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Art History/Reflections/Emma

Emma's Reflections

August 23-29 2007

-First, I visited the Andy Warhol Museum website to take a look around and get a feel for the various pieces it posses already.

-Then I linked over to ARTstor and began to filter through Warhol’s various works to better narrow down which piece I am going to acquire. I began by selecting the various works that I enjoyed or found interesting, and I then learned what museums own the works and what the works truly symbolized for Warhol.

-I have since reduced my selections to two works: “Deborah Harry”, a print of the “Blondie” front-woman, and “The Velvet Underground and Nico”, a screenprint of a banana on a record cover.

-I later found a fantastic painting by Warhol called "Knives" it is really great and I'm trying to learn whether or not this painting is already in the Warhol Museum.

-Well I couldn't find any more information about "Knives" and ARTstor doesn't have it in their collection, so I have begun to question whether or not it even exists. Also, because I was unable to copy the "Deborah Harry" work, I have decided to aqquire "The Velvet Underground and Nico" which I believe will be a fabulous acquisition for the Warhol Musuem.

-I have created my flier for my acquisition using a similar color scheme and font from my work which I believe will create a more visually appealing advertisement. I also wrote a short explanation as to why the acquisition would be important and beneficial to the museum.

September 7

-I am trying to view the Richard Serra online exhibit but the computer is being obnoxious and won't let me download Flash Player 8. So I'm going to have to find another way to view this exhibit.

-I know that this is a travelling exhibit so I am going to try to find another museum website with a similar online exhibit, so that I can view some of Serra's pieces.

-Well pretty much all of the online exhibits require Flash, so I went to ARTstor and viewed some of Serra's pieces. The only problem with doing this is that I don't know what pieces are in the exhibit at MOMA.

September 9

-I added the "Tate Modern" link to the wiki. I really enjoy this museum and all of the Tate museums and I think this will be a valuable resource for the class.

-I also looked at the list of resources and noticed that "Jimi Hendrix" is spelled wrong!!! I am going to go in and fix that because I can hear a whole generation of people cringing.

September 13

-I think our recent class discussions on Serra's work have been very beneficial to forming my review and opinion of Serra's work. I find the other students views and ideas to be incredibly constructive and I am pleased to find that their are many different and new opinions on Serra's work and art in general.

-I finished my review of Serra's exhibit and I am very happy with the final product.

September 17

-I thought the review we read today in class was fantastic. I really loved the author's style and syntax. He mixed anecdotes with his opinion incredibly well, creating an enjoyable piece of writing.

September 20 "Podcast Reflections"

-I listened to two podcasts, one with the Fratellis and the other with Kanye West. I really like these artists so I chose to listened to their respective interviews. I don't think I'm really supposed to reflect so much on the content of the podcasts, but more of the structure, but they we're both really informative about the musicians. One thing I noticed about the interviewers was that they both had really solid "follow-up" questions prepared. This is really important because it keeps the whole interview flowing well. Also they both made it more of a conversation than just a Q&A session. I think if I incorporate both of these skills into my interview then I will be successful.

September 21

-We finished our questions for William Anderson. I think these questions will obtain very valuable information towards better understanding William Anderson and his work.

September 27

-I was really blown away by Mr. Anderson. His explanation hugely expanded my understanding and respect for him and his work. He was so forthcoming about his life, he really held nothing back and it made the interview truly worthwhile. Mr. Anderson is obviously very opinionated and his sharing of those opinions gave me much greater understanding of his work and its purpose.

-Now, eventhough I was very impressed by Mr. Anderson's responses, I was rather dissapointed with the our questions. I found that they really only scratched the surface of this fantastic artist and his work. I am also dissapointed in myself because I realize that if I wanted better questions I should have taken the initiative to ask them. Ugggg hindsight is 20/20.

October 8

Today we really started working on the final project. I am working with Yeshwanth and our theme is "Power, Politics and Glory". I really like his theme because it encompasses such a vast amount of art. I have noticed that we have very different ideas of what the theme means, and though I think both of our ideas our valid, I get a great sense of negativity from yeswanth pertaining to my opinions on which artwork to choose. One such instance is an Annie Lebowitz photograph, which I rather enjoyed, of Fmr. Texas Gov. Ann Richards hunting. This photograph, in my opinion, defined power and politics in America, but also mirrored the tradition of medival kings going on large hunts. Ann Richards was hunting in her "kingdom", a true Gov. of Texas. This was my opinion, however Yeshwanth disagreed completely. He said he did not understand how this photograph depicted Power, Politics, or Glory. He instead suggested socialist artwork as an alternative to my suggestion. In the end we comprimised to place both pieces in our original 5 choices.

October 22

We have already found about 30 images on ARTstor, akthough I am somewhat dissapointed with the selection so far. However, I think that as we finish finding the "surface" material and start having to dig a little deeper we will find more meaningful material.

title: Art History/Reflections/Emma


text:
Art History/Reflections/Yeshwanth

Yeshwanth's Reflections

8/24/07 I have chosen the Dali Museum. My piece will be "The Persistence of Memory", more commonly known as the melting clocks painting. Surprisingly, this museum does not own this piece. This piece is one of Dali's most famous works and demonstrates his involvement with the Surrealist movement. This painting will complement the already wide-ranging collection within the museum.

9/6/07-I think self-evaluation is a good method to evaluate the quality of our work. With self- evaluation, we realize what we need to improve and are more motivated to do a better job. I think I gave myself a pretty honest and accurate self-evaluation. I think a lack of postings made my thinking less transparent and more citatiions would have been better.

9/7/07- I have begun my research on Serra and the exhibition. I have decided to compile a fact sheet on Serra including personal information, quotes, and images of his work. I am saisfied with the progress I have made today. As for Serra, his artwork is certainly unique and like nothing I have seen before. I think this project offers us a chance to expand our thinking to understand whether they're really boundaries to art.

9/12/07- After two class discussions on Serra and the nature of his work, I have come to the conclusion that Serra's work has some artistic basis and Serra is indeed an artist. Admittedly, before learning about Serra, my exposure to broad varieties of art were minimal. it took a little while for Serra's style to grow on me. I now appreciate his combination of mathematics, illusion, and resulting human perception in creating his work. I feel more confident in the quality of my review.

9/13/07- I'm around 75% finished with my review. I included information about process art, which Serra acribes to, and some information on Serra's personal philosophy and use of his unique materials. At this point, I defintiely like the larger scupltures, but I have reservations about the smaller, earlier sculptures, which even Serra doesn't seem to explain very much either.

9/17/07-I like the New Yorker review b/c it inculded a lot of info about Serra's previous work. As someone who previosuly had little exposure to Serra and miminmalism in general, it was a very good piece.

9/25/07- I very much enjoyed having Mr. Anderson come and discuss with us his inspiration for his photographs. I found his insight very deep and insightful. We had seen the aesthestic value of his work, but, until today, I had never truly graspeed the meaning and message of hsi work. I highly recommend this activity for future classes. It is a key component of the class, since we often find ourselves wondering what the artist themself was thinking.

9/27/07-After listening to the audio clips of our discussion with Mr. Anderson, I was able to review Mr. Anderson's perspective and further analyze the photographs and what they meant to Mr. Anderson. I really enjoy the technological aspect of this project and what like to use these methods in the future.

10/8/07-Emma and I have decided to focus on Power, Politics, and Glory for our works. There is a wide range of artwork, spanning various time periods, media, and cultures. Emma and I had a disagreement about a photograph of Ann Richards, the late former Texas governor, holding a gun. I initialy thought it didn't speak to the theme very well, but I changed my mind. We are also considering a tapestry of the Battle of Hastings, a terra soldier from Xian, China, a piece of socialist art, and a war poster.

10/11/07- At this point I have some important questions about the requirements.

-How can we incorporate diverse mediums within our selections? (our theme, power, politics,and glory, is not very broad in this regard)

-What should we necessarily be looking for within each work as it relates to our theme?

-How would non-Western art come into the picture (fortunately, we have found both ancient and more wodern pieces in this category)

-As for citations, how important is fidning the specific, as this may be more difficult for more ancient works or, in our case, socialist art?

Overall I think working on this project will be very smooth and enjoyable. There initially were a few setbacks, such as not being able to acquire images from Artstor which were resolved today.

10/22/07- We've made major headway on this porject over the past couple of days. Emma and I have collected a lot of images. At this point, the main challenges will be getting a sizable group of non-Western works and sifting though the pictures to find the one that best represents the theme.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Art History/Reflections/Yeshwanth


text:
Art History/Reflections/Anna

Anna's Reflections'

23 August 2007 -I chose the Van Gogh Museum because I remember studying Van Gogh when I was in elementary school. I remember liking his style of art, and I could easily spot one of his pieces in museum.

-This museum has quite a lot of works of Van Gogh, considering that it is his museum, so I think it might be hard to find a piece of artwork that is not in here.

-As I was looking through Art Store, I realized that there were a lot of black and white drawings, most of which were not included in the Van Gogh museum.

-However, I have found a drawing that I like, however, I cannot find where it is located.

-I came across a website that helped me find a sketch that is not in the Van Gogh museum in Amsterdam.

-I came across a letter from Vincent Van Gogh to his brother that said he wanted to start some sketches.

-I am going to have to switch pictures b/c the one I want I cannot copy. So, I have decided to switch to another drawing, held in the Washtingon Museum.

September 7, 2007: I think I ended liking the outcome of my project, and today, I am about to start the new project.

I started looking through Richard Serra's work, and much of it really does not seem like art to me. I know he is supposed to be a really acclaimed sculptor, but it just seems like he is sticking together a box or a rod or something and callling it art.

I did find out that there is a special genre of art for art like Serra's. It was kind of cool to learn tbat there were other people who did work just like Serra.

September 9: -So I did more research on Serra today, and I started to like some of his pieces more. His big sculptures in the garden are really cool and really interesting. However, I still do not like some of his pieces with pipes and lead squares.

September 12: -Our discussion was super helpful. At the beginning, I was a big skeptic on Serra's work, but now, I am thoroughly convinced that was Serra is doing is art. I understand his concepts of light and space, and I think that he is a very talented artist.

September 13: I am really glad that I did this project. I think I did a pretty good job and I gained a whole new understanding for art, especially art like this. I know a lot more about art, now, and have a much more open mind.

September 17: My review of Serra's work was very positive and talked a lot about my journey to understand his work and in the end, my appreciation. The review we read today was very complicated to me. I did not understand what he was talking about a lot of the time, but I agreed with some of what he said. For example, the fact that you have to experience Serra's work to understand with was right on target, in my opinion. His review was probably a lot more in depth and a lot more accurate, because he probably saw the exhibit. However, I liked the outcome of my review, because I felt it portrayed a decent picture of my opinions of Serra and of his work.

Podcast Listening Reflection-September 19: I just finished listening to my podcasts, and they were pretty cool. One of them was a show that these two people did every week. I thought that was very neat. It would have been a lot more interesting to me if I had been more interested in the topics that the podcasts were on. Also, when we do our podcast, we have to make sure that the sound is good, because in one of my podcasts, the sound needed improvement.

September 21: We just finished writing our questions, and I am excited to ask him and to hear his answers. I think that it will help me understand him and his works more.

September 25: Today was really interesting, meeting with Mr. Anderson. I learned a lot and it was fascinating to hear his perspective on his works and the role his life had in his artwork. I am really excited about Wed. to ask him more questions.

Septmember 28: We met with Mr. Anderson again two days ago. It was a good experience to meet witb him and to learn about his works. However, I thought that it was going to be more informative. I felt that Mr. Anderson, many times, did not answer the question that was being asked. I was disappointed about that, but I did learn a lot. Then, we went to see the exhibit yesterday, and it was much cooler to see the photographs in real life. For example, I never really liked "Skidway Joe" until I saw it in real life. Then, I realized how cool the photograph was. The photographs are so much more powerful in real life.

October 8: Sona and I just finished finding our pictures of art with symbols in them. I was really reluctant to do this theme at first, becasue I thought that it was going to be really hard to have to research different symbols in different cultures. However, Sona and I found out really quickly that there are so many symbols in just everyday life that represent something. For example, the peace sign is really trivial, but it actually stands for something. I am glad that I chose this one, because I now realize that symbols don't necessarily have to be that extraordinary...they just could be simple things that mean something else. I think the final project is going to be really cool. However, at this point, I have no idea what I want my theme to be. None of the themes on the list really stood out to me, but I am going to keep thinking about it and possibly come up with a theme of my own.

October 10: After Sona and I presented today, I realized that Ms. Davis was right and that we probably should have chosen symbols in real art pictures and symbols that we could have gone much more in depth with. I think we were just trying to get the project done, so we did not really pay attention to the relevance of our symbols or where they came from. I thought it was interesting how Yeswanth pointed out how our symbols that we chose only derived from our side of the world...that was a really good point that I would never have thought about. I started to research more symbols, since we are going to re-do the project, and so far, I have found two that I think mean a lot more than the ones we presented today.

Symbols in Art Colossal Statue of Akhenaton This statue is a statue of Akhenaton, an Egyptian pharaoh from the New Kingdom, displays a very common symbol throughout Egyptian art – the beard. When statues or art were created in Egypt, the beard was depicted as either being straight or curved. If the beard was curved, it meant that the person was dead when the piece of art was constructed. If the beard was straight, it meant that the person was alive. Even as art changes throughout the different kingdoms in Egypt, the symbols of the beards stay the same.

Pendant Plaque This pendant was from the Byzantine culture and depicts Christian symbols, most significantly, the chi rho. Chi and rho are the first two letters of Jesus’ name the Greek alphabet. Supposedly, they are also the two letters that Emperor Constantine, the emperor to make Christianity the dominate religion in the Roman Empire, in a dream he had. To this day, the symbol of chi rho are significant in Christianity.

Attendant Saints The symbol of the halo is exhibited in this image. The halo has been used for centuries throughout many cultures. In Greece, Homer depicted heroes in battle with light shining around their heads, whereas in Rome,in means more along the lines of sainthood. In Christian art, the halo started with Jesus, who is usually only depicted with a halo after he was baptized by John. Then, however, the halo spread to be used for saints or people of holy nature. The bigger the halo, the more significant the person. Wikipedia says that it represents "the light of divine grace". This symbol has been used for centuries and can still be seen today in stained glass windows and in other Christian images.

Sources: Art Store ''Halo. Religious Iconography.'' 2007. Wikipedia Foundation, Inc. 11 October 2007. .

October 11 I re-did my symbol project, and I think I understand better what Ms. Davis was trying to get us to do with this project. I still feel as if I could have gone more in depth with more research and more time. I am starting to get excited about our project and undercovering the knowledge in order to create our museums.

October 11 I just posted my questions about the symbols in art. I don't know if I want to stick with this topic, but I feel like these questions would get me heading in the right direction if I did stay with this topic. However, I probably could brainstorm even more to come up with questions that could go even deeper into the topic.

October 20 Wow! It feels like forever since I last posted a reflection! We started our research on Thursday...our only class of the week :(...and I am kind of getting really scared about the project. Sona and I decided to switch topics to Race, Class, and Gender, yet as I have started to do research, I have a feeling that this is going to be much harder than I expected.  I spent the entire class on Thurday looking for images, and I did not find a single one.  I think it is going to be really hard to use Art Store on this particular topic without doing prior research.  That kind of stinks, becuase before I was just able to type in a topic and images fitting my topic would come up.  So now, I am not sure where to start.  I guess during class on Monday, I am going to go research different cultures and the roles of race, class, and gender in those cultures.  Hopefully, that will get me somewhere, so I can find some images!

October 22 After class today, I feel a lot better. I think that a lot of people were feeling sort of the same way I was (a little frightened/frazzled) at the beginning of class today, but I know I think I have started to get a handle on everything. I went back on Art Store and did really generic searches and started to read the descriptions to see if they had anything to do with my topic. Right now, I am just trying to find images. Once a get a bunch more, I will go back and do further research on each of the pieces I have gotten. Probably half of them will have nothing to do with my theme, but I think it is much better to have way too many images than way too little. I am really looking forward to uncovering really cool tidbits of info about my pieces and assembling my museum. Right now, we are just doing the tedious prep work that has to be done.

October 25 Today, Mrs. Rich did her presentation. I found it to be really interesting, especially since I did not know at all what a fiber artist was before today. It blew my mind how people would have the patience and the drive to do what some of those people do. I am still a little nervous about our project, especially with connecting it to a theme. Our topic is so broad that I am not sure if we will be able to a pull a theme together for the whole exhibit. I am also really scared that it is going to be really challenging to come up with a theme that can tie in all of our peices, especially since we have to have works from different types of art.

October 27 I am really frustrated at right now, because I feel like I am getting nowhere during class and that I have so much work to do. I am just not sure where to start or how to go about finding images, especially since race is such a broad topic.

October 31 After class today, I feel a lot better about the project. I got a lot more images today, and with both Sona's and my images, we have around 50. I have a few pieces that I LOVE and that I cannot wait to research more and to definitely put in my museum. I am definitely getting much more excited at the thought of our museum!

title: Art History/Reflections/Anna


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Art History/Assignments/20 August 2007

Assignment for 20 August 2007

In-class library assignment. With a partner, find and explore a museum website. Compose a 25-word description about the site and about what its collections tell you about the museum and its priorities.

Emma-Tate Modern

Elizabeth & Alek: The Louvre Le Louvre consists of 19th century decorative arts, but some of the paintings date back as early as the 13th century. Le Louvre is known for holding the Mona Lisa and many other famous paintings.

Alison: Metropolitan Museum of Art This collection features some of our countries’ most famous artists. There are paintings by Winslow Homer, John Fredrick Kensett, and Charles Winslow Peale. There are lots of paintings of landscapes and portraits. There are multiple sculptures too. Some of the collection’s sculptures include Hiram Powers and Augustus Saint-Gaudens.

Rawson: The Metropolitan Museum of Art The Metropolitan Museum of art contains over two million pieces of art in the permanent collection. Most of the art is arranged into categories by the region of the earth where it was created. This overwhelming verity of art from all over the globe shows the Metropolitan Museum has a priority of obtaining and displaying art from all different cultures attracting a large and diverse group of visitors.

Anna & Sona: The Louvre The Louvre holds over 35,000 pieces featuring works from Egypt, Rome, Greece and Islamic countries. However, the Louvre prides itself on containing an ancient collection, instaed of a modern collection.

Yeswanth & Connor: The Getty Museum The Getty Museum has two branches: the Getty Museum, with all types of European artwork, paintings, sculpture, and photographs; and the Villa, with mostly Greek antiquities.

Kristen: The Philedelphia Museum of Art The Philedelphia Museum of Art is a musuem with quite a few collections ranging from Japan all the way to South India. It prides itself with almost 225,000 pieces of art with each culture represented by their own specially designed rooms. Its collections span the times; the Asian pieces in the museum are thought to be at least 6,000 years of age. The museum is reputable for a reason; it's priorities are definately centered on culture and an understanding of the history that comes with the piece than anything else.

title: Art History/Assignments/20 August 2007


text:
Talk:Art History

Please provide a description of the intended purpose of Introduction to Art History-- M. Davis. Do you wish to restrict editing of that page participants in a particular real world course? --JWSchmidt 14:12, 23 August 2007 (UTC)

chapter Resources + table
Hello, I have put the info in a table. If you do not like this, please revert it by clicking here and on the top right clicking "undo". Erkan Yilmaz (evaluate me!, discussion ) 21:23, 27 August 2007 (UTC)

rename
This and all subpages should be renamed to a general Intro to Art History. It should be tied to the art history topic... –SJ + > 23:34, 10 July 2011 (UTC)

 * ✅ -- Dave Braunschweig (discuss • contribs) 01:46, 30 October 2019 (UTC)

title: Talk:Art History


text:
Wikiversity:Wikimedia Park

Wikimedia Park is a proposed learning/service project for Wikiversity. A park would be the medium for displaying the beauty of nature to all who wish to see. The resultant product would be a park for anyone to enjoy and transform, depending on the rules established for the park. The rules are established collectively.

Why?
A park is chosen for several reasons, including, simplicity, practicality, timeliness, feasibility, etc.

Details
The park could be of any size, depending on how much funding is available. The park could at least have: wifi, a webcam (perhaps, depending on size), a bench, plants, garden and whatever anyone feels like putting there. It could be a wikipark. Vandals will be banned.

Learning
Yes, learning will take and be a byproduct of this endeavor. There are a multitude of learning that can take place through this project.

Things you can do
Find benefactors, donate money, and plan.

Budget

 * ...Cost of land
 * +Possible taxes
 * +Wifi
 * +Plants
 * +Removing vandalism

Donations
Interested in donating land or resources, please contact the recipients.

Related projects

 * OpenMoko/Internet Kiosk

title: Wikiversity:Wikimedia Park


text:
Science policy/Guide to research and engagement funding in the United Kingdom

Guide to Research and Engagement Funding in the UK
1.0 Introduction

Welcome to Wikiversity's Guide to Research and Engagement Funding in the UK. Here you will find out about the main institutions and mechanisms involved in UK research and engagement or knowledge transfer.

By research, we mean academic activity across the full range of disciplines from science, engineering, technology and medicine to the arts and humanities. By engagement, we mean activities which involve academics at all levels (from students to professors) interacting with individuals and communities who do not currently have a formal relationship with higher education institutions This might include, for example, particular groups of young people, policymakers, small businesses or charities. We often use the term 'knowledge transfer' to describe engagement with business communities, although more recently knowledge transfer is used to describe interactions with not-for-profit groups (social enterprises) as well. For example, the recently formed Research Councils UK 'Knowledge Transfer and Economic Impact Group' is concerned not only with economic impact, but also social benefits of research. The Arts and Humanities Research Council defines knowledge transfer as delivering economic, social and cultural benefits, and includes business, public and voluntary sectors.

You can use this guide to find out more about how research is organised in the UK, and the mechanisms used to stimulate engagement between academia and other communities, for the benefit of all communities in the UK and beyond.


text:
User:Rencin24

Well a little about me
I am a lover of all kinds of music and I love every kind of things that is really interesting to me. I finished my Batchelor's in Theology and I mostly work on Christian articles and Theological pages. I read a lot of books and collect as much as I can informations about various things so that I can put that into practice in my life and also contrubute to Wikipedia. I like travelling and taking videos and photos. Sometimes I love to play football in the rain which gives me different feel from the normal game. I also like to play guitar and I love to write songs. I am a song composer and a writer for my own band. I like all genere of music tho I prefer more of CCM and Rock. What I like the most to do the most is go around to different Churches, schools and colleges as a motivational speaker. I love to spend my time mostly being alone and thinking. I also love to listen to music during rainy seasons which are really soft and instrumental mostly.

MY SIGNATURE
rencin24 talk

About Myself
Well people come to me asking for help and I do it with a pleasing heart. I love to make friends and win them by showing my love and care towards them. I am really carefull when it comes to issues like politics ,pollution ,addictions and would like to help them out of all the dangers and bad things.Well I love some fine characters from different roles though, people like Brian and Bobbie Houston, Lyndal Davies, Pastor Joel Dass, Pastor Don.M.Spiers and many other people who might not be known. I like also to be glued to my computer whole day. Well I am glad that I am able to spend atleast 5 hours in wikipedia. And I just love to do my work which involves the USA and UK embassies. I was working in Genpact. A BPO pioneers in India. Proud to be part of GE (General Electrical) product, now am working with a small software solutions known as  Integlo  I love my job and i love my life. Now thats about me. Talking about me more, I love to play drums, specially Drum Workshop|DW and also some guitars and I just love to play Deus Ex if given a whole day. thats Rencin Matthew.

title: User:Rencin24


text:
User talk:Rencin24

Hello Rencin24, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! --HappyCamper 17:34, 23 August 2007 (UTC)

title: User talk:Rencin24


text:
User:Cryfreedom57

B.A. History/B.S.B.A Political Science-- Florida State University, 2007. Cum Laude.

My research interests are extremely varied; while I primarily study African history, I also have the desire to study Irish history and the political dynamics of Irish-Americans in the late 19th and 20th century. The concepts of identity, political activism and nationalism are prevailing themes in my work, and because of this, I think of myself as having a more thematic, rather than geographic, research focus as a historian.

To date, my focus has been on the anti-apartheid movement in South Africa, more specifically examining the impacts of culture (ie: music) on grassroots political movements.

title: User:Cryfreedom57


text:
User talk:Cryfreedom57

Hello Cryfreedom57, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! --HappyCamper 17:45, 23 August 2007 (UTC)

title: User talk:Cryfreedom57


text:
Research and Engagement Funding in the UK

Introduction
Welcome to Wikiversity's Guide to Research and Engagement Funding in the UK. Here you will find out about the main institutions and mechanisms involved in UK research and engagement or knowledge transfer.

By research, we mean academic activity across the full range of disciplines from science, engineering, technology and medicine to the arts and humanities.

The term engagement is interpreted in many different ways, but here we refer to activities which involve academics at all levels (from students to professors) interacting with individuals and communities who do not currently have a formal relationship with higher education institutions. This might include, for example, particular groups of young people, policymakers, small businesses or charities.

We often use the term knowledge transfer to describe engagement with business communities. However, more recently the term knowledge transfer is also used to describe interactions with not-for-profit groups (social enterprises) as well. For example, the recently formed Research Councils UK 'Knowledge Transfer and Economic Impact Group' is concerned not only with economic impact, but also social benefits of research. The Arts and Humanities Research Council defines knowledge transfer as delivering economic, social and cultural benefits, and includes business, public and voluntary sectors. So particularly from the perspective of those who wish to design mechanisms to stimulate engagement and knowledge transfer, there is some convergence between the two.

You can use this guide to find out more about how research is organised in the UK, and the mechanisms used to stimulate engagement between academia and other communities, for the benefit of all communities in the UK and beyond.

UK Research and Engagement: An Overview

 * How Research and Engagement Are Organised

The following organogram shows how research and engagement are funded in the UK. In general, research is funded by HM Treasury through the Department for Innovation, Universities and Skills, and Community groups receive funding from HM Treasury through the Department for Communities and Local Government. However public groups also receive funding from local government and, in contrast to academic research, public groups are often self-organised and self-funded.

The white lines on the diagram show support for interactions between different communities. The coloured lines show financial support for research or community action. Interactions between all communities are supported by the media. For new media, especially Web 2.0 technologies, knowledge exchange can be especially two-way.

 * Office of Science and Innovation

 * Department for Innovation, Universities and Skills

 * Technology Strategy Board

 * Department for Communities and Local Government

Research and Engagement Funding in the UK
* The Higher Education Funding Councils

* Arts and Humanities Research Council (AHRC)

* Biotechnology and Biological Sciences Research Council (BBSRC)

* Economic and Social Research Council (ESRC)

* Engineering and Physical Sciences Research Council (EPSRC)

* Medical Research Council (MRC)

* National Endowment for Science, Technology and the Arts (NESTA)

* Natural Environment Research Council (NERC)

* Particle Physics and Astronomy Research Council (PPARC)

* Science and Technology Facilities Council

* Wellcome Trust

Research Policy and Engagement in Government
* Department for Business, Enterprise and Regulatory Reform

* Cabinet Office

* Department for Children, Schools and Families

* Department for Communities and Local Government

* Department for Culture, Media and Sport

* Ministry of Defence

* Department for Environment, Food and Rural Affairs

* Foreign and Commonwealth Office

* Department of Health

* Home Office

* Department for Innovation, Universities and Skills

* Department for International Development

* Ministry of Justice

* Privy Council

* Department for Transport

* HM Treasury

* Department for Work and Pensions

Regional Government:

* Northern Ireland Office

* Scotland Office

* Wales Office

Research and Engagement Policy in Parliament
* House of Commons

* House of Lords

* House of Commons Library

* Parliamentary Office of Science and Technology

Research and Engagement Policy in Academia
* Policy Research in Engineering, Science and Technology (Manchester)

* Science and Technology Policy Research (Brighton)


text:
User talk:Engagement

Hello Engagement, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! --JWSchmidt 19:09, 23 August 2007 (UTC)

title: User talk:Engagement


text:
User talk:Libcrb

Hello Libcrb, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! --JWSchmidt 19:12, 23 August 2007 (UTC)

Image copyright problems

 * This is the image in question. Please provide a license template and source for it. Thanks. – Mike.lifeguard | @en.wb 22:19, 13 February 2008 (UTC)

title: User talk:Libcrb


text:
Applied linear operators and spectral methods/Lecture 2

Norms in inner product spaces
Inner product spaces have $$L_p$$ norms which are defined as

\lVert\mathbf{x}\rVert_{p} = \langle \mathbf{x}, \mathbf{x} \rangle^{1/p}, \quad p=1, 2, \dots\infty $$ When $$p = 1$$, we get the $$L_1$$ norm

\lVert\mathbf{x}\rVert_{1} = \langle \mathbf{x}, \mathbf{x} \rangle $$ When $$p = 2$$, we get the $$L_2$$ norm

\lVert\mathbf{x}\rVert_{2} = \sqrt{\langle \mathbf{x}, \mathbf{x} \rangle} $$ In the limit as $$p \rightarrow \infty$$ we get the $$L_\infty$$ norm or the sup norm

\lVert\mathbf{x}\rVert_{\infty} = max|x_k| $$ The adjacent figure shows a geometric interpretation of the three norms.

If a vector space has an inner product then the norm

\lVert\mathbf{x}\rVert = \sqrt{\langle \mathbf{x}, \mathbf{x} \rangle} = \lVert\mathbf{x}\rVert_2 $$ is called the  induced norm. Clearly, the induced norm is nonnegative and zero only if $$\mathbf{x} = \mathbf{0}$$. It is also linear under multiplication by a positive vector. You can think of the induced norm as a measure of length for the vector space.

So useful results that follow from the definition of the norm are discussed below.

Schwarz inequality
In an inner product space

|\langle \mathbf{x}, \mathbf{y} \rangle| \le \lVert\mathbf{x}\rVert~\lVert\mathbf{y}\rVert $$

 Proof

This statement is true if $$\mathbf{y} = \mathbf{0}$$.

If $$\mathbf{y} \ne \mathbf{0}$$ we have

0 < \lVert\mathbf{x} - \alpha~\mathbf{y}\rVert^2 = \langle (\mathbf{x} - \alpha~\mathbf{y}), (\mathbf{x} - \alpha~\mathbf{y}) \rangle = \langle \mathbf{x}, \mathbf{x} \rangle - \langle \mathbf{x}, \alpha~\mathbf{y} \rangle - \langle \alpha~\mathbf{y}, \mathbf{x} \rangle + |\alpha^2|~\langle \mathbf{y}, \mathbf{y} \rangle $$ Now

\langle \mathbf{x}, \alpha~\mathbf{y} \rangle + \langle \alpha~\mathbf{y}, \mathbf{x} \rangle = \overline{\alpha}~\langle \mathbf{x}, \mathbf{y} \rangle + \alpha~\langle \mathbf{x}, \mathbf{y} \rangle = 2~\text{Re}(\alpha)~\langle \mathbf{x}, \mathbf{y} \rangle $$ Therefore,

\lVert\mathbf{x}\rVert^2 - 2~\text{Re}(\alpha)\langle \mathbf{x}, \mathbf{y} \rangle + |\alpha^2|~\lVert\mathbf{y}\rVert^2 > 0 $$ Let us choose $$\alpha$$ such that it minimizes the left hand side above. This value is clearly

\alpha = \cfrac{\langle \mathbf{x}, \mathbf{y} \rangle}{\lVert\mathbf{y}\rVert^2} $$ which gives us

\lVert\mathbf{x}\rVert^2 - 2~\cfrac{|\langle \mathbf{x}, \mathbf{y} \rangle|^2}{\lVert\mathbf{y}\rVert^2} + \cfrac{|\langle \mathbf{x}, \mathbf{y} \rangle|^2}{\lVert\mathbf{y}\rVert^2} > 0 $$ Therefore,

\lVert\mathbf{x}\rVert^2~\lVert\mathbf{y}\rVert^2 \ge  |\langle \mathbf{x}, \mathbf{y} \rangle|^2 \qquad \square $$

Triangle inequality
The triangle inequality states that

\lVert\mathbf{x} + \mathbf{y}\rVert \le \lVert\mathbf{x}\rVert + \lVert\mathbf{y}\rVert $$

Proof

\lVert\mathbf{x} + \mathbf{y}\rVert^2 = \lVert\mathbf{x}\rVert^2 + 2\text{Re}\langle \mathbf{x}, \mathbf{y} \rangle + \lVert\mathbf{y}\rVert^2 $$ From the Schwarz inequality

\lVert\mathbf{x} + \mathbf{y}\rVert^2 < \lVert\mathbf{x}\rVert^2 + 2\lVert\mathbf{x}\rVert\lVert\mathbf{y}\rVert + \lVert\mathbf{y}\rVert^2 = (\lVert\mathbf{x}\rVert + \lVert\mathbf{y}\rVert)^2 $$ Hence

\lVert\mathbf{x} + \mathbf{y}\rVert \le \lVert\mathbf{x}\rVert + \lVert\mathbf{y}\rVert \qquad \square $$

Angle between two vectors
In $$\mathbb{R}^2$$ or $$\mathbb{R}^3$$ we have

\cos\theta = \cfrac{\langle \mathbf{x}, \mathbf{y} \rangle}{\lVert\mathbf{x}\rVert \lVert\mathbf{y}\rVert} $$ So it makes sense to define $$\cos\theta$$ in this way for any real vector space.

We then have

\lVert\mathbf{x} + \mathbf{y}\rVert^2 = \lVert\mathbf{x}\rVert^2 + 2~\lVert\mathbf{x}\rVert~\lVert\mathbf{y}\rVert\cos\theta + \lVert\mathbf{y}\rVert^2 $$

Orthogonality
In particular, if $$\cos\theta = 0$$ we have an analog of the Pythagoras theorem.

\lVert\mathbf{x} + \mathbf{y}\rVert^2 = \lVert\mathbf{x}\rVert^2 + \lVert\mathbf{y}\rVert^2 $$ In that case the vectors are said to be orthogonal.

If $$\langle \mathbf{x}, \mathbf{y} \rangle = 0$$ then the vectors are said to be orthogonal even in a complex vector space.

Orthogonal vectors have a lot of nice properties.

Linear independence of orthogonal vectors

 * A set of nonzero orthogonal vectors is linearly independent.

If the vectors $$\boldsymbol{\varphi}_i$$ are linearly dependent

\alpha_1~\boldsymbol{\varphi}_1 + \alpha_2~\boldsymbol{\varphi}_2 + \dots + \alpha_n~\boldsymbol{\varphi}_n = 0 $$ and the $$\boldsymbol{\varphi}_i$$ are orthogonal, then taking an inner product with $$\boldsymbol{\varphi}_j$$ gives

\alpha_j~\langle \boldsymbol{\varphi}_j, \boldsymbol{\varphi}_j \rangle = 0 \quad \implies \quad \alpha_j = 0 ~\forall j $$ since

\langle \boldsymbol{\varphi}_i, \boldsymbol{\varphi}_j \rangle = 0 \quad \text{if}~ i \ne j ~. $$ Therefore the only nontrivial case is that the vectors are linearly independent.

Expressing a vector in terms of an orthogonal basis
If we have a basis $$\{\boldsymbol{\varphi}_1, \boldsymbol{\varphi}_2, \dots, \boldsymbol{\varphi}_n\}$$ and wish to express a vector $$\mathbf{f}$$ in terms of it we have

\mathbf{f} = \sum_{j=1}^n \beta_j~\boldsymbol{\varphi}_j $$ The problem is to find the $$\beta_j$$s.

If we take the inner product with respect to $$\boldsymbol{\varphi}_i$$, we get

\langle \mathbf{f}, \boldsymbol{\varphi}_i \rangle = \sum_{j=1}^n \beta_j~\langle \boldsymbol{\varphi}_i, \boldsymbol{\varphi}_j \rangle $$ In matrix form,

\boldsymbol{\eta} = \boldsymbol{B}~\boldsymbol{\beta} $$ where $$B_{ij} = \langle \boldsymbol{\varphi}_i, \boldsymbol{\varphi}_j \rangle$$ and $$\eta_i = \langle \mathbf{f}, \boldsymbol{\varphi}_i \rangle$$.

Generally, getting the $$\beta_j$$s involves inverting the $$n \times n$$ matrix $$\boldsymbol{B}$$, which is an identity matrix $$\boldsymbol{I_n}$$, because $$\langle \boldsymbol{\varphi}_i, \boldsymbol{\varphi}_j \rangle = \boldsymbol{\delta}_{ij}$$, where $$\boldsymbol{\delta}_{ij}$$ is the Kronecker delta.

Provided that the $$\boldsymbol{\varphi}_i$$s are orthogonal then we have

\beta_j = \cfrac{\langle \mathbf{f}, \boldsymbol{\varphi}_j \rangle}{\lVert\boldsymbol{\varphi}_j\rVert^2} $$ and the quantity

\mathbf{p} = \cfrac{\langle \mathbf{f}, \boldsymbol{\varphi}_j \rangle}{\lVert\boldsymbol{\varphi}_j\rVert^2}~\boldsymbol{\varphi}_j $$ is called the  projection of $$\mathbf{f}$$ onto $$\boldsymbol{\varphi}_j$$.

Therefore the sum

$$\mathbf{f} = \sum_j \beta_j~\boldsymbol{\varphi}_j$$

says that $$\mathbf{f}$$ is just a sum of its projections onto the orthogonal basis.

Let us check whether $$\mathbf{p}$$ is actually a projection. Let

\mathbf{a} = \mathbf{f} - \mathbf{p} = \mathbf{f} - \cfrac{\langle \mathbf{f}, \boldsymbol{\varphi} \rangle}{\lVert\boldsymbol{\varphi}\rVert^2}~\boldsymbol{\varphi} $$ Then,

\langle \mathbf{a}, \boldsymbol{\varphi} \rangle = \langle \mathbf{f}, \boldsymbol{\varphi} \rangle - \cfrac{\langle \mathbf{f}, \boldsymbol{\varphi} \rangle}{\lVert\boldsymbol{\varphi}\rVert^2}~\langle \boldsymbol{\varphi}, \boldsymbol{\varphi} \rangle = 0 $$ Therefore $$\mathbf{a}$$ and $$\boldsymbol{\varphi}$$ are indeed orthogonal.

Note that we can normalize $$\boldsymbol{\varphi}_i$$ by defining

\tilde{\boldsymbol{\varphi}}_i = \cfrac{\boldsymbol{\varphi}_i}{\lVert\boldsymbol{\varphi}_i\rVert} $$ Then the basis $$\{\tilde{\boldsymbol{\varphi}}_1, \tilde{\boldsymbol{\varphi}}_2, \dots, \tilde{\boldsymbol{\varphi}}_n\}$$ is called an  orthonormal basis.

It follows from the equation for $$\beta_j$$ that

\tilde{\beta}_j = \langle \mathbf{f}, \tilde{\boldsymbol{\varphi} \rangle_j} $$ and

\mathbf{f} = \sum_{j=1}^n \tilde{\beta}_j~\tilde{\boldsymbol{\varphi}}_j $$ You can think of the vectors $$\tilde{\boldsymbol{\varphi}}_i$$ as orthogonal unit vectors in an $$ n $$-dimensional space.

Biorthogonal basis
However, using an orthogonal basis is not the only way to do things. An alternative that is useful (for instance when using wavelets) is the  biorthonormal basis.

The problem in this case is converted into one where, given any basis $$\{\boldsymbol{\varphi}_1, \boldsymbol{\varphi}_2, \dots, \boldsymbol{\varphi}_n\}$$, we want to find another set of vectors $$\{\boldsymbol{\psi}_1, \boldsymbol{\psi}_2, \dots, \boldsymbol{\psi}_n\}$$ such that

\langle \boldsymbol{\varphi}_i, \boldsymbol{\psi}_j \rangle = \delta_{ij} $$ In that case, if

\mathbf{f} = \sum_{j=1}^n \beta_j~\boldsymbol{\varphi}_j $$ it follows that

\langle \mathbf{f}, \boldsymbol{\psi}_k \rangle = \sum_{j=1}^n \beta_j~\langle \boldsymbol{\varphi}_j, \boldsymbol{\psi}_k \rangle = \beta_k $$ So the coefficients $$\beta_k$$ can easily be recovered. You can see a schematic of the two sets of vectors in the adjacent figure.

Gram-Schmidt orthogonalization
One technique for getting an orthogonal baisis is to use the process of  Gram-Schmidt orthogonalization.

The goal is to produce an orthogonal set of vectors $$\{\boldsymbol{\varphi}_1, \boldsymbol{\varphi}_2, \dots, \boldsymbol{\varphi}_n\}$$ given a linearly independent set $$\{\mathbf{x}_1, \mathbf{x}_2, \dots, \mathbf{x}_n\}$$.

We start of by assuming that $$\boldsymbol{\varphi}_1 = \mathbf{x}_1$$. Then $$\boldsymbol{\varphi}_2$$ is given by subtracting the projection of $$\mathbf{x}_2$$ onto $$\boldsymbol{\varphi}_1$$ from $$\mathbf{x}_2$$, i.e.,

\boldsymbol{\varphi}_2 = \mathbf{x}_2 - \cfrac{\langle \mathbf{x}_2, \boldsymbol{\varphi}_1 \rangle}{\lVert\boldsymbol{\varphi}_1\rVert^2}~\boldsymbol{\varphi}_1 $$ Thus $$\boldsymbol{\varphi}_2$$ is clearly orthogonal to $$\boldsymbol{\varphi}_1$$. For $$\boldsymbol{\varphi}_3$$ we use

\boldsymbol{\varphi}_3 = \mathbf{x}_3 - \cfrac{\langle \mathbf{x}_3, \boldsymbol{\varphi}_1 \rangle}{\lVert\boldsymbol{\varphi}_1\rVert^2}~\boldsymbol{\varphi}_1 - \cfrac{\langle \mathbf{x}_3, \boldsymbol{\varphi}_2 \rangle}{\lVert\boldsymbol{\varphi}_2\rVert^2}~\boldsymbol{\varphi}_2 $$ More generally,

\boldsymbol{\varphi}_n = \mathbf{x}_n - \sum_{j=1}^{n-1} \cfrac{\langle \mathbf{x}_n, \boldsymbol{\varphi}_j \rangle}{\lVert\boldsymbol{\varphi}_j\rVert^2}~\boldsymbol{\varphi}_j $$ If you want an orthonormal set then you can do that by normalizing the orthogonal set of vectors.

We can check that the vectors $$\boldsymbol{\varphi}_j$$ are indeed orthogonal by induction. Assume that all $$\boldsymbol{\varphi}_j, ~ j \le n-1$$ are orthogonal for some $$j$$. Pick $$k < n$$. Then

\langle \boldsymbol{\varphi}_n, \boldsymbol{\varphi}_k \rangle = \langle \mathbf{x}_n, \boldsymbol{\varphi}_k \rangle - \sum_{j=1}^{n-1} \cfrac{\langle \mathbf{x}_n, \boldsymbol{\varphi}_j \rangle}{\lVert\boldsymbol{\varphi}_j\rVert^2}~\langle \boldsymbol{\varphi}_j, \boldsymbol{\varphi}_k \rangle $$ Now $$\langle \boldsymbol{\varphi}_j, \boldsymbol{\varphi}_k \rangle = 0$$ unless $$j = k$$. However, at $$j = k$$, $$\langle \boldsymbol{\varphi}_n, \boldsymbol{\varphi}_k \rangle = 0$$ because the two remaining terms cancel out. Hence the vectors are orthogonal.

Note that you have to be careful while numerically computing an orthogonal basis using the Gram-Schmidt technique because the errors add up in the terms under the sum.

Linear operators
The object $$\boldsymbol{A}$$ is a  linear operator from $$\mathcal{S}$$ onto $$\mathcal{S}$$ if

\boldsymbol{A}~\mathbf{x} \equiv \boldsymbol{A}(\mathbf{x}) \in \mathcal{S} \quad \forall~\mathbf{x}\in\mathcal{S} $$

A linear operator satisfies the properties

 * 1) $$\boldsymbol{A}~(\alpha~\mathbf{x}) = \alpha~\boldsymbol{A}(\mathbf{x})$$.
 * 2) $$\boldsymbol{A}~(\mathbf{x}+\mathbf{y}) = \boldsymbol{A}(\mathbf{x}) + \boldsymbol{A}(\mathbf{y})$$.

Note that $$\boldsymbol{A}$$ is independent of basis. However, the action of $$\boldsymbol{A}$$ on a basis $$\{\boldsymbol{\varphi}_1, \boldsymbol{\varphi}_2, \dots, \boldsymbol{\varphi}_n\}$$ determines $$\boldsymbol{A}$$ completely since

\boldsymbol{A}~\mathbf{f} = \boldsymbol{A}~\left(\sum_j \beta_j~\boldsymbol{\varphi}_j\right) = \sum_j \beta_j~\boldsymbol{A}(\boldsymbol{\varphi}_j) $$ Since $$\boldsymbol{A}~\boldsymbol{\varphi}_j \in \mathcal{S}$$ we can write

\boldsymbol{A}~\boldsymbol{\varphi}_j = \sum_i A_{ij}~\varphi_i $$ where $$A_{ij}$$ is the $$n \times n$$ matrix representing the operator $$\boldsymbol{A}$$ in the basis $$\{\boldsymbol{\varphi}_1, \boldsymbol{\varphi}_2, \dots, \boldsymbol{\varphi}_n\}$$.

Note the location of the indices here which is not the same as what we get in matrix multiplication. For example, in $$\text{Re}^2$$, we have

\boldsymbol{A}~\mathbf{e}_2 = \begin{bmatrix} A_{11} & A_{12} \\ A_{21} & A_{22} \end{bmatrix} \begin{bmatrix} 0 \\ 1 \end{bmatrix} = \begin{bmatrix} A_{12} \\ A_{22} \end{bmatrix} = A_{12}~ \begin{bmatrix} 1 \\ 0 \end{bmatrix} + A_{22}~ \begin{bmatrix} 0 \\ 1 \end{bmatrix} = A_{12}~\mathbf{e}_1 + A_{22}~\mathbf{e}_2 = A_{ij}~\mathbf{e}_i $$

We will get into more details in the next lecture.


text: File:BiorthonormalBasis.png

title: File:BiorthonormalBasis.png


text: File:Projection.png

title: File:Projection.png


text: File:Normplot.png

title: File:Normplot.png


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Wikiversity:Candidates for Custodianship/Erkan Yilmaz

Hello, I am custodian at the German Wikiversity (WV) since January 2007 - my contribution summary there - and apply now also to do this for the English WV.

So, what have I done around here ?
 * I have translated some German Wikiversity pages like:
 * Project incubator
 * Topic:Software testing

 * I have translated some English pages to German: Interlingual Beta Club - but well here I got stuck a little, due to time constraints :-( and also it seemed like it was not the time and the people missing
 * I have translated on beta: e.g. http://beta.wikiversity.org/wiki/Wikiversity:Approved_Wikiversity_project_proposal/De

So, what I am trying to do in the future then ? I would like to contribute to get both - English and German WV - closer together (e.g. we all can win, if we have participants on each sides together working. This could help getting projects started). And of course the normal custodian tasks

I warn you already now: I will try to help the new Wikiversity guests. Only with more people WV will grow Erkan Yilmaz ( evaluate me!, discussion ) 20:42, 23 August 2007 (UTC)

 * I began today to add some of my observations here. I hope these will help also other probationary custodians as well in the future. Erkan Yilmaz ( evaluate me!, discussion ) 12:11, 3 September 2007 (UTC)

Mentoring

 * In my experience, Wikiversity benefits from having custodians who are admins on other projects. I expect Erkan Yilmaz will continue to help build connections from this website to the Wikiversity websites in other languages. I'm willing to mentor Erkan Yilmaz as an en-Wikiversity probationary custodian. --JWSchmidt 21:25, 23 August 2007 (UTC)
 * Thank you John for being my mentor. Let's see after the four weeks and also after that what I really achieved. Erkan Yilmaz ( evaluate me!, discussion ) 21:29, 23 August 2007 (UTC)

 * User:Erkan Yilmaz is now a probationary custodian. sebmol ? 13:04, 26 August 2007 (UTC)
 * September 26. Please comment at Candidates for Custodianship. --JWSchmidt 17:08, 29 September 2007 (UTC)


text:
User:Sjohnson

About Me:

Hello. My hobbies are playing music, cooking, studying the Holy Bible, teaching, and working with computers.

Music: anything that sounds good.

Cooking anything

Church Church of Christ

Teaching all subjects

Computers Windows PCs

title: User:Sjohnson


text:
Strength of materials/Lesson 2

Lesson 2: Elastic properties and plane stress
From the previous lesson you know that stress
 * is a point quantity.
 * has six components - three normal ($$\sigma$$) and three shear ($$\tau$$).
 * components depend on direction.
 * acts on a plane.
 * has units of force/area.

In this lesson we will introduce you to elastic properties and plane stress.

Elastic Properties
We will deal only with  homogeneous and  isotropic materials in this course. An isotropic material is one whose properties are independent of direction. Thus, if we want to do a test on a specimen of such a material, it does not matter from which part of the original material or in which direction we cut our sample out.

For an isotropic material we have to deal with three material properties of which only two are independent.

These material properties are

 * 1) The Young's modulus ($$E$$) (also called the modulus of elasticity).
 * 2) The Poisson's ratio ($$\nu$$).
 * 3) The shear modulus ($$G$$) (also called the modulus of rigidity).

Young's modulus (E)
To find the Young's modulus we take a cylindrical specimen and pull on it uniaxially. The result is a stress-strain plot of the form shown in the adjacent figure.

The Young's modulus is defined as the ration of stress to strain in the linear elastic part of the stress-strain curve. Thus

E = \cfrac{\sigma}{\varepsilon} \quad \implies \quad \varepsilon = \cfrac{\sigma}{E} ~. $$ Since the strain is dimensionless, the units of the Young's modulus are the same as the units of stress, i.e., force/area. In the English system, the units of the Young's modulus are psi while the SI units are Pa.

Representative values of Young's modulus are $$10\times 10^6$$ psi (10 Msi) or $$70\times 10^9$$ Pa (70 GPa) for aluminum and $$29\times 10^6$$ psi (29 Msi) or $$200\times 10^9$$ Pa (200 GPa) for steel. The higher the value of $$E$$ the stiffer a material. Note that stiffness and strength are two different concepts. Also, the value of Young's modulus does not vary much if the alloying content of a material is small compared to the amount of pure metal.

Poisson's ratio (v)
The Poisson's ratio is defined as

\nu = -\cfrac{\text{lateral strain}}{\text{axial strain}} $$ for an applied axial stress.

For the situation shown in the adjacent figure

\nu = - \cfrac{\varepsilon_y}{\varepsilon_x} $$ Values of Poisson's ratio range between 0.25 to 0.35 for most materials. Also, note that the shape of the cross section does not matter when we are measuring the Poisson's ratio as long as the applied stress is axial.

Shear modulus (G)
To find the shear modulus directly, we have to do a torsion test on a cylindrical specimen. A schematic of the stress-strain curve for such a test is shown in the adjacent figure.

The shear modulus is defined as

G = \cfrac{\tau}{\gamma} \qquad \implies \qquad \gamma = \cfrac{\tau}{G} $$ where $$\tau$$ is the shear stress and $$\gamma$$ is the shear strain.

The shear modulus can be expressed in terms of $$E$$ and $$\nu$$ using the relation

G = \cfrac{E}{2(1+\nu)} $$

Hooke's law in three dimensions
The following table shows the strains that result when a stress is applied in a particular direction (or on a particular plane).

You can check that these are indeed correct by looking at an infinitesimal element and seeing what the possible strains are when a particular stress component is applied.

Notice that normal stresses do not produce shear strains and shear stresses do not produce axial strains. This is only true for isotropic materials.

Principle of superposition
One of the advantages of working with linear elastic materials is that we can apply the principle of superposition. This principle states that the strains produced by a particular stress state $$A$$ can be added to those produced by a different stress state $$B$$ to get the strains for a combined stress state $$A + B$$.

Applying the principle of superposition to the results in the table above, we find that if we have a stress state where all the stress components are active, then the strains are given by

\begin{align} \varepsilon_x & = \cfrac{\sigma_x}{E}-\nu~\cfrac{\sigma_y}{E}-\nu~\cfrac{\sigma_z}{E} \\ \varepsilon_y & = -\nu~\cfrac{\sigma_x}{E}+\cfrac{\sigma_y}{E}-\nu~\cfrac{\sigma_z}{E}\\ \varepsilon_z & = -\nu~\cfrac{\sigma_x}{E}-\nu~\cfrac{\sigma_y}{E}+\cfrac{\sigma_z}{E}\\ \gamma_{xy} & = \cfrac{\tau_{xy}}{G} \\ \gamma_{yz} & = \cfrac{\tau_{yz}}{G} \\ \gamma_{zx} & = \cfrac{\tau_{zx}}{G} \end{align} $$ This relation is called the three-dimensional  Hooke's law.

The inverse relation is

\begin{align} \sigma_x & = (2~G + \lambda)~\varepsilon_x + \lambda~\varepsilon_y + \lambda~\varepsilon_z \\ \sigma_y & = \lambda~\varepsilon_x + (2~G + \lambda)~\varepsilon_y + \lambda~\varepsilon_z \\ \sigma_z & = \lambda~\varepsilon_x + \lambda~\varepsilon_y + (2~G + \lambda)~\varepsilon_z \\ \tau_{xy} & = G~\gamma_{xy} \\ \tau_{yz} & = G~\gamma_{yz} \\ \tau_{zx} & = G~\gamma_{zx} \end{align} $$ where

\lambda = \cfrac{E~\nu}{(1+\nu)(1-2\nu)} ~. $$

Plane stress
It helps to think of plane stress as the state of stress on a plane with no stress!

Consider the infinitesimal cube shown in the adjacent figure. Assume that there is no stress on the plane perpendicular to the $$z$$-axis. Then moment equilibrium requires that the out of plane shear stresses are also zero. In fact we can simplify the diagram and just draw a square instead of a cube as shown. But keep in mind that the shear stresses still act on a surface as do the normal stresses.

Therefore, in a state of plane stress, we have

\sigma_{z} = 0 ~; \tau_{xz} = 0 ~; \tau_{yz} = 0 ~. $$

For plane stress, Hooke's law takes the form

\begin{align} \varepsilon_x & = \cfrac{\sigma_x}{E}-\nu~\cfrac{\sigma_y}{E} \\ \varepsilon_y & = -\nu~\cfrac{\sigma_x}{E}+\cfrac{\sigma_y}{E} \\ \varepsilon_z & = -\nu~\cfrac{\sigma_x}{E}-\nu~\cfrac{\sigma_y}{E} \\ \gamma_{xy} & = \cfrac{\tau_{xy}}{G} \\ \gamma_{yz} & = 0 \\ \gamma_{zx} & = 0 \end{align} $$ Alternatively,

\begin{align} \sigma_x & = (2~G + \lambda)~\varepsilon_x + \lambda~\varepsilon_y + \lambda~\varepsilon_z \\ \sigma_y & = \lambda~\varepsilon_x + (2~G + \lambda)~\varepsilon_y + \lambda~\varepsilon_z \\ 0 & = \lambda~\varepsilon_x + \lambda~\varepsilon_y + (2~G + \lambda)~\varepsilon_z \\ \tau_{xy} & = G~\gamma_{xy} \\ 0 & = G~\gamma_{yz} \\ 0 & = G~\gamma_{zx} \end{align} $$

Effect of zero out of plane strain
Suppose, in addition, that $$\varepsilon_z$$ is also zero. What is the effect on Hooke's law?

We then have

\sigma_x = -\sigma_y $$ Therefore Hooke's law takes the form

\begin{align} \varepsilon_x & = \cfrac{1+\nu}{E}~\sigma_x = 2~G~\sigma_x \\ \varepsilon_y & = \cfrac{1+\nu}{E}~\sigma_y = 2~G~\sigma_y\\ \varepsilon_z & = 0 \\ \gamma_{xy} & = \cfrac{\tau_{xy}}{G} \\ \gamma_{yz} & = 0 \\ \gamma_{zx} & = 0 \end{align} $$ We will examine the significance of these relations in the next lesson.

title: Strength of materials/Lesson 2


text: File:Engagementpic.gif

title: File:Engagementpic.gif


text:
User talk:Sjohnson

Welcome
Hello Sjohnson, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! Erkan Yilmaz (evaluate me!, discussion ) 22:31, 23 August 2007 (UTC)

P.S. I have seen that you have subscribed as participant/contributor to some interesting areas. Hope you will help others gain more knowledge. Have fun around here.
 * ok, then see yoou around. If you have questions, feel free to ask. Erkan Yilmaz (evaluate me!, discussion ) 06:17, 25 August 2007 (UTC)

Hello Sjohnson, thank you for your edits about the topic linux. When you always add a category then other people can find your pages easier. Here is e.g. Category:Linux. As you can see your pages are already listed there. See here how to achieve this. If you have questions, I am here for you. Erkan Yilmaz (evaluate me!, discussion ) 16:28, 25 August 2007 (UTC)

Menu Planning
Hi, the subpages of Menu Planning are moved now, see here how it looks like. For you nothing has changed much, you can click there and still edit the pages. But now the pages are associated better with "Menu Planning". What do you think ? Erkan Yilmaz (evaluate me!, discussion ) 22:42, 29 August 2007 (UTC)

How is it going ?
Hello, it has been a while since you made the last edit. I just wanted to ask, how it is going and if we can help you somehow. See you soon, Erkan Yilmaz ( my talk page, wiki blog ) 10:44, 14 October 2007 (UTC)

Oracle Databases
Hello, and welcome to Wikiversity! We welcome and appreciate your contributions, such as Oracle Databases, but we regretfully cannot accept copyrighted text or images borrowed from either web sites or printed material. This article appears to be a direct copy from http://ist.marshall.edu/ist480adbp/plsql_trnctl.html. As a copyright violation, Oracle Databases appears to qualify for deletion. Oracle Databases has been tagged for deletion, and may have been deleted by the time you see this message. If the source is a credible one, please consider rewriting the content and citing the source.

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title: User talk:Sjohnson


text: File:PlaneStress.png

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Northern Arizona University/Environmental Ethics/Journals

Weekly Journals
The model for our journals is the one Thoreau kept during his stay at Walden pond. In this journal he recorded ideas as he planted and hoed beans, went for a swim, ate breakfast, read Plato or Homer, or prepared to do battle with the woodchuck. Each week, let us make one entry with the aim of keeping track of our thoughts as we work on the problems in environmental ethics and make our way through the texts. Record your puzzles, questions, insights, etc. Hopefully, they will also be helpful as you prepare to write a term paper.

 * Fall 2010 journals
 * Fall 2009 journals
 * Jeff Downard's journal
 * ../Adaptation Groups/


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Talk:Japanese Language/Everyday Phrases

RfD discussion
See for details. --HappyCamper 23:13, 23 August 2007 (UTC)

title: Talk:Japanese Language/Everyday Phrases


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Talk:Japanese I/Vocabulary/Intro

RfD discussion
See for details. --HappyCamper 23:14, 23 August 2007 (UTC)

title: Talk:Japanese I/Vocabulary/Intro


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Talk:Japanese I/Vocabulary/Adjectives 1

RfD discussion
See for details. --HappyCamper 23:14, 23 August 2007 (UTC)

title: Talk:Japanese I/Vocabulary/Adjectives 1


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Wikiversity:Funding

Funding
Funding provides resources to a research or exploratory project so that a person, business, or any other private or public institution, may successfully accomplish the objectives of the project. A request for funding is an attempt at fundraising. The resources provided can be income, computing time and access, libraries and databases, or specific facilities such as observatory time or use of laboratory equipment.

Research funding is often in the form of donations or grants. The higher the risk of success, the closer to a gift the resource becomes. The lower the risk of success, the closer to an investment or loan usually with interest, the resource is.

In between these two extremes is funding provided by a foundation where some reasonable likelihood of success can be demonstrated usually on the basis of past achievement or credentials.

Obtaining funding (income to cover research costs) is important because research takes a toll on time, energy, and resources. It may not lead to profit-making yet may be valuable in its contribution to society. The results of the research or exploration that contribute to the better good of society should be made available for the public good and funded accordingly.

Crowdfunding
"[Anne] Schelhorn was one of the first German scientists daring to venture in November 2012 to the newly established sciencestarter.de platform. After the creative industry proved crowdfunding was possible, sciencestarter.de claims to be the first portal in Europe only for scientific projects. There are several English-language role models, such as petridish.org or sciflies.org."

Private funding
Private funding may bias the resulting findings, since members of the institute, or individuals, might lose their income when the results aren't to the funder's liking. Another consequence is that more and more results will only be available to the funders, or to parties willing to pay and use the results under restricted conditions.

Funding for 2012 from some private foundations:

 * Michael J. Fox Foundation, 82.6% of revenues awarded as grants, $53.858 million in grants.
 * Juvenile Diabetes Research Foundation, 57.0%, $110.071 million.
 * Myelin Repair Foundation, 53.9%, $4.840 million.
 * Alzheimer’s Drug Discovery Foundation, 52.0%, $4.750 million.
 * Parkinson’s Disease Foundation, 46.2%, $4.750 million.
 * Melanoma Research Alliance Foundation, 24.3%, $5.104 million.
 * Leukemia and Lymphoma Society, 22.4%, $68.398 million.
 * Muscular Dystrophy Association, 21.7%, $33.945 million.
 * The ALS Association, 18.4%, $3.500 million.
 * American Heart Association, 18.3%, $116.872 million.
 * Cystic Fibrosis Foundation, 17.9%, $54.707 million.
 * National Multiple Sclerosis Society, 16.4%, $35.273 million.
 * American Diabetes Association, 16.1%, $33.588 million.
 * Susan G. Komen Breast Cancer Foundation, dba Susan G. Komen for the Cure, 15.3%, $60.931 million.
 * American Parkinson Disease Association, 15.1%, $1.293 million.
 * American Cancer Society, 11.5%, $106.882 million.
 * American Liver Foundation, 11.1%, $947,759.
 * March of Dimes Foundation, 11.1%, $23.387 million.
 * National Parkinson Foundation, 9.8%, $902,784.
 * Arthritis Foundation, 8.8%, $9.294 million.

Canada funding

 * Canadian Space Agency
 * Natural Sciences and Engineering Research Council
 * Social Sciences and Humanities Research Council

United States funding

 * National Endowment for the Humanities Division of Research Programs encourages research and writing in all areas of the humanities, including the study of history, literature, philosophy, religion, and foreign cultures. Through grants to individual scholars and institutions, the division fosters work that enables Americans to understand the world.
 * Defense Advanced Research Projects Agency (DARPA)
 * National Aeronautics and Space Administration (NASA)
 * National Institutes of Health
 * National Oceanic and Atmospheric Administration (NOAA)
 * National Science Foundation
 * Office of Naval Research
 * U.S. Department of Education Grants
 * U.S. Geological Survey

European funding

 * European Social Fund
 * European Space Agency
 * Netherlands Institute for Advanced Study in the Humanities and Social Sciences
 * Swiss Society for Humanities
 * U.K. Arts and Humanities Research Council
 * Max Planck Institute (Germany)

External resources

 * Wikipedia:Research funding
 * Wikipedia:National Institutes of Health
 * Wikipedia:National Science Foundation
 * Unlock the Value - Funding and 10 million dollar prize for developing better ways to extract silver from silica ore
 * Members Project - $2.5 million in American Express funding
 * Project 10 to the 100

title: Wikiversity:Funding


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Grants and fundraising/Grants

Link to any subpages this page might have

How could grants be used in conjunction with Wikiversity? There are many details to be worked out. It seems that no one has utilized a grant on behalf of Wikiversity. Whatever you were to do would create precedences.

If you have competency in this area, your contributions to this area of Wikiversity would be greatly appreciated.

Grants to consider pursuing

 * National Providers of Training and Technical Assistance (Open from Jun 04, 2008 to Jun 30, 2008)

Resources

 * Grants on Wikipedia
 * Search for Grants at Wikiversity

title: Grants and fundraising/Grants


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File:Remaley Dark Side Screenplay.pdf

Used with the WikiU Film School Lesson on how to format a movie script

title: File:Remaley Dark Side Screenplay.pdf


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File:Remaley Dark Side Screenplay - Celtx.pdf

Used with the WikiU Film School Lesson on how to format a movie script


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File:KinnetiK Storyboard sheet.jpg

Used with the WikiU Film School Lesson on how to do thumbnail storyboarding

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File:KinnetiK Sample Storyboard.png

Used with the WikiU Film School Lesson on how to do thumbnail storyboarding

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Nonlinear finite elements/Stress and strain in one and two dimension

1-D strain measures

 * Engineering strain :

 * $$ \varepsilon_{E} := \cfrac{l-L}{L} = \cfrac{\Delta L}{L}$$

 * Natural/Logarithmic/True strain:
 * $$ \varepsilon_{L} := \int_L^l \cfrac{dl}{l} = \ln(l)\Big|_L^l = \ln\left(\cfrac{l}{L}\right)$$

Relation between engineering and true strain:

\varepsilon_{L} = \ln\left(\cfrac{L+\Delta L}{L}\right) = \ln\left(1+\cfrac{\Delta L}{L}\right) = \ln\left(1+\varepsilon_{E}\right) $$

 * Green (Lagrangian) strain :

 * $$ \varepsilon_{G} := \frac{1}{2}\left(\cfrac{l^2-L^2}{L^2}\right) =\frac{1}{2}\left(\cfrac{l^2}{L^2}-1\right) $$

 * Almansi-Hamel (Eulerian) strain :

 * $$ \varepsilon_{A} := \frac{1}{2}\left(\cfrac{l^2-L^2}{l^2}\right) =\frac{1}{2}\left(1-\cfrac{L^2}{l^2}\right) $$

1-D stress measures

 * Engineering/Nominal stress:
 * $$ P = \sigma_{E} := \cfrac{T}{A}$$

 * Cauchy/True stress:
 * $$ \sigma = \sigma_{T} := \cfrac{T}{a} $$

Relation between engineering and true stress (no volume change):

\sigma_{T} = \cfrac{T}{a} = \cfrac{Tl}{AL} = \sigma_{E}\left(\cfrac{L+\Delta L}{L}\right) = \sigma_{E}\left(1 +\varepsilon_{E}\right) $$

1-D stress-strain relations

 * True stress - Green strain:
 * $$ \sigma_{T} = E_{TG} \left(\cfrac{l^2 - L^2}{2 L^2}\right)$$

 * True stress - True strain:
 * $$ \sigma_{T} = E_{TT} \ln\left(\cfrac{l}{L}\right)$$

Example

cock $$

\sin\theta = \cfrac{x}{l(x)} $$

 * Assume incompressible material.
 * $$ V = v ~; AL = al $$or :$$ V = al~; a = V/l$$}

 * Equilibrium.
 * $$ T(x) = F$$:$$\implies R(x) = T(x) - F = 0$$

where
 * $$\begin{align}T(x) & = \sigma(x)~a(x)~\sin\theta \\ & = \cfrac{\sigma(x)~a(x)~x}{l(x)} \\ & = {\cfrac{\sigma(x)~V~x}{l(x)^2}}\end{align}$$

Stress-strain relation 1

\sigma(x) = E \left(\cfrac{l(x)^2 - L^2}{2 L^2}\right) $$ Then,

\begin{align} T(x) & = \cfrac{E~a(x)~x}{l(x)} \left(\cfrac{l(x)^2 - L^2}{2 L^2}\right)\\ & = \cfrac{E~V~x}{l^2} \left(\cfrac{l^2 - L^2}{2 L^2}\right) \end{align} $$ and

R(x) =\cfrac{E~V~x}{l^2} \left(\cfrac{l^2 - L^2}{2 L^2}\right) - F $$ Highly nonlinear in $$x$$.

Stiffness
Stiffness = change in equilibrium equation due to change in position.

K(x) = \cfrac{dR(x)}{dx} = \cfrac{dT(x)}{dx} (\text{if}~ F ~\text{ is constant}) $$ Now,

T(x) = \cfrac{\sigma(x)~V~x}{l(x)^2} $$ Therefore,

\begin{align} \cfrac{dT}{dx} & = V\left[x~\cfrac{d}{dx}\left(\cfrac{\sigma}{l^2}\right) + \cfrac{\sigma}{l^2}\right] \\ & = V\left[x~\cfrac{d}{d\sigma}\left(\cfrac{\sigma}{l^2}\right) \cfrac{d\sigma}{dx} + x~\cfrac{d}{dl}\left(\cfrac{\sigma}{l^2}\right) \cfrac{dl}{dx} + \cfrac{\sigma}{l^2}\right] = V\left[\cfrac{x}{l^2}\cfrac{d\sigma}{dl}\cfrac{dl}{dx} - \cfrac{2x\sigma}{l^3}\cfrac{dl}{dx} + \cfrac{\sigma}{l^2}\right] \\ & = \cfrac{Vx}{l^2}\left(\cfrac{d\sigma}{dl} - \cfrac{2\sigma}{l}\right)\cfrac{dl}{dx} + \cfrac{V\sigma}{l^2} = \cfrac{Vx}{l^2}\left(\cfrac{d\sigma}{dl} - \cfrac{2\sigma}{l}\right)\cfrac{x}{l} + \cfrac{V\sigma}{l^2} \\ \implies K & = a\left(\cfrac{d\sigma}{dl} - \cfrac{2\sigma}{l}\right)\cfrac{x^2}{l^2} + \cfrac{\sigma~a}{l} \end{align} $$

\sigma= E \left(\cfrac{l^2 - L^2}{2 L^2}\right) \implies \cfrac{d\sigma}{dl}= \cfrac{E~l}{L^2} $$

\begin{align} K & = a\left(\cfrac{d\sigma}{dl} - \cfrac{2\sigma}{l}\right)\cfrac{x^2}{l^2} + \cfrac{\sigma~a}{l} \\ & = a\left(\cfrac{E~l}{L^2} - \cfrac{2\sigma}{l}\right)\cfrac{x^2}{l^2} + \cfrac{\sigma~a}{l} \\ & = \cfrac{A}{L}\left(E - 2S\right)\cfrac{x^2}{l^2} + \cfrac{S~A}{L} \end{align} $$

Initial stress/Geometric stiffness

\cfrac{S~A}{L} ~; S= \sigma \cfrac{L^2}{l^2} = P \cfrac{L}{l} $$

Stress-strain relation 2

\sigma(x) = E \ln\left(\cfrac{l(x)}{L}\right) $$ Then,

\begin{align} T(x) & = \cfrac{E~a(x)~x}{l(x)} \ln\left(\cfrac{l(x)}{L}\right) \\ & = \cfrac{E~V~x}{l^2} \ln\left(\cfrac{l}{L}\right) \end{align} $$ and

R(x) =\cfrac{E~V~x}{l^2} \ln\left(\cfrac{l}{L}\right) - F $$ Highly nonlinear in $$x$$.

\sigma= E \ln\left(\cfrac{l}{L}\right) \implies \cfrac{d\sigma}{dl}= \cfrac{E}{l} $$

Stiffness

\begin{align} K & = a\left(\cfrac{d\sigma}{dl} - \cfrac{2\sigma}{l}\right)\cfrac{x^2}{l^2} + \cfrac{\sigma~a}{l} \\ & = a\left(\cfrac{E}{l} - \cfrac{2\sigma}{l}\right)\cfrac{x^2}{l^2} + \cfrac{\sigma~a}{l} \\ & = \cfrac{a}{l}\left(E - 2\sigma\right)\cfrac{x^2}{l^2} + \cfrac{\sigma~a}{l} \end{align} $$

Initial stress/Geometric stiffness:

\cfrac{\sigma~a}{l} $$

Small strains

\begin{align} \varepsilon_{xx} & = \frac{\partial u_x}{\partial x} \\ \varepsilon_{yy} & = \frac{\partial u_y}{\partial y} \\ \varepsilon_{xy} & = \frac{1}{2}\left(\frac{\partial u_x}{\partial y}+\frac{\partial u_y}{\partial x}\right) \end{align} $$ For 90$$^o$$ rotation,

u_x = -Y - X ~; u_y = X - Y $$ Then strains are:

\begin{align} \varepsilon_{xx} & = -1 \\ \varepsilon_{yy} & = -1 \\ \varepsilon_{xy} & = 0 \end{align} $$ Rotation should not lead to non-zero strains!

Finite strains
For 90$$^o$$ rotation,

u_x = -Y - X ~; u_y = X - Y $$ Then,

E_{xx} = 0~; E_{yy} = 0~;E_{xy} = 0 $$

Green strain (1-D)

\varepsilon_{G} = \cfrac{l^2-L^2}{2L^2} $$ In 2-D:

E_{xx} = \cfrac{ds^2-dX^2}{2dX^2} $$ Now,

ds^2= dX^2\left(1 +\frac{\partial u_x}{\partial X}\right)^2 + dX^2\left(\frac{\partial u_y}{\partial X}\right)^2 $$ Therefore,

\begin{align} E_{xx} & = \cfrac{dX^2}{2dX^2}\left[ \left(1 +\frac{\partial u_x}{\partial X}\right)^2 + \left(\frac{\partial u_y}{\partial X}\right)^2 - 1 \right] \\ & = \frac{\partial u_x}{\partial X} + \frac{1}{2}\left[ \left(\frac{\partial u_x}{\partial X}\right)^2 + \left(\frac{\partial u_y}{\partial X}\right)^2 \right] \end{align} $$ Similar for $$E_{yy}$$ and $$E_{xy}$$.


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Nonlinear finite elements/Kinematics

Strain Measures in three dimensions
Initial orthonormal basis:

(\boldsymbol{E}_1, \boldsymbol{E}_2, \boldsymbol{E}_3) $$ Deformed orthonormal basis:

(\mathbf{e}_1, \mathbf{e}_2, \mathbf{e}_3) $$ We assume that these coincide.

Motion

\mathbf{x} = \boldsymbol{\varphi}(\mathbf{X}, t) = \mathbf{x}(\mathbf{X}, t) $$

Deformation Gradient

 * $$\begin{align}

\boldsymbol{F} & = \frac{\partial \boldsymbol{\varphi}}{\partial \mathbf{X}} = \boldsymbol{\nabla}_o \boldsymbol{\varphi} \\ & = \frac{\partial \mathbf{x}}{\partial \mathbf{X}} = \boldsymbol{\nabla}_X \boldsymbol{\varphi} \end{align}$$ Effect of $$\boldsymbol{F}$$:
 * $$\begin{align}

d\mathbf{x}_1 & = \boldsymbol{F}\bullet d\mathbf{X}_1 ~;& d\mathbf{x}_2 & = \boldsymbol{F}\bullet d\mathbf{X}_2 \end{align}$$ Dyadic notation:

\boldsymbol{F} = F_{iJ}~\mathbf{e}_i\otimes\boldsymbol{E}_J $$ Index notation:

F_{iJ} = \frac{\partial x_i}{\partial X_J} $$ The determinant of the deformation gradient is usually denoted by $$J$$ and is a measure of the change in volume, i.e.,

J = \det{\boldsymbol{F}} $$

Push Forward and Pull Back
Forward Map:

\mathbf{x} = \boldsymbol{\varphi}(\mathbf{X},t) $$

Forward deformation gradient:

\boldsymbol{F} = \frac{\partial \mathbf{x}}{\partial \mathbf{X}} = \boldsymbol{\nabla}_o \boldsymbol{\varphi} $$

Dyadic notation:

\boldsymbol{F} = \sum_{i,J=1}^3 \frac{\partial x_i}{\partial X_J}~\mathbf{e}_i\otimes\boldsymbol{E}_J $$

Effect of deformation gradient:

d\mathbf{x} = \boldsymbol{F}\bullet d\mathbf{X} = \boldsymbol{\varphi}_{*}[d\mathbf{X}] $$

Push Forward operation:

\boldsymbol{\varphi}_{*}[\bullet] $$
 * $$d\mathbf{X}$$ = material vector.
 * $$d\mathbf{x}$$ = spatial vector.

Inverse map:

\mathbf{X} = \boldsymbol{\varphi}^{-1}(\mathbf{x},t) $$

Inverse deformation gradient:

\boldsymbol{F}^{-1} = \frac{\partial \mathbf{X}}{\partial \mathbf{x}} = \boldsymbol{\nabla} \boldsymbol{\varphi}^{-1} $$

Dyadic notation:

\boldsymbol{F}^{-1} = \sum_{i,J=1}^3 \frac{\partial X_I}{\partial x_j}~\boldsymbol{E}_I\otimes\mathbf{e}_j $$

Effect of inverse deformation gradient:

d\mathbf{X} = \boldsymbol{F}^{-1}\bullet d\mathbf{x} = \boldsymbol{\varphi}^{*}[d\mathbf{x}] $$

Pull Back operation:

\boldsymbol{\varphi}^{*}[\bullet] $$
 * $$d\mathbf{X}$$ = material vector.
 * $$d\mathbf{x}$$ = spatial vector.

Example
Motion:
 * $$\begin{align}

x_1 & = \cfrac{1}{4}(18 + 4X_1 + 6X_2) \\ x_2 & = \cfrac{1}{4}(14 + 6X_2) \end{align}$$

Deformation Gradient:

F_{ij} = \frac{\partial x_i}{\partial X_j} \implies \mathbf{F} = \frac{1}{2}\begin{bmatrix} 2 & 3 \\ 0 & 3 \end{bmatrix} $$

Inverse Deformation Gradient:

\mathbf{F}^{-1} = \cfrac{1}{3}\begin{bmatrix} 3 & -3 \\ 0 & 2 \end{bmatrix} $$

Push Forward:
 * $$\begin{align}

\boldsymbol{\varphi}_{*}[\boldsymbol{E}_1] & = \mathbf{F}\begin{bmatrix} 1 \\ 0 \end{bmatrix} = \begin{bmatrix} 1 \\ 0 \end{bmatrix} \\ \boldsymbol{\varphi}_{*}[\boldsymbol{E}_2] & = \mathbf{F}\begin{bmatrix} 0 \\ 1 \end{bmatrix} = \begin{bmatrix} 1.5 \\ 1.5 \end{bmatrix} \end{align}$$

Pull Back:
 * $$\begin{align}

\boldsymbol{\varphi}^{*}[\mathbf{e}_1] & = \mathbf{F}^{-1}\begin{bmatrix} 1 \\ 0 \end{bmatrix} = \begin{bmatrix} 1 \\ 0 \end{bmatrix} \\ \boldsymbol{\varphi}^{*}[\mathbf{e}_2] & = \mathbf{F}^{-1}\begin{bmatrix} 0 \\ 1 \end{bmatrix} = \begin{bmatrix} -1 \\ 2/3 \end{bmatrix} \end{align}$$

Right Cauchy-Green Deformation Tensor
Recall:

d\mathbf{x}_1 = \boldsymbol{F}\bullet d\mathbf{X}_1 ~; d\mathbf{x}_2 = \boldsymbol{F}\bullet d\mathbf{X}_2 $$ Therefore,

d\mathbf{x}_1\bullet d\mathbf{x}_2 = (\boldsymbol{F}\bullet d\mathbf{X}_1)\bullet(\boldsymbol{F}\bullet d\mathbf{X}_2) $$ Using index notation:
 * $$\begin{align}

d\mathbf{x}_1\bullet d\mathbf{x}_2 & = (F_{ij}~dX^1_j)(F_{ik}~dX^2_k)\\ & = dX^1_j~(F_{ij}~F_{ik})~dX^2_k \\ & = d\mathbf{X}_1\bullet(\boldsymbol{F}^T\bullet\boldsymbol{F})\bullet d\mathbf{X}_2 \\ & = d\mathbf{X}_1\bullet\boldsymbol{C} \bullet d\mathbf{X}_2 \end{align}$$ Right Cauchy-Green tensor:

\boldsymbol{C} = \boldsymbol{F}^T\bullet\boldsymbol{F} $$

Left Cauchy-Green Deformation Tensor
Recall:

d\mathbf{X}_1 = \boldsymbol{F}^{-1}\bullet d\mathbf{x}_1 ~; d\mathbf{X}_2 = \boldsymbol{F}^{-1}\bullet d\mathbf{x}_2 $$ Therefore,

d\mathbf{X}_1\bullet d\mathbf{X}_2 = (\boldsymbol{F}^{-1}\bullet d\mathbf{x}_1)\bullet(\boldsymbol{F}^{-1}\bullet d\mathbf{x}_2) $$ Using index notation:
 * $$\begin{align}

d\mathbf{X}_1\bullet d\mathbf{X}_2 & = (F^{-1}_{ij}~dx^1_j)(F^{-1}_{ik}~dx^2_k)\\ & = dx^1_j~(F^{-1}_{ij}~F^{-1}_{ik})~dx^2_k \\ & = d\mathbf{x}_1\bullet(\boldsymbol{F}^{-T}\bullet\boldsymbol{F}^{-1})\bullet d\mathbf{x}_2 \\ & = d\mathbf{x}_1\bullet(\boldsymbol{F}\bullet\boldsymbol{F}^T)^{-1}\bullet d\mathbf{x}_2 \\ & = d\mathbf{x}_1\bullet\mathbf{b}^{-1}\bullet d\mathbf{x}_2 \end{align}$$ Left Cauchy-Green (Finger) tensor:

\mathbf{b} = \boldsymbol{F}\bullet\boldsymbol{F}^T $$

Green (Lagrangian) Strain

 * $$\begin{align}

\frac{1}{2}(d\mathbf{x}_1\bullet d\mathbf{x}_2 & - d\mathbf{X}_1\bullet d\mathbf{X}_2) \\ & = \frac{1}{2}d\mathbf{X}_1\bullet(\boldsymbol{C} - \boldsymbol{I}) \bullet d\mathbf{X}_2 \\ & = d\mathbf{X}_1\bullet\boldsymbol{E} \bullet d\mathbf{X}_2 \end{align}$$ Green strain tensor:

\begin{align} \boldsymbol{E} & = \frac{1}{2}(\boldsymbol{C} - \boldsymbol{I}) \\ & = \frac{1}{2}(\boldsymbol{F}^T\bullet\boldsymbol{F} - \boldsymbol{I}) \\ & = \frac{1}{2}\left[\boldsymbol{\nabla}_o \mathbf{u} + (\boldsymbol{\nabla}_o \mathbf{u})^T + \boldsymbol{\nabla}_o \mathbf{u}\bullet(\boldsymbol{\nabla_o \mathbf{u})^T}\right] \end{align} $$ Index notation:

\begin{align} E_{ij} & = \frac{1}{2}(F_{ki}~F_{kj} - \delta_{ij})\\ & = \frac{1}{2}\left(\frac{\partial u_i}{\partial X_j} + \frac{\partial u_j}{\partial X_i} + \frac{\partial u_k}{\partial X_i}\frac{\partial u_k}{\partial X_j}\right) \end{align} $$

Almansi (Eulerian) Strain

 * $$\begin{align}

\frac{1}{2}(d\mathbf{x}_1\bullet d\mathbf{x}_2 & - d\mathbf{X}_1\bullet d\mathbf{X}_2) \\ & = \frac{1}{2}d\mathbf{x}_1\bullet(\boldsymbol{I} - \mathbf{b}^{-1})\bullet d\mathbf{x}_2 \\ & = d\mathbf{x}_1\bullet\mathbf{e} \bullet d\mathbf{x}_2 \end{align}$$ Almansi strain tensor:

\begin{align} \mathbf{e} & = \frac{1}{2}(\boldsymbol{I} - \mathbf{b}^{-1}) \\ & = \frac{1}{2}(\boldsymbol{I} - \boldsymbol{F}^{-T}\bullet\boldsymbol{F}^{-1}) \end{align} $$ Index notation:

\begin{align} e_{ij} & = \frac{1}{2}(\delta_{ij} - F^{-1}_{ki}~F^{-1}_{kj}) \end{align} $$

Push Forward and Pull Back
Recall:

d\mathbf{x}_1\bullet\mathbf{e} \bullet d\mathbf{x}_2 = d\mathbf{X}_1\bullet\boldsymbol{E} \bullet d\mathbf{X}_2 $$ Now,
 * $$\begin{align}

d\mathbf{x}_1\bullet\mathbf{e} \bullet d\mathbf{x}_2 & =(\boldsymbol{F}\bullet d\mathbf{X}_1)\bullet\mathbf{e}\bullet(\boldsymbol{F}\bullet d\mathbf{X}_2) \\ & =d\mathbf{X}_1\bullet(\boldsymbol{F}^T\bullet\mathbf{e}\bullet\boldsymbol{F})\bullet d\mathbf{X}_2 \\ & =d\mathbf{X}_1\bullet\boldsymbol{E}\bullet d\mathbf{X}_2 \end{align}$$ Therefore,
 * $$\begin{align}

\boldsymbol{E} & = \boldsymbol{F}^T\bullet\mathbf{e}\bullet\boldsymbol{F} \\ \implies \mathbf{e} & = \boldsymbol{F}^{-T}\bullet\boldsymbol{E}\bullet\boldsymbol{F}^{-1} \end{align}$$ Push Forward:

\mathbf{e} = \boldsymbol{\varphi}_{*}[\boldsymbol{E}] =\boldsymbol{F}^{-T}\bullet\boldsymbol{E}\bullet\boldsymbol{F}^{-1} $$ Pull Back:

\boldsymbol{E} = \boldsymbol{\varphi}^{*}[\mathbf{e}] =\boldsymbol{F}^T\bullet\mathbf{e}\bullet\boldsymbol{F} $$

Derivative of J with respect to the deformation gradient
We often need to compute the derivative of $$J = \det{\boldsymbol{F}}$$ with respect to the deformation gradient $$\boldsymbol{F}$$. From tensor calculus we have, for any second order tensor $$\boldsymbol{A}$$

\cfrac{\partial}{\partial \boldsymbol{A}}( \det{\boldsymbol{A}}) = \det{\boldsymbol{A}}~\boldsymbol{A}^{-T} $$ Therefore,

Derivative of J with respect to the right Cauchy-Green deformation tensor
The derivative of J with respect to the right Cauchy-Green deformation tensor ($$\boldsymbol{C}$$) is also often encountered in continuum mechanics.

To calculate the derivative of $$J = \det{\boldsymbol{F}}$$ with respect to $$\boldsymbol{C}$$, we recall that (for any second order tensor $$\boldsymbol{T}$$)

\frac{\partial \boldsymbol{C}}{\partial \boldsymbol{F}}:\boldsymbol{T} = \frac{\partial }{\partial \boldsymbol{F}}(\boldsymbol{F}^T\cdot\boldsymbol{F}):\boldsymbol{T} = (\boldsymbol{\mathsf{I}}^T:\boldsymbol{T})\cdot\boldsymbol{F} + \boldsymbol{F}^T\cdot(\boldsymbol{\mathsf{I}}:\boldsymbol{T}) = \boldsymbol{T}^T\cdot\boldsymbol{F} + \boldsymbol{F}^T\cdot\boldsymbol{T} $$ Also,

\frac{\partial J}{\partial \boldsymbol{F}}:\boldsymbol{T} = \frac{\partial J}{\partial \boldsymbol{C}}:(\frac{\partial \boldsymbol{C}}{\partial \boldsymbol{F}}:\boldsymbol{T}) = \frac{\partial J}{\partial \boldsymbol{C}}:(\boldsymbol{T}^T\cdot\boldsymbol{F} + \boldsymbol{F}^T\cdot\boldsymbol{T}) = \left[\boldsymbol{F}\cdot\frac{\partial J}{\partial \boldsymbol{C}}\right]:\boldsymbol{T} + \left[\boldsymbol{F}\cdot\left(\frac{\partial J}{\partial \boldsymbol{C}}\right)^T\right]:\boldsymbol{T} $$ From the symmetry of $$\boldsymbol{C}$$ we have

\frac{\partial J}{\partial \boldsymbol{C}} = \left(\frac{\partial J}{\partial \boldsymbol{C}}\right)^T $$ Therefore, involving the arbitrariness of $$\boldsymbol{T}$$, we have

\frac{\partial J}{\partial \boldsymbol{F}} = 2~\boldsymbol{F}\cdot\frac{\partial J}{\partial \boldsymbol{C}} $$ Hence,

\frac{\partial J}{\partial \boldsymbol{C}} = \frac{1}{2}~\boldsymbol{F}^{-1}\cdot\frac{\partial J}{\partial \boldsymbol{F}} ~. $$ Also recall that

\frac{\partial J}{\partial \boldsymbol{F}} = J~\boldsymbol{F}^{-T} $$ Therefore, In index notation,

Derivative of the inverse of the right Cauchy-Green tensor
Another result that is often useful is that for the derivative of the inverse of the right Cauchy-Green tensor ($$\boldsymbol{C}$$).

Recall that, for a second order tensor $$\boldsymbol{A}$$,

\frac{\partial \boldsymbol{A}^{-1}}{\partial \boldsymbol{A}}:\boldsymbol{T} = -\boldsymbol{A}^{-1}\cdot\boldsymbol{T}\cdot\boldsymbol{A}^{-1} $$ In index notation

\frac{\partial A^{-1}_{ij}}{\partial A_{kl}}~T_{kl} = B_{ijkl}~T_{kl} = -A^{-1}_{ik}~T_{kl}~A^{-1}_{lj} $$ or,

\frac{\partial A^{-1}_{ij}}{\partial A_{kl}} = B_{ijkl} = -A^{-1}_{ik}~A^{-1}_{lj} $$ Using this formula and noting that since $$\boldsymbol{C}$$ is a symmetric second order tensor, the derivative of its inverse is a symmetric fourth order tensor we have

title: Nonlinear finite elements/Kinematics


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User talk:Bgorges

Hello Bgorges, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
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Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! --JWSchmidt 01:03, 24 August 2007 (UTC)

2 preposed page moves for EE111 Class
I'm really thinking we should move the page to the page Number system to "EE 111 Digital Electronics/Lecture 1, Introduction to Binary, Octal and Hexadecimal Mathematics" and the page Lecture 2, Digital Logic to "EE 111 Digital Electronics/Lecture 2, Digital Logic" and

simply number systems is ambiguous and doesn't specify its a part of the ee111 class this also allows for a auto generated back link and helps keep it together as a part of this class anyhow its in the discussion for the page  i posted here because your involved with the class Eadthem 18:41, 29 September 2007 (UTC)

Portal talk:Engineering and Technology/ - Electrical/Electronic Engineering Orientation/Aptitude Course
ping- Thuvack 11:15, 10 April 2008 (UTC)

Hey there
It's good to see you back. Please have a look at the my proposed format for the Shool of Electrical engineeering SandBox3 and the Shool of Electronic engineeering SandBox4.;-)Thuvack 05:13, 17 July 2008 (UTC)

title: User talk:Bgorges


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Talk:Blender

"should have done a few tutorials before starting" <-- Is this a good tutorial to start with? --JWSchmidt 01:49, 24 August 2007 (UTC)

No, I am definitely recommending more than one to start. "Proficient in making simple things" means things like square tables, etc... I'll add some more to that section anyway to get a better idea of what is expected. --V2os 13:22, 24 August 2007 (UTC)

 * This is consistent with my experience of the Blender community. I've been looking at this application off and on for the past year. I've had it on my computer for the past year. I understand the challenges of a volunteer community, but the documentation is not user friendly for new users. It does not surprise me that I am told not to start with the first tutorial I find in the manual, but it seems reasonable that a course instructing learners to do tutorials might list one or two that are good starting places. --JWSchmidt 14:04, 24 August 2007 (UTC)

 * Yeah, I know. I'm not going to be done with this anytime soon though. Give me some time to find these good tutorials. I also probably need some volunteer experimental students for this... --V2os 18:25, 24 August 2007 (UTC)

 * Thanks. I'll try any tutorials you suggest. --JWSchmidt 19:46, 24 August 2007 (UTC)

Course enrollment
HI, I'm interested in enrolling in your course, but, I don't see anywhere to enroll. Russell.farley@att.net          Thx

Hello, I am also interested in enrolling. It would be nice if there was some documentation on the sight on how to enroll. Maybe I am not searching correctly. Kind Regards, Lunarmoth troublingprincess@hotmail.com

Yes Me to cant find the enrolled student section jngugi88@gmail.com

title: Talk:Blender


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User talk:LaraLove

The majority of my contributions are to the English Wikipedia. Please direct any comments to my talk page there. LaraLove 03:43, 24 August 2007 (UTC)

title: User talk:LaraLove


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Engineering mathematics

Great Resources

 * BYU math for engineers website (Online lectures, learning modules... etc)

Syllabus

 * Algebra
 * 1) Matrix Algebra for Electrical Engineers
 * 2) Sequences and Series

 * Co-ordinate geometry
 * 1) Two Dimensions
 * 2) Three Dimensions
 * Complex Numbers
 * Differential equations
 * Calculus
 * 1) Mean Value Theorems
 * 2) Definite Integrals
 * 3) Multiple Integrals
 * 4) Vector Calculus

 * Numerical Methods
 * Probability and statistics
 * Transform Theory
 * 1) Laplace transform
 * 2) Fourier transform
 * 3) Z-transform
 * linear algebra

title: Engineering mathematics


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User:Remi/Archives/Random topic

Random resource and topic – now where would this go in the conversation?
Since we use "resources" in instead of article or page, how about we change the "Random page" on the left side of the screen to "Random resource" and then also add, "Random topic" below that... if it would be possible? --Remi 05:07, 16 August 2007 (UTC)
 * Topic:Topics was started as a list that could provide a way to have a useful "Random topic" link in the sidebar, similar to "Random book" at Wikibooks. --JWSchmidt 00:36, 17 August 2007 (UTC)

title: User:Remi/Archives/Random topic


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BCP/Gaultheria procumbens/Logs

2007 Logs

 * --Jomegat 15:54, 29 July 2007 (UTC)
 * --Jomegat 00:39, 10 August 2007 (UTC)
 * --SB_Johnny | talk 00:06, 22 September 2007 (UTC)

2008 Logs

 * Jomegat 18:43, 6 July 2008 (UTC)
 * Jomegat 03:02, 13 July 2008 (UTC)
 * Jomegat 01:03, 20 July 2008 (UTC)
 * Jomegat 01:22, 26 July 2008 (UTC)
 * Jomegat 01:22, 2 August 2008 (UTC)
 * Jomegat 22:49, 6 August 2008 (UTC)
 * Jomegat 20:39, 9 August 2008 (UTC)
 * Jomegat 03:48, 12 August 2008 (UTC)
 * Jomegat 21:41, 1 September 2008 (UTC) (big surprise to find one of these now)

2009

 * Jomegat 00:49, 15 July 2009 (UTC) Probably bloomed a 7-10 days ago, but I was out of town.
 * Jomegat 15:48, 26 July 2009 (UTC)

Recent Logs

 * Jomegat 23:33, 2 July 2010 (UTC)

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BCP/Gaultheria procumbens

Gaultheria procumbens

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Art History/Reflections/Alison

Alison's Reflections August 27: I picked out the museum and painting that I'm going to write my flyer about.

August 28: I have almost finished my flyer. I will be done by tomorrow.I found my painting:Starry Night by Van Gogh. I was surpried that it wasn't in the Van Gogh museum and thought it would be a wonderful addition.

September 6: Today we were dicussing the self evaulation process. I realized that i didn't do very well on Historical Context and Citation. I felt like I could've added a little more about the artist and his background. Also what was happening during the time Van Gogh was painting Starry Night. My Citation was also not as good as it could've been.

September 7: Today I found three museums and added their websites to the wiki. The San Francisco Museum of Modern Art, The National Gallery of Art, and The Cleveland Museum. I thought they were good additions to the list because one was well known and the other two were not so well known. I tried to start on the next assignment but the computer wouldn't let me download the flash player that I needed to use to see Richard Serra's work.

September 13: After seeing Serra's art for the first time I was confused. I didn't see at first how this was art. But after hearing and watching the vidoes my standards have changed. I see now that Serra works of art play with our minds in amusing ways to create illusions.

September 20: Coming up with decent questions was really difficult, since we didn't know a lot of background information on the artist or on the stlye of his photography.

September 24: I thought that talking with Mr. Anderson cleared up a lot of the general questions I had about his work. It was a very interesting listening to him dicuss his work.

September 27: I was kind of disapointed with some of the responses William Anderson gave, it was not at all what I thought the answers would be. I sometimes wished some of his paintings had a deeper meaning, othertimes I think that the photograph does just fine without one. I'm confused about the project and what it is supposed to be on.

October 1: I understand the project a lot more now. I'm glad we cleared up the questions we had. It seems a lot easier because at first I didn't know what we were doing. My idea was very percise but the project can be general. I was disapointed.

title: Art History/Reflections/Alison