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Vice President Lyndon Johnson took the oath of office while the widowed Jackie Kennedy stood in the background, still wearing a dress that bore the stains of her late husband’s blood.

Conspiracy theories spread rapidly in living rooms across the nation as reports about the accused assassin Lee Harvey Oswald circulated.

\dfrac{V_1}{T_1}=\dfrac{V_2}{T_2} \dfrac{V_1}{T_1}=\dfrac{V_2}{T_2}

1. Fallacy is an error in _____________.

E

MCPBA

sodium borohydride

_____

Answers

Figure 11\PageIndex{1}: A wave packet in space

knows the precise momentum of the particle, it is impossible to know the precise position, and vice versa. This relationship also applies to energy and time, in that one cannot measure the precise energy of a system in a finite amount of time. Uncertainties in the products of “conjugate pairs” (momentum/position) and (energy/time) were defined by Heisenberg as having a minimum value corresponding to Planck’s constant divided by 4π4π4\pi.

Heisenberg’

BaCl2

Lack of ownership of a television set is also a way to preserve innocence, and keep the exposure towards anything inappropriate at bay. From simply watching a movie, I have seen things I shouldn’t have, no matter how fast I switch the channel. Television shows not only display physical indecency, but also verbal. Many times movies do voice-overs of profane words, but they also leave a few words uncensored. Seeing how all ages can flip through and see or hear such things make t.v. toxic for the mind, and without it I wouldn’t have to worry about what I may accidentally see or hear.

The immediate cause is a change in the turgor of the guard cells

is approximately equal to

Table 2.6.12.6.1\PageIndex{1}: Common Polyatomic Ions

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Ammoium Nitrate

Scholars and reporters have noted the democratizing effect of new media, meaning that new media help distribute power to the people through their personal and social characteristics. Many media scholars have commented on these changes as a positive and more active and participative alternative to passive media consumption

Personal computers allowed amateurs and hobbyists to create new computer programs that they could circulate on discs or perhaps through early Internet connections.

It remains to be seen whether or not minority-owned media outlets will produce or carry more diverse programming, but it is important to note that the deregulation over the past few decades has led to a decrease in the number of owners of media outlets who come from minority groups.

Just as a farmer plants seeds that he or she then cultivates over time to produce a crop, the media plants seeds in our minds and then cultivates them until they grow into our shared social reality.

We all use the media to escape our day-to-day lives, to distract us from our upcoming exam, or to help us relax. When we are being distracted, amused, or relaxed, the media is performing the diversion function.

With this, the “print age” began, which extended from 1450 to 1850 and marked the birth and rise of the first mass medium

affinity

cations.

So what causes the shell structure? In atoms it is the Coulomb force of the heavy nucleus that forces the electrons to occupy certain orbitals. This can be seen as an external agent. In nuclei no such external force exits, so we have to find a different mechanism.

To understand the factors that affect nuclear stability.

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0.01

The water (or other equivalent reaction partner) is an important contributor to the energy calculus. In ATP, for instance, simply "breaking" a phosphoanhydride bond - say with imaginary molecular tweezers - by pulling off a phosphate would not be energetically favorable. We must therefore be careful not to say that breaking bonds in ATP is energetically favorable or that it "releases energy". Rather, we should be more specific, noting that the hydrolysis of the bond is energetically favorable.

A phospholipid is a molecule with two fatty acids and a modified phosphate group attached to a glycerol backbone.

Stearic acid is a common saturated fatty acid; oleic acid and linolenic acid are common unsaturated fatty acids. Attribution: Marc T. Facciotti (own work)

Because here’s something else that’s weird but true: in the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship.” In David Foster Wallace’s commencement speech at Kenyon College, he says that the real purpose of education isn’t to instill us with the capacity to think—something we all possess—but rather, to help us maintain constant awareness that we have the choice of what to think about. Have you ever thought about yourself as having a choice over what you think about? Or, do you feel that you do not have a choice in what to think about or pay attention to?

This, I submit, is the freedom of a real education, of learning how to be well-adjusted. You get to consciously decide what has meaning and what doesn’t. You get to decide what to worship.

second

x1+x2≤12

YesNo/*<![CDATA[*/{"Page.FeedbackRating.label.last-rated":"-- You last rated this article on {0}","Page.FeedbackRating.message.contact.no":"No","Page.FeedbackRating.message.contact.yes":"Yes","Page.FeedbackRating.message.submit.error":"An error occurred while attempting to send your feedback. Please try again at a later time.","Page.FeedbackRating.message.submit.success":"Your feedback has been successfully submitted. You can submit more feedback at any time."}/*]]>*/ Recommended articles 3.3: Dantzig's AlgorithmIn simple situations a graphical method might suffice, but in many applications there may be thousands or even millions of variables and constraints. ...7.4: Maximization By The Simplex MethodThe simplex method uses an approach that is very efficient. It does not compute the value of the objective function at every point; instead, it begins...4.2.1: Maximization By The Simplex Method (Exercises)4.1: Introduction to Linear Programming Applications in Business, Finance, Medicine, and Social ScienceIn this section, you will learn about real world applications of linear programming and related methods.4.4: Chapter Review {"Skin.Columbia.label.no-recommended-articles":"There are no recommended articles."} Article type Section or Page Author Rupinder Sekhon and Roberta Bloom License CC BY License Version 4.0 Show Page TOC no Tags simplex algorithm source@https://www.deanza.edu/faculty/bloomroberta/math11/afm3files.html.html © Copyright 2024 Mathematics LibreTexts Powered by CXone Expert ®

Answer When we choose the most negative entry in the bottom row, we are trying to increase the value of the objective function by bringing in the variable x1x1x_1. But we cannot choose any value for x1x1x_1. Can we let x1=100x1=100x_1 = 100? Definitely not! That is because Niki never wants to work for more than 12 hours at both jobs combined: x1+x2≤12x1+x2≤12x_1 + x_2 ≤ 12. Can we let x1=12x1=12x_1 = 12? Again, the answer is no because the preparation time for Job I is two times the time spent on the job. Since Niki never wants to spend more than 16 hours for preparation, the maximum time she can work is 16 ÷ 2 = 8. Now you see the purpose of computing the quotients; using the quotients to identify the pivot element guarantees that we do not violate the constraints.

departing variable

entering variable

Simplex

100tan(42∘)=atan(20∘)100tan(42∘)=atan(20∘)100 \text{tan} (42^{\circ}) = a\text{tan} (20^{\circ})\nonumber tan(42∘)tan(20∘)=a

Language can also have an impact on how we feel about this reality. How we define words and how we feel about those words is highly subjective. In fact, cognitive psychologist Lera Boroditsky showed a key to a group of Spanish- speakers and to a group of German- speakers. The researchers then asked the participants to describe the key they had been shown. Because the Spanish word for “key” is gendered as feminine, Spanish speakers defined the key using words such as lovely, tiny, and magic. The German word for “key” is gendered masculine, however, and German speakers defined the key using adjectives like hard, jagged, and awkward (2003). This study suggests that the words we use to define something can have an impact on how we perceive what those words represent.

Time-Harmonic Electromagnetic Plane Waves

real part of the complex time-harmonic function

csc(θ)=−32–√3csc⁡(θ)=−323\csc(\theta) = -\dfrac{3\sqrt{2}}{3},

Ill-structured problems are often poorly defined and usually do not include all of the information required to solve them. There may be multiple ways of solving them, and even multiple possible “correct” outcomes/answers.

Identify the important vocabulary words and key concepts presented in lecture. Be able to recall this information

it is surprisingly rare to find problem solving taught explicitly in formal educational settings

We will make frequent use of the pedagogical tool we call the “Design Challenge” to help structure our discussion of the topics we cover in class.

t is nevertheless important for you to attempt to make a contribution to the discussion. Examples of other meaningful contributions might include: asking for clarification; associating the question with another class topic (trying to make connections); and expressing what you are comfortable with and what confuses you about the question. Don't be afraid to say "I don't know". That's perfectly okay and even expected sometimes. Be prepared for the instructor to follow up with a different question, however, that will try to either highlight something that you likely do know or to ask for your help with identifying a point of confusion.

Some in-class questions will ask students to formulate questions themselves. This exercise forces the student to reflect on and try to articulating the key point of the lesson. These critical exercises should engage you to think more deeply about a topic and to place it in the broader context of the course.

ost-study guide.

The Design Challenge

This teaching tool helps us: • develop a frame of mind or way of approaching the material and • design a set of sequential steps that help structure thinking about course topics in a problem-solving context.

A hypothesis is not a random guess.

The slightly positive (δ+) charge will develop on the less electronegative atom, as electrons get pulled more towards the slightly more electronegative atom. A slightly negative (δ–) charge will develop on the more electronegative atom. Since there are two poles (the positive and negative poles), the bond is said to possess a dipole.

Given that we know an electron transfer will take place between these two elements, we can conclude that differences in electronegativities of ~2.2 are large enough to cause an electron to transfer between two atoms and that interactions between such elements are likely through ionic bonds.

These types of interactions derive their name from the involvement of pi bonds, a specific type of covalent bond between two atoms in which neighboring electron orbitals are close enough to overlap. We’ll leave the underlying discussion of molecular orbital theory for your chemistry course and just say that we usually associate pi bonds with double or triple covalent bonds. In biology, these types of bonds occur in many kinds of molecules, particularly those with so called conjugated pi systems including aromatic ring structures like those seen in some amino acids, vitamins and cofactors, and nucleic acids.

t’s a 5-minute scene. By my count, there are 5 setups, one master, two medium shots and two close ups. Fincher cheated a bit by using two cameras which cut down on the number of times they needed to move the camera, but they still took 2 days to shoot that scene in 99 takes. That means Jesse Eisenberg and Rooney Mara did the whole scene 99 times in row over two days to get it right. Exhausting

Let’s start with the most basic obstacle that everyone on a film set must confront and somehow overcome: time. There usually isn’t very much of it. Not only does it take a long time to set up, execute and dismantle every shot for every scene and sequence, the overall schedule is hemmed in by the competing schedules of other productions running long or needing to start on time tying up the cast and crew. The most immediate impact this time crunch has on actors is an extremely limited time for rehearsals. In live theater, actors might have 4 to 6 weeks to rehearse their roles. In cinema, they’re lucky if they get a day or two. Often that means “rehearsals” are really just the first few takes of every shot, working out how to deliver the lines, how to move in the space (known as blocking), how to play off the other actors.

He is a movie star after all.

In contrast to the Classical School of acting, the Stanislavski Method, or Method Acting as it is commonly known, is emotionally oriented, committed to an emotional realism, sometimes at the expense of whatever might be in the script. It began in Russia at the end of the 19th century with a theater director, Konstantin Stanislavski, upending centuries of classical technique by encouraging his actors to let go of their grip on the text and trust their own emotional experience to guide their performance. The result was a more inward-looking, internal, often improvisational approach to acting, not to mention a more naturalistic style, and it became a slow-moving revolution in stage and screen performance throughout the 20th century.

ut the modern classical approach is rooted in the British tradition of Shakespearean performance.

he evolution of performance in cinema hit an inflection point around the time the Golden Age gave way to the New Hollywood in the 1960s. The young, energetic actors, writers and directors who took over cinema in the United States, at least until the blockbusters of JAWS (1975) and Star Wars (1977), brought with them a new naturalistic acting style, which curiously enough, actually started in avant-garde theater of the 1930s and 40s. It was part of a whole new approach to performance, a new school of acting, called the Stanislavski Method, or just The Method for short. But the Classical School of acting, with its emphasis on the text and the precision of performance, had been around at least since Thespis himself. It wasn’t going to simply fade away. Both have their own unique take on technique, and both ultimately have the same goal, to render a performance that moves the audience. Let’s take a look at each one.

Acting, as a profession, has been around a while. The Greeks were doing it as early as 534 BCE when Thespis, the world’s first “actor”, stepped onto a stage in Athens (it’s why we sometimes call actors thespians). By the time Alice Guy-Blaché was framing up that fairy in the baby patch for the world’s first narrative film in 1896, the profession had already been around for more than two thousand years. But all of that accumulated experience was centered around live performance, an actor on a stage in front of an audience. As soon as Alice started cranking film through her cinematographe, acting began a new evolutionary line of descent.

ut before we try to sort out the best from the worst, let’s clarify some technical details about how and what type of music is used in cinema. First, we need to distinguish between diegetic and non-diegetic music. If the music we hear is also heard by the characters on screen, that is, it is part of the world of the film or tv series, then it is diegetic music. If the music is not a part of the world of the film or tv series, and only the audience can hear it, then it is non-diegetic music. Too abstract? Okay, if a song is playing on a radio in a scene, and the characters are dancing to it, then it is diegetic. But if scary, high-pitched violins start playing as the Final Girl considers going down into the basement to see if the killer is down there (and we all know the killer is down there because those damn violins are playing even though she can’t hear them!), then it is non-diegetic.

But what about all those other sounds that weren’t recorded on set? The birds chirping, the cars passing, even those footsteps? Those too have to be created and gathered together in post-production and layered into the sound design. Many of these sounds already exist in extensive sound libraries, pre-recorded by sound technicians and made available for editors. But many of them must be created to match exactly what the audience will see on screen. That’s where foley artists come in. Foley artists are a special breed of technician, part sound recordist and part performance artist. Their job is to fill in the missing sounds in a given scene. By any means necessary:

e have lots of names for it, clapper, sticks, sound marker, but the most common is slate, based on the fact that in the early days it was made out of slate, the same stuff they use to make chalkboards. It serves two purposes. The first is to visually mark the beginning of each take with the key details of the production as well as the scene, shot, and take number. This comes in handy for the editor as they are combing through all of the footage in post-production. The second is to set a mark for sound synchronization. A crew member, usually the second camera assistant, holds the slate in front of the camera and near a microphone and verbally counts off the scene, shot and take number, then SLAPS the slate closed. In post-production, the editors, usually an assistant editor (cause let’s face it, this is tedious work), can line up the exact frame where the slate closes with the exact moment the SLAP is recorded on the microphone. After that, the rest of the shot is synchronized.

Before we get to how that soundscape is shaped in the post-production process, let’s look at how (and what) sound is recorded during production. The production sound department is made up of several specialists dedicated to recording clean sound on set as the camera rolls. They include the on-set location sound recordist or location sound mixer, who oversees the recording of on-set sound and mixes the various sources in real-time during production, boom operators, who hold microphones on long poles to pick up dialogue as close to actors as possible without being seen on camera (it helps if they are very tall, and relatively strong, those poles get heavy after a while), and assistant sound technicians, responsible for organizing the equipment and generally assisting the sound mixe

ost all of these examples rely on a hard cut from one shot to the next, but sometimes an editor simply can’t hide the edit with some matching action, image or idea. Instead, they have to transition the viewer from one shot to the next, or one scene to the next, in the most organic, unobtrusive way possible. We call these, well, transitions. As discussed in Chapter Two, you can think of these as conjunctions in grammar, words meant to connect ideas seamlessly. The more obvious examples, like fade-ins and fade-outs or long dissolves, are drawn from our own experience. A slow fade-out, where the screen drifts into blackness, reflects our experience of falling asleep, drifting out of consciousness. And dissolves, where one shot blends into the next, reflect how one moment bleeds into and overlaps with another in our memory. But some transitions, like wipes and iris outs, are peculiar to motion pictures and have no relation to how we normally see the world. Sure, they might “call attention to themselves,” but somehow they still do the trick, moving the viewer from one shot or scene to the next without distracting from the story itself.

Maybe it’s obvious, but if editing is where the grammar and syntax of cinematic language come together, then the whole point is to make whatever we see on screen make as much sense as possible. Just like a writer wants to draw the reader into the story, not remind them they’re reading a book, an editor’s job, first and foremost, is to draw the viewer into the cinematic experience, not remind them they’re watching a movie. (Unless that’s exactly what the filmmaker wants to do, but more on that later.) The last thing most editors want to do is draw attention to the editing itself. We call this approach to editing continuity editing, or more to the point, invisible editing.

Sometimes an editor lets each shot play out, giving plenty of space between the cuts, creating a slow, even rhythm to a scene. Or they might cut from image to image quickly, letting each flash across the screen for mere moments, creating a fast-paced, edge-of-your seat rhythm. In either case, the editor has to consider how long do we need to see each shot. In fact, there’s a scientific term for how long it takes us to register visual information: the

flashbacks and flashforwards.

The most obvious example of this is the ellipsis, an edit that slices out time or events we don’t need to see to follow the story. Imagine a scene where a car pulls up in front of a house, then cuts to a woman at the door ringing the doorbell. We don’t need to spend the screen time watching her shut off the car, climb out, shut and lock the door, and walk all the way up to the house. The cut is an ellipsis, and none of us will wonder if she somehow teleported from her car to the front door (unless, again, she’s a wizard). And if you think about it for a moment, you’ll realize ellipses are crucial to telling a story cinematically. If we had to show every moment in every character’s experience, films would take years or even decades to make much

One thing you might notice about that sequence: It doesn’t make a whole lot of sense, at least in terms of a logical narrative. But Eisenstein was more interested in creating an emotional effect. And he does it by juxtaposing images of violence with images of innocence, repeating images and shots, lingering on some images, and flashing on others. He wants you to feel the terror of those peasants being massacred by the troops, even if you don’t completely understand the geography or linear sequence of events. That’s the power of the montage as Eisenstein used it: A collage of moving images designed to create an emotional effect rather than a logical narrative sequence.

ter viewing the film, the audience raved about the actor and his performance (he was a very famous actor at the time in Russia). They praised the subtly with which he expressed his aching hunger upon viewing the soup, and the mournful sadness upon seeing the child in a coffin, and the longing desire upon seeing the scantily clad woman. The only problem? It was the exact same shot of the actor every time! The audience was projecting their own emotion and meaning onto the actor’s expression because of the juxtaposition of the other images. This phenomenon – how we derive more meaning from the juxtaposition of two shots than from any single shot in isolation – became known as The Kuleshov Effect.

ill confused? Here’s an explanation in just 23 seconds

focal length[1] and is measured in millimeters. So, in a 50mm lens the distance between the sensor of the camera and the point where the light passes through the glass of the lens is 50 millimeters. Focal length determines both the angle of view and the magnification of the image. The shorter the focal length, the wider the angle of view and the smaller the magnification. The longer the focal length, the narrower the angle of view and the greater the magnification. Any lens below 35mm is generally considered a “wide-angle lens” because of its relatively short focal length. Any lens above 70mm is considered a “telephoto lens” because it greatly magnifies the image. Lenses can be divided into two basic types based on how they treat focal length: zoom and prime. Zoom lenses allow you to adjust the focal length by sliding the glass elements closer to or further away from the sensor, thus greatly magnifying the image or widening the angle of view without swapping out the lens itself. Prime lenses have a fixed focal length. What you see is what you get. Now I know what you’re thinking. Why not just slap a zoom lens on there and choose your own focal length? But actually, cinematographers almost always use prime lenses when filming. For one thing, zoom lenses tend to have many more glass elements than primes and that can affect the quality of the image. But more importantly, prime lenses force the cinematographer to be more deliberate and intentional about the angle of view and magnification of a particular shot.

lens. No matter what camera a cinematographer chooses, it’s the lens that determines the clarity, framing, depth of field and exposure of the image. Just by changing the lens, without moving the camera at all, you can radically transform the look of a shot.

atographers plan their lighting set-up for any given scene by thinking carefully about what direction the light is coming from, starting with the main source of illumination, the key light. The key light is usually the brightest light on the set, used to properly expose the main subject. But just one bright light will feel like a spotlight, creating unwanted shadows. So, they use a fill light, usually less intense and a bit softer than the key light, to fill out those shadows. But those two lights shining on the front of your subject can make the scene feel a bit two-dimensional. To bring some depth to the image, they use a back light, usually a hard light that shines on the back of a subject’s head (also called a hair light), to create some separation between the subject and the background. The brightness of each of these lights relative to each other is known as the lighting ratio and can be adjusted for various different effects. This lighting set-up is known as three-point lighting, and it’s the most basic starting point for lighting a scene:

Hard lighting is intense and focused, creating harsh, dramatic shadows. Soft lighting is more diffused and even, filling the space with smooth, gradual transitions from light to dark. The difference is actually less about the light on the subject and more about the shadows cast by the subject. Are the shadows clearly defined with a hard edge? You’ve got hard lighting. Are the shadows fuzzy, less clearly defined or maybe even absent entirely? You’ve got soft lighting. Cinematographers can control the quality of light by adjusting the size of the light source and its distance from the subject. Typically, the smaller the light source and the closer to the subject, the harder the light:

ether shooting film or digital, black and white or color, one of the most powerful tools a cinematographer has to work with is light itself. Without light, there is no image and there can be no cinema. But simply having enough light to expose an image is not enough. A great cinematographer – heck, even a halfway decent one – knows that their job is to shape that light into something uniquely cinematic. To do that, they must have a deep understanding of the basic properties of light. Four properties, to be specific: Source, Quality, Direction and Color.

One of the greatest directors in cinema history, Orson Welles, once said black and white was the actor’s friend because every performance is better without the distraction of color.

resolution isn’t the only factor that affects image clarity. Cinematographers can also manipulate the frame rate to render super sharp imagery. For decades, the standard frame rate for cinema has been 24 frames per second. That produces a familiar, cinematic “look” to the finished film in part because of motion blur, the subtle blurring that occurs between still images passing at 24 fps. But film shot and projected at 48 or 96 or even 120 frames per second renders an ultra-sharp image with almost no motion blur as our brains process far more detail between each individual frame. To be fair, this is possible with analog film stock, but it is impractical to shoot that much film stock at that high a rate. Digital cinematography gives filmmakers like Ang Lee (Billy Lynn’s Long Halftime Walk (2016), Gemini Man (2019)) and James Cameron (the Avatar series) the freedom to experiment with these

medium of film stock renders an image that many filmmakers claim has a more organic look

digital cinematography. Digital cinematography is identical in every way to analog film cinematography – same basic equipment, same need to control exposure, shape light, compose the image, etc. – with one important difference: the light passing through the lens hits a digital image sensor instead of a strip of plastic film. That sensor uses software to analyze and convert the light bouncing off its surface into a series of still images (just like film stock) that are recorded onto flash memory or an external hard driv

Once a cinematographer commits to this analog, chemical process, there are still a lot of decisions to make. First, they must choose a film gauge, that is, the size of the film stock. The film gauge is determined by measuring from corner to corner the individual frames that will be exposed to light. The standard film gauge in cinema today is 35mm, but sizes range from as small as 8mm all the way up to 70mm. And each size will render a different look, with more or less detail once enlarged. They must also decide how sensitive the film will be to light. Highly sensitive, or “fast” film stock, that is film that reacts quickly to relatively low levels of light, contains relatively large silver halide crystals (more surface area to absorb the light). The benefit is the ability to film at night or other low-light situations. The drawback is a loss in resolution, or detail in the image, due to an increase in the crystals. or grain. Less sensitive, or “slower” film stock produces a crisper image (due to the smaller crystals), but requires more ligh

Good old-fashioned film stock has been around since the dawn of cinema, though it has evolved quite a bit since those early days. In the beginning, the strips of light-sensitive material were made from nitrate, a highly flammable material, which was not so great when it was whirring through a projector past a hot lamp. It’s one of the reasons many early films are lost to history. They simply burned up too easily

a shot is one continuous capture of a span of action by a motion picture camera. A finished film is made up of a series of these shots, of varying length, that ultimately tell the story. But during production, each shot may need to be repeated several (or dozens or even hundreds of) times until everyone gets it right. Every time they repeat the shot, it’s called a take. And once the director and cinematographer feel they have the best version of that shot, it’s time to move the camera – and everything associated with it – to a new shot, sometimes just a slightly different angle on the same scene. That’s called a set-up. New set-ups require everyone on the crew to jump into action, re-arranging the camera, the lights, the set dressing, etc. That can take time. Lots of time. And it’s one reason assistant directors, responsible for planning how long it will all take, think of the schedule in terms of the number of set-ups a crew can accomplish each day.

And if someone is in the bathroom, they’re 10-100 (or 10-200 as the case may be), but they’re definitely not “in the can”, which is what you say when a scene is completed.

C-47s

A simple command from the cinematographer, “Flag off that 10k, we’re going wide on the dolly,” may sound like gibberish, but everyone on a film set knows exactly what to do. In fact, there’s a whole cinema-specific vocabulary that film crews use to keep the shoot moving quickly and efficiently

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