Proceedings of the Toulouse Global Optimization Workshop
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1 Point for the Player Who Has the Shape with the Longest Side. Put
Put three pieces together to create a new 1 point for the player who has the shape. 1 point for the player who has shape with the longest side. the shape with the smallest number of sides. 1 point for the player who has the 1 point for the player with the shape that shape with the shortest side. has the longest perimeter. 1 point for the player with the shape that 1 point for each triangle. has the largest area. 1 point for each shape with 1 point for each quadrilateral. a perimeter of 24 cm. Put two pieces together to create a new shape. 1 point for the player with 1 point for each shape with the shape that has the longest a perimeter of 12 cm. perimeter. Put two pieces together to create a new shape. 1 point for the player with 1 point for each shape with the shape that has the shortest a perimeter of 20 cm. perimeter. 1 point for each 1 point for each shape with non-symmetrical shape. a perimeter of 19 cm. 1 point for the shape that has 1 point for each the largest number of sides. symmetrical shape. Count the sides on all 5 pieces. 1 point for each pair of shapes where the 1 point for the player who has the area of one is twice the area of the other. largest total number of sides. Put two pieces together to create a new shape. 1 point for the player who has 1 point for each shape with at least two the shape with the fewest number of opposite, parallel sides. -
Extremal Problems for Convex Polygons ∗
Extremal Problems for Convex Polygons ∗ Charles Audet Ecole´ Polytechnique de Montreal´ Pierre Hansen HEC Montreal´ Fred´ eric´ Messine ENSEEIHT-IRIT Abstract. Consider a convex polygon Vn with n sides, perimeter Pn, diameter Dn, area An, sum of distances between vertices Sn and width Wn. Minimizing or maximizing any of these quantities while fixing another defines ten pairs of extremal polygon problems (one of which usually has a trivial solution or no solution at all). We survey research on these problems, which uses geometrical reasoning increasingly complemented by global optimization meth- ods. Numerous open problems are mentioned, as well as series of test problems for global optimization and nonlinear programming codes. Keywords: polygon, perimeter, diameter, area, sum of distances, width, isoperimeter problem, isodiametric problem. 1. Introduction Plane geometry is replete with extremal problems, many of which are de- scribed in the book of Croft, Falconer and Guy [12] on Unsolved problems in geometry. Traditionally, such problems have been solved, some since the Greeks, by geometrical reasoning. In the last four decades, this approach has been increasingly complemented by global optimization methods. This allowed solution of larger instances than could be solved by any one of these two approaches alone. Probably the best known type of such problems are circle packing ones: given a geometrical form such as a unit square, a unit-side triangle or a unit- diameter circle, find the maximum radius and configuration of n circles which can be packed in its interior (see [46] for a recent survey and the site [44] for a census of exact and approximate results with up to 300 circles). -
The Social Economic and Environmental Impacts of Trade
Journal of Modern Education Review, ISSN 2155-7993, USA August 2020, Volume 10, No. 8, pp. 597–603 Doi: 10.15341/jmer(2155-7993)/08.10.2020/007 © Academic Star Publishing Company, 2020 http://www.academicstar.us Musical Vectors and Spaces Candace Carroll, J. X. Carteret (1. Department of Mathematics, Computer Science, and Engineering, Gordon State College, USA; 2. Department of Fine and Performing Arts, Gordon State College, USA) Abstract: A vector is a quantity which has both magnitude and direction. In music, since an interval has both magnitude and direction, an interval is a vector. In his seminal work Generalized Musical Intervals and Transformations, David Lewin depicts an interval i as an arrow or vector from a point s to a point t in musical space. Using Lewin’s text as a point of departure, this article discusses the notion of musical vectors in musical spaces. Key words: Pitch space, pitch class space, chord space, vector space, affine space 1. Introduction A vector is a quantity which has both magnitude and direction. In music, since an interval has both magnitude and direction, an interval is a vector. In his seminal work Generalized Musical Intervals and Transformations, David Lewin (2012) depicts an interval i as an arrow or vector from a point s to a point t in musical space (p. xxix). Using Lewin’s text as a point of departure, this article further discusses the notion of musical vectors in musical spaces. t i s Figure 1 David Lewin’s Depiction of an Interval i as a Vector Throughout the discussion, enharmonic equivalence will be assumed. -
Polygons and Convexity
Geometry Week 4 Sec 2.5 to ch. 2 test section 2.5 Polygons and Convexity Definitions: convex set – has the property that any two of its points determine a segment contained in the set concave set – a set that is not convex concave concave convex convex concave Definitions: polygon – a simple closed curve that consists only of segments side of a polygon – one of the segments that defines the polygon vertex – the endpoint of the side of a polygon 1 angle of a polygon – an angle with two properties: 1) its vertex is a vertex of the polygon 2) each side of the angle contains a side of the polygon polygon not a not a polygon (called a polygonal curve) polygon Definitions: polygonal region – a polygon together with its interior equilateral polygon – all sides have the same length equiangular polygon – all angels have the same measure regular polygon – both equilateral and equiangular Example: A square is equilateral, equiangular, and regular. 2 diagonal – a segment that connects 2 vertices but is not a side of the polygon C B C B D A D A E AC is a diagonal AC is a diagonal AB is not a diagonal AD is a diagonal AB is not a diagonal Notation: It does not matter which vertex you start with, but the vertices must be listed in order. Above, we have square ABCD and pentagon ABCDE. interior of a convex polygon – the intersection of the interiors of is angles exterior of a convex polygon – union of the exteriors of its angles 3 Polygon Classification Number of sides Name of polygon 3 triangle 4 quadrilateral 5 pentagon 6 hexagon 7 heptagon 8 octagon -
Englewood Public School District Geometry Second Marking Period
Englewood Public School District Geometry Second Marking Period Unit 2: Polygons, Triangles, and Quadrilaterals Overview: During this unit, students will learn how to prove two triangles are congruent, relationships between angle measures and side lengths within a triangle, and about different types of quadrilaterals. Time Frame: 35 to 45 days (One Marking Period) Enduring Understandings: • Congruent triangles can be visualized by placing one on top of the other. • Corresponding sides and angles can be marked using tic marks and angle marks. • Theorems can be used to prove triangles congruent. • The definitions of isosceles and equilateral triangles can be used to classify a triangle. • The Midpoint Formula can be used to find the midsegment of a triangle. • The Distance Formula can be used to examine relationships in triangles. • Side lengths of triangles have a relationship. • The negation statement can be proved and used to show a counterexample. • The diagonals of a polygon can be used to derive the formula for the angle measures of the polygon. • The properties of parallel and perpendicular lines can be used to classify quadrilaterals. • Coordinate geometry can be used to classify special parallelograms. • Slope and the distance formula can be used to prove relationships in the coordinate plane. Essential Questions: • How do you identify corresponding parts of congruent triangles? • How do you show that two triangles are congruent? • How can you tell if a triangle is isosceles or equilateral? • How do you use coordinate geometry -
Midsegment of a Trapezoid Parallelogram
Vocabulary Flash Cards base angles of a trapezoid bases of a trapezoid Chapter 7 (p. 402) Chapter 7 (p. 402) diagonal equiangular polygon Chapter 7 (p. 364) Chapter 7 (p. 365) equilateral polygon isosceles trapezoid Chapter 7 (p. 365) Chapter 7 (p. 402) kite legs of a trapezoid Chapter 7 (p. 405) Chapter 7 (p. 402) Copyright © Big Ideas Learning, LLC Big Ideas Math Geometry All rights reserved. Vocabulary Flash Cards The parallel sides of a trapezoid Either pair of consecutive angles whose common side is a base of a trapezoid A polygon in which all angles are congruent A segment that joins two nonconsecutive vertices of a polygon A trapezoid with congruent legs A polygon in which all sides are congruent The nonparallel sides of a trapezoid A quadrilateral that has two pairs of consecutive congruent sides, but opposite sides are not congruent Copyright © Big Ideas Learning, LLC Big Ideas Math Geometry All rights reserved. Vocabulary Flash Cards midsegment of a trapezoid parallelogram Chapter 7 (p. 404) Chapter 7 (p. 372) rectangle regular polygon Chapter 7 (p. 392) Chapter 7 (p. 365) rhombus square Chapter 7 (p. 392) Chapter 7 (p. 392) trapezoid Chapter 7 (p. 402) Copyright © Big Ideas Learning, LLC Big Ideas Math Geometry All rights reserved. Vocabulary Flash Cards A quadrilateral with both pairs of opposite sides The segment that connects the midpoints of the parallel legs of a trapezoid PQRS A convex polygon that is both equilateral and A parallelogram with four right angles equiangular A parallelogram with four congruent sides and four A parallelogram with four congruent sides right angles A quadrilateral with exactly one pair of parallel sides Copyright © Big Ideas Learning, LLC Big Ideas Math Geometry All rights reserved. -
The Computational Attitude in Music Theory
The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. -
Set Theory: a Gentle Introduction Dr
Mu2108 Set Theory: A Gentle Introduction Dr. Clark Ross Consider (and play) the opening to Schoenberg’s Three Piano Pieces, Op. 11, no. 1 (1909): If we wish to understand how it is organized, we could begin by looking at the melody, which seems to naturally break into two three-note cells: , and . We can see right away that the two cells are similar in contour, but not identical; the first descends m3rd - m2nd, but the second descends M3rd - m2nd. We can use the same method to compare the chords that accompany the melody. They too are similar (both span a M7th in the L. H.), but not exactly the same (the “alto” (lower voice in the R. H.) only moves up a diminished 3rd (=M2nd enh.) from B to Db, while the L. H. moves up a M3rd). Let’s use a different method of analysis to examine the same excerpt, called SET THEORY. WHAT? • SET THEORY is a method of musical analysis in which PITCH CLASSES are represented by numbers, and any grouping of these pitch classes is called a SET. • A PITCH CLASS (pc) is the class (or set) of pitches with the same letter (or solfège) name that are octave duplications of one another. “Middle C” is a pitch, but “C” is a pitch class that includes middle C, and all other octave duplications of C. WHY? Atonal music is often organized in pitch groups that form cells (both horizontal and vertical), many of which relate to one another. Set Theory provides a shorthand method to label these cells, just like Roman numerals and inversion figures do (i.e., ii 6 ) in tonal music. -
Pitch-Class Sets and Microtonalism Hudson Lacerda (2010)
Pitch-class sets and microtonalism Hudson Lacerda (2010) Introduction This text addresses some aspects of pitch-class sets, in an attempt to apply the concept to equal-tempered scales other than 12-EDO. Several questions arise, since there are limitations of application of certain pitch-class sets properties and relations in other scales. This is a draft which sketches some observations and reflections. Pitch classes The pitch class concept itself, assuming octave equivalence and alternative spellings to notate the same pitch, is not problematic provided that the interval between near pitches is enough large so that different pitches can be perceived (usually not a problem for a small number of equal divisions of the octave). That is also limited by the context and other possible factors. The use of another equivalence interval than the octave imposes revere restrictions to the perception and requires specially designed timbres, for example: strong partials 3 and 9 for the Bohlen-Pierce scale (13 equal divisions of 3:1), or stretched/shrinked harmonic spectra for tempered octaves. This text refers to the equivalence interval as "octave". Sometimes, the number of divisions will be referred as "module". Interval classes There are different reduction degrees: 1) fit the interval inside an octave (13rd = 6th); 2) group complementar (congruent) intervals (6th = 3rd); In large numbers of divisions of the octave, the listener may not perceive near intervals as "classes" but as "intonations" of a same interval category (major 3rd, perfect 4th, etc.). Intervals may be ambiguous relative to usual categorization: 19-EDO contains, for example, an interval between a M3 and a P4; 17-EDO contains "neutral" thirds and so on. -
Side of the Polygon Polygon Vertex of the Diagonal Sides Angles Regular
King Geometry – Chapter 6 – Notes and Examples Section 1 – Properties and Attributes of Polygons Each segment that forms a polygon is a _______side__ _ of ____ _the____ ______________. polygon The common endpoint of two sides is a ____________vertex _____of _______ the ________________polygon . A segment that connects any two nonconsecutive vertices is a _________________.diagonal Number of Sides Name of Polygon You can name a polygon by the number of its 3 Triangle sides. The table shows the names of some common polygons. 4 Quadrilateral 5 Pentagon If the number of sides is not listed in the table, then the polygon is called a n-gon where n 6 Hexagon represents the number of sides. Example: 16 sided figure is called a 16-gon 7 Heptagon 8 Octagon Remember! A polygon is a closed plane figure formed by 9 Nonagon three or more segments that intersect only at their endpoints. 10 Decagon 12 Dodecagon n n-gon All of the __________sides are congruent in an equilateral polygon. All of the ____________angles are congruent in an equiangular polygon. A __________________________regular polygon is one that is both equilateral and equiangular. If a polygon is ______not regular, it is called _________________irregular . A polygon is ______________concave if any part of a diagonal contains points in the exterior of the polygon. If no diagonal contains points in the exterior, then the polygon is ____________convex . A regular polygon is always _____________convex . Examples: Tell whether the figure is a polygon. If it is a polygon, name it by the number of sides. not a not a polygon, not a polygon, heptagon polygon hexagon polygon polygon Tell whether the polygon is regular or irregular. -
Reducing Pessimism in Interval Analysis Using Bsplines Properties: Application to Robotics∗
Reducing Pessimism in Interval Analysis using BSplines Properties: Application to Robotics∗ S´ebastienLengagne, Universit´eClermont Auvergne, CNRS, SIGMA Cler- mont, Institut Pascal, F-63000 Clermont-Ferrand, France. [email protected] Rawan Kalawouny Universit´eClermont Auvergne, CNRS, SIGMA Cler- mont, Institut Pascal, F-63000 Clermont-Ferrand, France. [email protected] Fran¸coisBouchon CNRS UMR 6620 and Clermont-Auvergne University, Math´ematiquesBlaise Pascal, Campus des C´ezeaux, 3 place Vasarely, TSA 60026, CS 60026, 63178 Aubi`ere Cedex France [email protected] Youcef Mezouar Universit´eClermont Auvergne, CNRS, SIGMA Cler- mont, Institut Pascal, F-63000 Clermont-Ferrand, France. [email protected] Abstract Interval Analysis is interesting to solve optimization and constraint satisfaction problems. It makes possible to ensure the lack of the solu- tion or the global optimal solution taking into account some uncertain- ties. However, it suffers from an over-estimation of the function called pessimism. In this paper, we propose to take part of the BSplines prop- erties and of the Kronecker product to have a less pessimistic evaluation of mathematical functions. We prove that this method reduces the pes- simism, hence the number of iterations when solving optimization or con- straint satisfaction problems. We assess the effectiveness of our method ∗Submitted: December 12, 2018; Revised: March 12, 2020; Accepted: July 23, 2020. yR. Kalawoun was supported by the French Government through the FUI Program (20th call with the project AEROSTRIP). 63 64 Lengagne et al, Reducing Pessimism in Interval Analysis on planar robots with 2-to-9 degrees of freedom and to 3D-robots with 4 and 6 degrees of freedom. -
Euromac 9 Extended Abstract Template
9th EUROPEAN MUSIC ANALYSIS CONFERENC E — E U R O M A C 9 Scott Brickman University of Maine at Fort Kent, USA [email protected] Collection Vectors and the Octatonic Scale (013467), 6z23 (023568), 6-27 (013469), 6-30 (013679), ABSTRACT 6z49 (013479) and 6z50 (014679). Background 6z13 transforms to 6z50 under the M7 operation. 6z23 and 6z49 Allen Forte, writing in The Structure of Atonal Music (1973), map unto themselves under the M7 operation, as do 6-27 and tabulated the prime forms and vectors of pitch-class sets 6-30 whose compliments are themselves. (PCsets). Additionally, he presented the idea of a set-complex, a set of sets associated by virtue of the inclusion relation. So, a way to perceive these hexachords is that they provide five Post-Tonal Theorists such as John Rahn, Robert Morris and areas. Joseph Straus, allude to Forte’s set-complex, but do not treat the concept at length. The interval vector, developed by Donald Martino, tabulates the intervals (dyads) in a collection. In order to comprehend the The interval vector, developed by Donald Martino (“The Source constitution of the octatonic hexachords, I decided to create a Set and Its Aggregate Formations,” Journal of Music Theory 5, "collection vector" which would tabulated the trichordal, no. 2, 1961) is a means by which the intervals, and more tetrachordal and pentachordal subsets of each octatonic specifically the dyads contained in a collection, can be identified hexachord. and tabulated. I began exploring the properties of the OH by tabulating their There exists no such tool for the identification and tabulation of trichordal subsets.