Poetry Spheres, Flower Poems: A Dimensional Poetry Experience

In a doctoral course on Narrative Inquiry, graduate students participated in an activity creating dimensional research poetry. The resulting poems, which were shaped like spheres or orbs and/or flowers, were made up of lines of narrative interview transcripts and researchers’ reflections, either computer printed or handwritten on strips of construction paper. In this article, a review of dimensional poetry, including concrete poetry and three-dimensional poetry, is provided. Examples of flowers in poetry from descriptive to symbolic of resistance against poverty, class, war, and race are presented throughout. The instructor and a student in the course who also served as the photographer reflect on the experience.

Materiality in Bruno Munari’s book objects

This paper reviews the primacy of materiality in Bruno Munari’s work based on the case study of two of his picturebooks. Bruno Munari was one of 20th-century Italy’s most eclectic figures. Over the course of his lengthy career as an artist and designer, Munari explored the field of materiality in children’s books with exceedingly favourable results. His picturebooks set a precedent in the field of children’s literature, and they are highly valued even today. Children are fascinated by the opportunity to organise the experience of reading more freely thanks to innovative graphic and typographic mechanisms that fully exploit the editorial potential of materials such as paper, construction paper, and cardboard, but also transparent or semi-transparent sheets of acetate film, wood, plastic, sponge, and so on. In this paper, I describe the exclusive relationship that Munari developed over the years with the book as an object in all its various components (text and paratext). To do so, I discuss two of Munari’s significant editorial projects, the picturebook entitled Nella notte buia [In the Dark of the Night] (1956) and I Prelibri [Prebooks] (1980). I analyse the ways in which the Milanese artist succeeded in exploiting all the communicative, aesthetic and educational potential of these books’ material dimension.

Design of a New Cryptographic Hash Function – Titanium

<span>This paper introduces a new cryptographic hash function that follows sponge construction. Paper begins with outlining the structure of the construction. Next part describes the functionality of Titanium and cipher used. A competition between block cipher and stream cipher is presented and showed the reason of using block cipher rather than stream cipher. Speed performance is calculated and analyzed using state-of-art CPUs.</span>

Development of CyberFish – Polish Biomimetic Unmanned Underwater Vehicle BUUV

Paper presents gradual progress in the development of biomimetic mobile underwater robot with undulating propulsion starting from the rugged but functional first version of CyberFish through very agile and manoeuvrable second and third version till fifth one – accurately imitating real fish. Trends in BUUV technology is briefly described in the introduction. The second and third sections describe previous, and actual state of CyberFish project successfully carried out at Cracow University of Technology and focusing on the succeeding robots design and construction. Paper is summarized with problems of the BUUV technology development yet to be solved.

Designing the Poster

The purpose of this chapter is to help you design a poster that is visually appealing. Specific attention is paid to poster layout, font, and color. These design elements are illustrated with posters that we have created using the text introduced in chapter 9. Of course, what makes a poster attractive is (at least in part) a matter of taste, and many new design features will likely gain (and lose) popularity in the next decade. We cannot anticipate these changes; hence, we focus on a few basic principles of poster design that are likely to hold true over time. The guiding principle is to present your science in a way that is clear, crisp, and uncluttered. By the end of this chapter, you will be able to do the following: ■ Select the most appropriate layout for your poster ■ Select the font and font attributes for your poster ■ Select the color scheme for your poster The Designing on Your Own activities throughout the chapter will guide you in preparing your poster as you do the following: 10A Select a poster layout 10B Choose a font and font size 10C Add color and artwork 10D Finalize your poster Although the focus of this chapter is on visual appeal, a good-looking poster is not a substitute for good science. Viewers visit your poster to learn about your science, not the latest trends in graphic design. Therefore, conservative, but effective, use of design elements is preferred over flashy, distracting design. Commonly used graphic design elements, such as photos, backgrounds, shadowing of text, and “artsy” fonts can dramatically enhance the appeal and clarity of a poster, but if used carelessly, they can turn the poster into a scattered and confusing mess. The goal is to use your sense of aesthetics for color and your creative energies to communicate your science and to make the poster inviting, accessible, and memorable for your audience. Not long ago, a “poster” consisted of 8–12 sheets of paper cut and pasted onto individual pieces of colored construction paper.

For Your Information: October 2007

A piece of construction paper 0.01 mm thick is cut in half, and one piece is placed on the other to make a pile. These are cut in half, and all four pieces are placed in a pile. These four are cut in half and placed in a pile, and the process continues. After the pieces have been cut and piled for the 10th time, what is the height of the pile in cm?

Geometry through Beadwork Designs

The fifth-grade children eagerly picked out envelopes containing brightly colored, geometric shapes to begin making their Ute Indian beadwork designs. Each child had a strip of construction paper simulating a tanned hide, or buckskin, to decorate with shapes traditionally used in Ute designs. Much excitement was evident as the students discussed how they wanted their patterns to look and what colors they wanted to use. The colorful geometry pieces were traded back and forth as the designs began to emerge on their papers.

Consul, the Educated Monkey

“Consul”, the Educated Monkey, is an outstanding, practical example of a plane linkage. In learning why the monkey works the way it does, students are required to review many important concepts from plane geometry, algebra, and arithmetic. Making their own “monkey” linkage similar to Consul, which one of the authors has done with construction paper and paper fasteners, would give students additional, hands–on experience with many important mathematical concepts.

Learning Geometry: Some Insights Drawn from Teacher Writing

One day, each of Jennifer Roth's second graders received an envelope containing twelve shapes—several different kinds of triangles and quadrilaterals—cut from construction paper. Roth gave her students the following instructions: “Take a look at these shapes, and try to find some ways to sort them into groups. Work alone for a few minutes, and then talk with your neighbor about what you've decided.” As the children set to work, some could not wait to begin talking about the shapes with their partners, but others silently emptied their envelopes and began moving their shapes around on the table. After a few minutes, Roth began to listen in on students' conversations, frequently pausing to ask questions.