this activity, students will practice looking for design elements in works of art, and learn to describe and discuss how these elements are used in artistic compositions. Grade Level Grades 4–12 Common Core Academic Standards • CCSS.ELA-Writing.CCRA.W.3 • CCSS.ELA-Speaking and Listening.CCRA.SL.1 • CCSS.ELA-Literacy.CCSL.2 • CCSS.ELA-Speaking and Listening.CCRA.SL.4 National Visual Arts Standards Still Life with a Ham and a Roemer, c. 1631–34 Willem Claesz. Heda, Dutch • Artistic Process: Responding: Understanding Oil on panel and evaluating how the arts convey meaning 23 1/4 x 32 1/2 inches (59 x 82.5 cm) John G. -
Lesson 7: General Pyramids and Cones and Their Cross-Sections
NYS COMMON CORE MATHEMATICS CURRICULUM Lesson 7 M3 GEOMETRY Lesson 7: General Pyramids and Cones and Their Cross-Sections Student Outcomes . Students understand the definition of a general pyramid and cone and that their respective cross-sections are similar to the base. Students show that if two cones have the same base area and the same height, then cross-sections for the cones the same distance from the vertex have the same area. Lesson Notes In Lesson 7, students examine the relationship between a cross-section and the base of a general cone. Students understand that pyramids and circular cones are subsets of general cones just as prisms and cylinders are subsets of general cylinders. In order to understand why a cross-section is similar to the base, there is discussion regarding a dilation in three dimensions, explaining why a dilation maps a plane to a parallel plane. Then, a more precise argument is made using triangular pyramids; this parallels what is seen in Lesson 6, where students are presented with the intuitive idea of why bases of general cylinders are congruent to cross-sections using the notion of a translation in three dimensions, followed by a more precise argument using a triangular prism and SSS triangle congruence. Finally, students prove the general cone cross-section theorem, which is used later to understand Cavalieri’s principle. Classwork Opening Exercise (3 minutes) The goals of the Opening Exercise remind students of the parent category of general cylinders, how prisms are a subcategory under general cylinders, and how to draw a parallel to figures that “come to a point” (or, they might initially describe these figures); some of the figures that come to a point have polygonal bases, while some have curved bases. -
Apollonius of Pergaconics. Books One - Seven
APOLLONIUS OF PERGACONICS. BOOKS ONE - SEVEN INTRODUCTION A. Apollonius at Perga Apollonius was born at Perga (Περγα) on the Southern coast of Asia Mi- nor, near the modern Turkish city of Bursa. Little is known about his life before he arrived in Alexandria, where he studied. Certain information about Apollonius’ life in Asia Minor can be obtained from his preface to Book 2 of Conics. The name “Apollonius”(Apollonius) means “devoted to Apollo”, similarly to “Artemius” or “Demetrius” meaning “devoted to Artemis or Demeter”. In the mentioned preface Apollonius writes to Eudemus of Pergamum that he sends him one of the books of Conics via his son also named Apollonius. The coincidence shows that this name was traditional in the family, and in all prob- ability Apollonius’ ancestors were priests of Apollo. Asia Minor during many centuries was for Indo-European tribes a bridge to Europe from their pre-fatherland south of the Caspian Sea. The Indo-European nation living in Asia Minor in 2nd and the beginning of the 1st millennia B.C. was usually called Hittites. Hittites are mentioned in the Bible and in Egyptian papyri. A military leader serving under the Biblical king David was the Hittite Uriah. His wife Bath- sheba, after his death, became the wife of king David and the mother of king Solomon. Hittites had a cuneiform writing analogous to the Babylonian one and hi- eroglyphs analogous to Egyptian ones. The Czech historian Bedrich Hrozny (1879-1952) who has deciphered Hittite cuneiform writing had established that the Hittite language belonged to the Western group of Indo-European languages [Hro].