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Leonardo da Pisa, perhaps better known as Fibonacci (ca. 1170 - ca. 1240), selected the most useful parts of Greco-Arabic geometry for the book known as De practica geometrie. Beginning with the definitions and constructions found early on in Euclid's Elements, Fibonacci instructed his reader how to compute with Pisan units of measure, find square and cube roots, determine dimensions of both rectilinear and curved surfaces and solids, work with tables for indirect measurement, and perhaps finally fire the imagination of builders with analyses of pentagons and decagons. His work exceeded what readers would expect for the topic. Practical Geometry is the name of the craft for medieval landmeasurers, otherwise known as surveyors in modern times. Fibonacci wrote De practica geometrie for these artisans, a fitting complement to Liber abbaci. He had been at work on the geometry project for some time when a friend encouraged him to complete the task, which he did, going beyond the merely practical, as he remarked, "Some parts are presented according to geometric demonstrations, other parts in dimensions after a lay fashion, with which they wish to engage according to the more common practice." This translation offers a reconstruction of De practica geometrie as the author judges Fibonacci wrote it. In order to appreciate what Fibonacci created, the author considers his command of Arabic, his schooling, and the resources available to him. To these are added the authors own views on translation and remarks about early Renaissance Italian translations. A bibliography of primary and secondary resources follows the translation, completed by an index of names and special words.
Geometry --- Mathematics, Medieval. --- Geometry. --- Mathematics --- Physical Sciences & Mathematics --- Medieval mathematics --- Mathematics. --- History. --- History of Mathematical Sciences. --- Mathematics, Greek --- Euclid's Elements --- Annals --- Auxiliary sciences of history --- Math --- Science
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This book provides an accessible guide to concepts in language testing and the testing of specific skills and systems. It combines theory and practical recommendations to help teachers understand the principles of testing and how they can be applied, supporting them to write better tests. The third edition has been extensively revised and updated to reflect recent developments in the field, while retaining the straightforward approach that made the earlier editions essential reading for trainee and experienced teachers alike. It features new content on technology, including computer adaptive testing and the use of automated scoring for all skills. It also includes an extended discussion of language testers' responsibilities, new chapters on non-testing methods of assessment and a checklist to help teachers choose tests.
Language and languages --- Ability testing. --- Language assessment --- Study and teaching
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Art --- United States --- Art, American --- Art américain --- Themes, motives --- Thèmes, motifs --- Art américain --- Thèmes, motifs --- American art --- Eight (Group of American artists) --- Indian Space (Group of artists) --- Mission School (Group of artists) --- NO!Art (Group of artists) --- Old Bohemians (Group of artists) --- Stieglitz Circle (Group of artists) --- Art, American - Themes, motives --- United States of America
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bedrijfsorganisatie --- Vakbond, strategie --- socialistische arbeidersbeweging --- Frankrijk --- Art --- Architecture --- Sculpture --- Painting --- History --- art [fine art] --- architecture [discipline] --- painting [image-making] --- art history --- sculpting --- Brancusi, Constantin --- Mies van der Rohe, Ludwig --- Böcklin, Arnold --- Arp, Hans --- Magritte, René --- Meier, Richard --- Beckmann, Max --- Andre, Carl --- Chirico, de, Giorgio --- Pearlstein, Philip --- Loos, Adolf --- Tatlin, Vladimir --- Lissitzky, Eliezer --- Rainer, Arnulf --- Severini, Gino --- Kirchner, Ernst Ludwig --- Dix, Otto --- Hockney, David --- Dubuffet, Jean --- Kienholz, Edward --- Delaunay, Robert --- Heartfield, John --- Warhol, Andy --- Cheval, Ferdinand --- Rousseau, Henri --- Stella, Frank --- Hausmann, Raoul --- Hamilton, Richard --- Sullivan, Louis --- Ernst, Max --- Oldenburg, Claes --- Bellmer, Hans --- Schlichter, Rudolf --- Duchamp, Marcel --- Altman, Nathan Isajevitsj --- Picasso, Pablo --- Johns, Jasper --- Kitaj, Ronald B. --- Berg, Max --- Bertelli, Renato --- Newman, Barnett --- Cottingham, Robert --- Doesburg, van, Theo --- Rothko, Mark --- Puvis de Chavannes, Pierre --- Segal, George --- Léger, Fernand --- Epstein, Jacob --- Taut, Bruno --- Koslinski, Vladimir Ivanovitsj --- Perret, Auguste --- Lefèbvre, Camille --- Marini, Marino --- Feininger, Lyonel --- Gogh, van, Vincent --- Meyer, Adolf --- Pollock, Jackson --- Arikha, Avigdor --- Beuys, Joseph --- Grosz, Georg --- Perret, Gustave --- Rössing, Karl --- Klee, Paul --- Gontcharova, Natalia --- Miró, Joan --- Cézanne, Paul --- Heizer, Michael --- Louis, Morris --- Marc, Franz --- Prampolini, Enrico --- Soutine, Chaïm --- Gill, André --- Manet, Edouard --- Kandinsky, Vasili Vassileevich --- Picabia, Francis --- Kokoschka, Oskar --- Gauguin, Paul --- Boccioni, Umberto --- Matisse, Henri --- Braque, Georges --- Seurat, Georges --- Mondriaan, Piet --- Dalí, Salvador --- Gris, Juan --- Fuller, Richard Buckminster --- Lichtenstein, Roy --- Rauschenberg, Robert --- Corbusier, le --- Chagall, Marc --- Bonnard, Pierre --- Bacon, Francis --- Munch, Edvard --- Monet, Claude --- Schöffer, Nicolas --- Rosenquist, James --- Motherwell, Robert --- Diebenkorn, Richard --- Gorky, Arshile --- Oppenheim, Meret --- Riley, Bridget --- Samaras, Lucas --- Still, Clyfford --- Frankenthaler, Helen --- Davis, Stuart --- Stella, Joseph --- Balla, Giacomo --- Schwitters, Kurt --- Darboven, Hanne --- Demuth, Charles Henry --- Höch, Hannah --- Gropius, Walter --- Maria, de, Walter --- Noland, Kenneth --- O'Keeffe, Georgia --- Sant'Elia, Antonio --- Gaudí, Antoní --- Rietveld, Gerrit --- Malevitsj, Kasimir --- Luckhardt, Wassili --- Speer, Albert --- Nitsch, Hermann --- Kooning, de, Willem --- Cornell, Joseph --- Giacometti, Alberto --- Derain, André --- Seligmann, Kurt --- Burnham & Root --- anno 1900-1999 --- anno 2000-2099 --- kunst --- 930 --- 7.036 --- 75 --- Kunsttheorie ; architectuurtheorie ; Robert Hughes --- 7.01 --- Kunst --- 705.8 --- kunstgeschiedenis --- 20e eeuw (twintigste eeuw) --- schilderkunst --- beeldhouwkunst --- architectuur --- avant-garde --- modernisme --- 75 Schilderkunst --- Schilderkunst --- 7.036 Moderne kunststijlen --- Moderne kunststijlen --- 930 Geschiedwetenschap. Hulpwetenschappen der geschiedenis --- Geschiedwetenschap. Hulpwetenschappen der geschiedenis --- Kunst ; theorie, filosofie, esthetica --- kunstgeschiedenis, 20e eeuw --- art criticism --- Modernist --- kunstkritiek --- Lissitzky, El --- 700 --- moderne kunst --- kunst algemeen --- art généralités --- art [discipline] --- Kandinsky, Wassily
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At a moment when the architectural profession is beginning male orientation, this book examines how the introduction of woman to the main body of architecture might bring about a reconstruction of the orders that shape architectural production and consumption. The contributors were chosen not only for the distinguished practices they collectivity encompass_ from the intersection of theory and philosophy to the union of building process and industry. Together, they present a compilling and provocative critique of architectural culture.
gender issues --- Sociology --- feminism --- Psychology --- Women-owned architectural firms --- Women architects --- Gender identity. --- Structuralism. --- Architecture and women --- Feminism and architecture --- Agences d'architecture appartenant à des femmes --- Femmes architectes --- Identité sexuelle --- Structuralisme --- Architecture et femmes --- Féminisme et architecture --- Management --- Gestion --- Psychologie --- Gender identity --- Structuralism --- Pratique architecturale --- Analyse architecturale --- Femme --- Architecture --- -Women-owned architectural firms --- -72.01 --- Architectuur ; van vrouwen ; 20ste eeuw --- Architectuur ; beroep ; vrouwelijke architecten --- Architectuur en gender --- Met bijdragen van o.a. D. Agrest, J. Bloomer, M. Elam, Fr.-H. Jourda, M. De Maeseneer... enz... --- Architectuurtheorie ; architectuur ; van vrouwen ; 20ste eeuw --- 72.01 --- 72.038 --- Sex identity (Gender identity) --- Sexual identity (Gender identity) --- Identity (Psychology) --- Sex (Psychology) --- Queer theory --- Architectural firms --- Women-owned business enterprises --- Women as architects --- Architects --- Structure (Philosophy) --- Philosophy --- Whole and parts (Philosophy) --- Form (Philosophy) --- Poststructuralism --- Architectuur ; theorie, filosofie, esthetica --- Architectuurgeschiedenis ; 1950 - 2000 --- Agences d'architecture appartenant à des femmes --- Identité sexuelle --- Féminisme et architecture --- Met bijdragen van o.a. D. Agrest, J. Bloomer, M. Elam, Fr.-H. Jourda, M. De Maeseneer... enz.. --- Met bijdragen van o.a. D. Agrest, J. Bloomer, M. Elam, Fr.-H. Jourda, M. De Maeseneer... enz. --- Met bijdragen van o.a. D. Agrest, J. Bloomer, M. Elam, Fr.-H. Jourda, M. De Maeseneer... enz --- 72.03 --- Architectuur (geschiedenis) --- Architectuurgeschiedenis --- Management. --- Gender dysphoria --- Drawing --- Theory --- Book
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When architects draw even brick walls to six decimal places with software designed to cut lenses, it is clear that the logic that once organized relations between precision and material error in construction has unraveled. Precision, already a promiscuous term, seems now to have been uncoupled from its contract with truthfulness. Meanwhile error, and the always-political space of its dissent, has reconfigured itself. In The Architecture of Error Francesca Hughes argues that behind the architect’s acute fetishization of redundant precision lies a special fear of physical error. What if we were to consider the pivotal cultural and technological transformations of modernism to have been driven not so much by the causes its narratives declare, she asks, as by an unspoken horror of loss of control over error, material life, and everything that matter stands for? Hughes traces the rising intolerance of material vagaries—from the removal of ornament to digitalized fabrication—that produced the blind rejection of organic materials, the proliferation of material testing, and the rhetorical obstacles that blighted cybernetics. Why is it, she asks, that the more we cornered physical error, the more we feared it?
Architecture --- architectural theory --- Architectural design. --- Measurement. --- Architects --- Design architectural --- Mesure --- Architectes --- Psychology. --- Psychologie --- 72.01 --- Architectuur (theorie) --- Architectuurtheorie --- Architectuur (esthetica) --- Architectuuresthetica --- Architectural design --- Measurement --- Professional employees --- Design --- Structural design --- Measuring --- Mensuration --- Mathematics --- Technology --- Metrology --- Physical measurements --- Psychology --- architectuurfilosofie
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