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Form
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Bad Form
Glasgow crime journalist Lassiter back with even more twists , turns and many, many more surprises.Same shady friends on opposite sides of the law. When is a school not a school? When someone asks Lassiter to investigate it. That's when. London and Glasgow gangsters, Murdered schoolteachers.Shady Policemen. Hagan under threat from London hit man? Why has an old enemy of his suddenly appeared back in Glasgow?The same old enemy who was seemingly involved in the murder of someone Hagan knew back in the sixties.Why is a tough housing scheme school so interesting to a top London politician?When Hagan's family is threatened also the uneasy alliance between Glasgow's criminals and the police resumes.Hold on tight. As usual with Lassiter nothing is what it seems. Especially not at the end!
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Coding, Shaping, Making : Experiments in Form and Form-Making
Coding, Shaping, Making combines inspiration from architecture, mathematics, biology, chemistry, physics and computation to look towards the future of architecture, design and art.It presents ongoing experiments in the search for fundamental principles of form and form-making in nature so that we can better inform our own built environment.In the coming decades, matter will become encoded with shape information so that it shapes itself, as happens in biology.Physical objects, shaped by forces as well, will begin to design themselves based on information encoded in matter they are made of.This knowledge will be scaled and trickled up to architecture.Consequently, architecture will begin to design itself and the role of the architect will need redefining.This heavily illustrated book highlights Haresh Lalvani’s efforts towards this speculative future through experiments in form and form-making, including his work in developing a new approach to shape-coding, exploring higher-dimensional geometry for designing physical structures and organizing form in higher-dimensional diagrams.Taking an in-depth look at Lalvani’s pioneering experiments of mass customization in industrial products in architecture, combined with his idea of a form continuum, this book argues for the need for integration of coding, shaping and making in future technologies into one seamless process.Drawing together decades of research, this book will be a thought-provoking read for architecture professionals and students, especially those interested in the future of the discipline as it relates to mathematics, science, technology and art.It will also interest those in the latter fields for its broader implications.
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Form : My Autobiography
THE SPORTS BOOK AWARDS INTERNATIONAL AUTOBIOGRAPHY OF THE YEARKieren Fallon was one of the world’s greatest jockeys, but his career was littered with controversial incidents.Now, in his powerful and honest autobiography, he tells all. 'The most eagerly anticipated racing autobiography for many years' Greg Wood, Guardian As a jockey, Kieren Fallon had a unique rapport with his horses, often coaxing them to victory when others had struggled.His skill and commitment made him a punter’s favourite. His magnificent record, which saw him crowned Champion Jockey on six occasions, ensured he became one of racing’s biggest stars. But that was only ever part of the story. Having come over to the UK from Ireland to make his name, Fallon’s combative nature brought him to the attention of the racing authorities.When he dragged a rival jockey off his mount in 1994, he began a series of run-ins that would eventually see him on trial in the Old Bailey, accused of race fixing.Although the judge eventually ruled that there was no case to answer, the damage to his career and reputation had been done. In Form, Kieren Fallon provides a searingly honest account of his life, and the pressures he faced to get to the top of his sport, where winning was never enough, and where relaxation came in the shape of a bottle of vodka or a meal that had to be ‘flipped’ immediately to ensure he maintained his weight.He worked with some of the best trainers and won all the biggest races, but true happiness only ever really came to him when he was on the back of a horse – a joy that he still feels now that he has retired from racing as he rides work early in the morning. Brutally honest as well as entertaining, this is a unique sporting memoir.
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Which form, the general vertex form or the factored form, is meant?
The question is not specific about which type of form is being referred to. However, if the question is about a quadratic equation, the factored form is meant when referring to the form that expresses the equation as a product of two linear factors. On the other hand, the general vertex form is meant when referring to the form that expresses the equation as a combination of a vertical translation and a horizontal translation of the standard form.
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What is the function in parameter form, zero form and vertex form?
The function in parameter form is typically used to represent a function in terms of its parameters, such as the coefficients and constants that define its behavior. This form is often used in calculus and other advanced mathematical applications. The zero form of a function is a way of expressing it in terms of its roots or zeros, which are the values of the independent variable that make the function equal to zero. This form is useful for finding the solutions to equations and understanding the behavior of the function at specific points. The vertex form of a function is a way of expressing it in terms of its vertex, which is the highest or lowest point on the graph of the function. This form is often used in algebra and geometry to analyze the behavior of quadratic functions.
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When do we use the parameter form, coordinate form, and normal form?
We use the parameter form when we want to represent a line or a plane using a parameter or a set of parameters. This form is useful for describing the position of points on the line or plane in terms of a parameter. The coordinate form is used when we want to represent a line or a plane using the coordinates of points that lie on the line or plane. This form is useful for finding the equation of a line or a plane given specific points. The normal form is used when we want to represent a line or a plane using the normal vector and a point on the line or plane. This form is useful for finding the equation of a line or a plane given the normal vector and a point.
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How to form the conjunctive normal form?
To form the conjunctive normal form (CNF) of a logical expression, first convert the expression into its disjunctive normal form (DNF). This involves applying the distributive law to expand the expression into a sum of products. Then, distribute any negations to push them down to the individual variables. Finally, combine the products of variables with OR operations to form the CNF, which is a conjunction of clauses, each of which is a disjunction of literals.
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The Long Form
It’s early morning and there’s a whole new day ahead.How will it unfold? The baby will feed, hopefully she’ll sleep; Helen looks out of the window.The Long Form is the story of two people composing a day together.It is a day of movements and improvisations, common and uncommon rhythms, stopping and starting again.As the morning progresses, a book – The History of Tom Jones by Henry Fielding – gets delivered, and the scope of the day widens further.Matters of care-work share ground with matters of friendship, housing, translation, aesthetics and creativity.Small incidents of the day revive some of the oldest preoccupations of the novel: the force of social circumstance, the power of names, the meaning of duration and the work of love.With lightness and precision, Kate Briggs renews Henry Fielding’s proposition for what a novel can be, combining fiction and essay to write an extraordinary domestic novel of far-reaching ideas.
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Crisis as Form
Criticism of contemporary art is split by an opposition between activism and the critical function of form.Yet the deeper, more subterranean terms of art-judgment are largely neglected on both sides.These essays combine a re-examination of the terms of judgement of contemporary art with critical interpretations of individual works and exhibitions by Luis Camnitzer, Marcel Duchamp, Matias Faldbakken, Anne Imhof and Cady Noland.The book moves from philosophical issues, via the lingering shadows of medium-specificity (in photography and art music), and the changing states of museums, to analyses of the peculiar ways that works of art relate to time.To give artistic form to crisis, it is suggested, one needs to understand contemporary art's own constitutive crisis of form.
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Movements of Form
This book offers a thought-provoking exploration of dynamic geometry and its connections to self-reference and theoretical biology.The authors explore how a self-referential boundary can be translated into remarkable relations between expanding geometrical forms, with a particular focus on triangles and circles. The essence of this work lies in revealing not only how these forms expand and interact with others but also how their interactions lead to closed loops of definitions between processes, where triangles and circles reciprocally define one another.These unique geometrical relations offer fresh perspectives on the interaction and emergence of forms.Through the introduction of time and a fixed velocity of expansions, a rich tapestry of encounters and coalescences unfolds, pushing beyond the boundaries of traditional insights on context dependence and state transitions of systems. These captivating movements elude prediction other than by numerical approximation within unpredictable durations.Unlike cellular automata, they defy stepwise progression on a predefined grid, presenting themselves as unprogrammable construction processes that leave readers in awe of their unexpected elegance. This book is essential reading for researchers and students in theoretical biology seeking to deepen their understanding of the intersections of geometry and systems theory and seeking to gain new insights into the processes that underlie the origination of complexity. "What is unique to the authors' attempt is to shed a new light on extending the notion of cohesive interaction so as to make it applicable even to biology at large without offending the established physics so far.To the best of my knowledge, their work has been the first attempt of this kind in explicating the intricate relationship between geometric topology of the network and the realizable temporal cohesion to be observed widely in biology." (Professor Koichiro Matsuno, 1st foreword to this book) "I am delighted that the authors use Robert Rosen's (M,R)-systems — impredicative networks that are inherently geometrical — to illustrate (see Chapter 4 of this book) their self-referential systems of geometrical expansions." (dr.Aloisius Louie, 2nd foreword to this book)
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FORM
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What is the work form or transport form?
The work form or transport form refers to the way in which energy is transferred from one system to another. In the context of thermodynamics, work form refers to the transfer of energy due to mechanical forces, such as pushing or pulling. On the other hand, transport form refers to the transfer of energy due to temperature differences, such as heat transfer. Both forms are important in understanding how energy is transferred and transformed in different systems.
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What is the product form in vertex form?
The product form in vertex form is a multiplication of the coefficient a and the squared quantity (x - h) where (h, k) is the vertex of the parabola. The product form is represented as a(x - h)^2, where a is the coefficient that determines the direction and width of the parabola, and (h, k) is the vertex that represents the minimum or maximum point of the parabola. This form is useful for understanding the transformations and characteristics of the parabola.
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What is the difference between the general form, the standard form, and the vertex form?
The general form of a quadratic equation is written as \( ax^2 + bx + c = 0 \), where \( a \), \( b \), and \( c \) are constants. The standard form is \( y = ax^2 + bx + c \), where \( a \), \( b \), and \( c \) are constants and \( y \) represents the dependent variable. The vertex form is \( y = a(x-h)^2 + k \), where \( a \), \( h \), and \( k \) are constants that determine the vertex of the parabola. The main difference between these forms is how they represent the quadratic equation and the information they provide about the graph of the quadratic function.
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What is the general form converted to vertex form?
The general form of a quadratic equation is \( y = ax^2 + bx + c \). To convert this form to vertex form, we complete the square to rewrite it as \( y = a(x-h)^2 + k \), where (h, k) represents the coordinates of the vertex. This process involves finding the values of h and k by manipulating the equation to isolate the squared term and constant term.
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