Relationship of total impulse and specific impulse: Relationship of specific impulse to rates of fuel consumed and so - called "weight flow": Specific impulse shown here as the constant amount of propellant times the number of seconds required to burn it: In an earlier portion of this mathematical essay, time was philosophically defined as "
In some respects the motion picture is the American art form par excellence, and no area of art has undergone a more dramatic revision in critical appraisal in the recent past.
It exists today in styles that differ significantly from country All about vertical motion essay country and in forms as diverse as the documentary created by one person with a handheld camera and the multimillion-dollar epic involving hundreds of performers and technicians.
A number of factors immediately come to mind in connection with the motion-picture experience. For one thing, there is something mildly hypnotic about the illusion of movement that holds the attention and may even lower critical resistance. The accuracy of the motion-picture image is compelling because it is made by a nonhuman, scientific process.
In addition, the motion picture gives what has been called a strong sense of being present; the film image always appears to be in the present tense. There is also the concrete nature of film; it appears to show actual people and things. No less important than any of the above are the conditions under which the motion picture ideally is seen, where everything helps to dominate the spectators.
They are taken from their everyday environmentpartially isolated from others, and comfortably seated in a dark auditorium. The darkness concentrates their attention and prevents comparison of the image on the screen with surrounding objects or people.
For a while, spectators live in the world the motion picture unfolds before them. Still, the escape into the world of the film is not complete. Only rarely does the audience react as if the events on the screen are real—for instance, by ducking before an onrushing locomotive in a special three-dimensional effect.
Moreover, such effects are considered to be a relatively low form of the art of motion pictures. Much more often, viewers expect a film to be truer to certain unwritten conventions than to the real world.
Although spectators may sometimes expect exact realism in details of dress or locale, just as often they expect the film to escape from the real world and make them exercise their imagination, a demand made by great works of art in all forms.
The sense of reality most films strive for results from a set of codes, or rules, that are implicitly accepted by viewers and confirmed through habitual filmgoing. The use of brownish lighting, filters, and props, for example, has come to signify the past in films about American life in the early 20th century as in The Godfather  and Days of Heaven .
Storytelling codes are even more conspicuous in their manipulation of actual reality to achieve an effect of reality. Audiences are prepared to skip over huge expanses of time in order to reach the dramatic moments of a story.
La battaglia di Algeri ; The Battle of Algiersfor example, begins in a torture chamber where a captured Algerian rebel has just given away the location of his cohorts.
In a matter of seconds that location is attacked, and the drive of the search-and-destroy mission pushes the audience to believe in the fantastic speed and precision of the operation.
Furthermore, the audience readily accepts shots from impossible points of view if other aspects of the film signal the shot as real. Fidelity in the reproduction of details is much less important than the appeal made by the story to an emotional response, an appeal based on innate characteristics of the motion-picture medium.
These essential characteristics can be divided into those that pertain primarily to the motion-picture image, those that pertain to motion pictures as a unique medium for works of art, and those that derive from the experience of viewing motion pictures.
Qualities of the film image The primary unit of expression in film is the image, or the single shot. The attribution of magical properties to images has a long history. This association is well documented among many primitive peoples, and it is even reflected in the term magic lantern as a synonym for the film projector.
Any image taken out of the everyday world and projected onto a screen to some extent appears to become magically transmuted. Intensity, intimacy, ubiquity The qualities of intensity, intimacy, and ubiquity have been singled out as the salient characteristics of the motion-picture image.
Its intensity derives from its power to hold the complete attention of the spectator on whatever bit of reality is being shown. In the cinema one is compelled to look at something that not the viewer but the filmmaker has selected, for reasons that are not always immediately apparent.
This quality of intensity becomes most noticeable when the camera remains fixed on something for a longer time than seems warranted, and the spectator gradually becomes acutely conscious of his loss of volition over his own attention.
This technique is not often used but is very effective when used well. This ability is demonstrated in long-distance shots through a telephoto lens as well as in close-ups.
At the beginning of the Japanese film Suna no onna ; Woman in the Dunesfor example, a pervading theme of the film is indicated by shots of grains of sand many times enlarged. No less important to this illusion of ubiquity is the effect achieved by editing, which allows countless images representing a long, elaborate action to be presented in a comparatively short film or sequence, such as that exemplified by the opening of The Battle of Algiers.
The geographic and temporal authority of the image even permits credibility to be given to sequences representing the past, the future, and dreams. Particularity Other equally important characteristics of the film image may be singled out.
One of these is its particularity. The language of words lends itself to generalization and abstraction. In themselves, words such as man or house do not suggest a particular man or a particular house but men and houses in general, and more abstract terms such as love or dishonesty have even less-precise associations with specific things.
Motion pictures, on the other hand, show only particular things—a particular man or a particular house. In this way a film image may be less ambiguous than the language of words but also less evocativeless likely to be enriched by imagination, association, or recollection.Thus, in projectile motion, the horizontal component of velocity remains unchanged throughout the flight.
The horizontal motion is a uniform motion. The force of gravity continuously affects the vertical component, so the vertical motion is a uniformly accelerated motion. Optical Illusions Essay Angela Wall Kinetic describes an object in motion. Thus, as the name might suggest, stereokinetic phenomenon are A vertical line was then drawn through the center of rotation and marked as a mirror.
The red line was reﬂected across the mirror and the mirror was then. Introduction to Essay about Time and Motion.
Time and motion is a concept that has been developed in the recent century to help in the engineering work, presenting what would be motionless images into moving items.
Essay # 1. Introduction to Earthquake: An earthquake is a major demonstration of the power of the tectonic forces caused by endogenetic thermal conditions of the interior of the earth. The Rocket Equations. Owing to several differing needs, there are several seemingly different types of rocket equations but all actually manifest the same identical underlying rocket mathematics.
§ Summary of the Rocket Equations: (i). Generalized rocket equation: This generalized rocket equation considers rocket weight by factoring out fuel weight from but keeping drag as part of. A ball, carbon paper, and an L-shape projector were also used to determine the range of projectile motion of a ball being released from a horizontal yet slightly vertical slope.