Dnazone Classroom Kit
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Geometry of Transformable Metamaterials Inspired by Modular Origami
Geometry of Transformable Metamaterials Inspired by Yunfang Yang Department of Engineering Science, Modular Origami University of Oxford Magdalen College, Oxford OX1 4AU, UK Modular origami is a type of origami where multiple pieces of paper are folded into mod- e-mail: [email protected] ules, and these modules are then interlocked with each other forming an assembly. Some 1 of them turn out to be capable of large-scale shape transformation, making them ideal to Zhong You create metamaterials with tuned mechanical properties. In this paper, we carry out a fun- Department of Engineering Science, damental research on two-dimensional (2D) transformable assemblies inspired by modu- Downloaded from http://asmedigitalcollection.asme.org/mechanismsrobotics/article-pdf/10/2/021001/6404042/jmr_010_02_021001.pdf by guest on 25 September 2021 University of Oxford, lar origami. Using mathematical tiling and patterns and mechanism analysis, we are Parks Road, able to develop various structures consisting of interconnected quadrilateral modules. Oxford OX1 3PJ, UK Due to the existence of 4R linkages within the assemblies, they become transformable, e-mail: [email protected] and can be compactly packaged. Moreover, by the introduction of paired modules, we are able to adjust the expansion ratio of the pattern. Moreover, we also show that trans- formable patterns with higher mobility exist for other polygonal modules. The design flex- ibility among these structures makes them ideal to be used for creation of truly programmable metamaterials. [DOI: 10.1115/1.4038969] Introduction be made responsive to external loading conditions. These struc- tures and materials based on such structures can find their usage Recently, there has been a surge of interest in creating mechani- in automotive, aerospace structures, and body armors. -
Technical Drawing: Selecting Your Paper
Published on L'atelier Canson (https://www.lateliercanson.com) Accueil > Technical drawing: Selecting your paper Retour à la liste d'articles [1] Technical drawing: Selecting your paper [2] Le matériel [5] Notez cet article Give Technical drawing: ? Selecting your paper 3/5 Taux Texture, format, thickness, grid: a wide range of paper, tracing paper and transparent film readily adapts to all your creations. 1. Grammage It conditions the paper's thickness and is measured as grams per square meter: fine papers (under 90 g/m²) are appropriate for sketching, intermediate (up to 200 g/m²), adapt to most kinds of work, thick (300 g and more) are designed for wet media such as watercolor. 2. Format It is standardized and comes in six formats: from A0 (1 (m)2), up to A5 (the smallest one). Each format represents half of the previous one. Most used are the two classics, A3 and A4. 3. Texture The quality of a technical drawing relies on perfect lines: opt for slightly textured paper, whether fine grained or satin finish, and even completely smooth, such as Bristol board. Memo: There?s a paper for every medium Graphite: white or slightly tinted (beige, ocher, gray?). Color pencils: fine grained to make the pigments hold. Markers: paper known as "layout" paper holds ink and limits smudges. 4. Graph paper Technical drawing implies high precision. Choose it taking your subject's constraints into account. White drawing paper and Bristol board are available as graph paper. The covers of "to scale" pads of tracing paper come as 5 mm grid charts. -
Jitterbug ★★★✩✩ Use 12 Squares Finished Model Ratio 1.0
Jitterbug ★★★✩✩ Use 12 squares Finished model ratio 1.0 uckminister Fuller gave the name Jitterbug to this transformation. I first came across B the Jitterbug in Amy C. Edmondson’s A Fuller Explanation (1987).As I didn’t have dowels and four-way rubber connectors, I made several cuboctahedra that worked as Jitterbugs but were not very reversible. Some were from paper and others from drinking straws and elastic thread. My first unit,Triangle Unit, was partly successful as a Jitterbug.A better result came from using three units per triangular face (or one unit per vertex) which was published in 2000. This improved version is slightly harder to assemble but has a stronger lock.The sequence is pleasingly rhythmical and all steps have location points.The pleats in step 18 form the spring that make the model return to its cuboctahedral shape. Module ★★★ Make two folds in half. Do Fold the sides to the centre. Fold the bottom half behind. 1 not crease the middle for 2 Unfold the right flap. 3 the vertical fold. Fold the top right corner to This creates a 60 degree Fold the right edge to the 4 lie on the left edge whilst the 5 angle. Unfold. 6 centre. fold starts from the original centre of the square. Reproduced with permission from Tarquin Group publication Action Modular Origami (ISBN 978-1-911093-94-7) 978-1-911093-95-4 (ebook). © 2018 Tung Ken Lam. All rights reserved. 90 ° Fold the bottom half Repeat step 4 and unfold, Fold the left edge to the 7 behind. -
TECHNICAL REPORT – PATENT ANALYSIS Enhancing Productivity in the Indian Paper and Pulp Sector
TECHNICAL REPORT – PATENT ANALYSIS Enhancing Productivity in the Indian Paper and Pulp Sector 2018 TABLE OF contEnts ACKNOWLEDGEMENTS 10 EXECUTIVE SUMMARY 11 1 INTRODUCTION 13 2 OVERVIEW OF THE PULP AND PAPER SECTOR 15 2.1. Status of the Indian Paper Industry 15 2.2. Overview of the Pulp and Papermaking Process 20 2.3. Patenting in the Paper and Pulp Industry: A Historical Perspective 22 2.4. Environmental Impact of the Pulp and Paper Industry 25 3 METHODOLOGY 27 3.1. Search Strategy 27 4 ANALYSIS OF PATENT DOCUMENTS USING GPI 31 4.1. Papermaking; Production of Cellulose (IPC or CPC class D21) 31 4.2. Analysis of Patenting Activity in Different Technology Areas using GPI 38 5 ANALYSIS OF THE INDIAN PATENT SCENARIO WITHIN THE CONTEXT OF THIS REPORT 81 5.1. Analysis of Patents Filed in India 81 6 CONCLUDING REMARKS 91 REFERENCES 93 ANNEXURE 94 Annexure 1. Technologies related to paper manufacturing 94 Annexure 2. Sustainable/green technologies related to pulp and paper sector 119 Annexure 3. Emerging Technology Areas 127 List OF FIGURES Figure 2.1: Geographical Spread of Figure 4.11: (d) Applicant vs. Date of Indian Paper Mills .................................16 Priority Graph: Paper-Making Machines Figure 2.2: Share of Different Segments and Methods ........................................42 in Total Paper Production .......................19 Figure 4.11: (e) Applicant vs. Date of Figure 2.3: Variety Wise Production of Priority Graph: Calendars and Accessories ..43 Paper from Different Raw Materials ........19 Figure 4.11: (f) Applicant vs. Date of Figure 2.4: Different Varieties of Paper Priority Graph: Pulp or Paper Comprising Made from Various Raw Materials ..........19 Synthetic Cellulose or Non-Cellulose Fibres ..43 Figure 2.5: Diagram of a Process Block Figure 4.11: (g) Applicant vs. -
The Geometry Junkyard: Origami
Table of Contents Table of Contents 1 Origami 2 Origami The Japanese art of paper folding is obviously geometrical in nature. Some origami masters have looked at constructing geometric figures such as regular polyhedra from paper. In the other direction, some people have begun using computers to help fold more traditional origami designs. This idea works best for tree-like structures, which can be formed by laying out the tree onto a paper square so that the vertices are well separated from each other, allowing room to fold up the remaining paper away from the tree. Bern and Hayes (SODA 1996) asked, given a pattern of creases on a square piece of paper, whether one can find a way of folding the paper along those creases to form a flat origami shape; they showed this to be NP-complete. Related theoretical questions include how many different ways a given pattern of creases can be folded, whether folding a flat polygon from a square always decreases the perimeter, and whether it is always possible to fold a square piece of paper so that it forms (a small copy of) a given flat polygon. Krystyna Burczyk's Origami Gallery - regular polyhedra. The business card Menger sponge project. Jeannine Mosely wants to build a fractal cube out of 66048 business cards. The MIT Origami Club has already made a smaller version of the same shape. Cardahedra. Business card polyhedral origami. Cranes, planes, and cuckoo clocks. Announcement for a talk on mathematical origami by Robert Lang. Crumpling paper: states of an inextensible sheet. Cut-the-knot logo. -
Use of Origami in Mathematics Teaching: an Exemplary Activity
Asian Journal of Education and Training Vol. 6, No. 2, 284-296, 2020 ISSN(E) 2519-5387 DOI: 10.20448/journal.522.2020.62.284.296 © 2020 by the authors; licensee Asian Online Journal Publishing Group Use of Origami in Mathematics Teaching: An Exemplary Activity Davut Köğce Niğde Ömer Halisdemir University, Faculty of Education, Department of Elementary Mathematics Education Turkey. Abstract Students’ attitudes and motivations toward mathematics decrease as they intensively confront cognitive information along the process of mathematics teaching in general. One of the most important reasons for this is the lack of activities for affective and psychomotor domains in the mathematics teaching process. One way to overcome this problem is to include activities through which students can participate effectively in the teaching process. For example, activities performed using origami can be one of them in teaching the attainments covered by the field of geometry learning in mathematics curriculum. Therefore, this study was carried out to present an exemplary activity about how origami can be used when teaching mathematics in secondary schools and to identify preservice teacher opinions on this activity. The activity presented in this study was performed with 32 preservice elementary mathematics teachers attending the faculty of education at a university and taking the Mathematics Teaching with Origami course, and their opinions were taken afterwards. At the end of the application, the preservice teachers stated that such activities would have very positive contributions to students’ mathematics learning. In addition, the preservice teachers communicated and exchanged ideas with each other during the application. It is therefore recommended to use such activities in mathematics teaching. -
Paper Pentasia: an Aperiodic Surface in Modular Origami
Paper Pentasia: An Aperiodic Surface in Modular Origami a b Robert J. Lang ∗ and Barry Hayes † aLangorigami.com, Alamo, California, USA, bStanford University, Stanford, CA 2013-05-26 Origami, the Japanese art of paper-folding, has numerous connections to mathematics, but some of the most direct appear in the genre of modular origami. In modular origami, one folds many sheets into identical units (or a few types of unit), and then fits the units together into larger constructions, most often, some polyhedral form. Modular origami is a diverse and dynamic field, with many practitioners (see, e.g., [12, 3]). While most modular origami is created primarily for its artistic or decorative value, it can be used effectively in mathematics education to provide physical models of geometric forms ranging from the Platonic solids to 900-unit pentagon-hexagon-heptagon torii [5]. As mathematicians have expanded their catalog of interesting solids and surfaces, origami designers have followed not far behind, rendering mathematical forms via folding, a notable recent example being a level-3 Menger Sponge folded from 66,048 business cards by Jeannine Mosely and co-workers [10]. In some cases, the origami explorations themselves can lead to new mathematical structures and/or insights. Mosely’s developments of business-card modulars led to the discovery of a new fractal polyhedron with a novel connection to the famous Snowflake curve [11]. One of the most popular geometric mathematical objects has been the sets of aperiodic tilings developed by Roger Penrose [14, 15], which acquired new significance with the dis- covery of quasi-crystals, their three-dimensional analogs in the physical world, in 1982 by Daniel Schechtman, who was awarded the 2011 Nobel Prize in Chemistry for his discovery. -
Modular Origami by Trisha Kodama
ETHNOMATHEMATICS MODULAR ORIGAMI BY TRISHA KODAMA How does the appearance and form of three-dimensional shapes relate to math? How do shipping companies use volume to transport cargo in the most cost efficient way? ELEMENTARY FIFTH GRADE TIMEFRAME FIVE CLASS PERIODS (45 MIN.) STANDARD BENCHMARKS AND VALUES MATHEMATICAL PRACTICE • ‘Ike Piko‘u-Personal Connection Pathway: Students CCSS.MATH.CONTENT.5.MD.C.3 will develop a sense of pride and self-worth while contributing to the learning of our class and the other • Recognize volume as an attribute of solid figures and 5th grade class. understand concepts of volume measurement. • ‘Ike Na‘auao-Intellectual Pathway: Students nurture CCSS.MATH.CONTENT.5.MD.C.4 their curiosity of origami by learning how to fold • Measure volumes by counting unit cubes, using cubic other objects. cm, cubic in, cubic ft, and improvised units. NA HOPENA A‘O CCSS.MATH.CONTENT.5.MD.C.5 • Strengthened Sense of Responsibility: Students will • Relate volume to the operations of multiplication demonstrate commitment and concern for others and addition and solve real world and mathematical when working with their partner. They will give each problems involving volume. other helpful feedback in order to complete tasks. General Learner Outcome #2 – Community Contributor • Strengthened Sense of Excellence: Students will learn General Learner Outcome #5 – Complex Thinker that precise paper folding will lead to producing quality General Learner Outcome #6-Effective and Ethical User work, a perfect Sonobe cube. of Technology • Strengthened Sense of Aloha: Students will show NA HONUA MAULI OLA PATHWAYS Aloha to students in the other 5th grade class when presenting their slideshow and teaching them how to • ‘Ike Pilina-Relationship Pathway: Students share in the fold a Sonobe unit and put together a Sonobe cube. -
Industrial Product Design by Using Two-Dimensional Material in the Context of Origamic Structure and Integrity
Industrial Product Design by Using Two-Dimensional Material in the Context of Origamic Structure and Integrity By Nergiz YİĞİT A Dissertation Submitted to the Graduate School in Partial Fulfillment of the Requirements for the Degree of MASTER OF INDUSTRIAL DESIGN Department: Industrial Design Major: Industrial Design İzmir Institute of Technology İzmir, Turkey July, 2004 We approve the thesis of Nergiz YİĞİT Date of Signature .................................................. 28.07.2004 Assist. Prof. Yavuz SEÇKİN Supervisor Department of Industrial Design .................................................. 28.07.2004 Assist.Prof. Dr. Önder ERKARSLAN Department of Industrial Design .................................................. 28.07.2004 Assist. Prof. Dr. A. Can ÖZCAN İzmir University of Economics, Department of Industrial Design .................................................. 28.07.2004 Assist. Prof. Yavuz SEÇKİN Head of Department ACKNOWLEDGEMENTS I would like to thank my advisor Assist. Prof. Yavuz Seçkin for his continual advice, supervision and understanding in the research and writing of this thesis. I would also like to thank Assist. Prof. Dr. A. Can Özcan, and Assist.Prof. Dr. Önder Erkarslan for their advices and supports throughout my master’s studies. I am grateful to my friends Aslı Çetin and Deniz Deniz for their invaluable friendships, and I would like to thank to Yankı Göktepe for his being. I would also like to thank my family for their patience, encouragement, care, and endless support during my whole life. ABSTRACT Throughout the history of industrial product design, there have always been attempts to shape everyday objects from a single piece of semi-finished industrial materials such as plywood, sheet metal, plastic sheet and paper-based sheet. One of the ways to form these two-dimensional materials into three-dimensional products is bending following cutting. -
Fragile | PLANTHOUSE July 3, 2020
Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Mildred Beltré Noah Breuer Skin in the Game (Up), 2019 Swing Girl Terrycloth, 2019 Walnut ink and digital print 2019 Kiln Formed Glass 22 x 30 inches 17 x 20 x 1 inch $1,500 $1,600 Mildred Beltré Skin in the Game (Reverse), 2019 Walnut ink and digital print Noah Breuer 22 x 30 inches $1,500 Red Tablecloth, 2019 Kiln Formed Glass 15 x 13 x 13 inches $2,000 Mildred Beltré Skin in the Game (Away), 2019 Walnut ink and digital print 22 x 30 inches Noah Breuer $1,500 Spring Green Placemat, 2019 Kiln Formed Glass 17 x 20 x 1 inch $1,600 Anders Bergstrom June 2020 Number 7, 2020 Victoria Burge Monotype and relief printing on Notation 8, 2018 Akatosashi hand-printed and folded Pencil and gesso on sheet music 3 1/8 x 2 x 1 1/2 inches 8.5 x 8 inches $1,500 $800 55 WEST 28TH STREET NEW YORK, NY 10001 PLANTHOUSE.NET Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Victoria Burge Greg Foley Notation 12, 2019 Ashoka (after Ettore Sottsass), 2019 Pencil and gesso on antique graph paper Dye sublimation on aluminum 12.5 x 10 inches 24 x 24 inches, circular $1,200 Edition of 3 $2,500 Louise Eastman Greg Foley Dice 1/6, 2020 Cerchio (after Nathalie Du Pasquier), 2019 Monoprint on manila folder Dye sublimation on aluminum 17 1/2 x 12 inches 24 x 24 inches, circular Published by artist, Printed at Russel Edition of 3 Janis Studio, Brooklyn NY $2,500 $200 Louise Eastman Greg Foley Dice 2/5, 2020 Hilton (after Javier Mariscal), 2019 Monoprints on manila folders Dye sublimation on aluminum 17 1/2 x -
School Supplies 2020-21
ST. JOHN THE EVANGELIST REGIONAL CATHOLIC SCHOOL SUPPLIES LIST 2020-2021 PRESCHOOL GRADE 2 PLEASE LABEL ALL ITEMS WITH CHILD’S NAME 2 STURDY POCKET FOLDERS (BOTTOM POCKETS ONLY) 24 #2 PENCILS WITH ERASERS (SHARPENED) 2 BOX OF 8 LARGE SIZE CRAYOLA CRAYONS – BASIC COLORS 1 12” RULER (MUST INCLUDE METRIC MEASUREMENTS) 1 ROLL OF PAPER TOWELS (NOT JUMBO) 1 BOTTLE OF ELMER’S GLUE – 8 0Z AND 2 GLUE STICKS 1 BOTTLE HAND SANITIZER 1 PAIR SCISSORS (CHILD SIZE WITH POINTED EDGE) 1 BOX OF DISINFECTING WIPES 2 POCKET FOLDERS (SPANISH AND HOMEWORK) 1 REAM OF 8 ½ x 11 WHITE COPY PAPER 3 POCKET FOLDERS – WILL BE LABLED FOR YOUR CHILD 1 PACK OF GLUE STICKS 1 BOX 24 COUNT CRAYOLA CRAYON 1 LG. BOX TISSUES 1 WATER COLOR PAINT SET (16 COUNT) 1 PKG. NAPKINS 6 COMPOSITION BOOKS (BLACK AND WHITE SEWN BINDING) 1 FULL SIZE SINGLE ZIPPER BACK PACK 1 HOMEWORK ASSIGNMENT BOOK PURCHASED FROM OFFICE 10 POSTAGE STAMPS 2 BOOK COVERS (NO CONTACT PAPER) 1 SOFT ZIPPERED PENCIL CASE (LARGE ENOUGH FOR SUPPLIES TO FIT) 1 KINDERMAT FOR REST PERIOD-STANDARD SIZE (5/8 X 19 X 45) 1 PACK OF ADDITION FLASHCARDS (KEEP AT HOME TO PRACTICE) (FOR PRE-4 ONLY) 1 PACK OF SUBTRACTION FLASHCARDS (KEEP AT HOME TO PRACTICE) 3 CONTAINERS OF DISINFECTING WIPES 1 BINDER 3 LARGE BOXES OF KLEENEX TISSUE 8 POSTAGE STAMPS 1 SMALL PENCIL SHARPENER WITH COVER BOOK BAG 3 REAMS OF 8 ½ X 11 WHITE COPY PAPER KINDERGARTEN GRADE 3 2 POCKET FOLDERS (BOTTOM POCKETS ONLY) 4 BOXES OF 24 COUNT CRAYONS 4 BOXES OF 8 CRAYOLA CRAYONS– 8 BASIC COLORS-Regular Size 1 WATER COLOR PAIN SET (16 COUNT) 1 WATERCOLOR PAINT -
Frank Stella’S Working Archive
FRANK STELLA’S WORKING ARCHIVE EXHIBITION COPY Please do not remove from gallery All works created by Frank Stella and are courtesy of Harriet McGurk Stella unless otherwise stated Wall Key Top view of gallery 2 1 6.2 Gallery entrance 3 7 6.1 5 4.2 4.1 Smoke Rings series WALL 1 8 16 22 30 38 46 54 62 67 Cylinder Working Drawings, 1977 Untitled, 1960 "Squash Racket Diagrams”, 1970 Swiss Catalog Drawings, 1967 Brazilian Series Working Drawings, Notes for Color Strategy, 1973 Indian Bird Working Drawing, 1978 Notebook of 15 Exotic Bird Working Notes for Color Strategy, 1973 1 Pencil on paper Pencil on graph paper Black ballpoint pen on pad paper Pencil on graph paper 1974 Pen on stationary Black pen on lined white paper Drawings and Notes, 1976 Pen on stationary Arnold Newman FS77.025 FS60.023a, FS60.023b, FS60.023c FS70.056, FS70.055 FS67.134a, FS67.134b Pencil on white paper FS73.006 FS78.024 Mixed media on paper FS73.014 Frank Stella, 1967 FS74.068 FS76.080 Silver gelatin print 9 17 23 31 47 55 68 Private Collection, NY, FSC67.006 Exotic Bird Working Drawing, 1976 "Drawing", 1970 Drawing for Hollis Frampton, 1963 Miscellaneous Working Drawings, 39 Arman, Merry Christmas and a Doodle with Text, 1980 63 Shards III, 1981 Pencil on yellow paper Pencil on white paper Pencil on graph paper 1965 Carl Andre, 1972 Happy New Year. XX, F and Harriet, Black pen on lined paper Polish Village Working Drawing, Lithograph and screenprint with 2 FS76.012 FS70.101 FS63.002 Pencil on newsprint paper Graphite on gridded paper 1979 FS80.014 1974 oil crayon