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User:J4knee21/enes100/My Work3

Write problem/project Goal
Elephant truck style robot arm with interchangeable hands.

My First Task
Create and do some testing with a fin ray claw.

Summary of actual work over first weekend
I went in a new direction in how to construct the claw itself.

Week1 Narrative
I decided to go in a different direction. Instead of the hinged and metal version of the fin ray claw I decided to go with a better material I hope. The metal I feel wont exactly work out for me. It will be really stiff to bend and just an all around pain. But I also wanted something that will last longer than the original paper or cardboard. So I decided to explore plastics. What I decided to try and use is the plastic of a thin cutting board. It is really narrow and flexible while inexpensive. The only problem that I have encountered is how to connect the ribs that go inbetween the triangle to effectivley make it bend. That is what I am currently working on and hope to find a solution soon. I was thinking maybe some sort of clamp configuration because welding or glue could break easily. It could possibly work cutting slits in the plastic and sliding the pieces through to keep them together. I have confidence that I will find a way to accomplish this soon. But in the mean time here is a sketch of what the final plan is for the fin ray. :

My Second Task
Continue with putting together a claw using plastic

Summary of actual work over second weekend
I made an original fin ray. It is still a little rough, but I have the general concept of the design down.

Week2 Narrative
So to kick off my weekend I went to Home Depot and got everything I thought I would need to build the claw. I got a Male coupler (2"), two 2" plugs, a 4" cap, three 1/4" bolts with nuts/washers, a package of springs, and a flexible plastic cutting board. I took all of the plugs and caps to the band saw and cut them down so they were only the flat round piece. The 4" goes directly to the coupling. Then the 2" is bolted to the 4", however, in between them are springs to keep the hand extended. This portion came along pretty well and easily connected to the arm. : . Then creating the fingers of the claw is where the trouble came along. I tried several different methods and failed on several attempts. I began with the conventional triangle shaped claws with ribs in between them. But with my new cutting board material super glue would not stick very well at all it kept falling apart on me. Then I tried using a method of weaving two pieces of plastic together to try and hold them together. But it really did not want to curl like it should so this idea :     ... was quickly tossed aside and I moved on. Then I was struck by another idea. I cut the plastic into a shape that almost resembled a spider with three legs. One smaller for the 2" and one bigger for the 4". :   . Then these get holes drilled in them so that they can just be connected by the original bolts really easily. Then on the tips of the smaller piece of plastic I cut slits about half an inch from the bottom. The the tips of the bigger piece I cut them down so it would slide through and it connected at the end. From there it was working somewhat, but still pretty weak. This is usually where the ribs come into play but i could not glue them in. So what i did was put rubberbands around the fings to curl it up. This stiffened the fingers a lot and made it much stronger. It could still use some work but its coming along well. :[Fin Ray Video]

My Third task
Create a bracket with an I hook to connect the claw to the motor and try to improve the claws efficiency and grab ability.

Summary of actual work over third weekend
Created the bracket to connect the claw to the string from the motor.

Week3 Narrative
So to make the bracket I needed a round piece of material that would connect to the three bolts. So I used a board and cut it into a circle that was just under the circumference of the hand. This way it can still slide up and down easily with no trouble. Then in the middle of this board I placed a eye bolt. The eye bolt is what will connect to the string and allow it to be pulled. Over all it was pretty simple yet very effective. Here is a picture of the finished piece. .

My Fourth task
Adjust the width of the fingers so that that it will close having a more solid fit with no gaps between them.

Summary of actual work over fourth weekend
How is what you did different than what you planned?

Week4 Narrative
Tell a detailed story describing what you did for your team over the weekend.

Complete Team Page
Fill out the Team Form (should have already copied the form, created the team page, linked to it and started filling it out).

title: User:J4knee21/enes100/My Work3


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Engineering Projects/Robot end effector/Howard Community College/Spring2012/p1501mjj3

Problem Statement
Need to make a robot arm that will pick up objects.

Team Members

 * Michael Hicks
 * Jon Fourney
 * Jonathan Sunday

Summary
We began this section of the project with high hopes of finishing it entirely. However, this was not accomplished. But along the way we have made a great deal of progress and have set it up well for the next group. This final section we created a functioning fin ray claw that needs only a little fine tuning. Also we completed some of the motor mounts and made progress with the arduinos and programming them to run our motors almost to the desired fashion but ran into some powering issues. All in all it was a good final four weeks and we made a lot of progress.

Poster

 * End Effector Conclusion

Story
During the final four weeks a was accomplished. A functional fin ray claw was assembled using mostly PVC, some springs, bolts, and the flimsy plastic cutting board material. Now this was constructed to find a replacement for the original paper fin ray claw that we saw as not sturdy enough for what we were trying to accomplish. Using PVC couplings for the body and the ends of two PVC caps for the circular bases this dream came to life. The smaller circle was set below the bigger circle using bolts and having springs between them to keep the claw open. The bolts ran up into the body of the claw where they all connected to a small circular board with an eye hook in the middle. The purpose behind this is that the motor will pull up on the eye hook, contracting the springs and forcing the hand to close. It worked well, however, I feel that some softer springs would be much more effective. Then two pieces of cutting board were cut out. Both in a shape almost resembling a three legged spider. One was smaller and connected to the smaller base and a larger for the larger base. Then the legs were connected to each other using a slit in the end and it worked well. To add stability to the fingers rubber bands were used to bend the plastic and strengthen it. A lot of planning went into this portion of the project and overall we were pretty satisfied with the result. Also ran into some issues powering multiple stepper motors of that size using the arduino and the old motor shield. We had to use an external power supply and remover the jumper from the motor shield to keep the arduino safe. Had two running at once for a short period and it started over heating the board. Overall had lots of difficulties powering multiple motors at the same time.

Decision List
No formal decisions were made.

Material List
Materials Used:

 * 1: plastic cutting boards, 6$
 * 2: PVC coupling 2", $2
 * 3: PVC cap 2", $2
 * 4: PVC cap 4", $3
 * 5: 3 1/4" by 4" bolts w/ nuts and washers, $4
 * 6: Eye bolt, $1
 * 7: Rubber Bands
 * 8: Scrap Wood
 * 9: Monster motor shield
 * 10: External power supply

Future Materials:
 * 1: String/chain to pull with motor for claw
 * 2: Higher quality cutting board
 * 3: Another monster motor shield
 * 4: Screws

Software List

 * 1: Autocad
 * 2: Paint
 * 3: Arduino

Time
36.5 hrs

Tutorials

 * Fin Ray Construction
 * Fin Ray Video
 * Cutting Board Shape

Next Steps
The next steps with regards to building the fin ray are as follows. It is recommended to get some sort of better material for the fingers. They are pretty flimsy and not that great. Also the shape of the fingers is terrible. They need to come to more of a cone shape at the end so that your picking range is vastly improved. Maybe even add more fingers so that they can be cut at less sharp angles. Softer springs would also be recommended. Right now it takes to much force to pull the claw closed I feel like it might be a bit much for the tiny motor. Another way to help with that would be to get better bolts. The ones in there now are threaded all the way and when they are pulled through the holes it tends to snag. So if you could get some that or solid and cylindrical up until they end it may help. Either that or grind the threads off of the current ones. To further the progression on the control of multiple motors on one motor shield, you will need to try using a motor shield that can run more power like the Monster Motor shield, and have it hooked up to an external power source and try running it that way.

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


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User talk:Sietse

 Hello Sietse, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. All users are expected to abide by our Privacy policy, Civility policy, and the Terms of Use while at Wikiversity.

To get started, you may

 * Take a guided tour and learn to edit.
 * Visit a (kind of) random project.
 * Browse Wikiversity, or visit a portal corresponding to your educational level: pre-school, primary, secondary, tertiary, non-formal education.
 * Find out about research activities on Wikiversity.
 * Explore Wikiversity with the links to your left.

 * Read an introduction for teachers and find out how to write an educational resource for Wikiversity.
 * Give feedback about your initial observations
 * Discuss Wikiversity issues or ask questions at the colloquium.
 * Chat with other Wikiversitans on #wikiversity-en.
 * Follow Wikiversity on twitter (http://twitter.com/Wikiversity) and identi.ca (http://identi.ca/group/wikiversity).

You don't need to be an educator to edit. You only need to be bold to contribute and to experiment with the sandbox or your userpage. See you around Wikiversity! --Thenub314 (talk) 16:35, 13 April 2012 (UTC) Thenub314 (talk) 16:35, 13 April 2012 (UTC)

title: User talk:Sietse


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Power Supply Testing/Tutorial on preparing the multimeter for start measuring the voltage

Tutorial on setting up the multimeter for start measuring the voltage

 * 1. Get the Multimeter The Multimeter.jpg
 * 2. Get the Red and black voltmeter probe cable Probe cable.JPG
 * 3. Plug them in the multimeter. The Black voltmeter probe cable needs to be plugged in the "COM" which stands for "COMMON". The Red voltmeter probe cable needs to be plugged in the "VΩmA" Get the multimeter.jpg
 * 4.Turn on the multimeter to 20 Direct Current Voltage Turn the multimeter on.jpg
 * 5. One is ready to take measure voltage by touching two points in the circuit. A negative number means that the electromotive force is higher where the black probe is touching.


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Power Supply Testing/Tutorial on removing the gray cable

Removing the Gray wire in a safety way

 * 1. The power supply must be OFF.
 * 2. Open the power supply.
 * 3. Locate the gray wire.
 * 4. With the wire strippers reduce the size of the gray wire. Cutting gray wire.JPG
 * 5. For safety reasons with electrical tape, tape the remaining of the gray wire. Gray with electrical tape.JPG
 * 6. Now one can proceed working on the power supply.


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Power Supply Testing/Tutorial on reducing the size of the gray wire in a safe way

Removing the Gray wire in a safety way

 * 1. The power supply must be OFF.
 * 2. Open the power supply.
 * 3. Locate the gray wire.Locate gray cable.JPG
 * 4. With the wire strippers reduce the size of the gray wire. Cutting gray wire.JPG
 * 5. For safety reasons with electrical tape, tape the remaining of the gray wire. Gray with electrical tape.JPG
 * 6. Now one can proceed working on the power supply.

 * Taping the gray wire correctly is very important


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Power Supply Testing/Tutorial on reducing the size of the the purple wire safety

Reducing the size of the purple wire in a safe way

 * 1. The power supply must be OFF.
 * 2. Open the power supply.
 * 3. Locate the purple wire.
 * 4. With the wire strippers reduce the size of the purple wire. Cutting purple wire.JPG
 * 5. With electrical tape, tape the remaining of the purple wire. Taped with purple wire.JPG
 * 6. One can proceed working on the power supply.

 * Taping the purple wire correctly is very important


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Power Supply Testing/Tutorial on how to turn the power supply

 * 1. A get the power supply.
 * 2. Remove the screws and open the power supply.
 * 3. Locate one black wire.
 * 4. Locate the only green wire.Locate_the_green_cable.JPG
 * 5. Use the wire strippers to stripper both wires.Strip_the_green_and_black_wire.JPG
 * 6. Join them.Join them.JPG
 * 7. With electrical tape, tape the green and black wires.Tape them.JPG
 * 8. Plug in the power cord. The fan should start spinning.Fan should spin.JPG

 * This helps know which power supplies to work on.


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Power Supply Testing/Tutorial on how to put the cables together

 * 1. Get a Power supply.
 * 2. Remove the screws.
 * 3. Shorten the wires.
 * 4. Join the wires by colors (Only the yellow and white should be put together)
 * 5. Tape them with electrical tape. Cables_fixed.jpg
 * 6. Start stripping the wires. Wires_in_the_power_supply.jpg
 * 7. Get a long wire of the each color.
 * 8. Link it to the corresponding color.
 * 9. Tape it with electrical tape.

 * Doing this will allow the soldering job easier.


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Power Supply Testing/Tutorial on how to solder

Overview
Soldering is very dangerous and should only be done after adequate preparation. Read this guide to avoid hurting yourself or other people and to make your project a success.

Materials
You will need:
 * Soldering iron & stand
 * Sponge
 * Solder wire
 * Flat piece of wood (to protect work surface)
 * Clamp or vice (to hold your project if it is small)

Check Your Equipment

 * Make sure the iron's cord is not frayed or split anywhere.
 * Check the tip of the iron. It should be shiny silver. If it appears black, that means the tip became carbonized due to misuse, and it won't solder very well at all.

Safety Warnings

 * The soldering iron will become extremely hot. Do not touch the metal tip or anywhere near it. If you do touch it and get burned, get medical help immediately.
 * If the solder wire contains lead, then the smoke produced by the iron will also contain lead. Do not inhale the smoke. Wear a mask to keep yourself safe.
 * Whenever you aren't using the iron, put it back on its stand. If you leave it sitting around, it could roll away or fall and hurt someone.
 * Make sure the iron's cord is out of the way of other people. If it is pulled, someone could get hurt.
 * When melting the solder wire, do not hold it for longer than about five seconds or closer than 3-4 inches. The heat from the iron will conduct up the wire and it may burn your fingers.

Doing the Soldering
You need your project to stay steady. If your project is a small circuit board, for example, you need to clamp it down or fasten it somehow so it stays in place.

Step 1: Before you do anything else, wet the sponge! Squeeze enough water out so it's still soaked but isn't dripping everywhere.

Step 2: Clear your work space. Put the iron and its stand where your elbow won't hit it. Protect your work surface with the wooden board. If molten solder drips on your table, it will damage it.

Step 3: Plug the iron in. Wait a few minutes for it to get hot. You can tell it's ready if it makes a hissing sound when pressed onto the sponge.

Step 4: While you're waiting for it to heat up, cut about a foot of solder wire using wire clippers or strong scissors. Bunch up one end of the wire so it's easy to hold, leaving about 3-4 inches of straight wire. You can keep pulling more wire out of the bunch as you go.

Step 5: Hold the iron in your dominant hand and the bunched end of the solder wire in the other hand. There are a few different ways to solder depending on what kind of connection you're soldering:

 * Circuit board/wire to wire: You can either:
 * (a) place the end of the solder wire on top of the joint and press down with the iron tip or
 * (b) push the end of the solder wire into the iron tip, creating a blob of solder, which you can then "paint" onto your joint. (Take care to avoid making the blob too big, or it will drip off of the iron.)
 * Solder tabs: Orient your solder tab so that the hole is vertical. Poke the end of the solder wire up through the bottom, next to the lead you have already attached to the tab. Press down on the end of the solder wire with the tip of the iron, and it will cause the wire to melt and spread into a nice even lump.

IMPORTANT NOTES:
 * If your solder wire becomes shorter than 5 inches, consider cutting a new piece. Holding the wire any closer to the iron may burn your fingers.
 * If the tip of the iron becomes caked with solder or starts to turn a copper color, then pause what you're doing and wipe the tip on the sponge until it's shiny silver again.

Cleaning Up

 * When you're done soldering, wipe the iron tip on the sponge repeatedly until it's clean and shiny again. Then immediately put it back on its stand, unplug it, and store it somewhere out of the way so it can cool down.
 * Take the sponge and brush off any bits of solder that are stuck to it. Squeeze out the rest of the water.
 * Wash your hands! You just touched metal containing lead, you don't want to eat that.


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Controversies in Science/Was there a mitochondrial Eve?/A critique of The "Eve" Hypotheses: A Genetic Critique and Reanalysis

(Review Paper) Cited in

Mitochondrial Eve Hypotheses Flaws
Mitochondrial Eve is a true hypothesis. All mtDNA must come from a common female ancestor. It must come from a female ancestor because mtDNA is passed through the female/mother. However, hypothesis have been made to conclude that this female ancestor is of African origin, lived 200,000 years ago, that the phylogeny of mtDNA is also of population (saying that all modern humans are from the same geographical population as the common ancestor) and also that the modern human came from Africa and spread across the world to wipe out the homo humans to extinction, also known as "out of Africa replacement hypothesis". These hypotheses are wrong.

It has also been said that Africans contain DNA at a higher level than Europeans or Asians when it comes to genetic diversity, but no statistical test has been showed to support it.

Methods
Hypothesis One – African Origin: Maddison looked at the cladogram that supports the hypothesis that the mtDNA originated in Africa. There were 10,000 trees that were shorter than the rest and had two different basal clades. The first basal clade had seven African haplotypes and the second clade was an Asian-African clade. Therefore the clade is not purely African which means the mtDNA could not have originated from Africa. There are many flaws to using cladograms to measure origins. Hypothesis Two- Lived 200,000 years ago: They used intraspecific calibrations to measure the time of origin, however this has multiple errors. The large ranges provided by the calibrations (varied between the two scientist) make clear the uncertainty. Because of genetic drift and the evolutionary process, no large sample can be used to accurately trace ages of species. Hypothesis Three and Four – Same Geographical Population/Spread Around Old World: They looked at 2 population expansions, both being at the haplotype level within 1 step clades. First being Arabs and Sub-Saharan Arficans and the second being across Europe. All showed restricted but non-zero gene flow. There could have been geographical origin because all Old World humans had to have come in contact with one another.

Results
The results are as follow, the location of the mitochondrial eve is not Africa, it is unknown. The time period in which she lived was not 200,000 years ago, it was much longer ago than that. The Out-of-Africa hypothesis is false.

It's questionable how there is a wide genetic variation in our modern world today but yet it leads down to one common ancestor.


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Origami/Examples 1

FLYER
 This is the "DanceWithStars.txt" file, which was created WED 2012 MAR 28 09:05 PM, revised SUN 2012 APR 08 10:32 PM.

Dance with the stars! (even if you have two left feet and need a clock to keep time). Hopefully, you will be able to sit in a comfortable chair next to a suitable work table. You won't even need to work up a sweat!

Dance with the stars -- Improved version -- no losers! Everybody wins, and every winner takes home a handmade (made in USA) trophy -- or several trophies!

THIS IS NOT A COMPETITION! It's a CO-OPERATION!

Teachers are especially invited! You will be able to share important, interesting, educational and cultural activities with your classes.

FREE! to the first ten people (any age above third grade) who sign up. After ten sign up, others will go on a waiting list for a possible follow-up session. Each meeting will consist of HANDS-ON activities; be prepared to have some good, clean fun! Be prepared to succeed in making something you've never before even imagined!

Paper and supplies will be provided.

An entertaining afternoon of unusual, but easy, craft projects is planned at the Caroline County Public Library in Greensboro. Mathematics only -- no arithmetic allowed, except by request. (Do you mean to tell me there is a difference between Mathematics and Arithmetic? I most certainly do! Come and find out what the difference is.)

Activities may include: Origami (to fold paper) Storigami (to tell a story, and illustrate it with origami) Paper Sculpture Paper Engineering and some other useful craft materials

- - - - - - - - -

Above is a possible plan for the flyer, intended to attract attention, and to encourage people to sign up and attend.

PLAN OF EVENTS
 Below is the plan of events. I hope that by posting this as a lesson plan at the Wikiversity I can establish some credibility for my outrageous claims. This should also allow me to post stories, pictures, and diagrams for participants to preview, download, and bring with. Of course, anyone on planet earth with access to the Wikiversity is free to use this material, once I post it.

Since by opening this project to the entire Greensboro community (to the entire world, via Wikiversity), I expect a wide range of ages, abilities, and prior experience, I plan to introduce some of the easiest, most fundamental crafts projects. Easy does NOT exclude four-dimensional geometry, vector calculus (without arithmetic, as much as possible), and discussion of non-orientable surfaces, and other topics as they arise. There are many strange, unusual, and unexpected things in Mathematics! Emphasis will be on hands-on, actual construction of interesting models. My goal is to make the "How to Make (Almost) Anything" course, popular at M. I. T., (though I have only read about it), accessible to a larger and younger audience.

NOTE: More activities must be planned than are expected to be actually used at any one event. Also, sometimes one must move on to another activity, due to lack of interest, or unexpected difficulties. Moreover, once a lesson plan is posted here, it is immediately available for anyone who wishes to use it. I intend to use the material myself, if there is ever another sequel event.

- - - - - - - - -

THE ORIGAMI TOOL KIT
 Part of the beauty and wonder of origami is that NO TOOLS (other than the paper itself) are really required. However, some folders like to use the handle of an ordinary dinner knife to crease their folds. (If you fold a LOT or origami, your thumbnail may get uncomfortably HOT. And, you may wear grooves into your nails that interfere with other activities.) Scissors or a paper cutter are, of course, necessary to cut paper to specific sizes and shapes. (Even some authentic and historic Japanese origami sometimes requires cuts or slits in the paper.) Toothpicks, skewers, and tweezers are sometimes useful to put a stubborn flap into its proper place.

Paper (almost all kinds -- except paper napkins) Knife with smooth handle (and no sharp blade) Scissors Toothpicks Skewers Tweezers Paper cutter Glue, tape, wire (These supplies are used mostly to 		stabilize models for long-term display, so 		they don't unfold themselves and look sloppy.)

- - - - - - - - -

NOTES TO PARENTS AND TEACHERS

HOW TO PREPARE MATERIALS
 Inasmuch as not everyone has received the benefits of growing up in a family where construction engineering, drafting design, and other scientific and technological activities were everyday occurrences, I feel it to be necessary to give instructions for the preparation of the materials I expect to use.

I am planning to bring prepared materials for these special projects, in order to allow you to begin working without delay.

I. SUMMARY OF POPULAR 3-D SHAPES
 Summary of Requirements for Popular Shapes, by shape and by number required (see the source books) Name			Shape	#	Shape	#	Shape	# Regular Tetrahedron	3-sides	X 4 Cube			4-sides	X 6 Regular Octahedron	3-sides	X 8 Regular Dodecahedron	5-sides	X 12 Regular Icosahedron	3-sides	X 20

Truncated Tetrahedron	3-sides	X 4	6-sides	X 4 Truncated Cube		3-sides	X 8	8-sides	X 6 Truncated Octahedron	4-sides	X 6	6-sides	X 8 Truncated Dodecahedron	3-sides	X 20	10-sides X 12 Truncated Icosahedron	5-sides	X 12	6-sides X 20 AKA Soccer ball, AKA Bucky ball Cuboctahedron		3-sides	X 8	4-sides	X 6 Icosadodecahedron	3-sides	X 20	5-sides	X 12 Rhombicuboctahedron	3-sides	X 8	4-sides X 18 Rhombitruncated		4-sides	X 12	6-sides	X 8	8-sides	X 6 Cuboctahedron Rhombicosadodecahedron	3-sides	X 20	4-sides	X 30	5-sides	X 12 Rhombitruncated		4-sides	X 30	6-sides	X 20	10-sides X 12 icosadodecahedron Snub Cube		3-sides	X 32	4-sides	X 6 Snub Dodecahedron	3-sides	X 80	5-sides X 12

Prisms			n-sides X 2	4-sides X n Anti-Prisms		n-sides	X 2	3-sides	X 2 X n

Note: Some of these shapes are obviously precursors of the geodesic dome, invented by architect R. Buckminster Fuller, and featured in some museums of art. I did not make up the names of these shapes! But various (allegedly authoritative) sources sometimes get some of the names mixed up.  Materials: Ordinary Poster Board (white, or colored, one or both 		sides. What I get in Mayland, USA, is usually 		22 inches by 28 inches.)

Tools: Yardstick (or meter stick, if outside United States) ( I can use my computer to convert 1 inch to 25.4 mm) Ball-point Pen, or pencil Scissors

Procedure: GENERAL HINTS Turn your measuring stick onto its edge when laying out the dimensions. This puts the graduations on the measuring stick closer to the poster board, which should improve the accuracy of your lay out.

Sight down along the edge of your straight-edged measuring stick to be sure that it really is straight. You want to draw straight line segments, not curves.

The taper of a ball-point pen or a sharpened pencil, when held against the straight-edge, leaves a small gap between the edge of the straight instrument and the location of the line which will be drawn. This small gap is good; it helps prevent smearing of ink, if you use a pen. But you will need to estimate the size of this gap, carefully and accurately, in order to draw the lines exactly where you want them to be.

Clamp the straight-edge FIRMLY against the poster board with one hand. You do NOT want it to move as you are drawing the lines. With the pen or pencil held in the other hand, far enough above the poster board so as to leave NO MARK, practice a few times making a smooth, sweeping stroke, while letting one finger gently touch the guiding edge. After you gain confidence that you can make a smooth, sweeping stroke with a comfortable movement of your entire arm, lower the pen or pencil to touch the poster board, RELAX, and draw your first line. If that line looks good: smooth, straight, and well-positioned, continue. If it doesn't look so good, take a deep breath, try to figure out what went wrong, reposition your straightedge, clamp, RELAX, practice for a smooth stroke, and try again.

After a few years, all of these hints will become automatic for a skilled draftsman. But you probably want to help your kids with their homework THIS WEEK. So, I try to share all these hints with you. Relax! If you can cut the pieces accurate within a sixteenth of an inch, you are doing very well, indeed.

I have calculated (there goes my ban on arithmetic!) dimensions to make many of the shapes, to the nearest quarter of a sixteenth of an inch, in hopes of making it easier for you to lay out these shapes. (I have also calculated the metric dimensions to use.)

The same materials and tools are used for making all of these shapes.

Note: You will want to use regular poster board, that you can easily cut with ordinary scissors. I am using poster board, because I need to make a lot of these shapes, and poster board (in various colors) looks a 	lot nicer for public presentation than a wonderful substitute.

WONDERFUL SUBSTITUTE
 Salvage the cardboard from cereal boxes, snack boxes, and other sources. Throw them away if they are stained by garbage, but keep and use them if they are clean and dry. Cut the boxes along the seams, so they can lay flat for storage. The back side is usually a 	plain gray or light brown color; ball-point pen ink shows up well to mark your lines for cutting out shapes. It's FREE, (or at least, already paid for), readily available, and ecologically GREEN! Once upon a time (decades ago, before TV became popular), packagers would print designs intended for paper engineering and paper sculpture on their boxes, to be cut out and assembled into model cars, and trains, rockets, and airplanes. START YOUR OWN TOY FACTORY!

ADDITIONAL BENEFITS:

As you disect boxes to salvage the cardboard, you also have an unusual opportunity to explore the many ways professional packaging engineers have solved problems important in manufacturing and commerce. Some boxes are stapled together, some are die-cut, with flaps and slots which lock tother, but most boxes are glued.

Interesting problem: In how many ways can you unfold a cubical box? Kunihiko Kasahara uses many of these ways in his famous "Panorama Cube", as published in 	_Origami_Omnibus:_Paper-folding_for_Everybody_, Japan Publications, Inc., Tokyo, New York, ISBN 0-87040-699-X, (paperback 384 pp.). This book also contains his instructions for folding modules to make ALL of the regular and semi-regular using only origami folding techniques.

Most boxes for commercial packaging are also printed, often in may colors. You were probably taught in 	school that the "primary colors" (for SUBTRACTIVE color 	mixing) are red, yellow, and blue. These colors work fairly well, for painting posters, but did you know that professional printers usually use magenta, yellow, cyan, and black inks? (OK. so they sometimes call 	these colors "process red", "process yellow", 	"process blue", and black. Still they refer to a "MYCK" 	color system.) You will find their calibration marks and the symbols used to align high speed printing presses, printed in magenta, yellow, cyan, and black ink on many boxes, if you look for them.

Speaking of colors, your computer monitor uses a different color system -- ADDITIVE color mixing. The primary colors used for this are red, green, and blue. Red and green, added together, make yellow, which is the color of one of the inks used by printers. Green and blue add to make cyan, and red and blue add to make magenta. People who use computer monitors or 	color television equipment often use these names for colors.

Materials: Poster board (Do NOT try to use foam-core board for 	these projects!)

Tools: Yard stick Ball-point pen, or pencil Scissors

TO MAKE SQUARES
 Squares make a regular tessellation, so this should be easy and obvious. I can usually trust the corners of machine-made poster board to be accurate 90 degrees angles (i. e., square).

Procedure: (1) Be sure to measure from the same short side each time when you make evenly spaced marks one inch (25.4 mm) apart along each long side of the poster board. (2) Be sure to measure from the same long side each time when you make evenly spaced marks one inch (25.4 mm) apart along each short side of the poster board.

RIGHT WAY		WRONG WAY

++		++	Do you see |   |    |  |		|    |    |  |	the difference? |           |		|            |	Do you |           |		|            |	understand |   |    |  |		|  |    |    |	why it is ++		++	important?

The above instructions will be important for many other projects which require the laying out of grids.

+--+--+--+--+--+	| |  |  |  |  |	+--+--+--+--+--+	You are trying | |  |  |  |  |	to make a grid, +--+--+--+--+--+	something like | |  |  |  |  |	this, only much +--+--+--+--+--+	more extensive. | |  |  |  |  |	+--+--+--+--+--+

(3) Connect all of the marks by drawing parallel line segments, as indicated in the diagrams above. (4) Cut the poster board into strips along the lines you have drawn. (5) Cut each strip into squares.

Yield: A piece of poster board 22 inches by 28 inches should make 616 1-inch squares.

TO MAKE TRIANGLES AND HEXAGONS
 Although triangles and hexagons each make regular tessellations, I prefer to use a semi-regular tessellation which includes both shapes instead; this makes it so much easier to cut out the hexagons.

a           b                   f           d	.            ________________________________. /   \  /    \  /    \  /    \  /	           /      \/      \/      \/      \/	          /\      /\      /\      /\      /	         /__\____/__\____/__\____/__\____/  	        /    \  /    \  /    \  /    \  /	       /      \/      \/      \/      \/	      /\      /\      /\      /\      /\	     /__\____/__\____/__\____/__\____/__\ 	            /    \  /    \  /    \  /    \  /    \	   /      \/      \/      \/      \/      \	  /\      /\      /\      /\      /\      /\	c/__\____/__\____/__\____/__\____/__\____/__\.e

Procedure: It is easy to make angles of 30 degrees and 60 degrees with a yardstick or ruler, when you know how. In the diagram above, line segment "bc" should be 6 inches long. To 	construct this line segment, measure off 3 inches from the corner at "a".

Note: This diagram is intended only to show the princples of the construction! You will achieve more accurate angles if you use longer baselines. I suggest "ab" should be 12 inches (or 30.48 centimeters), and "bc" should be 24 inches (or 60.96 centimeters). In any case, you want the edges of the shapes you finally cut out, to be 	one inch (or 2.54 centimeters) long.

Mark point "b" with a pen or pencil. Keeping one of the graduations of the yardstick at 	point "b", swing the yardstick (or meter stick) until you find point "c", 6 inches away, at the edge of the poster board. Now you can draw line segment "bc". Mark off equal 1-inch (2.54 mm) intervals along this line segment. Mark off equal 1-inch (25.4 mm) intervals along the edge "abfd" of the poster board. Measure length "ac", then mark point "e" at that same distance from edge "abfd". Now you can draw line segments "ce" and "ef", then mark off equal 1-inch (25.4 mm) intervals along each line segment. This should give you enough grid points to 	cover the poster board with triangles and hexagons. Note: all lines should be parallel to the edge "abfd", to line segment "bc", or to line segment "ef".

Once the grid is drawn, you can cut strips of hexagons and triangles. Trim off all of 	the triangles from each strip, and you should be left with a pile of hexagons, and another pile of equilateral triangles.

Yield: I got [ ?? -- RCB ] hexagons and [ ?? -- RCB ] equilateral triangles from my sheet of poster board. There was some scrap near the edges of the sheet. </PRE>

TO MAKE REGULAR PENTAGONS
<PRE> Although the above polygons nest together to 	form space-filling tessellations, regular pentagons cannot fit closely together.

There will be gaps between these and all of the following shapes. I think that the easiest way to make a lot of these shapes is to first make a grid of carefully calculated measured rectangles, then connect the grid points with line segments which outline the desired shapes. You have already used this method once; since a network of 	rectangles is also a network of squares, if the dimensions are correct. I will do the rest of the (ugh!) arithmetic for you, or show you ways to avoid most of the arithmetic.

Example Calculations: (You may skip down to "Procedures", if trigonometry 	scares you. I'm trying to be a counter-terrorist, 	myself.) There is an incredible irony here! I know a very easy way to arrive at the measurements without arithmetic, but I have a computer instead of a drafting table and instruments. (Hey! I'll 	keep the computer!) That very easy way (without 	arithmetic) is simply to make a scale drawing (using a protractor and a ruler) of a pentagon, and measure the relevant dimensions.

C	g+--_+-+j |  _-  |\    |	This diagram of a regular |_-    | \   |	pentagon is about as good as B+---|--\--+	I can make it in text mode. |      |   \ |	Computer graphics is an	 |       |    \|	enormously complicated m+-+-+-+D	subject which I prefer |    O |f   /|	to postpone until some |      |   / |	later time. A+_--|--/--+ | -_   | /   |	 |     -_|/    |	This is diagram one, h+---+-+k	which will be mentioned E 		below.

This diagram will serve for the purpose of	being an example for the calculations, whose results follow. It also indicates how the outline of the regular pentagon will fit on the grid you will construct.

We want line segment "AB" to be 1 inch (or 2.54 centimeters metric). Point "O" is supposed to be the center of our pentagon. 360 / 5 = 72	Angle "AOB" is one fifth of a circle, or 72 degrees. Half of this angle is 36 degrees. 72 / 2 = 36 	Let "m" be the midpoint of line segment "AB". Then angle "mOB" is 36 degrees, angle "BmO" is 90 degrees, and line segment "mB" is 1/2 inch (or 12.7 mm, if you are using metric 	measurements). C	g+--_+-+j 90 18_- |\54 90	Let's see if I can emphasize |_- 54|54\   |	the important angles. B+54   |   \36+ | -_ 72|   \ |	360/5 = 72	 | 36-_|72  54\|	m+-+---+D 	180 - 72 = 108 | 36_-O72 54/| | _- 72|   / |	A+_54   |   /36+	108 / 2 = 54 |72-_54|54/  |	 90  18-_|/54 90	90 - 54 = 36	 +---+-+                 E

Line segment "mOfD" is supposed to be a 	horizontal diameter of the circle with center "O", which passes through all five vertices of the desired regular pentagon, and is a line of symmetry.

This is enough information to apply 	Length("Bm")/Length("mO") elementary trigonometry (tri = three, 	= tangent(36 degrees)	gono = angle, metry = measure), to 	calculate other measurements of the 	Length("mO") = triangle "BOm". Length("Bm")/tangent(36)

Having emphasized the angles and the triangles, (and having thouight for 	several days about how best to provide 	this information), I find that the relevant facts are these:

H * cos(18) g+---_+C H * |90     18_- sin |      _- (18) |72_- H	    B+-

(1) Right triangle "BCg" has acute angle 18 degrees and hypotenuse H = 1 inch (25.4 mm). Elementary trigonometry (this 	is what I was searching for) gives Length("gC") = Length("BC") * cosine of 18 degreees. I also found that Length("Bg") = Length("BC") * sin of 18 degrees.

H * sin(18) C+---+j \     |	   \     | H * \   | cos H \  | (18) \36|	      \ |	        \|	         +D

(2) Right triangle "CDg" has acute angle 36 degrees and hypotenuse H = 1 inch (25.4 mm). Then Length("Cj") = Length("CD") * sin (18 degrees), and Length("Dj") = Length("CD") * cosine(18 degrees).

A quick little QB64 BASIC program gives the measurement numbers we want to mark.

SOURCE CODE FOR THE QB64 BASIC COMPILER:

Pi = 4.0 * ATN(1.0) ' Computers and calculus students have an easier time calculating ' trigonometric functions when the angles are expresed in radians. ' Multiply the angle by Pi / 180 to convert degrees to radians. PRINT "Pi ="; Pi

PRINT "This program calculates dimensions for grid to make regular pentagons. " PRINT "16 * cos(36); 16 * sin(36):" PRINT 16 * COS(36 * Pi / 180) PRINT 16 * SIN(36 * Pi / 180) PRINT PRINT "16 * cos(18); 16 * sin(18):" PRINT 16 * COS(18 * Pi / 180) PRINT 16 * SIN(18 * Pi / 180) PRINT "(Dimensions in sixteenths of an inch.)" PRINT PRINT "25.4 * cos(36); 25.4 * sin(36):" PRINT 25.4 * COS(36 * Pi / 180) PRINT 25.4 * SIN(36 * Pi / 180) PRINT PRINT "25.4 * cos(18); 25.4 * sin(18):" PRINT 25.4 * COS(18 * Pi / 180) PRINT 25.4 * SIN(18 * Pi / 180) PRINT "(Dimensions in millimeters.)" END

RESULTS OF RUNNING THE PROGRAM:

Pi = 3.141593 This program calculates dimensions for grid to make regular pentagons. 16 * cos(36); 16 * sin(36): 12.94427 9.404564

16 * cos(18); 16 * sin(18): 15.2169 4.944272 (Dimensions in sixteenths of an inch.)

25.4 * cos(36); 25.4 * sin(36): 20.54903 14.92975

25.4 * cos(18); 25.4 * sin(18): 24.15684 7.849032 (Dimensions in millimeters.)

But it was so much easier just to make the scale drawing and measure off the dimensions I wanted! Here is a picture! </PRE>

[ INSERT PICTURE "STAR.jpg" HERE. -- RCB]

<PRE> Here is how to find the necessary dimensions WITHOUT ARITHMETIC! (1) Tape a piece of paper to your drawing board. (2) Using your T-square pressed against the edge of the drawing board as a guide, draw a horizontal line near the middle of your paper. (3) Using a drafting triangle, (pressed against the 	T-square, which is still pressed against the edge 	of your drafting table) as a guide, draw a second line near the center of your paper, perpendicular to the first line you drew. (4) Put the center of your protractor over the intersection of the two lines. Align the 0 and 180 degree marks with the first line you drew on your paper. (5) Using the aligned protractor, put a mark at 72 degrees. Then, put another mark at 144 degrees. (6) Turn the protractor 180 degrees, then re-align it. (7) Make two more marks, at 72 and 144 degrees. (8) Now, using a straightedge as a guide (a straight 	side of your drafting triangle will do nicely), draw four line segments which connect the marks you made with the protractor, to the intersection of the first two lines you drew (Where the center of the protractor 	went). (9) Make two marks 1/2 inch (12.7 mm) from the first line you drew (one mark on each side.). (10) Using your T-square as a guide, draw two new lines, parallel to the first line you drew. These lines, 1 inch (25.4 mm) apart, establish the size, or scale, of the regular pentagon you are constructing. They intersect the lines you drew at 144 degrees at points "A" and "B" per diagram one. (11) Use your drafting compass to draw a circle through points "A" and "B", having its center at the intersection of the first two lines you drew. This will establish points "C", "D", and "E", according to diagram one. (12) Now that you have located the five vertices of your regular pentagon, connect them by drawing line segments "AB", "BC", "CD", "DE", and "AE". (13) Complete your drawing of the rectangle "gjkh" about regular pentagon "ABCDE". Measure the parts of this rectangle, then use these dimensions to lay out your grid on your poster board.

After you find the answer to a problem, sometimes you wonder why it took you so long to find the answer!

Information summary:

What's in the diagram	US Measure 	Equivalent Metric measure

Length("gB")		5/16 inch	7.85 mm  Measure off these Length("Bm")		8/16 inch	12.7 mm  distances along Length("mA") = "Bm"	8/16 inch	12.7 mm	 one edge of your Length("hA") = "gB" 	5/16 inch	7.85 mm	 poster board.

Length("gC")		15.25/16 inch	24.16 mm  Measure these along Length("Cj")		9.5/16 inch	14.92 mm  perpendicular edge.

Procedure:

(1) Measure off and mark the four lengths "gB", "Bm", "mA", and "hA" along one edge of your poster board. (2) Repeat step (1), until you have marks all along one edge of your poster board. (3) Repeat steps (1) and (2) all along the opposite edge of your poster board. (4) Connect corresponding marks with a series of parallel line segments. (I recommend using a long 	straightedge to draw these lines.) (5) Two edges of your poster board have not been marked yet. Along one of these edges, measure off and mark the two lengths "gC" and "Cj". (6) Continue measuring and marking lengths "gC" and "Cj", all along the edge you have started marking. (7) One edge of your poster board has not been marked yet. Use lengths "gC" and "Cj" to mark this edge. (8) Connect corresponding marks with a series of parallel line segments. (I recommend using a long 	straightedge to draw these lines.) (9) Use a short straightedge as a guide to draw all five sides of each regular pentagon in your grid. (10) Cut your poster board into strips, so that each strip contains an entire row of regular pentagons. (11) Cut each strip into rectangles, so that each rectangle contains a regular pentagon. (12) Trim each rectangle. Keep all of the regular pentagons. Discard all of the triangular scraps.

Yield: I got [ ?? -- RCB ] regular pentagons from my sheet of poster board. Some scrap had to be trimmed from each rectangle. </PRE> Ray Calvin Baker (talk) 03:14, 15 May 2012 (UTC)

TO MAKE REGULAR OCTAGONS
<PRE> +m   +---+    n+	Note: This diagram is /C      D\     	distorted. (It's too	   /           \    	tall.) Technical /            \   	difficulties such as	  /               \  	this often arise when /                \ 	one tries to push +B                E+	equipment beyond the |                  |	limits for which it |                  |	 was designed. Word |                  |	processors were never |        O         |	designed for making |                  |	diagrams. But creative |                  |	thinking often requires |                  |	that one thinks beyond +A                F+	the normal limits. \                /	  \               /  	This shape has four-fold \            /   	rotational symmetry, so 	    \           /    	a lot of the lengths in \H      G/	the diagram are identical. +q   +---+    p+

Angle "mBC" is supposed to be 45 degrees. A true scale diagram, or trigonometric calculation, would establish this as a fact. Triangle "mBC" is thus an iscoceles right triangle, with some interesting and unusaul properties. If Length("BC") = 1 inch (25.4 mm) then length("mC") = length("mB") = cosine(45 degrees) = sine(45 degrees) = 1/2 the square root of 2 = 0.7071.

Table of measurements: Length("mB") = Length("mC")	11.25/16 inch	(17.96 mm) Length("AB") = Length("CD")	1 inch		(25.4 mm) Length("qA") = Length("Dn")	11.25/16 inch	(17.96 mm)

Procedure: (1) Measure off the dimensions for one cell of the grid along one edge of your poster board. (2) copy these measurements along the edge to make as many grid cells as possible along that edge. (3) Repeat steps (1) and (2) along each of the other three edges of your poster board. (Remember to start 	all of your measurements from the correct edge of the 	poster board.) (4) Use a long straightedge as a guide to draw line segments connecting corresponding measured marks. (5) Cut your poster board into strips along the grid lines you have drawn. (6) Cut each strip into squares along the grid lines. (7) Trim away the triangles from each square. (8) Discard the triangular scraps.

Yield: Four triangles of scrap had to be trimmed from each square to make [ ?? -- RCB ] regular octagons -- "stop signs". </PRE>

TO MAKE REGULAR 10-SIDED POLYGONS
<PRE> The computations for laying out the grid for this shape are somehat like the process for laying out the regular pentagons, except for the essential fact that there are twice as many sides for this 10-sided shape.

Table of measurements:

Procedure:

Yield:

[ INCOMPLETE! -- RCB ]

</PRE>

TO MAKE REGULAR 12-SIDED POLYGONS
<PRE> None of the regular or semi-regular polyhedra require this shape, but it can be used nicely to 	make a pretty semi-regular tessellation, prism, or anti-prism, so I try to include a few instances of this shape.

Table of measurements:

Procedure:

Yield:

[ INCOMPLETE! -- RCB ] </PRE>

III. MAKING TOOLS FOR BUILDING A TRADITIONAL FOLK ORNAMENT
<PRE> The special tool you will want for this project is 	a loop of wire which will fit through a drinking straw, to pull a length of string through the straw.

Materials: Wire (light gauge doorbell hookup wire from a 		hardware store works just fine)

Tools: Wire cutters Pliers (needle-nosed pliers work best) Ruler Ball-point pen or pencil

Procedure: (1) Measure off a piece of bell wire about 50 per cent longer than a drinking straw. (Drat! More of that 	arithmetic!) (2) Form a loop at each end of the piece of wire, using the needle-nosed pliers. DON'T POKE YOUR EYE OUT! To minimize the danger of that, I recomment a loop at each end of the piece of wire. (3) Twist the short end of the loop around the wire several times. Do this with each of the two loops. (4) Squeeze each loop down to size, so that it will fit easily through the drinking straws, while keeping the loop large enough to slip a piece of string through it. </PRE>

IV. PREPARING MATERIALS TO MAKE KEPLER'S STAR
<PRE> Materials: Take one sheet of paper 8+1/2 inches by 11 inches for each star you wish to make.

Tools: Ruler Ball point pen or pencil Scissors

Procedure: The end of a ruler or yardstick sometimes gets battered and worn, and may not be well aligned with the graduations of the measuring instrument. To avoid these possible errors, I usually align the 1-inch mark with the place from which I wish to measure. This can cause its own type of 	errors, but it is usually easy to spot and fix if your measurements are off by exactly one inch.

(1) Align your ruler with the 1 inch mark at the edge of the paper. Mark along both of the short edges at 3 inches, at 5 inches, at 7 inches, and at 9 inches. This will leave 1/2 inch of waste along the long edge. (2) Align your ruler with the 1 inch mark at the edge of the paper. Measure and mark along the long edges at 4+1/2 inches, at 8 inches, and at 11+1/2 inches. (I avoid using 	a hyphen in mixed numbers like these; it can too easily be 	mistaken for a "minus" sign, leading to subtraction instead 	of addition.) This process of measuring and marking will leave 1/2 inch of waste along the short edge. (3) Using the ruler as a straight-edge, draw line segments to connect the marks. There should be four lines running the long way, and three lines running the short way. (4) Cut the paper along the lines.

Yield: Twelve paper rectangles, each 2 inches by 3+1/2 inches, sufficient to make one Kepler's Star.

I was so amazed that the proportions for this project worked out within a sixteenth of an inch, that I wondered if variations of this folding technique would work. I found two more stars that make very nice decorations.

Several other types of stars (Projects VI. and VIII., as described below) can be constructed using variations of the techniques used to make Kepler's Star. Instructions for preparing the paper for these stars is fully described below, as an essential part of these additional projects.

Materials for all other projects are so basic, and no special tools are required. so instructions given for all of the other projects should be sufficient and complete, as described below.

- - - - - - - - - </PRE>

I. MAKING 3-D SHAPES (Paper Sculpture)
<PRE> Although this is the simplest activity, even graduate students at George Washington University found it extremely interesting when I shared it with them.

Materials: Cardboard shapes (carefully measured and cut out, each side about one inch long) Equilateral triangles Squares Regular pentagons, hexagons, octagons Regular ten- and twelve-sided shapes (Consult the source books to estimate	the numbers required for each shape.) Instructions and hints for making these are given above. Masking tape Illustrations of the five regular and thirteen semi-regular polyhedra (These may be compared with the three regular and eight 	semiregular tessellations)

Tools: Scissors (to cut the masking tape)

Source books: Ball, W. W. Rouse and H, S. M. Coxeter, _Mathematical_ _Recreations_and_Essays_ (Thirteenth Edition), Dover Publications, Inc., 1987, ISBN 0-486-25357-0 (pbk.) Fuse, Tomoko, _Multidimensional_Transformations_Unit_ _Origami_, Japan Publications, Inc., 1990, ISBN 0-87040-852-6 (pbk.) Wells, David, _The_Penguin_Dictionary_of_Curious_and_ _Interesting_Geometry_, Penguin Books, ltd., London, 1991, ISBN 0-14-011813-6 (pbk.)

Procedure:

Begin Pictures illustrating the assembly of five polyhedra </PRE>

TETRAHEDRON

CUBE

OCTAHEDRON

TWELVE REGULAR PENTAGONS

TWENTY EQUILATERAL TRIANGLES

Ray Calvin Baker (talk) 22:42, 1 May 2012 (UTC) <PRE> End of Pictures illustrating the assembly of five polyhedra

Make the materials and tools available to the students. Construct a simple shape, such as a cuboctahedron, by sticking the necessary pieces together with squares of masking tape. During construction, show that parts of the structure can lie flat, until other parts are added, requiring that folds be made to allow the developing structure to take its final three-dimensional shape. Compare the final shape with its descriptive diagram.

Instruct the students to (1) select the shape they would like to build, (2) gather the necessary pieces, (3) cut squares of masking tape, and (4) assemble their model.

Inexperienced students may need to select additional pieces and cut additional masking tape. Accuracy in making the necesssary estimates comes with experience. Encourage cooperation: for example, one student may cut masking tape for several other students, with the understanding that he will receive help later, in building his own model. Note to helpers: Be a helper; don't "take over" someone else's model. Although neatness is commendable, any model which holds together and allows the student to see the relationships between the descriptive diagrams and the final, intended shape should be instructive. As time permits and interest persists, and supplies last, students may gain proficiency by building several models. </PRE>

SHAPES IN SPACES
<PRE> This is an open-ended activity, which COULD lead from the regular and semi-regular tessellations, and the regular and semi-regular polyhedra, prisms and anti-prisms, to the four Kepler-Poinsot polyhedra, to five more convex deltahedra, to 53 additional uniform polyhedra, to 92 convex polyhedra with regular faces, not to mention compound polyhedra and other stellated polyhedra. There is a LOT of territory here, not all of it well known or thoroughly explored. And then, many of these can be used in the constuction of polytopes, of which there are 16 regular polytopes, etc. After all that, I'm sure I missed a few. And there are some of these shapes which I have never yet seen myself.

Some shapes may be rigid enough to leave some "windows" -- places where you deliberately do not tape in a shape. Instead, put a small knick-knack or an origami bird, flower, or angel into your model for a different way to display your folding skills.

If this activity is going well, I may be able to demonstrate a few simple, traditional folds that create sequences of origami models, while some students are completing their paper sculptures. One example of this is "the multi-fold", which includes the oldest documented paper fold in Western culture, "Pajarita, the little Spanish bird". Another example is "the salt cellar" (formal title), which changes from "cootie catcher" to "the lover's knot", to "anvil", "sawhorse", and "crown". Another sequence, based on the "triple blintz fold", includes "perfume vial", "Japanese lantern", "Yokosan", and a "cross". Historically, such sequnces have inspired several story-tellers.

- - - - - - - - - </PRE>

II. A MOST USEFUL ORIGAMI MODEL
<PRE> A BOX WITH LID (storigami: "Brothers Tall and Brothers Short")

Materials: Two sheets of 8+1/2 inch by 11 inch paper (One sheet for the box, one sheet for the lid)

Source book: Sakoda, James Minoru, _Modern_Origami_, Simon and Schuster, New York, NY, 1969, ISBN 0-671-20355-X (pbk.)

Procedure: Since this is "storigami", the paper folding is intended to illustrate the story. The words of the story contain important clues concerning the sequence of folds, and the appearance of the paper after each fold (or series of folds).

"Brothers Tall and Brothers Short"

(Stage directions -- instructions how to fold and display the paper -- are included between a pair of parenteses, like this. The actual story is enclosed in quotation marks. Give each student two sheets of ordinary 8+1/2 inch by 11 inch paper. Invite them to watch carefully, and try to fold along, as the story is told. Try to pace the story, and intervene as necessary, so that no one gets left behind. This story is told in a way which will help everyone remember the essential steps. Adults and older children should find that the boxes with lids are extremely useful for storing household items, and items for hobbies and crafts.)

"This is the story of the Brothers Tall, Who didn't like extras creases at all."

(Place a single sheet of paper on the table in front of you, with the long edges running from left to right. Pick up the nearest edge, and place that edge exactly over the farthest edge. The paper should roll smoothly into a cylinder-like shape. Gently and carefully flatten the cylinder. Make a single length-wise crease down the middle of the sheet of paper. This is a valley fold.

Note FYI: The first six creases, as described in the following steps, should all be valley folds, all facing upwards.

Lift your creased paper up off the table, and display the Brothers Tall. Let your imagination fill in the picture of the two brothers. Since this is the first crease, there are NO extra creases whatsoever, which the Brothers Tall dislike so much.)

"And they lived in a plain, long tent, To save money on rent."

(Display the plain, long tent shape formed by one crease. The tent shape clearly demonstrates that what is a valley fold on one side of the paper, is a mountain fold on the other side.)

"Each fell in love with a girl from next door; Soon they were married, now there are four."

(Make two more long creases to meet the previous crease in the middle. Note: When making the lid, leave a gap about the size of these words: "It is OK". Lift the paper to display the two couples. Let imaginations fill in the features of these two lovely couples.)

"They moved into a plain, long house, Because each had a spouse."

(Display the long house shape formed by the three parallel creases.)

"When they went to the cupboard, the cupboard was bare. There weren't even any shelves in there!"

(Hold the paper so the creases are all vertical. Open and close the cupboard doors. Notice that there are no shelves, because there are no extra creases.)

"That was the story of the Brothers Tall, Who didn't like extra creases at all. So short! So sad! Don't cry or make the paper wetter. Just place it on the table, and give it a turn, I hope, a turn for the better."

(Place the paper flat on the table, then rotate it 90 degrees. This is the "turn for the better".)

"This is the story of the Brothers Short, Who liked to wear stripes just for sport."

(Make a single crease down the middle of the paper. This crease should cross the three creases left from the previous story. Let imaginations fill in the picture of the Brothers Short, but point out that the stripes are real -- the creases.)

"They lived in a short, striped tent, To save money on rent."

(Display the short tent form, with its stripes.)

"Each fell in love with a girl from next door. Soon they were married; now there are four."

(Make two more short creases to meet the short crease in the middle. When making the lid, leave a gap about the size of these words: "It is OK". Notice that the girls like stripes, too. What lovely couples!)

"They moved into a short, stiped house, Because each had a spouse."

(Display the shape of the short, striped house.)

"They went to the cupboard; each shelf was filled with stuff. Plenty of stuff, and plenty's enough."

(Hold the paper so that the three short creases are all vertical. Open and close the cupboard doors. The shelves are real (they are the creases left from the first part of the story), but you'll have to imagine the "stuff".)

"With enough in the cupboard, each family begins. Soon each mommy is the mother of twins. Pick up each corner, and fold to the line, You've done it just right, you've done it just fine. Now pull up the blanket, over their toeses, Until all that sticks out is the tips of their noses. "

(Follow the instructions. My, what big noses these children have!)

"Turn everything 'round; the paper spins, so the other mommy can see both of HER twins. Pick up each corner, and fold to the line, You've done it just right, you've done it just fine. Now pull up the blanket, over their toeses, Until all that sticks out is the tips of their noses."

(Follow the instructions. My, these children have big noses, too! Is it nice to tease? Of course not!)

"See how cleverly each corner locks. Now, reach in and pull up, to open your box."

(Do I need to draw you a picture? This really is a very clever way to fold a box. To make a lid for your box, just take another sheet of paper, and repeat the story all over again, with two minor changes. Leave small gaps in the middle, "It is OK", when you make the folds which introduce the girls from next door. This will make the lid wider and longer than the box, but not quite as deep. Each lid has a folded rim, which can serve as a convenient label for the intended contents of each box. Just be careful to notice how the lid will fit on the box, so you don't write the label up-side-down!)

(Now that you have mastered this story, if you ever get paid for it, you will be a "professional boxer"! (A joke. Ha, ha.))

- - - - - - - - - </PRE>

III. A TRADITIONAL FOLK ORNAMENT
<PRE> THIRD STELLATION OF THE REGULAR PENTAGONAL DODECAHEDRON (other materials)

Materials: 75 Plastic soda straws (to make one ornament) String white glue (optional)

Tools: Scissors wire loop (narrow enough to fit through the hollow 		straws. Instructions to make this tool are 		given above.) Ball-point pen Ruler (optional)

Procedure: CUT 15 STRAWS IN HALF Place two straws side-by-side. Estimate the location of the center of the straws, then make a short mark there with the ball-point pen. Turn one of the straws end-for-end, then place it back beside the other marked straw. If the marks line up, you did a good job of finding the center. If the marks are off by a fraction of an inch, estimate the location of the place midway between the short marks, then make a longer mark there. (This process should reduce your 	error by half.) OR, use the ruler to measure off half the length of the straws. Cut both straws in half at the marked 	places. Use these half straws to measure off the halfway point on thirteen more straws. Mark and cut those straws in half.

Now you should have 30 half length pieces, and 60 full length pieces.

BUILD THE CENTRAL CORE OF THE ORNAMENT Push the wire loop down the hollow middle of one of the short pieces. Thread one end of the string through the wire loop, then pull the wire (with the string) back out of the piece of plastic straw. Repeat this process two more times, until you have three pieces threaded onto the string. Tie a knot in the string, then pull it tight (not TOO tight, or you may split a plastic straw!) so 	that the three plastic pieces outline an equilateral triangle.

You should have something that looks like this. (The dot indicates the location of the knot) ____.	\ /	 \/

Stretch out a length of string from the knot (about the 	length of your arm should be fine.) You can tie on more string any time, if you find that you need more string. Just try to plan it so that your splices will be hidden deep in the middle of a straw. Thread two more pieces of straw onto the string. Tie another knot. Now you should have something like this. ____.	\ /\	 \/__\

Keep on threading short pieces of plastic straw and tying knots until you have a network something like this.

c  c   c   c   c	  /\  /\  /\  /\  /\        The letters mark a/__\/__\/__\/__\/__\a     places where \ /\  /\  /\  /\  /\      additional knots b\/__\/__\/__\/__\/__\b   will be tied, as \ /\  /\  /\  /\  /     described below. \/ \/  \/  \/  \/	     d   d   d   d   d

Now take a short piece of string (about 4 inches long), and loop it around the corners labelled "a". Pull it tight, and tie a knot. This will pull the network into something like a ring shape. Now take another short piece of string and tie the corners labelled "b" together. This should make the ring much easier to see. Trim the ends of the strings, or tuck them down into a nearby straw.

At this time, you should have a nice ring-like structure, with five loose flaps (marked "c") at the top, and five more loose flaps (marked "d") at the bottom. Use a short string to tie all five of the corners marked "c" together, and use another short string to tie all five corners marked "d" together. You should now have a neat, rigid, little cage. This is the core of your ornament.

ADD THE STAR-LIKE POINTS The core has 20 equilateral triangles. Our next task is 	to tie three full-length straws above the three corners of each of these equilateral triangles. This should be a fairly obvious matter of adding straws and tying knots. I think the easiest to manage this in a systematic fashion is this. Work on one triangle at a time. (1) Take a piece of string about three times as long as a straw. (2) Tie one end of the piece of string to one of the corners of the triangle you have elected to work on. (3) Thread two full-length straws onto this string. (4) Tie the loose end of the string to a second corner of the triangle you are working on. (5) Take another piece of string almost twice the length of a straw. (6) Tie one end to the third corner of the triangle you are working on. (7) Thread a full-length straw onto this string. (8) Tie the loose end to the joint between the first two straws you added in steps 2, 3 and 4. This should position a rigid point above one of the 20 triangles of the core of the ornament.

Repeat this process for each of the remaining 19 triangles.

FINAL FINISHING You will probably wish to trim loose ends of string, or tuck them out of sight. You may wish to leave a large loop for hanging your ornament. A few drops of white glue may help secure the knots and keep loose ends out of the way.

When you make your next star, see how many ways you can figure out to save string, and make the tying of the knots a more efficient process. I tried to keep things as easy as possible for you, while we worked on your first star.

- - - - - - - - - </PRE>

IV. KEPLER'S STAR
<PRE> (Compare with M. C. Escher's "Two Worlds".) (Paper sculpture using business cards)

Materials: 12 cards or thick paper 2 inches by 3+1/2 inches (Instructions for cutting these cards are 		given above.) white glue or glue sticks (technically optional, 		but highly recommended, especially for 		beginners.)

Procedure: FOLD EACH CARD

[ INCOMPLETE! -- RCB ]

AsSEMBLE THE FOLDED CARDS

[ INCOMPLETE! -- RCB ]

I may be the first to completely document this phase of the construction. -- RCB

- - - - - - - - - </PRE>

V. THE HOPPING BUNNY
<PRE> (quick, easy origami toy, with 	a story: "The Lonely Little Japanese Lady")

Materials: 3 inch by 5 inch index card

Procedure: (Follow along with the story; adapted from the video, "A Peace of Paper".)

"The Lonely Little Japanese Lady"

"Once upon a time there was a Japanese Lady, who would wake up every morning and begin her exercises. She lived by herself, and was lonely, so she was always hoping for company."

(Display a 3 by 5 index card, which represents the Japanese lady.)

"She stretched out her right arm, then bent over and touched her left knee. Then she stood up straight again."

(Bend the top right corner of the card, so that what was the top edge lies over the left edge of the card. Crease, then unfold the card.)

"Then, she stretched out her left arm, bent over, and touched her right knee. Then she stood up straight again."

(Bend the top left corner of the card, so that what was the top edge lies over the right edge of the card. Crease, then unfold the card.)

""After many years of doing these stretching exercises every morning, she was so flexible that she could stretch out both arms, bend over backwards, and touch the backs of both knees. Then she stood up straight again."

(Don't you try this at home on yourself! You are not a three by five index card! But fold the card backward so that the corners, which were on top, lay on the creases left by the first two folds.)

"Would you like to see the little house the lonely Japanese Lady lives in? Just walk up to her door. There in the middle of the door, where the lines cross, is the doorbell button. Press the button to ring the doorbell, then pull the roof down into place to see the house."

(Hold the card up, with the top bent back slightly away from you. This represents the door, with lines that cross in the middle. Press the doorbell button. The two sides of the card should snap toward you. Pull the roof down into position, and look at the little house.)

"Now, imagine that the little Japanese Lady has come to the door. She feels that it is rather chilly outside today, so she wraps her shawl about herself. 'Would you like to come inside to warm up?', she asks. 'I'm sorry. I have other things I must do today, so I must be on my way. Perhaps you will have another visitor today.', you reply."

(Pull both vertical edges of the "house" forward, so that these edges of the card meet in the middle. Crease the new folds firmly.)

"The little Japanese lady still feels chilly, so she claps her hands together in front of her, several times."

(Pull the two triangular flaps, which represent her arms, forward several times, as if she's clapping her hands.)

"Thinking she is a bit stiff from the chill, she repeats one of her stretching exercises. She bends backward so far that the top of her pointed hat touches the bottom of her heels."

(Bend the pointed top of the card back until it touches the bottom of the card, in the middle.)

"Thinking that more vigorous excercise may help her warm up, she leaps into the air, and kicks out both her feet so far that her toes touch her tummy. She lands quickly and gracefully on her feet."

(Bend the bottom of the folded card forward, so that the lowest edge meets the crease which marks the lady's waist. Fold the card into a compact shape, to suggest how she lands quickly and gracefully.)

"When the Japanese Lady turns around again, she sees that, indeed, she does have another visitor today. There, on the doorstep, she sees a little bunny. She leans down to pet the bunny, but it hops away."

(In its compact shape, the folded card resembles a rabbit, with big ears. If you stroke your finger down its back, the bunny may hop for you!)

"'Perhaps I will see him again tomorrow', the Lady says to herself. Indeed, she will, if you take another three by five index card, and share this story with someone tomorrow."

- - - - - - - - - </PRE>

VI. A STAR REVISITED
<PRE> (a starry paper sculpture 	from ordinary sheets of paper)

[ INCOMPLETE! -- RCB ]

- - - - - - - - - </PRE>

VII. AN INTRODUCTION TO MODULAR ORIGAMI
<PRE> Part One: A SIMPLE MODULE

Part Two: ASSEMBLING SEVERAL MODULES (I may be among the first to completely document 	this important phase of the construction.)

[ INCOMPLETE! but I have an old file, in which I began to describe this project. -- RCB ]

- - - - - - - - - </PRE>

VIII. THE FIRST STELLATION OF THE REGULAR PENTAGONAL DODECAHEDRON
<PRE> (Compare with M. C. Escher's prints, "Gravitation" 	and "Order and Chaos".) (The beauty of modular origami is that the same 	module can be assembled in several, completely 	different ways. Learn to fold just one module; 	but be able to learn how to make several 	different models using that module.)

[ INCOMPLETE! -- RCB ]

- - - - - - - - - </PRE>

IX. A SIMPLE JUMPING FROG (origami toy)
<PRE> [ INCOMPLETE! -- RCB ]

- - - - - - - - - </PRE>

X. ANGEL (a simplified origami ornament or finger puppet)
<PRE> [ INCOMPLETE! -- RCB ]

- - - - - - - - - </PRE>

XI. THE SITTING CRANE
<PRE> (authentic traditional Japanese origami)

[ INCOMPLETE! -- RCB ]

The end. </PRE>

Ray Calvin Baker (talk) 20:45, 13 April 2012 (UTC)

title: Origami/Examples 1


text:
Dominant group/Communication

"Communication is the activity of conveying information. ... Communication requires a sender, a message, and an intended recipient, although the receiver need not be present or aware of the sender's intent to communicate at the time of communication; thus communication can occur across vast distances in time and space. Communication requires that the communicating parties share an area of communicative commonality. The communication process is complete once the receiver has understood the message of the sender. Feedback is critical to effective communication between parties."

With respect to communication, a dominant group may be associated with communication or a dominant group of communication such as communication processes.

Communication
Def. "[t]he concept or state of exchanging information between entities" is called communication.

Dominant group
Examples from primary sources are to be used to prove or disprove each hypothesis. These can be collected per subject or in general.

 * 1) Accident hypothesis: dominant group is an accident of whatever processes are operating.
 * 2) Artifact hypothesis: dominant group may be an artifact of human endeavor or may have preceded humanity.
 * 3) Association hypothesis: dominant group is associated in some way with the original research.
 * 4) Bad group hypothesis: dominant group is the group that engages in discrimination, abuse, punishment, and additional criminal activity against other groups. It often has an unfair advantage and uses it to express monopolistic practices.
 * 5) Control group hypothesis: there is a control group that can be used to study dominant group.
 * 6) Entity hypothesis: dominant group is an entity within each field where a primary author of original research uses the term.
 * 7) Evolution hypothesis: dominant group is a product of evolutionary processes, such groups are the evolutionary process, produce evolutionary processes, or are independent of evolutionary processes.
 * 8) Identifier hypothesis: dominant group is an identifier used by primary source authors of original research to identify an observation in the process of analysis.
 * 9) Importance hypothesis: dominant group signifies original research results that usually need to be explained by theory and interpretation of experiments.
 * 10) Indicator hypothesis: dominant group may be an indicator of something as yet not understood by the primary author of original research.
 * 11) Influence hypothesis: dominant group is included in a primary source article containing original research to indicate influence or an influential phenomenon.
 * 12) Interest hypothesis: dominant group is a theoretical entity used by scholarly authors of primary sources for phenomena of interest.
 * 13) Metadefinition hypothesis: all uses of dominant group by all primary source authors of original research are included in the metadefinition for dominant group.
 * 14) Null hypothesis: there is no significant or special meaning of dominant group in any sentence or figure caption in any refereed journal article.
 * 15) Object hypothesis: dominant group is an object within each field where a primary author of original research uses the term.
 * 16) Obvious hypothesis: the only meaning of dominant group is the one found in Mosby's Medical Dictionary.
 * 17) Original research hypothesis: dominant group is included in a primary source article by the author to indicate that the article contains original research.
 * 18) Primordial hypothesis: dominant group is a primordial concept inherent to humans such that every language or other form of communication no matter how old or whether extinct, on the verge of extinction, or not, has at least a synonym for dominant group.
 * 19) Purpose hypothesis: dominant group is written into articles by authors for a purpose.
 * 20) Regional hypothesis: dominant group, when it occurs, is only a manifestation of the limitations within a region. Variation of those limitations may result in the loss of a dominant group with the eventual appearance of a new one or none at all.
 * 21) Source hypothesis: dominant group is a source within each field where a primary author of original research uses the term.
 * 22) Term hypothesis: dominant group is a significant term that may require a 'rigorous definition' or application and verification of an empirical definition.

Arts
"Art, like print communication, allows individuals to think about themselves and others in new and abstract ways, and plays a central role in the creation of an imagined community." "The creation of an imagined community through artistic representation necessarily entails exclusion of minority groups and interests as the dominant group attempts to create a homogenized identity and national unity".

Electronic computers
"We carried out several post hoc analyses to examine such potential influences on decisions as extreme position proposals (eg, a group member proposes an extreme position or a high-risk strategy), dominant group members, and decision rules. In the first case, we coded the number of times group members mentioned the risk values 1 and 9 (very high and very low risk, respectively), and we compared these values (alone, and in combination) across communication conditions and, again, across group members ranked according to their participation in the group."

"The most dominant speaker in CM groups contributed a lower proportion of total group communication than did the most dominant speaker in FTF groups, F(l, 51) = 4.76, p < .05; Mm=.45(.06),MFIF=.49(.09)."

"Likewise, the median speaker had much higher participation than the least dominant group member in both CM and FTF discussions, /(48.8) = -9.7 and /(48) = -8.91 ,p < .0001."

Cultures
"This process forces persons who are not dominant group members to function within a communication system that is not necessarily representative of their experiences."

"In its most general form, co-cultural communication refers to interactions among underrepresented and dominant group members."

Imperialisms
Keywords: "cultural imperialism theory and dominant sociopolitical group influences"

Linguistics
“When intelligibility is non-reciprocal, the language or dialect spoken by the culturally dominant group, or the language or dialect with the greater functional value, seems to be the preferred medium for interlingual communication.”

Literature
"This article reviews literature on employment interviewing from the perspective of non-dominant group applicants. In general, interviewees from traditionally under represented groups may experience a double bind in job interviews."

Psychology
"It is predicted that a group's level of communication, and the tendency of its members to conform to the dominant group opinion on an issue, will be positively related to the degree of cohesiveness present within the group."

Sociology
"[T]he process of definition occurs obviously through complex interaction and communication between the members of the dominant group."

Speech
"At first glance, it would appear that the second set of constraints—which reflect the prejudices of the dominant group and implement a status and power difference between the communicators—would obscure those deriving from intentions and self-concept: the members of the inferior group would define themselves consistently with the social reality of the dominant group and see to it that their communication behavior conforms to expected patterns"

Hypotheses

 * 1) A dominant group communicates to manipulate.

title: Dominant group/Communication


text:
Paideia High School/Battle with the Cannon

The Battle with the Cannon by Victor Hugo is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Exordium
The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

Oral Presentation

 *
 *

Written Presentation

 * http://www.online-literature.com/victor_hugo/3067/
 * a copy of this work with line numbers, ready to print out for student use is stored on the school moodle in the Reading & Writing IB course in the week of March 28, 2012, and in the curriculum folder on sharepoint.
 * This work is in the public domain.
 * It is several chapters from Hugo's Novel, Ninety-Three. (Book 2, Chapters III-conclusion, IV, V, and VI. This is early in the novel, as Book 1 is fairly short.)

Interpretation
Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways. . In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
 * carronades a cannon used to attack from the deck of the ship. A "twenty four pounder" means it shot 24 pound cannon balls. The cannon itself probably weighed between 800 and 1000 pounds. Carronades were shorter guns, used because they weighed considerably less than a long gun. The disadvantage of the carronade is the ship had to be at point blank range to hit the target.
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

 *
 *
 *

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Sentences
One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.

Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speechs often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.

 * :
 * :
 * :
 * :

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * : <demonstration of both the grammar of the sentences comprising premeses and of the concluding proposition along with the logic of the argument followed by an explanation of how the arguments help to unravel the author's meaning>
 * <Passage Illustrating Rhetorical Rules>: <demonstration of the rhetorical rules and their value in the success of the author's purpose>
 * <Passage Illustrating Poetical Rules>: <demonstration of the poetical rules and their value in the success of the author's purpose>
 * <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>
 * What happens next? http://en.wikisource.org/wiki/Ninety-three/1.2.7

Erudition
Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.

<Note that these categories are presented alphabetically for ease of organization>

Antiquarian References
Most corvettes and sloops of the 17th century were around 40 to 60 feet (12 to 18 m) in length and measured 40 to 70 tons burthen. They carried four to eight smaller guns on a single deck.

Over time, vessels of increasing size and capability were called corvettes; by 1800 they reached lengths of over 100 feet (30 m) and measured from 400 to 600 tons burthen.

Biographical References

 * http://en.wikipedia.org/wiki/Victor_Hugo
 * http://www.online-literature.com/victor_hugo/
 * <information about other textual references to important people--include citations--delete if not used>

Cultural References
Cross of the Order of Saint-Louis Awarded for exceptional merit. http://en.wikipedia.org/wiki/Order_of_Saint_Louis

Conditions to obtain the award did not include nobility; however, Catholic faith was mandatory, as well as at least ten years' service as a commissioned officer in the Army or the Navy. Members of the Order received a pension.

Until the death of Louis XIV, the medal was awarded to outstanding officers only, but it gradually came to be an award that most officers would receive during their career. On 1 January 1791, during the French Revolution, a decree changed the name to décoration militaire ("military decoration"). It was subsequently withdrawn on 15 October 1792.

Geographical References

See maps below. The Channel Islands include Jersey and Gurnsey--as you can see, although the islands are British possessions, they lie much closer to France than to the British mainland. The significance of the location of the ship is that they are engaged in a civil war with the French revolutionaries, and are drifting into enemy territory. Although the British are in favor of one side over the other in the conflict, they are not at open war with anyone at this time.

Historical References

 * In 1793, the time in which this story is set,the French Revolution is in full swing. The guillotine is executing "enemies of the state" at an unnerving pace, and a monarchist counter-revolution threatens the revolutionary government.
 * The ship on which the story takes place is allied with the counter revolutionary forces.
 * Circulating counterfeit money to undermine the value of a government's currency, and thus hurt the economy, is a time-honored practice of war. The British did it in the colonies during the Revolutionary War in the United States.

Political References

 * <information and links to political references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * <links to additional quality recordings--include citations--delete if not used>
 * <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

Speaking Skills

 * <imitation of quality oral readings--should be a part of every unit>
 * <recitations from memory--should be some part of every unit>
 * <oral presentations of written work--should be a part of most units>
 * <class discussions--should be a part of every unit>
 * <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

Reading Skills

 * <read hard-copy with a pencil in hand--always!>
 * <marking up a text both with a pencil and electronically>
 * <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
 * <analytical reading notes as taught in the same work>

Writing Skills

 * <Choose phrases from text and express them in different ways>
 * <Reconstruct a previously disarranged passage from the text>
 * <Compose verses or lines in imitation of the author>
 * <Change a passage or poem of one kind into another kind>
 * <Imitate a passage>
 * <Write a composition imitating the author>
 * <Translate sentences or passages into Latin or another language>

Seminar Question Writing Guidelines
The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.

Specific Seminars
Battle with the Cannon Seminar 4/13/12

Victor Hugo’s story of The Battle with the Cannon, set in the time of the French Revolution, takes place aboard a French naval vessel in the English Channel at a time when the French are engaged in a civil war, with one side backed by the English.

Suppose that as a final project for this work, you are going to create a filmed version of this story. After deciding what sets to build and special effects you will need to create, and how, you will need to cast actors.

1.	Who are the characters in this story that you will need to cast?

Are there groups or crowds we will need? Do we have every one who is vital to telling the story?

2.	Most stories center around a conflict. Conflict can be external, or internal. The commonest types of external conflict are:

Man against man

Man against nature

Man against machine

Internal conflict is usually described as: Man against himself

In “The Battle with the Cannon” what is the primary conflict?

Why did you choose that one? Give examples from the text. 3.	Let’s look at the Chief Gunner—we don’t even know his name, and we hardly even hear him speak. In terms of assessing him as a character for our pretend movie, how will you portray him?

What do his actions tell us about him?

Give examples from the text to demonstrate his flaws:

Give examples from the text to demonstrate his strenths:

What do we hear him say?

To the cannon?

To the other characters?

To the peasant/general?

Does this dialogue increase your understanding of the Gunner? Why or why not?

4.	Now let’s look briefly at the captain.

What adjectives would you use to describe the captain? Why?

Why might the captain have handed over his authority about the gunner’s fate to the general?

5.	At the time of this story, The Cross of Saint Louis was awarded for exceptional officers to acknowledge outstanding actions in the line of duty.

Why did the general take the cross from the captain’s uniform and fasten it on the gunner’s jacket?

Is the general saying something about both the captain and the gunner, or only one of them? What is he saying?

6.	Why is the gunner bewildered during his sentencing?

Do you think he was expecting a death sentence? Why or why not?

If he knew he was going to die, does this make his fight with the cannon less heroic? Why?

Who was he going against the cannon for?

How did the sailors and marines respond to the general’s sentence of the gunner?

7.	With respect to the chief gunner, does he receive what he deserves at the end of the story?

Does he deserve the Cross of Saint Louis?

Does he deserve to be shot?

What kind of shape was the ship in at the end of the story? What will happen to the rest of the crew?

If you were in charge, what would you have done with him?

Do you think the outcome would have been different is the gunner had had a trial? Why or why not?

8.	In our society, even when a person takes the life of another person, the courts give sentences designed to both punish and rehabilitate.

Imagine an accident caused by a drunk driver. All of the members of the family in the other car are killed except for one. The drunk driver doesn’t run away, but calls 911 and stays and gives the survivor first aid until the ambulance arrives, and saves the vicitm’s life.

Does what the driver does to save the survivor make up at all for causing the accident?

Does the drunk driver deserve a more lenient sentence because of his later actions?

Does the drunk driver deserve a the death penalty?

9.	Can a person’s good deeds ever make up for the bad things they do?

This was too long, there wasn't enough time for the last 2 questions--next time omit the discussion of the captain's character, perhaps.


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