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On the Mechanics of the Bow and Arrow 1
On the Mechanics of the Bow and Arrow 1 B.W. Kooi Groningen, The Netherlands 1983 1B.W. Kooi, On the Mechanics of the Bow and Arrow PhD-thesis, Mathematisch Instituut, Rijksuniversiteit Groningen, The Netherlands (1983), Supported by ”Netherlands organization for the advancement of pure research” (Z.W.O.), project (63-57) 2 Contents 1 Introduction 5 1.1 Prefaceandsummary.............................. 5 1.2 Definitionsandclassifications . .. 7 1.3 Constructionofbowsandarrows . .. 11 1.4 Mathematicalmodelling . 14 1.5 Formermathematicalmodels . 17 1.6 Ourmathematicalmodel. 20 1.7 Unitsofmeasurement.............................. 22 1.8 Varietyinarchery................................ 23 1.9 Qualitycoefficients ............................... 25 1.10 Comparison of different mathematical models . ...... 26 1.11 Comparison of the mechanical performance . ....... 28 2 Static deformation of the bow 33 2.1 Summary .................................... 33 2.2 Introduction................................... 33 2.3 Formulationoftheproblem . 34 2.4 Numerical solution of the equation of equilibrium . ......... 37 2.5 Somenumericalresults . 40 2.6 A model of a bow with 100% shooting efficiency . .. 50 2.7 Acknowledgement................................ 52 3 Mechanics of the bow and arrow 55 3.1 Summary .................................... 55 3.2 Introduction................................... 55 3.3 Equationsofmotion .............................. 57 3.4 Finitedifferenceequations . .. 62 3.5 Somenumericalresults . 68 3.6 On the behaviour of the normal force -
Simply String Art Carol Beard Central Michigan University, [email protected]
International Textile and Apparel Association 2015: Celebrating the Unique (ITAA) Annual Conference Proceedings Nov 11th, 12:00 AM Simply String Art Carol Beard Central Michigan University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons Beard, Carol, "Simply String Art" (2015). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 74. https://lib.dr.iastate.edu/itaa_proceedings/2015/design/74 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Santa Fe, New Mexico 2015 Proceedings Simply String Art Carol Beard, Central Michigan University, USA Key Words: String art, surface design Purpose: Simply String Art was inspired by an art piece at the Saint Louis Art Museum. I was intrigued by a painting where the artist had created a three dimensional effect with a string art application over highlighted areas of his painting. I wanted to apply this visual element to the surface of fabric used in apparel construction. The purpose of this piece was to explore string art as unique artistic interpretation for a surface design element. I have long been interested in intricate details that draw the eye and take something seemingly simple to the realm of elegance. Process: The design process began with a research of string art and its many interpretations. -
Radial Weavings
Radial Weavings Mandalas are a form of art that uses radial symmetry and geometric shape. This work, Mandala Cosmic Tapestry in the 9th Roving Moon Up-Close, features complex crocheted patterns, colors, and textures. The artist, Xenobia Bailey is known for their textile works, especially crocheted mandalas. Bailey famously draws inspiration from funk music and Native American, African, Hindu, and Buddhist cultures when creating her work. Experiment with radial symmetry and textile techniques to create a radial weaving. Supplies Needed: Xenobia Bailey (American, born 1955) Mv:#9 (Mandala Cosmic Tapestry in the 9th Roving Moon Up-Close) from • Cardboard or paper plate the series Paradise Under Reconstruction in the Aesthetic of Funk, Phase II, 1999, Crochet, acrylic and cotton yarn, • A circle tracer or compass beads and cowrie shell. Purchase: The Reverend and Mrs. • Yarn, string or fabric scraps Van S. Merle-Smith, Jr. Endowment Fund, 2000. • Scissors (2000.17.2) Follow these steps to make your radial weaving: Step 1: Trace and cut out a cardboard circle. You can also use a paper plate or paper bowl. This will be your loom. Step 2: Use your scissors to make an odd number of cuts into the edge of your loom. They should be evenly spaced out, like slices of pizza. Your cuts should be about an inch long. Step 3: Tie a knot at the end of a long piece of string. Slide it through the back of one of the cuts in your cardboard. Thread your loom by running the long piece of yarn through all of the cuts in the loom. -
Bath Time Travellers Weaving
Bath Time Travellers Weaving Did you know? The Romans used wool, linen, cotton and sometimes silk for their clothing. Before the use of spinning wheels, spinning was carried out using a spindle and a whorl. The spindle or rod usually had a bump on which the whorl was fitted. The majority of the whorls were made of stone, lead or recycled pots. A wisp of prepared wool was twisted around the spindle, which was then spun and allowed to drop. The whorl acts to keep the spindle twisting and the weight stretches the fibres. By doing this, the fibres were extended and twisted into yarn. Weaving was probably invented much later than spinning around 6000 BC in West Asia. By Roman times weaving was usually done on upright looms. None of these have survived but fortunately we have pictures drawn at the time to show us what they looked like. A weaver who stood at a vertical loom could weave cloth of a greater width than was possible sitting down. This was important as a full sized toga could measure as much as 4-5 metres in length and 2.5 metres wide! Once the cloth had been produced it was soaked in decayed urine to remove the grease and make it ready for dying. Dyes came from natural materials. Most dyes came from sources near to where the Romans settled. The colours you wore in Roman times told people about you. If you were rich you could get rarer dyes with brighter colours from overseas. Activity 1 – Weave an Owl Hanging Have a close look at the Temple pediment. -
Dress Fashions of Royalty Kotte Kingdom of Sri Lanka
DRESS FASHIONS OF ROYALTY KOTTE KINGDOM OF SRI LANKA . DRESS FASHIONS OF ROYALTY KOTTE KINGDOM OF SRI LANKA Dr. Priyanka Virajini Medagedara Karunaratne S. Godage & Brothers (Pvt) Ltd. Dedication First Edition : 2017 For Vidyajothi Emeritus Professor Nimal De Silva DRESS FASHIONS OF ROYALTY KOTTE KingDOM OF SRI LANKA Eminent scholar and ideal Guru © Dr. Priyanka Virajini Medagedara Karunaratne ISBN 978-955-30- Cover Design by: S. Godage & Brothers (Pvt) Ltd Page setting by: Nisha Weerasuriya Published by: S. Godage & Brothers (Pvt) Ltd. 661/665/675, P. de S. Kularatne Mawatha, Colombo 10, Sri Lanka. Printed by: Chathura Printers 69, Kumaradasa Place, Wellampitiya, Sri Lanka. Foreword This collection of writings provides an intensive reading of dress fashions of royalty which intensified Portuguese political power over the Kingdom of Kotte. The royalties were at the top in the social strata eventually known to be the fashion creators of society. Their engagement in creating and practicing dress fashion prevailed from time immemorial. The author builds a sound dialogue within six chapters’ covering most areas of dress fashion by incorporating valid recorded historical data, variety of recorded visual formats cross checking each other, clarifying how the period signifies a turning point in the fashion history of Sri Lanka culminating with emerging novel dress features. This scholarly work is very much vital for university academia and fellow researches in the stream of Humanities and Social Sciences interested in historical dress fashions and usage of jewelry. Furthermore, the content leads the reader into a new perspective on the subject through a sound dialogue which has been narrated through validated recorded historical data, recorded historical visual information, and logical analysis with reference to scholars of the subject area. -
Q&A: Red Strings
Q&A: Red Strings written by Yossi Katz | November 26, 2010 Q: Good day! — I’ve just returned again from my offices in India and I have a question I’m hoping you can provide me an answer. I noticed that most people I came across in India had a red string tied to their wrist and when I asked a few people on my team the significance they told me it was something in regards to their native religion. This brings me to the most recent observation of the “red string.” — I remember reading once about a red string in Kabbalah and in fact a few years back there was some “commercial kabbala” fad that hollywood embraced and you’d see movie stars wearing a red string. Do you know anything about this? I seem to remember there is reference to a red string in Judaism connected to the site of Rebecca’s holy site but I could be mistaken. A: A *roita bindel* — red string — was often “prescribed” by concerned Jewish mothers and grandmothers in Eastern Europe to ward off the evil eye. It is quite common to find people circumscribe the matriarch RACHEL’s tomb with red string (seven times) and to then use that string, as above. Keep searching and may no harm befall you! kol tuv. Ozer Bergman As per Wikipedia: Some red string is brought from Israel. Sometimes, the string has been wound in large quantities around thetomb of the Hebrew Biblical matriarch Rachel, near Bethlehem. It is considered to have great powers of “good fortune” and grant added divine protection to those who wear it. -
The Musical Kinetic Shape: a Variable Tension String Instrument
The Musical Kinetic Shape: AVariableTensionStringInstrument Ismet Handˇzi´c, Kyle B. Reed University of South Florida, Department of Mechanical Engineering, Tampa, Florida Abstract In this article we present a novel variable tension string instrument which relies on a kinetic shape to actively alter the tension of a fixed length taut string. We derived a mathematical model that relates the two-dimensional kinetic shape equation to the string’s physical and dynamic parameters. With this model we designed and constructed an automated instrument that is able to play frequencies within predicted and recognizable frequencies. This prototype instrument is also able to play programmed melodies. Keywords: musical instrument, variable tension, kinetic shape, string vibration 1. Introduction It is possible to vary the fundamental natural oscillation frequency of a taut and uniform string by either changing the string’s length, linear density, or tension. Most string musical instruments produce di↵erent tones by either altering string length (fretting) or playing preset and di↵erent string gages and string tensions. Although tension can be used to adjust the frequency of a string, it is typically only used in this way for fine tuning the preset tension needed to generate a specific note frequency. In this article, we present a novel string instrument concept that is able to continuously change the fundamental oscillation frequency of a plucked (or bowed) string by altering string tension in a controlled and predicted Email addresses: [email protected] (Ismet Handˇzi´c), [email protected] (Kyle B. Reed) URL: http://reedlab.eng.usf.edu/ () Preprint submitted to Applied Acoustics April 19, 2014 Figure 1: The musical kinetic shape variable tension string instrument prototype. -
Talisman Sara Jaboln Iowa State University, [email protected]
International Textile and Apparel Association 2014: Strengthening the Fabric of our Profession, (ITAA) Annual Conference Proceedings Association, Legacy and Friendships! Jan 1st, 12:00 AM Talisman Sara Jaboln Iowa State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Jaboln, Sara, "Talisman" (2014). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 17. https://lib.dr.iastate.edu/itaa_proceedings/2014/design/17 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Charlotte, North Carolina 2014 Proceedings Talisman Sara Jablon, Iowa State University, USA Key words: digital, Judaism, symbology This ensemble was inspired by the iconic hand-shaped amulet called the hamsa in Judaism. The hamsa, a symbol of luck and protection, is also found in multiple cultures near the Mediterranean Sea and in the Middle East. The hamsa most often serves to protect the home, and generally features an all-seeing blue eye that is thought to ward against the evil eye. The goal for this project was to artistically interpret the hamsa through digital printing techniques. The strapless cotton sateen bandeau top is yellow with the traditional good-luck blue eye across the front. After the pattern pieces were completed, they were digitized into Optitex, a computerized pattern-making software, at which point the design was drawn specifically for each pattern piece using Adobe Illustrator. -
A Gis Tool to Demonstrate Ancient Harappan
A GIS TOOL TO DEMONSTRATE ANCIENT HARAPPAN CIVILIZATION _______________ A Thesis Presented to the Faculty of San Diego State University _______________ In Partial Fulfillment of the Requirements for the Degree Master of Science in Computer Science _______________ by Kesav Srinath Surapaneni Summer 2011 iii Copyright © 2011 by Kesav Srinath Surapaneni All Rights Reserved iv DEDICATION To my father Vijaya Nageswara rao Surapaneni, my mother Padmaja Surapaneni, and my family and friends who have always given me endless support and love. v ABSTRACT OF THE THESIS A GIS Tool to Demonstrate Ancient Harappan Civilization by Kesav Srinath Surapaneni Master of Science in Computer Science San Diego State University, 2011 The thesis focuses on the Harappan civilization and provides a better way to visualize the corresponding data on the map using the hotlink tool. This tool is made with the help of MOJO (Map Objects Java Objects) provided by ESRI. The MOJO coding to read in the data from CSV file, make a layer out of it, and create a new shape file is done. A suitable special marker symbol is used to show the locations that were found on a base map of India. A dot represents Harappan civilization links from where a user can navigate to corresponding web pages in response to a standard mouse click event. This thesis also discusses topics related to Indus valley civilization like its importance, occupations, society, religion and decline. This approach presents an effective learning tool for students by providing an interactive environment through features such as menus, help, map and tools like zoom in, zoom out, etc. -
Archery Notes
Archery Notes Description: Archery is a sport that involves the use of a bow and a number of arrows. The bow is used to shoot the arrows at targets. We will be shooting at stationary targets. This is referred to as ‘Target Archery’. Equipment: Bow: Length and weight varies with the individual (18-25 lbs. for class use: 20-30 lbs. for club use) The style of the bows vary – straight or recurve in Fiberglass, wood, and metal. Arrows: length according to length of arms of the archer (24-28 “). Wood, fiberglass, aluminum, carbon/alloy composite, and carbon fiber. Targets (butts): circular or square targets made of dense Target Butt or buttress: Material that can sustain the impact of the arrow. Straw, Styrofoam, compressed cardboard. Bow strings: dacron- single or double loop according to the type of bow. The center part of the string is wolven thicker to accommodate the nocking of the arrow. This is referred to as the serving. Rubber finger tabs (rolls) are also attached to the serving. A single roller on the upper section and a double on the lower section. Target Faces: thick paper with concentric circles that vary in colour from the outside in. The target is divided into 5 different coloured sections. Safety tackle: Arm guard for the inside of the bow arm. Quivers: ‘Arrow Holder’. Used to organize and hold arrows for the archer. Stringing the bow: Step through method (push-pull) Instructions 1. Slide the top loop of your bow string over the nock and down the limb about halfway, or as far as the loop will allow. -
Crystal Reports Activex Designer
Quiz List—Reading Practice Page 1 Printed Wednesday, March 18, 2009 2:36:33PM School: Churchland Academy Elementary School Reading Practice Quizzes Quiz Word Number Lang. Title Author IL ATOS BL Points Count F/NF 9318 EN Ice Is...Whee! Greene, Carol LG 0.3 0.5 59 F 9340 EN Snow Joe Greene, Carol LG 0.3 0.5 59 F 36573 EN Big Egg Coxe, Molly LG 0.4 0.5 99 F 9306 EN Bugs! McKissack, Patricia C. LG 0.4 0.5 69 F 86010 EN Cat Traps Coxe, Molly LG 0.4 0.5 95 F 9329 EN Oh No, Otis! Frankel, Julie LG 0.4 0.5 97 F 9333 EN Pet for Pat, A Snow, Pegeen LG 0.4 0.5 71 F 9334 EN Please, Wind? Greene, Carol LG 0.4 0.5 55 F 9336 EN Rain! Rain! Greene, Carol LG 0.4 0.5 63 F 9338 EN Shine, Sun! Greene, Carol LG 0.4 0.5 66 F 9353 EN Birthday Car, The Hillert, Margaret LG 0.5 0.5 171 F 9305 EN Bonk! Goes the Ball Stevens, Philippa LG 0.5 0.5 100 F 7255 EN Can You Play? Ziefert, Harriet LG 0.5 0.5 144 F 9314 EN Hi, Clouds Greene, Carol LG 0.5 0.5 58 F 9382 EN Little Runaway, The Hillert, Margaret LG 0.5 0.5 196 F 7282 EN Lucky Bear Phillips, Joan LG 0.5 0.5 150 F 31542 EN Mine's the Best Bonsall, Crosby LG 0.5 0.5 106 F 901618 EN Night Watch (SF Edition) Fear, Sharon LG 0.5 0.5 51 F 9349 EN Whisper Is Quiet, A Lunn, Carolyn LG 0.5 0.5 63 NF 74854 EN Cooking with the Cat Worth, Bonnie LG 0.6 0.5 135 F 42150 EN Don't Cut My Hair! Wilhelm, Hans LG 0.6 0.5 74 F 9018 EN Foot Book, The Seuss, Dr. -
Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
Beadwork Index through December 2017/January 2018 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 20th anniversary of Beadwork Beadwork celebrates 20 years of publication.