Working and Assembly Modes of the Agile Eye2
专业英语
questions
How
do you distinguish steel from cast iron? How do you distinguish low alloy steel from high alloy steel?
1.1.1 Iron and Steel
The earth contains a large number of metals which are useful to man. One of the most important of these is iron. Modern industry needs considerable quantities of this metal, either in the form of iron or in the form of steel.
Mechanical Engineering materials
Organic polymer materials Inorganic non-metallic materials
plastic rubber Synthetic Fibers Traditional ceramics Special Ceramics Metal Matrix Composites
1.1.1 Iron and Steel
The ore becomes molten, and its oxides combine with carbon from the coke. The non-metallic constituents of the ore combine with the limestone to form a liquid slag. This floats on top of the molten iron, and passed out of the furnace through a tap. The metal which remains is pig iron.
专业英语
Definition of polymers A simple understanding of polymers can be gained by imaging them to be like a chain or, perhaps, a string of pearls, where the individual pearl represent small molecules that are chemically bonded together. Therefore, a polymer is a molecule made up of smaller molecules that are joined together by chemical bonds. The word polymer means „many parts or units.‟ The parts or units are the small molecules that combine. The result of the combination is, of course, a chainlike molecule (polymer). Usually the polymer chains are long, often consisting of hundreds of units, but polymers consisting of only a few units linked together are also known and can be commercially valuable.
Figure 1.1 Diagram illustrating the definition of plastics.
As Figure 1.1 shows, all materials can be classified as gases, simple liquids, or solids, with the understanding that most materials can be converted from one state to another through heating or cooling. If only materials that are structural solids at normal temperatures are examined, three major types of materials are encountered: metals, polymers, and ceramics. The polymer materials can be further divided into synthetic polymers and natural polymers. Most synthetic polymers are those that do not occur naturally and are represented by materials such as nylon, polyethylene, and polyester. Some synthetic polymers could be manufactured copies of naturally occurring materials (such as
从事某职业的英语短语
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从事某职业work on的英语短语She lies to him about getting to Guggenheim to go work on her play.Every night when I came home from my desk job I would work on my blog.But to some observers, the notion of having Stoudemire work on three-pointers might seem foreign.Now, Rachel, you've been doing a little bit of leg work on this story, right?Cecilia finished a journalism degree last year and decided to work on her novel.Mr Verster said passengers would get 12 weeks notice of any rescheduled work on the bridges.He will work on in a support role until a permanent appointment is made.Dory was assigned to work on a waste-management project in a Dominican migrant farm worker community.She long has used coffee shops to interview cast and crew and to work on pre-production.Maybe I should work on it and bring it the forefront of my mind.Work on the fibre-optic underground cable network will start immediately and be 90% complete by 2014."You know the great scientists by the problems they pick to work on, " says Caltech's Lewis.It said it needed extra employees to work on Nissan's luxury car division Infiniti.And we will then continue to work on those issues where we have broader disagreement.Sadly, they may conclude that brave work on hot topics is a bad idea.从事某职业work on的英语例句Ballet Manila presents a work on the life of Gabriela Silang, and other Philippine ballets.In the meantime I have some catching up to do and will work on my hyperbole.When he died of heart failure in 2007, Ms. Oerter continued to work on the project.The agency said work on the rest of the scheme would be finished by the autumn.Obama hardly fared better, with 69% disapproving of his work on the debt limit.He's already hard at work on his next novel, also set in the criminal underworld.It is virtually impossible to do work on a problem without feeling that it is important."I used to work on the audit of a major motion picture company, " says Seidler, 42.Plus, less executive responsibility translates into more flexibility to work on a family-friendly schedule.You can work on it again from your office computer, personal tablet or mobile phone.Zambello's work on Broadway includes directing a stage version of Disney's The Little Mermaid in 2008.If it doesn't work on Saturday, that's going to be just the wayit is.Your service technician is going to need Kristen Wiig's baby hands to work on this thing.The research follows earlier work on resveratrol, a naturally-occurring ingredient of red wine.Work on the project is due to begin this summer and be complete by 2017.从事某职业work on的双语例句1. It was 1956 when Susanna started the work on the garden.苏珊娜是从1956年开始修建这个花园的。
浩特威缄飞航天技术有限公司产品说明书:模型90071脚本翼端、反向光、位置灯组装
A v i a t i o nPhone: (860) 526-9504Internet: Sales/Service e-mail: info@©2016 Whelen Aerospace Technologies Form No.14A20A (082619)WARNING: This product can expose you to chemicals including Lead which is known to the State of California to cause cancer and birth defects or other reproductive harm. For more information go to www.P65Warnings.ca.g ov.Installation Guide:Model 90071Wingtip StrobeAnti-collision/Position Light Assembly18AWG TEFLON1.79110°70°1.08.151.66RED(+14or +28VDC)BLACK(-)GROUND POS 1 - RED(ANODE)POS 2 - BLACK(CATHODE)POS 3 - WHITE(TRIGGER)TAIL LIGHT WIRES (BLUE)NO POLARITYLEAD LENGTH 6.00"±1.00"2.461.835.631.35DIA..501.00.881.75.140 DIA.(3) MOUNTING HOLES FOR #6-32 SCREWSSpecifications:Position Lights -Current Draw ................ 2.0 Amps @ 28 Volts D.C.Weight ........................... 0.8 lbs.Length ........................... 5.6”Width ............................. 1.7”Height ............................ 2.4”INSTALLATION...The A600 Series must be properly mounted to comply with FAR Part 91.205(c-2) & (c-3). The light assembly must be mounted so that the light distribution pattern is not obstructed by any parts of the aircraft. A limited amount of obstruction is permitted (Ref. FAR Part 23.1401 for anti-collision lights, and FAR 23.1387 for position lights).The baseplate must be mounted parallel to the vertical and horizontal centerlines of the aircraft to project the patterns properly.MOUNTING...1.If necessary, fabricate the mounting pattern using dimensions found in fig. 1.2.Make the necessary wiring connections using 18 gage wire for the position lights, and Whelen 16 gage 3/c cable for the strobe lights. All connections must use FAA approved techniques.3.Remove the two (6-32 x .312) retainer mounting screws,retainer and lens.4.Attach the base assembly to the wingtip using (3) #6-32countersunk screws (unit may be sealed around periphery with RTV or equivalent).5.Re-attach the lens and retainer.WIRING...1.The strobe connector should plug into the Whelen interconnecting cable, or a Whelen strobe power supply.Observe the following strobe color coding:PIN 1 - RED (Anode)PIN 2 - BLACK (Cathode)PIN 3 - WHITE (Trigger)Caution:When pins 1 & 2 or pins 2 & 3 are reversed, the system will appear to operate normally, however this condition will cause premature flash tube failure.2.Connect the forward position light wires as follows:RED - (+) 28 volts BLACK - (-) Ground3.The tail position light has no polarity, as noted by both wires being BLUE. Connect one BLUE wire to +28 volts. Connect the other BLUE wire to ground (see fig. 2).Fig. 1Fig. 2NOTE:LENS/RETAINER ASSEMBLY (A612-D) P/N 02-0350071-35 CONSISTS OF AN RF COATED LENS ELECTRICALLY BONDED TO THE ALUMINUM RETAINER. THE BOND MAY EXHIBIT GAPS OR SEPARATION. THIS IS ACCEPTABLE. THIS RF BOND IS NOT A SEAL.。
Mechanical Behavior of Materials
Mechanical Behavior of Materials The mechanical behavior of materials is a fascinating and complex field that explores how materials respond to various forces and environments. This discipline is crucial for understanding the performance and durability of materials in engineering applications, ranging from the construction of buildings and bridges to the design of aircraft and spacecraft. By delving into the mechanical behavior of materials, engineers and scientists can develop innovative materials with enhanced properties and performance, ultimately driving technological advancements and improving the quality of life for people around the world. The study of mechanical behavior of materials has a rich historical background that dates back to ancient civilizations. Early civilizations such as the Egyptians, Greeks, and Romans utilized materials like stone, wood, and metal for construction and toolmaking, laying the foundation for the understanding of material properties and behavior. Over time, advancements in metallurgy, materials science, and mechanical engineering have contributed to a deeper understanding of how materials deform, fracture, and withstand different types of stress. For example, the Industrial Revolution spurred significant developments in materials processing and manufacturing techniques, leading to the widespread use of steel, iron, and other metals in various industries. From a scientific perspective, the mechanical behavior of materials is often viewed through different theoretical frameworks and models. For instance, the study of materials at the atomic and molecular level has given rise to theories such as dislocation theory, which explains the movement of defects in crystalline structures. Additionally, continuum mechanics provides a macroscopic approach to understanding material behavior, focusing on concepts like stress, strain, and elasticity. These diverse perspectives offer valuable insights into the mechanical properties of materials, enabling researchers to develop predictive models and simulation tools for engineering applications. Toillustrate the significance of mechanical behavior of materials, consider the case of aerospace engineering. The design and manufacturing of aircraft and spacecraft demand materials that can withstand extreme temperatures, pressures, and dynamic loads. By studying the mechanical behavior of materials, engineers can identify suitable materials for aerospace applications, ensuring the safety and reliabilityof vehicles that operate in challenging environments. Furthermore, advancements in materials science have led to the development of high-strength, lightweight composites that offer superior mechanical properties, contributing to theefficiency and performance of aerospace systems. Despite its numerous benefits, the study of mechanical behavior of materials also presents certain drawbacks and challenges. One common issue is the complexity of material behavior under real-world conditions, which can be influenced by factors such as temperature, humidity, and environmental degradation. Additionally, the characterization and testing of materials for mechanical properties can be time-consuming and costly, particularly when dealing with novel materials or advanced manufacturing techniques. Moreover, the design and optimization of materials for specific applications require a deep understanding of material behavior, posing a significant challenge for engineers and researchers. Looking ahead, the future implications of the mechanicalbehavior of materials are vast and promising. As technology continues to advance, there is a growing need for materials with tailored properties, such as enhanced strength, durability, and environmental sustainability. By leveraging insightsfrom the mechanical behavior of materials, scientists and engineers can develop innovative materials for renewable energy technologies, medical devices, and infrastructure systems. Furthermore, the integration of computational tools and artificial intelligence in materials research holds great potential for accelerating the discovery and design of advanced materials with unprecedented mechanical properties. In conclusion, the mechanical behavior of materials is a pivotal area of study with far-reaching implications for various industries and scientific disciplines. By delving into the historical development, different perspectives, case studies, and critical evaluation of this topic, it becomes evident that the study of material behavior is essential for advancing technology and addressing global challenges. As we look to the future, continued research and innovation in the field of mechanical behavior of materials will undoubtedly pave the way for transformative advancements in materials science and engineering, shaping the world we live in.。
写自己想象的东西作文英语
In my imagination, there exists a world that is both fantastical and grounded in the principles of science. It is a place where the impossible becomes possible, and the mundane is transformed into the extraordinary. This world is a blend of the natural and the supernatural, where creatures of myth and legend walk alongside humans, and technology has advanced to the point of being indistinguishable from magic.The Land of ElyriaElyria is a land of breathtaking beauty and boundless wonder. Its landscapes range from the lush, verdant forests of the east to the arid, golden deserts of the west. The skies above are a canvas of everchanging hues, painted by the twin suns that rise and set in a dance of perpetual day and night. The people of Elyria are as diverse as its terrain, with cultures that have evolved in harmony with the land and its creatures.The InhabitantsThe inhabitants of Elyria are a mix of humans, magical beings, and mechanical constructs. The humans have learned to coexist with the fantastical creatures that roam the land, such as the majestic griffins that patrol the skies and the wise, ancient dragons that dwell in the mountains. The magical beings, including elves and faeries, possess abilities that border on the divine, and they use their powers to maintain balance and harmony within the world.The mechanical constructs, on the other hand, are a testament to the ingenuity of Elyrias people. They are not mere machines but sentient beings, created through a blend of alchemy and engineering. These constructs serve various roles in society, from laborersin the fields to guardians of the cities.The CitiesThe cities of Elyria are marvels of architectural innovation. They are built to harmonize with the natural environment, using materials that blend seamlessly with the landscape. The capital city, Aetheria, is a shining example of this philosophy. Its buildings are crafted from a unique alloy that shimmers with a thousand colors, reflecting the everchanging sky above. The city is powered by a central energy core, harnessing the power of the twin suns to provide light and warmth to its inhabitants.The TechnologyTechnology in Elyria is not separate from nature but a part of it. The people havediscovered ways to harness the energy of the elements, using wind, water, and even the very earth itself to power their devices. Transportation is achieved through a network of floating platforms and levitating vehicles, which move silently and efficiently, leaving no trace on the land below.The ChallengesDespite its wonders, Elyria is not without its challenges. The balance between the natural and the supernatural is a delicate one, and there are those who seek to upset this equilibrium for their own gain. Dark forces lurk in the shadows, plotting to seize control of the lands resources and power. It is up to the heroes of Elyria to protect their world from these threats and ensure that the harmony between all its inhabitants remains unbroken.The FutureThe future of Elyria is as bright as its twin suns. With continued innovation and a deep respect for the world they inhabit, the people of Elyria are poised to explore new frontiers and push the boundaries of what is possible. As they do so, they will undoubtedly encounter new challenges and opportunities, but with their unity and determination, they will face them headon, ensuring that Elyria remains a beacon of hope and wonder for generations to come.In this imagined world, the line between reality and fantasy is blurred, and the possibilities are as endless as the stars that light up the night sky of Elyria. It is a place where dreams take flight and imagination knows no bounds.。
描述成就多的女性英语作文
In the realm of English composition,describing a woman with numerous accomplishments can be an enriching task.Here is a detailed essay that captures the essence of such a woman:Title:Celebrating the Accomplishments of a Remarkable WomanIn the tapestry of human history,there are figures whose threads of achievement weave a pattern of inspiration and admiration.Among these,women have often stood out,defying the odds and shattering the glass ceiling with their relentless pursuit of excellence.This essay endeavors to paint a vivid portrait of a woman whose accomplishments are a testament to her indomitable spirit and unwavering determination.Early Life and EducationOur subject,lets call her Jane,was born into a humble family with a strong emphasis on education and selfimprovement.From a young age,Jane displayed an insatiable curiosity and a voracious appetite for knowledge.Her academic journey was marked by a series of accolades and scholarships that paved her way to prestigious institutions of higher learning.Janes intellectual prowess was evident in her mastery of multiple disciplines, from the sciences to the arts,earning her degrees that spanned a diverse range of fields. Professional MilestonesUpon entering the professional sphere,Janes accomplishments continued to flourish.She excelled in her chosen career,rapidly climbing the corporate ladder and making significant contributions to her field.Her innovative ideas and strategic acumen led to groundbreaking projects that not only elevated her companys status but also set new industry standards.Janes name became synonymous with excellence and innovation,a beacon for aspiring professionals.Philanthropy and Social ImpactBeyond her professional success,Janes accomplishments extend to her philanthropic endeavors.Recognizing the power of giving back,she established a foundation aimed at empowering underprivileged communities.Through her foundation,Jane has been instrumental in providing educational opportunities,healthcare services,and economic support to those in need.Her commitment to social change has transformed lives and inspired a generation of social entrepreneurs.Personal AchievementsJanes personal life is equally adorned with achievements.As a mother,she has nurtured her children to become compassionate and successful individuals in their own right.Her family life is a model of balance and harmony,a testament to her ability to juggle the demands of a highpowered career with the nurturing responsibilities of parenthood. Legacy and InfluenceThe legacy of Janes accomplishments is profound and farreaching.She has become a role model for women and men alike,demonstrating that with dedication,hard work,and an unyielding belief in oneself,one can achieve greatness.Her influence extends beyond her immediate circle,inspiring countless individuals to pursue their dreams and overcome obstacles.ConclusionIn conclusion,the story of Jane is one of triumph and inspiration.Her numerous accomplishments are not merely a reflection of her personal success but also a beacon of hope for a society that values progress and equality.As we celebrate the achievements of women like Jane,we are reminded of the limitless potential that lies within each of us when we dare to dream and strive for excellence.This essay captures the multifaceted nature of a womans accomplishments,highlighting her professional success,philanthropic efforts,and personal life,all of which contribute to her overall impact and legacy.。
高级英语第二册第十四课学习辅导资料
paigns celebrating the Big Apple, those T-shirts with a heart design proclaiming “I love New York,”are signs, pathetic in their desperation, of how the m ighty has fallen. New York City used to leave the bragging to others, for bragg ing w as “bush” Being unique, the biggest and the best, New York didn’t have to assert how special it was.’t the top anym ore, at least if the top is m easured by who begets the styles and sets the trends. Nowadays New York is out of phase with American taste as often as it is out of step with Am erican politics. Once it was the nation’s undisputed fashion authority, but it too long resisted the incom ing casual style and lost its m onopoly. No longer so looked up to or copied, New York even prides itself on being a holdout from prevailing Am erican trends, a place to escape Comm on Denom inator Land.ore and m ore evident. A dozen other cities have buildings m ore inspired architecturally than any built in New York City in the past twenty years. The giant Manhattan television studios where Toscanini’s NBCSym phony once played now sit empty m ost of the time, while sitcoms cloned and canned in Hollywood, and the Johnny Carson show live, preem pt the airways from California. Tin Pan Alley has m oved to Nashville and Hollywood. Vegas casinos routinely pay heavy sum s to singers and entertainers whom no nightspot in Manhattan can afford to hire. In sports, the bigger superdom es, the m ore exciting teams, them ost enthusiastic fans, are often found elsewhere.–being regarded as unfriendly, unsafe, overcrowded, and expensive –but it is m aking som ething of a com eback as a tourist attraction. Even so, m ost Americans would probably rate New Orleans, San Francisco, Washington, or Disneyland higher. A dozen other cities, including m yhom etown of Seattle, are widely considered better cities to live in.any Europeans call New York their favorite city? They take m ore readily than do m ost Americans to its cosm opolitan com plexities, its surviving, aloof, European standards, its alien mixtures. Perhaps som e of these Europeans are reassured by the sight, on the twin fashion avenues of Madison and Fifth, of all those familiar international nam es – the jewelers, shoe stores, and designer shops that exist to flatter and bilk the frivolous rich. But no; what m ost excites Europeans is the city’s charged, nervous atm osphere, its vulgar dynam ism .share of articulate losers, it is also about m ockery, the put-down , the loser’s shrug (“whaddya gonna do?”). It is about constant battles for subway seats, for a cabdriver’s or a clerk’s or a waiter’s attention, for a foothold , a chance, a better address, a larger billing. To win in New York is to be uneasy; to lose is to live in jostling proxim ity to the frustrated majority.e. And though I have lived there m ore than half m y life, you won’t find m e wearing an “I Love New York”T-shirt. But all in all, I can’t think of m any places in the world I’d rather live. It’s not easy to define why.’s pleasures are m uch qualified in New York. You never see a star-filledsky; the city’s bright glow arrogantly obscures the heavens. Sunsets can be spectacular: oranges and reds tinting the sky over the Jersey m eadows and gaudily reflected in a thousand windows on Manha ttan’s jagged skyline. Nature constantly yields to m an in New York: witness those fragile sidewalk trees gamely struggling against encroaching cem ent and petrol fum es. Central Park, which Frederick Law Olm sted designed as lungs for the city’s poor, i s in places grassless and filled with trash, no longer pristine yet lively with the noise and vivacity of people, largely youths, blacks, and Puerto Ricans, enjoying them selves. On park benches sit older people,m ostly white, looking displaced. It has becom e less a tranquil park than an untidy carnival.our of the city, which never beckoned to m e from a distance, but itsopportunity –to practice the kind of journalism I wanted –drew me to New York. I wasn’t even sure how I’d m easure up against others who had been m ore soundly educated at Ivy League schools, or whether I could com pete against that tough local breed, those intellectual sons of immigrants, so highly m otivated and single-minded, such as Alfred Kazin, who for div ersion (for heaven’t sake!) played Bach’s Unaccompanied Partitas on the violin.ost banal and m arketable of one’s talents, still draws m any of the young to New York. That and, as always, the com pany of others fleeing som ething constricting where they cam e from. Together these young share a freedom, a community of inexpensive am usements, a casualliving, and som e rough tim es. It can’t be the living conditions that appeal, for only fond mem ory will forgive the inconvenience, risk, and squalor. Comm ercial Broadway m ay be inaccessible to them, but there is off- Broadway, and then off-off-Broadway. If painters disdain Madison Avenue’s plush art galleries, Madison Avenue dealers set up shop in the grubby precincts of Soho. But the purity of a bohem ian dedication can be exaggerated. The artistic young inhabit the sam e Greenwich Village and its fringes in which the experim entalists in the arts lived during the Depression, united by a world against them. But the present generation is enough of a subculture to be a source of profitable boutiques and coffeehouses. And it is not all that estranged.ost respects from mainland America, but in two areas it remains dominant. It is the banking and the comm unications headquarters for America. In both these roles it ratifies m ore than it creates. Wall Street will advance the m illions to m ake a Hollywood m ovie only if convinced that a bestselling title o r a star name will ensure its success. The networks’ news centers are here, and the largest book publishers, and the biggest m agazines – and therefore the largest body of critics to appraise the films, the plays, the m usic, the books that others have created. New York is a judging town, and often invokes standards that the rest of the country deplores or ignores. A m arket for knowingness exists in New York that doesn’t exist for knowledge.arkets and devising the catchy jingles that will m ove m illions from McDonald’s to Burger king, so that the adagency’s “creative director”can lunch instead in Manhattan’s expense-account French restaurants. The bankers and the admen. The m arketing specialists and a thousand well-paid ancillary service people, really set the city’s brittle tone— catering to a wide American public whose num bers m ust be respected but whose tastes do not have to shared. The condescending view from the fiftieth floor of the city’s crowds below cuts these people off from humanity. So does an attitude which sees the public only in terms of large, malleable numbers— as impersonally as does the clattering subway turnstile beneath the office towers.surprised by the lack of cynicism, particularly am ong the younger ones, of those who work in such fields. The television generation grew up in the insistent presence of hype, delights in much of it, and has no scruples about practicing it. Men and wom an do their jobs professionally, and, like the pilots who from great heights bom bed Hanoi, seem unmarked by it. They lead their real lives elsewhere, in the Village bars they are indistinguishable in dress or behavior from would-be artists, actors, and writers. The boundaries of “art for art’s sake” aren’t so rigid anym ore; art itself is less sharply defined, and those whose paintings don’t sell do illustrations; those who can’ get acting jobs do comm ercials; those who are writing ambitious novels sustain themselves on the m agazines. Besides, serious art often feeds in the popular these days, changing it with fond irony.e the newcom ers find or from their won worlds; Manhatten is m any such words, huddled together but rarely interaction. I think this is what gives the city itssense of freedom. There are enough like you, whatever you are. And it isn’t asnecessary to know anything about an apartm ent neighbor- or to worry about his judgm ent of you- as it is about som eone with an adjoining yard. In New York, like seeks like, and by econom y of effort excludes the rest as stranger. This distancing, this uncaring in ordinary encounters, has another side: in no other Am erican city can the lonely be as lonely.uch m ore needs to be said. New Your is a wounded city, declining in its am enities . Overloaded by its tax burdens. But it is not dying city; the streets are safer than they were five years age; Broadway, which seem ed to be succumbing to the tawdriness of its environm ent, is astir again.enace, the noise, the brusqueness- all confirm outsiders in their conviction that they wouldn’t live here if you gave them the place. Yet show a New Yorker a splendid hom e in Dallas, or a swimming pool and cabana in Beverly Hills, and he will be admiring but not envious. So m uch of well-to-do America now lives antiseptically in enclaves, tranquil and luxurious, that shut out the world. Too static, the New Yorker would say. Tell him about the vigor of your outdoor pleasures; he prefers the unhealthy hassle andthe vitality of urban life. He is hopelessly provincial. To him New York- despite its faults,which her will impat iently concede (“so what else is new?”) — is the spoiler of all other American cities.erican cities to visit first-rate art m useum s, to hear good m usic and see lively experim ental theater, to m eet intelligent and sophisticated people who know how to live, dine, and talk well; and to enjoy all this in congenial and spacious surroundings. The New Yorkers still wouldn’t want to live there.issing is what m any outsiders find oppressive and distasteful about New York –its rawness, tension, urgency; its bracingcom petitiveness; the rigor of its judgm ents; and the congested, dem ocratic presence of so m any other New Yorkers, encased in their own worlds, the defeated are not hidden away som ewhere else on the wrong side of town. In the subways, in the buses, in the streets, it is impossible to avoid people whose lives are harder than yours. With the desperate, the ill, the fatigued, the overwhelm ed, one learns not to strike upcon versation (which isn’t wanted ) but to m ake brief, sy m pathetic eye contact, to include them in the hum an race. It isn’t m uch, but it is the fleeting hospitality of New Yorkers, each jealous of his privacy in the crowd. Ever helpfulness is often delivered as a taunt: a m an, rushing the traffic light, shouts the m an behind him. “ You want to be wearing a Buick with Jersey plates?” — great scorn in the word Jersey, hom e of drivers who don’t belong here.’s definition, New York is m ongrel city. It is in fact the first truly international m etropolis. No other great city- not London, Paris, Rom e or Tokyo- plays host (or hostage) to so m any nationalities. The m ix is m uch wider- Asians, Africans, Latins - that when that tumultuous variety of European crowded ashore at Ellis Island.The newcom ers are never fully absorbed, but are added precariously to the undigested many.20 New York is too big to be dom inated by any group, by Wasps or Jews or blacks, or by Catholics of m any origins —Irish, Italian, Hispanic. All have their little sovereignties, all are sizable enough to be reckoned with and tough in asserting their claim s, but none is powerful enough to subdue the others. Characteristically, the city swallows up the United Nations and refuses to take it seriously, regarding it as an unworkable m ixture of the idealistic, the impractical, and the hypocritical. But New Yorkers them selves are in training in how to live together in a diversity of races- the necessary initiation into the future.education in sights and sm ells. There is wonderful variety of places to eat or shop, and though the m ost successful of such places are likely to touristy hybridcom prom ises, they too have genuine roots. Other Am erican cities have ethnic turfs jealously defended, but not, I think, such an adm ixture of groups, thrown together in such jarring juxtapositions . In the sam e way, avenues of high-rise luxury in New York are never far from poverty and m ean streets. The sadness and fortitude of New York must be celebrated, along with its treasures of art and m usic. The com bination is unstable; it produces friction, or an uneasy forbearance that som etimes becom es a real toleration.es a m atter of alternating m oods, often inthe sam e day. The place constantly exasperates , at times exhilarates . To m e it is the city of unavoidable experience. Living there, one has the reassurance of steadily confronting life.(from the Atlantic, Sept. 1978)NOTES1. Griffith: Thom as Griffith (1915--), Am erican writer and editor. Since 1974 he has been press colum nist, Time magazine; staff contributor, For-tune magazine; colum nist, Atlantic Monthly. He is an uprooted westerner who now calls New York hom e. Publications: The Waist-High Culture; How True? --A Sceptic 's Guide to Believing the News.2. the Big Apple: any large city; specifically New York City3. bush: rustic, countrified, belonging to sm all towns4. Comm on Denom inator Land: uniformity, comm onness, sam eness, the m onotonous, the hum drum5. sitcom s: situation com edies; a radio or television series that involves a continuing cast of characters in a succession of unconnected episodes6. cloned: grown like a clone, all the descendants being derived asexually from a single individual. Cloned and canned: produced and packed, all ready for immediate consum ption (showing).7. Johnny Carson: a m an who runs a late night talk show8. Nashville: Capital of Tennessee State, center of rock-and-roll9. Vegas: sam e as Las Vegas. See text I, exercise I.10. superdom es: extra big sport stadiums11. convention city: city where conventions (assem blies of m embers or delegates of a political, social, professional, or religious group) are regularly held.12. Madison: Madison Avenue13. Fifth: Fifth Avenue, fam ous for fashionable shops14. Whaddya gonna do?: What are you going to do? Connoting a cool lack of concern; indifference; nonchalance.15. Jersey: Jersey City16. Ivy League schools: referring to prominent north-eastern universities in the U.S., such as, Cornell, Harvard, Yale, Princeton, Colum bia and others. It connotes a certain degree of wealth, sophistication, re finem ent, social prominence, and the like.17. Kazin: Alfred Kazin (1915)), Am erican critic. Publications: On Native Grounds ; The Inm ost Leaf; Contemporaries ; and Bright Book of Life.18. Commercial Broadway: The New York comm ercial theater or entertainment industry19.off-off-Broadway: an avant-garde theatrical m ovem ent in New York that stresses untraditional techniques and radical experim entation. Its relation to off-Broadway being analogous to the relation of off-Broadway to Broadway.20. Soho: a district in New York. By the early 1970s the artist colony had shift- ed from Greenwich Village to Soho.21. best-selling title: title of best-selling books22. star nam e: nam e of star actor or actress23. networks: radio and television networks24. McDonald's : McDonald' s chain restaurant selling hamburger25. Burger King: a chain restaurant whose specialty is hamburger26. lunch in expense-account French restaurants: to lunch in expensive French restaurants with the bill being paid by the com pany or em ployer27. hype: extravagant prom otional advertising28. popular: pop art; a realistic art style, using techniques and popular subjects adapted from commercial art and the mass communications m edia29. Beverly Hills: city in California, surrounded by Los Angeles, fam ous for luxurious hom es of rich Hollywood actors and actresses30. So what else is new?: there is nothing new in what you say; connoting the listener is not im pressed nor interested31. You want to be wearing a Buick with Jersey plates?: Do you want to be knocked down by a car carrying a Jersey license plate? Connoting that the m an should have som e pride in being a New Yorker and not let him self be run over by a car from Jersey.32. touristy hybrid com prom ises: a m ixture of different racial characteristics which attracts tourists33. ethnic turfs: districts or areas inhabited by foreign-born Am ericansAims1)Im proving students’ability to read between lines and understand the text properly;2)Cultivating students’ability to m ake a creative reading;3)Enhancing students’ability to appreciate the text from different perspectives;4)Helping students to understand som e difficult words and expressions;5)Helping students to understanding rhetorical devices;6)Encouraging students to voice their own viewpoint fluently and accurately.Teaching Contents1)Background Knowledge2)Exposition3)Detailed Study of the Essay4)Organization Pattern5)Style and Language Features6)Special Difficulties课文讲解部分1. Background Knowledge1) About the author Thom as Griffith2) About New York City2. Exposition/~arnetha/expowrite/info.html3. Detailed study on Loving and hating New YorkPara.1-5 General introduction — setting forth the present status of New York in the United States and in the eye’s of foreignersTask: Collect evidence to show that “ How the m ighty has fallen.”New York = Big Apple = Mighty—Advertising campaigns publicly praise New York;—Many New Yorkers wear T-shirts with a heart design and the works “ I love New York”—New York is trying desperately to regain her lost prestige and status.Para.2-3: New York: Yesterday & TodayNew York CityYesterday TodayTop, highest, biggest isn’t any m oreLeading city sets styles and trends of nation out of phase with ______ as out of step withUndisputed fashion authority lost its undisputed leadershipLooked up to and im itated no longer so“Nowadays New York is out of phase with Am erican taste “—Nowadays New York connot understand nor follow the taste of the Am erican people and is often in disagreem ent with American politics.“No longer so looked up to or copied, New York even prides itself on being a holdout from prevailing American trends” —Since New York is no longer looked up to or copied as the undisputed fashion authority, it now boasts that it is a city that resists the prevailing trends (styles, fashion) of America, that it is a place where people can escape from uniformity and comm onness.Question:1) From where we can see New York’s deficiencies as a pacesetter are m ore and m ore evident?—Building—Manhattan television studios—Tin Pan Alley—Hiring singers and entertainers—Sports2) The technique used to support author’s view is___________.Para.4: New York: in the eyes of AmericansCom eback: 1 a : a sharp or witty reply : retort b : a cause for com plaint 2 : a return to a form er position or condition (as of success or prosperity) :recovery, revival Para5 New York: in the eyes of foreigner.Question: Why do m any Europeans call New York their favorite city?—Cosm opolitan complexities—European standards—Mixture of m any foreigners—Many jewelers, shoe stores and designers shops—Familiar international nam es—Tense, restless atm osphere; its energetic pulse“… and designer shops that exist to flatter and bilk the frivolous rich.”These shops are set up to cheat and gratify the vanity of the silly rich peoplePara 6 New York: energy, contention and strivingConvention: angry disagreem entStriving: trying very hard to achieve or to defeat the othersPut-down: ( inform al) a remark or criticism intended to m ake the others feel stupid (令人难堪的话,噎人的话)“To win in New York is to be uneasy; to lose is to live in jostling proxim ity to the frustrated majority.”— A person who wins in New York is constantly disturbed by fear and anxiety ( because he is afraid of losing what he has won in the fierce competition); a person who loses has to live am ong the defeated, who are in the m ajority in New York.Para.7: New York in author’s eyes.“New York was never Mecca to m e”Rhetorical devices em ployed in this sentence are: __________ and ___________.The author com pares New York to Mecca; and Mecca is standing for _______________.A place of holy pilgrimage, of a place one yearns to go.Para 8: New York: NatureQuestions:1) The topic sentence is ___________________.2) The rhetorical device employed in “ Nature constantly yields to m an in New York” is __________.3) Are there any other places uses the sam e rhetorical device as m entioned above? What’s the function of it?Para.9 New York: Opportunities & uncertainnessQuestions:1) What do “Ivy League Schools” refer to?2) Why did writer go and live in New York?Para.10: New York : in young people’s eyesQuestion: Why do young people still go to New York?—testing themselves—unwilling to surrender to their m ost comm on and easily sold talents—the fierce competition and challenge—standards of excellence dem anded“But the purity of a bohem ian dedication can be exaggerated.”—But a pure and wholehearted devotion to a Bohem ian life style can be esaggerated. “But the present generation is enough of a subculture to be a source of profitable boutiques and coffeehouses.”As these young writers and artists have distinct cultural patterns of their own, m any businessm en open up profitable boutiques and coffeehouses to cater to their special tastes and interests.“And it is not all that estranged” “It” probably m eans _______________.Para.11: New York: A judging town“A m arket for knowingness exists in New York that doesn’t exist for knowledge.”—In New York, a shrewd understanding or ability to appraise things is appreciated and paid for and skill and learning by themselves are not considered valuable.Para12: New York: An advertising CenterQuestion:1) The rhetorical device used in “The condescending view from the fiftieth floor of the city’s …” is _________. And “ The condescending view is the view of __________.2) In sentence “So does an attitude which sees….” The author com pares ______ to ______.Para 13: New York : Lack of cynicismTask: Collect evidence to show New York is lack of cynicism In sentence “ Men and wom en do their jobs professionally and, like pilots who from great heights bombed Hanoi …” the author compares_______ to ______.Para 14: New York: FreedomWhat gives the city its sense of freedom?Para 15: New York: Wounded not dyingAmenity: the attractiveness and value of real estate or of a residential structureTo succum b to: to fail to resist an attack, illness, temptationPara 16-18: New York: N ew Yorkers’ LoveNew Yorker who sees all the faults of the city still prefer to live in New YorkNew York’s faults:—Trash-strewn streets—Unruly school—Uneasy feeling or m enace—The noise—The brusqueness“He is hopeless provincial”—He will always be a New Yorker. His attitude towards and his love for New York will never change“New York … is the spoiler of all other American cities”—New York has spoiled all the other American cities for him.Para 19-10 New York: International MetropolisWhy is New York called an international m etropolis?Para.22: Loving and Hating New York1. exasperate: to excite the anger of; to cause irritation or annoyance to2. exhilarate: to m ake cheerful; to excite“The place constantly exasperates, at times exhilarat es.”—New York constantly irritates and annoys very m uch but at tim es it also invigorates and stimulates.Oral practice: Talking about the following questions:1. What is the main them e of this article? Where is it specifically stated?2. What technique does the writer use to develop his m ain them e? Is the technique effective? Cite exam ples.3. Comm ent on the diction of the writer. Pick out term s and phrases that you think are peculiarly American.4. Does the writer really both love and hate New York? Cite exam ples to back up your analysis.5. How m any paragraphs would you regard as being the introductory paragraphs. Why?6. What is the topic sentence of paragraph 8? How is the paragraph developed?7. Explain fully the following sentence from paragraph 11: “A m arket for knowingness exists in New York that doesn’t exist for knowledge.”8. Pick out som e figures of speech which you think the writer has usid m ost effectively. Cite your reasons.Paraphrase:1. Nowadays New York is out of phase with American taste (Para 2)2. New York even prides itself on being a holdout from prevailing American trends. (Para 2)3. Sitcom s cloned and canned in Hollywood, and the Johnny Carson show live, pre-empt the airwaves from California (Para 3)4. It is m aking som ething of a com eback as a tourist attraction (Para 4)5. To win in New York is to be uneasy (Para 6)6. Nature’s pleasures are m uch qualified in New York. (Para 8)7. The city ‘s bright glow arrogantly obscures the heavens (Para 8)8. But the purity of a bohem ian de dication can be exaggerated. (Para 10)9. In both these roles it ratifies m ore than it creates. (Para 11)10. The television generation grew up in the insistent presence of hype (Para 13)11. Those who are writing am bitious novels sustain them selves on the m agazines. (Para 13)12. Broadway, which seem ed to be succum bing to the tawdriness of its environm ent, is astir again (Para 15)13. He prefers the unhealthy hassle and the vitality of urban life (Para 16)14. The defeated are not hidden away som e where else on the wrong side of town. (Para 18)15. The place constantly exasperates, at tim es exhilarates. (Para 22)4. Organization Pattern1) The thesis: Loving and hating New York or m ore specifically: Loving and hating New York becom es a m atter of alternating m oods, often in the sam e day.2) The thesis developed by both objective and em otional description of New York and the life and struggle of New Yorkers3) The structural organization of this essay: clear and sim ple5. Style and Language Features1) Full of Am erican English terms, phrases and constructions.T-shirtholdoutcom ebackput-downexpense-accountadmanhigh-risemeasure up2) Use of various rhetorical devices:metaphorpersonificationmetonym ytransferred epithetalliterationsim ilesynecdocheironyeuphem ism/carroll/faq3.htmlto6. Special Difficulties1) Identifying and understanding Am ericanisms in this essay2) Som e terms/phrases/structuresout-of-phasetelevision generationeconom y of effortwrong sidesitcom s cloned and cannedMeccameasure up againstIvy League schoolscommercial Broadway/off-Broadway/off-off-Broadway Madison Avenue/Wall Streetlike seeks likeWasps词汇(Vocabulary)bush (adj.) : rustic,countrified,belonging to small towns粗俗的;乡土气的;乡下的beget (v.) : bring into being;produce使产生,引起,招致holdout (n.) : [Americanism]a place that holds out [美语]坚固据点deficiency (n.) : the quality or state of being deficient; absence of something essential;a shortage 缺乏,缺少,欠缺;缺陷,不足之处pacesetter (n.) : a person that leads the way or serves as a model标兵sitcom (n.) : [口]situation comedy的缩略clone (v.) : derive all the descendants asexually from a single individual无性繁殖preempt (v.) : radio and TV]replace(a regularly scheduled program)[广播、电视]先占,先取得casino (n.) : a public room or building for entertainments.dancing,or,now specifically,gambling 俱乐部,娱乐场;(现尤指)赌场nightspot (n.) : nightclub夜总会bilk (v.) : cheat or swindle;defraud欺骗,蒙骗dynamism (n.) : the quality of being energetic,vigorous,etc.推动力;活力,精力,劲头put—down (n.) : [American slang]a belittling remark or crushing retort[美俚]贬低的话;反驳;无礼的回答foothold (n.) : a secure position from which it is difficult to be dislodged立足点,据点jostle (v.) : bump or push,as in a crowd;elbow or shove roughly(在人群中)拥挤;用肘推;撞proximity (n.) : the state or quality of being near;nearness in space,time,etc.最近;接近;(地方,时间等)最接近obscure (v.) : darken;make dim使黑暗;使朦胧tint (v.) : give a color or a shading of a color to着上(淡)色gaudy (adj.) : bright and showy, but lacking in good taste;cheaply brilliant and ornate华丽而俗气的,炫丽的。
agil模型解释 -回复
agil模型解释-回复Agile Model: A Step-by-Step ExplanationIntroduction to Agile Model:The Agile model is a project management framework that prioritizes flexibility and collaboration over rigid, sequential processes. It breaks down complex projects into smaller, more manageable tasks and emphasizes adaptability and continuous improvement. Agile promotes a collaborative environment where cross-functional teams work together to deliver high-quality and customer-centric solutions.In this article, we will explore the Agile model in detail,step-by-step, to understand its principles, processes, and benefits.Step 1: Understanding Agile Principles:The Agile model is based on four core principles that guide its implementation:1. Individuals and interactions over processes and tools: Agileemphasizes the importance of effective communication and collaboration within the team. It encourages team members to prioritize face-to-face conversations over excessive reliance on tools or documentation.2. Working software over comprehensive documentation: Rather than focusing solely on extensive documentation, Agile prioritizes delivering functional software. Continuous feedback and iterations ensure that the final product meets customer requirements effectively.3. Customer collaboration over contract negotiation: Agile promotes active involvement of customers and stakeholders throughout the project lifecycle. Their feedback and inputs are constantly sought, enabling the team to build a solution that aligns with customer needs.4. Responding to change over following a plan: Unlike traditional models that follow a fixed plan, Agile embraces change. It recognizes that requirements may evolve over time, and encourages adaptability to address emerging needs effectively.Step 2: Agile Processes and Methodologies:Agile allows project teams to choose from various methodologies, each designed to address specific project requirements. Some popular Agile methodologies include Scrum, Kanban, and Extreme Programming (XP).1. Scrum: Scrum is one of the widely adopted Agile methodologies. It divides the project into short iterations called "sprints" that typically last from one to four weeks. These sprints outline specific goals and deliverables, ensuring incremental progress and constant feedback.2. Kanban: Kanban visualizes the project workflow using a Kanban board. Each task or user story is represented as a separate card and moved across different stages, such as "To Do," "In Progress," and "Done." It promotes transparency, enabling teams to identify and address bottlenecks efficiently.3. Extreme Programming (XP): XP emphasizes continuous testing, frequent releases, and close collaboration between developers and customers. It employs practices like pair programming, test-drivendevelopment, and short development cycles to ensure consistent product quality.Step 3: Roles and Responsibilities in Agile:Agile teams typically comprise several key roles, each with specific responsibilities. These roles may vary depending on the chosen Agile methodology:1. Product Owner: The product owner represents the voice of the customer and is responsible for defining project requirements, prioritizing user stories, and ensuring customer satisfaction.2. Scrum Master: In Scrum, the Scrum Master acts as a facilitator and ensures the team adheres to Agile principles. They remove any obstacles that hinder project progress and promote a collaborative environment.3. Development Team: The development team consists ofcross-functional members responsible for creating the product. They collaborate closely, self-organize, and deliver consistent increments of the product throughout the project.Step 4: Benefits of Agile Model:The Agile model offers several benefits over traditional project management approaches:1. Increased flexibility: Agile allows for changing priorities and requirements, enabling teams to respond quickly to emerging needs.2. Early and continuous feedback: Regular iterations and customer involvement ensure that feedback is received early, leading to quicker course correction and improved product quality.3. Enhanced collaboration: Agile encourages close collaboration, leading to improved communication, shared knowledge, and better problem-solving.4. Faster time-to-market: By breaking projects into shorter iterations, Agile enables faster delivery of valuable products or features, reducing time-to-market significantly.Conclusion:The Agile model revolutionizes project management by prioritizing flexibility, collaboration, and customer satisfaction. Its principles, processes, and methodologies empower teams to adapt to changing requirements and deliver high-quality solutions efficiently. By embracing Agile, organizations can achieve greater success in a dynamic and ever-evolving business landscape.。
Part_2_-_Machines
Benefits of rational production
Efficiency and mass production Pragmatism – e.g. with problems of different languages Impersonal fairness – ‘fair day’s wage for fair day’s work’ Equal opportunities? Avoidance of accidents
Taylor focused on the mechanisation of individual work Ford focuses on how to mechanise the flow of objects between workers
Work and Organisations
Industrial production: Organisations as machfactory system
Peasants, farmers, craftsmen and artisans – small scale businesses, owned by workers 17th/18th/19th Centuries: Gradual loss of property – bought up by capitalists Establishment of factory – many workers under one roof Capitalist wage/labour system
Fordism & Fayol
Early Organisation Design Dr Néstor Valero-Silva
Fordism
结构功能主义的社会整合效用分析
东北师范大学硕士学位论文结构功能主义的社会整合效用分析姓名:***申请学位级别:硕士专业:社会学指导教师:***20050401摘要形成于一卜世纪30、40年代,鼎盛于60年代的功能分析方法论,至今仍是西方社会学方法论的主流。
本文选择了结构功能主义的三个代表人物的整合理论作为研究的起点。
他们的理论主旨都是探讨社会运行过程中整合的实现问题,但每个人的研究角度都不尽相同。
帕森斯的整合理论是从单位行动出发构建他的社会行动系统,这是一个被他精心构造出的巨型系统,这个系统具有维持自身生存发展功能的必要条件,可以向纵横多向展开的立体式系统。
默顿在帕森斯理论的基础上,把维系社会秩序与稳定作为自己的理论目标,但他另走了一条“中层理论”的道路,即介于抽象研究和经验研究之『E『J的一种理论,提出了一些富有创意和解释力的功能分析概念,进一步开辟了整合思想的研究空间。
卢曼则认为社会系统不是由行动构成的,而是由沟通构成的,他强调社会系统的功能分化形成了对社会系统整合的威胁,要设法降低系统的破坏性倾向,同时也认为系统的功能分化也构成了社会整合的补偿力量。
本研究以结构功能主义作为基本的理论基础,在分析研究理论的多种整合模式的前提下,对中国社会的实际问题进行了整合研究,通过对西方结构功能主义整合效用的考证,对其实际效用有了一定的认识。
西方结构功能主义虽然对解决中国社会矛盾具有重要的理论指导作用,但在中国社会现实的应用中也显示出其理论的局限,对这一理论我们需要在实践中创造性地加以应用,并不断充实、完善这一理论。
关键词:结构功能;社会整合;整合效用AbstractThestructureandfunctiontheorywhichtookshapeonthe30‘“and40山oflastcentury,andwasingreatprosperityfunctioninthe60‘“isstillthewesternsociologymainstreamofmethodology.Thisstudyselectsthewholerationaltheoryofthreerepresentativefiguresofthestructurefunctionalismasthestartingpointofstudying.Theirtheories’purposesarealltoprobeintotheproblemofimplementationthatiscombinedinthesocialoperationCOUrSe,buttheanglesal'enotallthesalne.Parsonsconstructshissocialactionsystemfromtakingactionfromunit,anditisahugesystemmademeticulously.Thissystemhastheessentialtermsofone’sownsurviveanddevelopment,anditcanlaunchthethree-dimensionaltypesystemverticallyandhorizontally.Mertonregardsthesocialorderandstability’smaintainingashistheorygoalonthebasisofParsons’theory.Buthetakesaroadcalled”middleleveltheory”separately,whichislyingbetweentheabstractresearchandexperiencewhilestudying,puttingforwardsomeconceptionsexplainableandinnovativeandputthecombingresearchspaceofthoughtfurthenLuhmann’sviewpointisthatthesocialsystemisformednotbytheaction,butbythecommunication,andheemphasizesthatitisthesplitupofthesocialsystem’functionthatthreatenedthesocialsystemscombining.Soheadvocatestoreducingthesystematicdestructiontrend,andregardsthesplitupofthesystematicfunction,asthecompensationstrength,whichformsthesocialcombiningatthesametime.Thisresearchregardsstructurefunctionalismasthebasictheoreticalfoundation,maketheanalysisofkindsoftheorymodesastheprerequisiteandhaveacombiningresearchtothepracticalproblemofthesocietyofChinathroughcombiningthetextualcriticismofutilitytothewesternstructurefunctionalism.AlthoughwesternstructurefunctionalismhasimportanttheoryguidancefunctionsinsolvingChina’ssocialcontradiction,butitisalsodemonstratethelimitmionofitstheoryintherealisticapplicationoftheChinesesociety.Soanapplicationcreativelyinpracticetothistheoryisverynecessary,andweCallsubstantiateitandimproveitconstantly.Keywords:StructureandFunctiomSocialCombination:CombiningUtilityII独创性声明本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得的研究成果。
新视野大学英语第三版B4U4 TextA 课文中英对照版
unit4 TextAAchieving sustainable environmentalism完成可延续性开展的环保主义1 Environmental sensitivity is now as required an attitude in polite society as is, say, belief in democracy or disapproval of plastic surgery. But now that everyone from Ted Turner to George H. W. Bush has claimed love for Mother Earth, how are we to choose among the dozens of conflicting proposals, regulations and laws advanced by congressmen and constituents alike in the name of the environment? Clearly, not everything with an environmental claim is worth doing. How do we segregate the best options and consolidate our varying interests into a single, sound policy?在上流社会,对环境的敏感就如同信仰民主、反对整容一样,是一种不可或缺的态度。
然而,既然从泰德·特纳到乔治·W.H.布什,每个人都声称自己热爱地球母亲,那么,在由议员、选民之类的人以环境名义而提出的众多的相互矛盾的提案、规章和法规中,我们又该如何做出选择呢?显而易见,并不是每一项冠以环境爱护名义的事情都值得去做。
我们怎样才能别离出最正确选择,并且把我们各自不同的兴趣统一在同一个合理的政策当中呢?2 There is a simple way. First, differentiate between environmental luxuries and environmental necessities. Luxuries are those things that would be nice to have if costless. Necessities are those things we must have regardless. Call this distinction the definitive rule of sane environmentalism, which stipulates that combating ecological change that directly threatens the health and safety of people is an environmental necessity. All else is luxury.有一种简便的方法。
Unit_5We are going to work as packagers on the assembly line
Consolidation exercise2:
•1. seal the box
• 2.put the package in the box
• 3.get the toy car from the line •4. wrap the toy car into the plastic bag
A: What should we do first? B: First, you should __________________________________. wrap the toy car into the plastic bag Then _______________________________.
Act
out:
Some students act out the steps of wraping the dolls. The others describe in English
Summary: In today lesson, we have learnt the job as packagers on the assembly line. You grasp the sentence patterns and know how to describe the procedures of the work in the workshop
assembly [ə‘sembli]
line 流水作业线
workshop [‘wɜːkʃɒp] 车
间
pack
包裹
[ pæk] 包装
package [‘pækidʒ]包, packager [‘pækidʒə] 打
包工,包装者
wrap
高二英语阅读理解强化训练附解析Day9
⾼⼆英语阅读理解强化训练附解析Day9⾼⼆英语阅读理解强化训练附解析Day 9Passage 1Barcelona’s famous Segrada Familia is finally set to get a building license to work on the still uncompleted church.This UNESCO World Heritage basilica(长⽅形基督教堂), which is Barcelona’s most visited tourist attraction, began building in 1882 based on a design by architect Francisco Lozano. However, when he stepped down, architect Antoni Gaudi took over the design in 1883.The building won’t be finished until 2026—one hundred years after the architect was killed by a streetcar in the city. His body was buried in a room under the floor of the Sagrada Familia.To get its paperwork rubber stamped, the church authorities have agreed to finally pay the government a 36 million fee for a building permit. Gaudi was told to get the paperwork processed, but the architect failed to do so—proceeding with construction. The money from the church’s permit will be used to upgrade transport links and beautify the area.Gaudi played an active role in directing the construction of the Sagrada Familia until his death in 1926.He would often request that work be modified and adjusted until it was exactly what he had in mind. However, interpretation of the designs by present day architects is particularly challenging because of the nature of the existing designs.Gaudi and his works have become symbols of Barcelona, the capitalcity of Catalonia, northeast Spain. The unfinished building is called a masterpiece of Gothic architecture and it is perhaps the most unique and mysterious building in the style ever constructed. The popularity of the site with tourists has helped fund the push to complete the church and pay for the paperwork.1. What do we know about the Segrada Familia?A. It has been completely constructed.B. It was first designed by Antoni Gaudi.C. It will get a building permit in 2026.D. It began to be built 138 years ago.2. What can we infer about Antoni Gaudi?A. He wished to be buried in the church.B. He is remembered as a great architect.C. He didn’t know a permit was necessary.D. He is to blame for the unfinished church.3. What makes the Segrada Familia so popular?A. Its unusual design style.B. Its two famous architects.C. Its special building materials.D. Its illegal construction paperwork.4. The church managed to pay for the license _________.A. in the support of the governmentB. by reducing construction costsC. with the aid of tourist incomeD. through donations from architectsPassage 2Books Recommended by TED SpeakersA Mathematician’s Apology by G. H. HardyThis is the best book I know about the sheer beauty of mathematics. Here’s one lovely quote from the book: “A mathematician, like a painter or a poet, is a maker of patterns. If his patterns are more permanent than theirs, it is because they are made with ideas.”— David Brenner (TED Talk: A new weapon in the fight against superbugs)The Future by Nick MontfortThis is a short read but a great look at some key future thinkers throughout history. Through delightfully written case studies, Montfort makes the argument that the future can be made and not predicted. It’s a must-read for anyone interested in future studies and the role that sci-fi, speculative design and big ideas play in shaping our future relationship with technology.— Raphael Arar (TED Talk: How we can teach computers to make sense of our emotions)Improv Wisdom: Don’t Prepare, Just Show Up by Patricia Ryan Madson“We all could use a lesson on how to have fun in business and in life. Madson does a wonderful job providing strategies on how to deal withlife’s many challenging situations by drawing from the maxims of improvisational theater.”— Lisa Dyson (TED Talk: A forgotten Space Age technology could change how we grow food)If You Want to Write: A Book About Art, Independence and Spirit by Brenda UelandFor those who know they have something to express, these stressful times can feel a bit hopeless — it may seem impossible to find the time, skill and energy to create. This is one of the most timeless books on how to regain that hope, and it’s also a delightful read, in and of itself.— Sebastian Wernicke (TED Talk: How to use data to make a hit TV show)1. What is the topic of the talk given by Raphael Arar?A. A new weapon in the fight against superbugs.B. How we can teach computers to make sense of our emotions.C. A forgotten Space Age technology could change how we grow food.D. How to use data to make a hit TV show.2. Who are advised to read Improv Wisdom: Don’t Prepare, Just Show Up?A. Those interested in mathematics.B. Those interested in future studies.C. Those faced with life’s difficulties.D. Those eager to create books.3. Which book does Sebastian Wernicke recommend?A. A Mathematician’s Apology.B. The Future.C. Improv Wisdom: Don’t Prepare, Just Show Up.D. If You Want to Write: A Book About Art, Independence and Spirit.Passage 3Antidepressant(抗忧郁) drugs such as Prozac were viewed in the early 1900's as wonder pills that would remove depressive blues for good. But in the past five years, growing scientific evidence has shown these drugs work for only a minority of people. And now a research journal says that these antidepressants can make many patients' depression worse. This alarming suggestion centres on the very chemical that is targeted by antidepressants——serotonin(⾎清素). Drugs such as Prozac are known as selective serotonin re-uptake inhibitors(or SSRIs). Their aim is to increase the level of this "feel-good" chemical in the brain.But the new research, published in the journal Frontiers In Evolutionary Psychology, points out that serotonin is like a chemical Swiss Army knife, performing a very wide range of jobs in the brain and body. And when we start changing serotonin levels purposely, it may cause a wide range of unwanted effects. These can include digestive problems and even early deaths in older people, according to the study's leadresearcher Paul Andrews. "We need to be much more cautious about use of these drugs," says Andrews.Previous research has suggested that the drugs provide little benefit for most people with mild depression, and actively help only a few of the most severely depressed. Famous psychologist Irving Kirsch has found that for many patients, SSRIs are no more effective than a placebo pill. A research in 2010 on Danish children found a small, but significant increase in the risk of heart problems among babies whose mothers had used SSRIs in early pregnancy(怀孕). The key to understanding these side-effects is serotonin, says Andrews. Serotonin is also the reason why patients can often end up feeling still more depressed after they have finished a course of SSRI drugs. He argues that SSRI antidepressants disturb the brain, leaving the patient an even greater depression than before.Stafford Lightman, professor of medicine at the University of Bristol, and a leading UK expert in brain chemicals and hormones, says Andrews' review highlights some important problems, yet it should also be taken with a pinch of salt. "This report is doing the opposite of what drug companies do," he says. "Drug companies selectively present all the positives in their research, while this search selectively presents all the negatives that can be found. Nevertheless, Andrews' study is useful in that it is always worth pointing out that there is a downside to any medicine." Professor Lightman adds that there is still a great deal we don't know aboutSSRIs——not least what they actually do in our brains.When it comes to understanding why the drugs work only for a limited part of patients, U.S. scientists think they might now have the answer. They think that in many depressed patients, it's not only the lack of feel-good serotonin causing their depression, but also a failure in the area of the brain that produces new cells throughout our lives. This area, the hippocampus(海马体) , is also responsible for regulating mood and memory. Research suggests that in patients whose hippocampus has lost the ability to produce new cells, SSRIs do not bring any benefit.1. By saying "serotonin is like a chemical Swiss Army knife" in paragraph 2, the author means that serotonin can________ .A. make many patients' depression worseB. cause a wide range of unwanted effectsC. affect human body and brain in various waysD. provide little benefit for most depressed people2. In Stafford Lightman's opinion, ________ .A. Andrews' research has no medical valueB. scientists have found what SSRIs do in the brainC. drug companies don't know the negative effect of antidepressantsD. Andrews and the drug companies focused on different things about the drugs3. Which of the following is TRUE about SSRIs?________A. They are responsible for controlling mood and memory.B. They create a risk of heart problems in pregnant women.C. They are used to increase the "feel-good" medical in the brain.D. They can work even if the hippocampus can't produce new cells.4. What is the passage mainly about?________A. The aims of drug companiesB. The functions of SSRIsC. The side-effects of antidepressantsD. The causes of depressionPassage 4Welcome to Arundel Castle which is situated in West Sussex, England. The castle has a history of nearly 1000 years and has welcomed visitors traveling from all over the world. Arundel Castle also plays a starring role in many films.The GardensThe White Garden is planted with soft white Iceberg Roses, and Snow White Lilies.The Rose Garden is newly planted with lovely old-fashioned English roses that are at their very best in June and July. The Organic Kitchen Garden produces a wide range of seasonal fruits and vegetables, pears, cherries and apples.The Castle ShopIn the Castle Shop, you will discover a wide and interesting range of gift ideas for everyone. It offers gifts and souvenirs designed to appeal to all tastes and pockets. Foods, china, books, and stationery (⽂具) are all available. Many are sold in this Castle Shop only.At Arundel Castle we pride ourselves on supporting local suppliers and actively encourage environmentally friendly products.The Arundel Festival 2014Saturday 16th to Monday 25th AugustThe annual Arundel Festival gets bigger and better every year. It is one of the most amazing, diverse and easily accessible arts festivals in the UK, offering a mix of visual arts, music, theatre and street entertainment.ParkingCoaches and mini-buses can drop off at the main Castle entrance in Mill Road and park in the main town car park that is opposite the Castle entrance. Please inform us when making your booking of how many parking permits are required.1. What can you do when visiting the castle? ________A. See how the local gifts are being made.B. Get old-fashioned English roses as gifts.C. Buy eco-friendly products in the Castle Shop.D. Get seasonal fruits and vegetables free of charge.2. How long does the Arundel Festival last this year? ________A. 10 daysB. One weekC. 16 daysD. One month3. Where can you park the coach? ________A. In Mill RoadB. At the main Castle entranceC. Inside the CastleD. In the main town car parkPassage 5On June 23, 2010, a Sunny Airlines captain with 32 years of experience stopped his flight from departing. He was deeply concerned about a power part that might run out of all electrical power on his trans-Pacific flight. Regardless of his concerns, Sunny Airlines pressured him to fly the airplane over the ocean at night. When he refused to put the safety of his passengers at risk, Sunny Airlines' Security removed him out of the airport, and threatened to arrest his crew if they did not cooperate. Besides that, five more Sunny Airlines pilots also refused to fly the aircraft, expressing their own concerns about the safety of the plane. It turned out the pilots were right: the power part was faulty and the plane was removed from service and finally fixed. Eventually a third crew operated the flight, hours later. In this whole process, Sunny Airlinespressured their highly experienced pilots to ignore their safety concerns and fly passengers over the Pacific Ocean at night in a plane that needed maintenance. Fortunately for all of us, these pilots stood strong and would not be frightened.Don't just take our word. Please research this yourself and learn the facts at/doc/6ea90eb0571810a6f524ccbff121dd36a22dc450.html . Once you review this shocking information, please keep in mind that while their use of Corporate Security to remove a pilot from the airport is a new procedure, flight crews' lacking confidence is becoming common at Sunny Airlines, with recorded events occurring on a weekly basis.The flying public deserves the highest levels of safety. No airlines should maximize their gains by pushing their employees to move their airplanes regardless of the potential human cost. Sunny Airlines' pilots are committed to resisting any practices of damaging your safety for profits. We’ve been trying to deal with these problems behind the scenes for quite some time;now we need your help. Go to /doc/6ea90eb0571810a6f524ccbff121dd36a22dc450.html to get more information and find out what you can do.1. After the captain refused to fly the aircraft, he was ________ .A. asked to find another pilotB. forced to leave the airportC. arrested for disobeying the orderD. made to help the Airlines fix the plane2. What is the author's purpose of writing the passage?________A. To help Sunny Airlines make higher profits.B. To introduce Sunny Airlines' pilot training programs.C. To review plans for improving Sunny Airlines' service.D. To expose problems with Sunny Airlines' security practices.3. Which of the following is true about the aircraft?________A. It was too old for any more flight service.B. Its problem was found and finally repaired.C. It was removed from the airport for a week-long checkup.D. Its problem remained and no crew would operate the flight.4. The passage was most likely written by ________ of Sunny Airlines.A. security guardsB. managersC. pilotsD. passengers参考答案Passage 11. 细节理解题。
ProE training Assembly Considerations
Pro/E training Assembly ConsiderationsWorking with an assembly is similar to working with a part. However, you should bear the following in mind as you work:When you model an assembly, you are working with a nonmoving entity. Regardless of the appearance or behavior of the assembly in real-world conditions, Structure and Thermal treat all assemblies as nonmoving.Mechanica requires that all the parts in the assembly use the same system of units. You are responsible for ensuring that all dimensioning systems in your assembly are consistent. If you use a different system of units for some of the parts, Mechanica displays a message indicating that the software automatically converts the part's units so that the units of measure are the same.Up to the point when you run an analysis or study, Mechanica treats your assembly as a collection of individual parts. Thus, during the model development phase, you add modeling entities to parts, rather than to the assembly as a whole.After you start a run, Mechanica merges the individual parts into a single, multivolume body, where individual parts are either connected or unconnected.If you want Mechanica to treat your assembly as a set of shells, you must first define shells or shell pairs for each part in the assembly. You define shells and shell pairs on a part-by-part basis by accessing Mechanica after opening the individual parts.After you have defined shells and shell pairs for each of your parts, you can access Mechanica from assembly mode and work with the assembly as a whole. For more information on shells and shell pairs, see About Shells.If you use midsurface compression for any parts in your assembly that are made up of shells or shells and solids, gaps can form in your model where the curves (edges) or surfaces (faces) are mated or have assembly constraints applied to them. Mechanica creates connections between these gaps so the parts deform together as if they are one entity.Although Mechanica uses shell, surface region, beam, mass, and spring definitions from the individual parts that make up an assembly, it ignores any modeling entities and idealizations you added to the parts while working in part mode. Consequently, you need to assign new modeling entities and idealizations when you work with the assembly.Mechanica disregards all design parameters assigned to individual parts.For assemblies, be aware that you cannot place loads or constraints on geometry that Mechanica merges during a run. If a portion of a merged surface is free—for example, two volumes that have mated surfaces, but one surface is larger than the other—you can create a surface region on the free area and then apply the load or constraint to that surface region.When using family table instances in assemblies, note that any modeling entities you create are stored with the assembly rather than with the part.。
描写机器人的英语作文
Robots have become an integral part of modern technology,transforming various industries and aspects of our daily lives.Heres a detailed composition on robots, exploring their evolution,applications,and potential future developments.Introduction to RobotsRobots are machines designed to execute tasks automatically,often with the ability to interact with their environment.The concept of a robot dates back to ancient times,but it was only in the20th century that they became a reality in the form we recognize today. The term robot was first coined by Czech writer KarelČapek in his1920play R.U.R. Rossums Universal Robots,which depicted artificial beings capable of performing human tasks.Evolution of RoboticsThe evolution of robots can be traced through several key milestones.Early robots were primarily industrial,designed for repetitive tasks such as assembly line work.The first programmable robot,the Unimate,was introduced in1961and revolutionized manufacturing by automating the process of die casting and spot welding.Over time,robots have become more sophisticated,with advancements in artificial intelligence AI and machine learning allowing them to perform more complex tasks. Today,robots are capable of learning from their experiences,making decisions,and even interacting with humans in a more natural way.Applications of RobotsRobots are now used in a wide range of applications across various sectors:1.Industrial Automation:Robots continue to play a crucial role in manufacturing,where they perform tasks such as precision assembly,material handling,and quality control.2.Healthcare:In the medical field,robots assist in surgeries,deliver medication,and even help in patient rehabilitation.3.Domestic Assistance:Home robots perform tasks like cleaning,lawn mowing,and even providing companionship to the elderly.4.Space Exploration:Robots explore environments that are inhospitable to humans,such as deep space or the ocean floor.5.Disaster Response:In emergency situations,robots can enter dangerous areas to assess damage,locate survivors,and assist in rescue operations.itary:Autonomous drones and ground vehicles are used for surveillance, reconnaissance,and combat support.Technological AdvancementsThe integration of AI has been a significant factor in the advancement of robotics.Robots now have enhanced sensory capabilities,allowing them to perceive their surroundings and interact with them more effectively.They can process information,make decisions based on complex algorithms,and even exhibit a level of autonomy.Ethical ConsiderationsAs robots become more advanced,ethical considerations come to the forefront.Issues such as privacy,job displacement,and the potential for misuse of technology are important to address.Ensuring that robots are designed and used responsibly is a challenge that society must face.Future of RoboticsThe future of robotics is promising,with ongoing research and development aimed at creating more intelligent,adaptable,and interactive machines.We can expect to see robots that are capable of performing tasks with greater autonomy,learning from their environment,and even exhibiting emotional intelligence.In conclusion,robots are not just a product of science fiction but a reality that is continuously evolving and expanding.As technology progresses,the role of robots in society will only grow,offering new possibilities and challenges that we must navigate with care and foresight.。
机器人的功能英语作文
Robots are increasingly becoming an integral part of our daily lives,performing a variety of tasks that enhance efficiency,safety,and convenience.Here is an overview of the functions that modern robots are capable of:1.Manufacturing and Assembly:Industrial robots are widely used in assembly lines for tasks such as welding,painting,assembling,and packaging.They can work tirelessly with high precision,reducing the risk of human error.2.Domestic Assistance:Home robots,such as vacuum cleaners and lawn mowers, perform routine household chores,freeing up time for other activities.Some advanced models can even assist with cooking,cleaning,and even companionship.3.Medical Applications:Robots in healthcare settings can assist in surgeries,providing precision that is difficult for human hands to achieve.They can also help in patient care, such as lifting and moving patients,and in delivering medication.4.Disaster Response:Search and rescue robots are designed to navigate through dangerous environments,such as earthquakehit areas or burning buildings,where human rescuers may be at risk.They can locate survivors and provide vital information to rescue teams.5.Agricultural Automation:Agricultural robots can perform tasks such as planting, watering,and harvesting crops.They can also monitor crop health and optimize farming practices for better yields.6.Space Exploration:Robots are used in space missions to explore planets and other celestial bodies.They can withstand harsh conditions and perform tasks that would be too risky for human astronauts.cation and Research:Educational robots can help students learn programming, engineering,and other STEM subjects.Research robots can assist in scientific experiments,data collection,and analysis.8.Security and Surveillance:Security robots can patrol areas,detect intruders,and alert authorities.They can be equipped with cameras and sensors to monitor environments continuously.9.Entertainment:Robots are used in the entertainment industry for performances,theme park attractions,and interactive experiences.They can mimic human movements and expressions,providing a unique form of entertainment.10.Environmental Monitoring:Robots can be deployed to monitor environmental conditions,such as pollution levels,wildlife populations,and climate change indicators. They can collect data over large areas more efficiently than human researchers.11.Transportation:Autonomous vehicles,including drones and selfdriving cars,are changing the way we think about transportation.They can reduce traffic congestion, improve road safety,and provide personalized travel options.12.Customer Service:Service robots in retail,banking,and hospitality sectors can assist customers,answer queries,and perform transactions,improving the customer experience and reducing wait times.Robots are not just tools they are evolving to become intelligent systems that can learn, adapt,and interact with humans in increasingly sophisticated ways.As technology advances,the capabilities of robots will continue to expand,offering new possibilities and transforming various aspects of life.。
Commodity,FirmnessandDelight
The 18th century definition of architecture as‘commodity, firmness and delight’ is echoed in today’s briefs calling for architectural solutions which create value, embody the principles of sustainability, and catch the elusive ‘wow’ factor. Like Sir Stuart Lipton (profiled in this issue), Peter Hunter believes there is a role for bodies such as CABE and the Arts Council to encourage the creation of high quality design and help clients put ‘delight’ amongst their requirements.Is architecture an art, or a science? This question has confounded architects, engineers, craftsmen and builders and all those concerned with the construction of buildings for the last hundred years. It was not always so.In the beginning, shelter was mandatory. Later, status emerged and shelters wereacquired. Gifted craftsmen,carpenters, armourers,enamellers, painters, weaversand many others becamehighly skilled and then realisedthat they conferred wealth ontheir employers. The craftsmenmobilised; they formed Guilds.Some members became MasterCraftsmen and buildingsbecame structures. WhenRenaissance humanismprevailed, there were nopreconceived ideas about thesegregation of art from science.Thus it was not thoughtincongruous that Michelangelo,a sculptor, should be architectof St. Peter’s. Brunelleschi, agoldsmith, worked on designsfor the Duomo of Florence andPerrault, a physician, waschosen by Louis XIV to buildthe east front of the Louvre.Haussmann’s ParisIn nineteenth-century Paris,Baron Haussmann created newboulevards and dramatic vistas which ensured that residential buildings were a harmonious part of the city’s building projects. He provided, at the intersections of these imposing public concourses, space for public buildings: important sites for grand monuments. Gustave Eiffel created one of the most enduring symbols of pride and achievement for a city; his tower was a challenge to contemporary tastes. Throughout Europe, significant new buildings were erected by individuals who were not primarily architects. Thomas Telford designed St. Katharine’s Dock in London (1824 – 1828); Joseph Paxton, a gardener to the Duke of Devonshire, in the early stages of his career, built the Crystal Palace for the Great Exhibition of 1851; and Isambard Kingdom Brunel, engineer, financier, politician and surveyor, was responsible for the glass and iron roof of Paddington Station, built in 1854.John Ruskin, in his treatise on architecture, wrote apparently contradictory instructions: ‘Ornamentation is the principal part of architecture’, ‘We want no style of architecture’, and ‘The forms of architecture already known are good enough for us’. This was a time when the battle of styleswas raging; Barry’s new Housesof Parliament combined theGothic and the Elizabethanstyles. His building provokedDisraeli to declare that thearchitect responsible should bepublicly hanged.The Pre-RaphaelitesIn the 1840s, William Morrisand Edward Burne-Jones begana serious commitment topainting, inspired by anotherartist, Dante Gabriel Rossetti.Morris’ numerous interestsinclined to architecture but hedid not wish to be confined toany single discipline. His aimwas to create as far as possiblea new philosophy, emphasisingcraftsmanship and materials.This was exemplified in hishome, the Red House inBexleyheath, in the design ofwhich he collaborated with thearchitect Philip Webb and agroup of craftsmen eventuallyorganised into Morris, Marshalland Faulkner & Co (1861). Their principles and achievements led to the formation of the Arts & Crafts Society in 1888.William Morris believed that he had established a new order, combining artistic expression, craftsmanship and a newCommodity,Firmness and Delight A History of Art,Architecture and Public SpaceBy Peter HunterPaddington Station roofmethod of building, yet by eschewing the use of machinery in hismanufacturing processes,he confined the practical application of his ideas to projects financed by the wealthy. At about the same period, in Belgium,a group of artists and architects attempted to combine their individual talents in the building process. The style they developed became known as Art Nouveau and was a profound influence within artistic and architectural debate,particularly in the work of Scottish architect Charles Rennie Mackintosh and his wife, who combinedarchitecture, painting and the applied arts, exercising a lasting influence. In Vienna in the 1900s another movement of artists and architects, including Klimt and Otto Wagner, startled theircontemporaries with remarkable and contrasting works of art, architecture and sculpture. This movement became known as ‘The Vienna Secession’,another strong influence in the development of ideas about architecture.The BauhausIn 1919, Walter Gropius, who came from a family of architects, took up hisappointment as Director of the Schools of Fine Art and of Crafts at Weimar, which he renamed the Bauhaus. This was, perhaps, the last conscious attempt to try anddevelop artistic and architectural ideas in the same intellectual environment.He involved artists such as Kandinsky, Klee and Brill and the architects Marcel Breuer and Mies van de Rohe. They were working during a period of great social change; a time ofausterity. The commissions for great nineteenth-century public buildings, which had promoted such fertile partnerships between artists and architects, were replaced by an urgent need for mass-produced housing, for schools and utilitarian accommodation of all kinds.There have been many polymaths starting from different areas of interest who have had the ambition of reconciling science and art in some higher intellectual synthesis. Perhaps the attempt to do this, and the tension that has thereby been created between art and science, has been helpfulto artistic endeavour. Great movements in art,such as Impressionism, were invariably the result of intense theoretical and scientific debate, but architecture has grown poorer in the process and has gradually become isolated from the rest of the artistic community. Possibly the bestdefinition of architecture was expressed by Sir Henry Wootton in the eighteenth century as ‘commodity, firmness and delight’, illustrating the complexity and fundamental truths of architecture.In 1986 Professor Donald Olsen wrote The City as a Work of Art . This book challenged many assumptions about urban history and set out to show that London, Paris and Vienna weredeliberate works of art. Professor Olsen argued that the architecture and physical structure of each of these cities reveal a great deal about the values of the societies that created them. He underlined the need to look closely at the nineteenth century, when assumptions about works of art and their qualities were verydifferent from those of today. As Professor Olsen puts it, ‘Form was not to follow function, but to transcend it. Beauty was regarded as uplifting and artistic but if not considered beautiful would be depraved and therefore not art’.It is perhaps within the complexity of the city, with the need for ‘commodity, firmness and delight’, that one begins to understand the importance of these three elements. Artshould be an equal partner with ‘commodity and firmness’ in modern buildings, yet no established basis for the involvement of artists in the long process of architectural design andimplementation has been achieved. This is not the case in the imaginative worlds of film and television, nor of the theatre.Consider the easy conversion from stage-set designer to architect of Inigo Jones and John Nash or, more recently andin reverse, of Sean Kenny. It is easy to imagine ‘delight’ as part of the make-believe world of the theatre, or the film or television studio, where its presence is expected and the talents that create it work together as a matter of course and are formally credited in title sequence or programme note. Why should things be so different in the real world?The theatre provides an example of variousdisciplines working together to create a singleGlasgow School of ArtCrystal Palaceeffect. Very often this is a combination of art and of architecture in its widest sense, providing a setting to stimulate the imagination of the audience and enhance the performance. Eighteenth-century architecture sometimes emulated theatrical design, resulting in the elegant crescents of Bath, the geometric complexity of the New Town in Edinburgh and Nash’s terraces in Regents Park. These examples were speculative developments and they were fashionable and controversial. Their architects were as concerned with the business success of their projects as many architects are today. The use of decoration and involvement of artists in many aspects of the building process was considered practical and prudent; it was good business sense.After the Second World War, architects tackled practical problems with a spirit of idealism. They sought to derive beauty from the form andfunction of the buildingsthey designed. Thisintellectual rationalisationwas an extension of the ideaspromoted by the Bauhaus.Post-war architects werefaced with social andeconomic difficulties and avast building programmenecessitating buildings thatwould be as ‘lean’ as possible,economically andaesthetically. There was‘delight’ in the minds of thearchitects working on thesebuildings but it was delight in the abstract, a quality not immediately accessible to a public shocked by war. In 1951 the Festival of Britain,a determined effort to celebrate the achievements of post-war artists and architects, was criticised as frivolous and wasteful. Some return to earlier ideas may be seen in those areas of London’s Docklands where public art, usually in the form of sculpture, has appeared to identify a particular project. At the Broadgate office complex, a systematic effort to incorporate art and sculpture from the outset of building works has been well received. The results have encouraged public interest and investment in this aspect of the Broadgate development (see Peter Murray’s article in this issue). The achievements at Broadgate and elsewhere during the last decade have coincided with a fundamental change in the architectural profession. This change was precipitated by the abandonmentof their experience ortalent, would receive thesame payment for specificelements of work. Theyalso all followed a strictcode of conduct whichforbade advertising or‘touting’ for work.Architects are now in anunprotected profession.Fees are set on acompetitive basis and thearchitect mustbe a person in business.This new role forarchitects is determined byfinancial, not artistic, Bath’s Royal CrescentVienna Secession, Gustav Klimtconsiderations. The architect has to secure a position within the building team in direct competition with other professionals. Might these developments provide an opportunity for a new alliance between the architect as designer and the artist as creator? To explore this idea within the architectural profession would require careful management. Computer-aided design (CAD) systems initially inspired a certain degree of apprehension; it was feared in some quarters that they might remove not only the drudgery of the minutiae of technical drawing but also the flair and originality of individual workmanship. There is still resistance to the use of CAD, though it has been developed and made far more responsive to the working needs of architects. Initiatives from the Arts Council and from other sources have recently given encouragement to architects to include art in the building process. Though commendable, this tactic would be superfluous in an ideally balanced framework of architectural patronage. An architect’s education already provides some incentive to embrace artistic tradition but it does not actively promote the concept of creative collaboration between artists and architects. The pursuit of this collaboration is left very much to individual architects and their clients.No-man’s-landThere is another area of general concern, where the talents of different individuals could be combined to good effect.In urban and in rural settings there can be found forgotten corners, expanses of no-man’s-land. Invariably, when plans are invited for such a piece of ground, numerous interested parties come forward with diverse proposals. Ownership of these spaces is sometimes public, sometimes unknown. City engineers will be concerned from traffic and safety points of view, while the public utilities will invariably cut across any site. Other specialist interests are concerned with signs, the condition of pavements, of trees, grass or water. Anyone who has tried to deal with these conflicting concerns will recognise the need for someone to take charge and co-ordinate all the interests. It is often difficult to determine an order of priority for action: all aspects of the space are of varying importance but, crucially, must be brought together in harmony.It is easier to imagine the complexity of such problems in cities, where the spaces between buildings are, in a sense, public ‘rooms’ and the surrounding elevations their walls, yet these problems do occur in rural districts, where their successful resolution is just as important. The spaces between buildings have a profound effect on the sensibilities of all who use them. Consciously or subconsciously, the volume, texture, colour, decoration and noise-level of our environment affect our attitudes. This essential element of everyday life has fascinated artists and architects throughout civilisation.Few artists today would consider it appropriate to make a simple perspective drawing of a proposed building or setting for a building, yet the abstract effects of light and shade, of colour and texture, the positive and negative relationships between spaces, might be well shown in such a piece of work at the earliest stage of architectural design. Building projects must pass a variety of official tests before they are realised. One crucial early test is the democratic approval of a planning application by an elected authority. Furthermore, every building must conform to strict building regulations.These formal processes could be interpreted as safeguards of ‘commodity and firmness’, yet there is no formal insistence on ‘delight’. Is this perhaps the missing element in those developments which have dismayed the public and caused them to censure the architects and clients responsible? Consulting on delightHow can ‘delight’ be formally described? How can it be approved by committee consensus? Might it not be simpler to leave the whole subject to a few enlightened patrons and let art and architecture continue on their parallel tracks? This is the nub of the matter. If ‘delight’ is to be considered as fundamental as ‘commodity and firmness’ and if it is to be the shared responsibility of artists and architects, then it is essential that some formal process be established to measure the ‘delightful’ needs and potential of every building project in the same way that planning and building regulations measure the practical implications of any development.In every planning application, a number of statutory consultations need to take place. Would it not be a simple matter for another consultation to be added to the list? Where appropriate an individual could be appointed to the local authority’s staff, their sole responsibility to appraise the local role of the arts in building projects. There should be a national body which would oversee and organise this activity: the Arts Council is a well-qualified contender so, of course, is CABE.As we have seen, throughout history there have been collaborations between architects and artists, some of which resulted in movements achieving lasting influence. Not many buildings are designed by architects compared to the total number built. Very few artists are commissioned to become involved either with buildings or the spaces between them. Perhaps it is in this no-man’s-land that a new and influential collaborative movement could be started? Surely a combination of talents and an improvement in our environment would result in many more commissions and the flowering of imagination and creativity? Nor need this be confined to the plastic arts.In many public spaces there is a need for and sometimes a tradition of performance of ‘live’ art.Buildings and the spaces between them constitute the environment in which we live our lives. These places are used by all of us and cared for by few of us, yet they may be defined as ‘settings for life’ and represent an unequalled opportunity for the creativity and imagination of a whole new cast of players.Peter Hunter is an architect, development consultant and former Partner at Shepheard, Epstein and Hunter.。
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a rXiv:078.3936v1[cs.RO ]29Aug27Working and Assembly Modes of the Agile EyeIlian A.BonevDamien Chablat and Philippe Wenger D´e partement de g´e nie de la production automatis´e e Institut de Recherche en Communications ´Ecole de Technologie Sup´e rieureet Cybern´e tique de Nantes,1100Notre-Dame St.West,Montr´e al,QC,Canada H3C 1K31rue de la No¨e ,44321Nantes,France Ilian.Bonev@etsmtl.ca {Damien.Chablat,Philippe.Wenger }@irccyn.ec-nantes.fr A BSTRACT This paper deals with the in-depth kinematic analysis of a special spherical parallel wrist,called the Agile Eye .The Agile Eye is a three-legged spherical parallel robot with revolute joints in which all pairs of adjacent joint axes are orthogonal.Its most peculiar feature,demonstrated in this paper for the first time,is that its (orientation)workspace is unlimited and flawed only by six singularity curves (rather than surfaces).Furthermore,these curves correspond to self-motions of the mobile platform.This paper also demonstrates that,unlike for any other such complex spatial robots,the four solutions to the direct kinematics of the Agile Eye (assembly modes)have a simple geometric relationship with the eight solutions to the inverse kinematics (working modes).I.I NTRODUCTION Most of the active research work carried out in the field of parallel robots has been focused on a particularly challenging problem,namely,solving the direct kinematics,that is to say,finding each possible position and orientation of the mobile platform (assembly mode )as a function of the active-joint variables.A second popular problem has been the evaluation and optimization of the workspace of parallel robots [1],[2].Unfortunately,the direct kinematic problem and the workspace analysis have most often been treated independently,although they are closely related to each other.It is well known that most parallel robots have singularities in their workspace where stiffness is lost [3].These singu-larities (called parallel singularities in [4]and Type 2in[3])coincide with the set of configurations in the workspacewhere the finite number of different direct kinematic solutions(assembly modes)changes.For parallel manipulators withseveral solutions to the inverse kinematic problem (workingmodes ),another type of singularity exist and defines what maybe generalized as the workspace boundary.These singularities(called serial singularities in [4]and Type 1in [3])coincidewith the set of configurations in the workspace where thefinite number of different inverse kinematic solutions (workingmodes)changes.While ensuring that a parallel robot stayswith the same working mode along a discrete trajectory isstraightforward,the notion of “same assembly mode”is noteven clear in the general case.Indeed,the direct kinematicsolutions are most often obtained by solving a univariatepolynomial of degree n >3,which means that there is noway to designate each solution to a particular assembly mode.Then,how does one choose a direct kinematic solution for a parallel robot for each different set of active-joint variables?A natural sorting criterion is that the direct kinematic solution could be reached through continuous motion from the initial assembly mode,i.e.,the reference configuration of the robot when it was first assembled,without crossing a singular-ity.Before [5],it was commonly thought that such a criterion was sufficient to determine a unique solution.Unfortunately,as for serial robots [5],[6],a non-singular configuration changing trajectory may exist between two assembly modes for robots that are called cuspidal .This result later gave rise to a theoretical work on the concepts of characteristic surfaces and uniqueness domains in the workspace [7].However,it still remains unknown what design parameters make a given parallel robot cuspidal,and it is still unclear how to make a given parallel robot work in the same assembly mode.It will be shown in this paper,that there is a spherical parallel robot (quite possibly the only one),for which there are clear answers to these complex questions.From the family of parallel wrists [8],the Agile Eye provides high stiffness and is quite probably the only one to provide a theoretically unlimited and undivided orientation workspace .The Agile Eye is a 3-R3Fig.1.The Agile Eye at its reference configuration.When it was realized that the unlimited workspace of the Agile Eye is not divided by singularity surfaces (as is the case for all other spherical parallel robots),yet accommodating four unique assembly modes,it first seemed that the Agile Eye is a cuspidal robot.In this paper,it is shows not only that the Agile Eye is not cuspidal,but that it is straightforward to identify its four assembly modes via a simple relationship to its working modes.The results of this paper provide more insight into the kinematics of the Agile Eye and shed some light to the open problem of assembly mode designation.The rest of the paper is organized as follows.In the next two sections,the kinematic model of the Agile Eye and its inverse kinematics are presented briefly.Then,the direct kinematics and the singularity analysis of the Agile Eye are addressed by partially reproducing,reformulating,and augmenting the results of [10]and [11].Finally,it is shown that for each working mode there is a single corresponding assembly mode from among the four nontrivial ones.II.K INEMATIC M ODEL OF THE A GILE E YE Figure 1depicts the Agile Eye at its reference configuration,where the mobile platform is at its reference orientation and all active-joint variables are zero.At the reference configuration,the axes of the first base joint,the second intermediate joint,and the third platform joint coincide,and so on for the other joints (the figure is self-explanatory).A base reference frame Oxyz is chosen in such a way that its x axis is along the axis of the first base joint,its y axis is along the axis of the second base joint,and its z axis is along the axis of the third base joint,as shown in Fig.1.A mobile reference frame (not shown)is fixed at the mobile platform so that it coincides with the base frame at the reference orientation.With these settings,the axes of the base joints are defined by the following unit vectors expressed in the base reference frame:u 1= 100 ,u 2= 010 ,u 3= 001 .(1)Similarly,the axes of the platform joints are defined by the following unit vectors expressed in the mobile reference frame:v ′1= 0−10 ,v ′2= 00−1 ,v ′3= −100 .(2)The rotation matrix R describes the orientation of the mobile frame with respect to the base frame.The ZYX Euler-angle convention is used here because it simplifies greatly the kinematic analysis.In the base frame,the axes of the platform joints are defined as follows v i =Rv ′i =R z (φ)R y (θ)R x (ψ)v ′i ,(3)where i =1,2,3,which yields v 1= sin φcos ψ−cos φsin θsin ψ−cos φcos ψ−sin φsin θsin ψ−cos θsin ψ ,v 2= −sin φsin ψ−cos φsin θcos ψcos φsin ψ−sin φsin θcos ψ−cos θcos ψ ,v 3= −cos φcos θ−sin φcos θsin θ .(4)Finally,the axes of the intermediate joints are defined by the following unit vectors expressed in the base reference frame:w 1= 0−sin θ1cos θ1 ,w 2= cos θ20−sin θ2 ,w 3= −sin θ3cos θ30 ,(5)where θi is the active-joint variable for leg i (in this paper i =1,2,3).III.I NVERSE K INEMATICS AND W ORKING M ODES Although very simple,the solutions to the inverse kinemat-ics of the Agile Eye will be presented for completeness [10].For a given orientation of the mobile platform,each leg admits two solutions for θi in (−π,π]obtained from tan θ1=cos θsin ψcos θcos ψ,(7)tan θ3=tan φ.(8)Thus,the inverse kinematic problem usually admits eight real solutions or working modes for any (non-singular)orien-tation of the mobile platform.It is very important to note that for both solutions for θi ,vector w i is along the same axis but with opposite directions.When a leg is fully extended or fully folded,the corresponding equation from the above three ones does no hold true and the corresponding active-joint variable θi can be arbitrary.IV.D IRECT K INEMATICS AND A SSEMBLY M ODES The Agile Eye was optimized to have maximum workspace and global dexterity[9].Incidentally,such properties also yield great simplification in the direct kinematic problem because the eight solutions for a general3-RSolution1φψθSolution3φ−ψθ+π(a)(b)Fig.4.The two self motions of the mobile platform where leg3is singular. that sin(φ−ψ)can be anything in the case ofθ=π/2or that sin(φ+ψ)can be anything in the case ofθ=−π/2. Thus,it can be easily shown that Eqs.(22a–c)correspond to six self motions represented by the following rotation matrices (where angles are arbitrary):R SM1a=0−10cosθ0sinθ−sinθ0cosθ,(23a)R SM1b=010cosθ0−sinθ−sinθ0−cosθ,(23b)R SM2a=cosθsinθ000−1−sinθcosθ0,(23c)R SM2b=cosθ−sinθ0001−sinθ−cosθ0,(23d)R SM3a=0−sin(φ−ψ)cos(φ−ψ)0cos(φ−ψ)sin(φ−ψ)−100,(23e)R SM3a=0−sin(φ+ψ)−cos(φ+ψ)0cos(φ+ψ)−sin(φ+ψ)100.(23f)Now,note that each of the pairs of conditions imposes a constraint on two of the active-joint variables,while the third one can take any value,without influencing the orientation of the mobile platform.This means,that in the above self-motions,there is a leg in singularity.In fact,the self-motion of the platform is about the axis of the base joint of the leg in singularity.The above self motions are divided into pairs, where in each pair,one of the motions correspond to a fully extended leg(the ones with the b index),while the other to a fully folded one.Figure4shows the two self motions(SM3a and SM3b)for which leg3is singular,corresponding to the pair of conditions of Eq.(22c).In thisfigure,legs1and2are each shown in one of the possible two configurations per leg. As will be seen in the next section,all singular config-urations were found in this section by purely studying the degeneracies of the direct kinematics of the Agile Eye.V.S INGULARITY A NALYSISThe relationship between the active-joint rates,˙θ,and the angular velocity of the mobile platform,ω,can be written as:Aω+B˙θ=0(24) where A and B are Jacobian matrices and can be written as A=(w1×v1)T(w2×v2)T(w3×v3)T=αT1αT2αT3,(25a) B=(w1×v1)T u1000(w2×v2)T u2000(w3×v3)T u3.(25b)Type2singularities are characterized by studying matrix A and occur whenever the three vectorsαi are coplanar or collinear.For the Agile Eye,these vectors cannot be collinear. Thus,when these three vectors are coplanar,the platform can rotate(infinitesimally orfinitely)about the axis passing through the center O and normal to the plane of the vectors. Substituting the nontrivial solution set for the direct kine-matics of the Agile Eye into the determinant of A of Eq.(25a) and simplifying,it is obtained that the expression in the active-joint space for Type2singularities is:det(A)=sinθ1sinθ2sinθ3+cosθ1cosθ2cosθ3=0.(26)Substituting the trivial solution set yields the same expres-sion but with a negative sign.Note that the determinant of A is the same for all four assembly modes.This is not surprising since from the geometric interpretation of the four assembly modes,it can be seen that between any two assembly modes, two pairs of vectorsαi have opposite directions and the third pair is the same.Type1singularities are characterized by studying matrix B and occur whenever a leg is fully extended or folded.For a general3-R3,respectively:B11=±sinθ1sinθ2sinθ3+cosθ1cosθ2cosθ31−cos2θ3sin2θ11−cos2θ1sin2θ2=0,(28)B33=±sinθ1sinθ2sinθ3+cosθ1cosθ2cosθ31−cos2θ2sin2θ3B11B33Solution1−−Solution2+−Solution3+−Solution4−−TABLE IIT HE SIGNS OF B ii FOR A GIVEN SET OF ACTIVE-JOINT VARIABLESAA)+−−)−−+)+−+)−−−Fig.5.The eight assembly modes characterized by the working modespace by anything but Eq.(26).At these Type1sin-gular configurations,the mobile platform cannot moveeven under external force.For the active joint variablescorresponding to these singular configurations,the directkinematic problem has eight solutions.VI.W ORKING M ODES AND A SSEMBLY M ODESAs was mentioned before,a particularity of the Agile Eye isthat the determinant of matrix A,Eq.(26),is a function of theactive-joint variables only and has the same value for all fournontrivial assembly modes.Equation(26)represents a surfacethat divides the active-joint space into two domains wheredet(A)is either positive or negative.A connectivity analysiswas made on these two domains to prove this property.The images of these two domains in the workspace yieldeight identical domains(the whole orientation space withoutthe singularity curves),each one being associated with one ofthe eight working modes.It can been seen geometrically,orproved algebraically,that each of the four nontrivial assemblymodes correspond to a different working mode.Therefore,changing an assembly mode inevitably requires a singularityto be crossed.Hence,the Agile Eye is not cuspidal,meaningthat as long as it does not cross a singularity,it remains in asingle working mode and in a single assembly mode.The eight working modes are divided into two groups.Depending on the sign of det(A),the four assembly modeseach correspond to a working mode from one of these groups.In Table II,it is assumed that for thefirst solution of the directkinematic problem the sign of B ii given in Eqs.(27–29)isnegative.For the other solutions,{ψ,θ,φ}are replaced by thevalue given in Table I and the influence on the sign of B ii isshown using simple trigonometric properties.Recall that|B ii|does not change when an assembly mode is changed.Figure5summarizes the behavior of the direct kinematicproblem where a solution can be chosen according to the signof B ii=(+++)for example and the sign of det(A).Similarly,when the inverse kinematic model is solved,theworking mode is easily characterized by the sign of B ii.VII.C ONCLUSIONSAn in-depth kinematic analysis of a special spherical par-allel wrist,called the Agile Eye,was done,pinpointing some important facts that were previously overlooked.It was demon-strated that the workspace of the Agile Eye is unlimited and flawed only by six singularity curves(rather than surfaces). Furthermore,these curves were shown to correspond to self-motions of the mobile platform.It was also proved that the four assembly modes of the Agile Eye are directly related to the eight working modes and the sign of the determinant of one of the Jacobian matrices.It was shown that as long as the Agile Eye does not cross its singularity curves,it remains in a single working mode and in a single assembly mode.R EFERENCES[1] C.Gosselin and J.Angeles,“The Optimum Kinematic Design ofa Planar Three-Degree-of-Freedom Parallel Manipulator,”Journal ofMechanisms,Transmissions,and Automation in Design,V ol.110,1988.[2]J.-P.Merlet,“Parallel robots,”Kluwer Academic,The Netherlands,2000.[3] C.Gosselin and J.Angeles,“Singularity Analysis of Closed-LoopKinematic Chains,”IEEE Transactions on Robotics and Automation, V ol.6,No.3,1990.[4] D.Chablat and P.Wenger,“Working Modes and Aspects in Fully-Parallel Manipulator,”IEEE International Conference on Robotics and Automation,pp.1964–1969,May1998.[5] C.Innocenti and V.Parenti-Castelli,“Singularity-Free Evolution fromone Configuration to Another in Serial and Fully-Parallel Manipulators,”ASME Robotics,Spatial Mechanisms and Mechanical Systems,1992.[6]P.Wenger,“A New General Formalism for the Kinematic Analysisof all Nonredundant Manipulators,”IEEE International Conference on Robotics and Automation,pp.442–447,1992.[7]P.Wenger and D.Chablat,“Definition Sets for the Direct Kinematicsof Parallel Manipulators,”8th International Conference in Advanced Robotics,pp.859-864,1997.[8]M.Karouia,“Conception structurale de mecanismes parall`e lessph´e riques,”PhD Thesis,RI2003-26,´Ecole Centrale de Paris,2003.[9] C.Gosselin,´E.St-Pierre,and M.Gagn´e,“On the Development of theAgile Eye:Mechanical Design,Control Issues and Experimentation”, IEEE Robotics and Automation Magazine,V ol.3,No.4,pp.29–37, 1996.[10] C.Gosselin and M.Gagn´e,“A Closed-Form Solution for the Di-rect Kinematics of a Special Class of Spherical Three-Degree-of-Freedom Parallel Manipulators,”Workshop on Computational Kinemat-ics,pp.231–240,1995.[11] C.Gosselin and J.Wang,“Singularity Loci of a Special Class ofSpherical Three-Degree-of-Freedom Parallel Mechanisms with Revolute Actuators,”International Journal of Robotics Research,V ol.21,No.7, pp.649–659,2002.。