Smooth value gradations can be achieved by varying the amount of pressure applied to the medium or by employing the use of a blending tool. What method is used to create this approach?

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Answer 1

The combination of pressure variation and blending tools enables artists to create smooth value gradations, adding depth, dimension, and realism to their artwork.

The method used to create smooth value gradations in traditional art mediums, such as pencils, charcoal, or pastels, typically involves a combination of techniques. One commonly used approach is to vary the amount of pressure applied to the medium. By exerting more pressure, artists can create darker and more intense tones, while lighter pressure results in softer and lighter shades. This technique allows for a gradual transition between different values, resulting in smooth gradations.

Another method employed to achieve smooth value gradations is the use of a blending tool. Blending tools, such as blending stumps, tortillons, or even fingers, are used to gently smudge and merge the colors or tones together. By carefully blending adjacent areas, artists can create seamless transitions between different values, thereby achieving smooth gradations.

Both the pressure variation and blending techniques require skill and practice to master. Artists often experiment with different levels of pressure, strokes, and blending tools to achieve the desired effects in their artwork. Additionally, the choice of medium itself, such as soft or hard pencils, can also impact the ease of creating smooth gradations.

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Related Questions

1. What is constructive criticism?
2. What is cool feedback?
3. What is warm feedback?
4. Two Positive Examples of Cool Feedback to give to an actor.
__ 5. Two Examples of warm feedback to give to an actor.
__ 6. Why criticism is essential to the developing actor?
__ 7. What is a good practice to keep in mind when receiving criticism during a critique?
__ 8. Critique an actor in a film by offering positive cool feedback and warm feedback.

Answers

Answer:  1. constructive criticism is a type of feedback that offers advice to help employees, it helps  employees to improve

2. cool feedback is not a criticism  it actually  to think from a different perspective

3. warm feedback is a positive statement about anything

Explanation:

i hope this helps you :)

The Intercollegiate Football Association was formed to regulate: A) playing and eligibility rules. B) gambling activities. C) officials. D) coaches.

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The Intercollegiate Football Association was formed to regulate the playing and eligibility rules of intercollegiate football, standardize the rules of the game, and create a governing body for college football. Option A

The Intercollegiate Football Association (IFA) was formed in 1873 by several college football teams to regulate the rules of the game and create a governing body for intercollegiate football. At the time, there were no standard rules for the game, and teams played with varying rules, resulting in confusion and disputes.

The IFA was responsible for establishing standardized rules for the game, including the number of players on the field, the size of the playing field, and the duration of the game. The association also created a system for resolving disputes, appointing officials, and enforcing penalties for rule violations.

The IFA played a critical role in the development of American football, and its rules and regulations became the foundation for the modern game. The association was later renamed the Intercollegiate Athletic Association of the United States (IAAUS) and eventually became the National Collegiate Athletic Association (NCAA). Option A.

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The area of a circle is 225π square inches. Find the area of the sector whose central angle is 45o.  Round your answer the the nearest tenth if necessary. ​

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Rounding to the nearest tenth, the area of the sector is approximately 28.1 square inches.

To find the area of a sector, you need to know the central angle and the radius of the circle. In this case, we are given the central angle of 45 degrees, but we don't have the radius of the circle.

However, we are given the area of the entire circle, which is 225π square inches. The formula for the area of a circle is A = πr², where A represents the area and r represents the radius.

To find the radius, we can rearrange the formula to solve for r: r = √(A/π). Substituting the given area of the circle, we get r = √(225π/π) = √225 = 15 inches.

Now that we know the radius is 15 inches and the central angle is 45 degrees, we can calculate the area of the sector. The formula for the area of a sector is A = (θ/360) * πr², where θ represents the central angle and r represents the radius.

Plugging in the values, we get A = (45/360) * π * (15)² = (1/8) * π * 225 = 28.125π square inches.

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A musician hits a drum with a drumstick. in three to four sentences, explain the collision forces between the drum and drumstick.

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When a musician hits a drum with a drumstick, a collision occurs between: the two objects.

During this collision, there are several forces that come into play. The first force is the impact force, which is the force applied by the drumstick onto the drum's surface. This force causes the drumhead to vibrate, producing sound waves that we hear. Additionally, there is a force of friction between the drumstick and the drumhead, which affects the stick's ability to bounce back after striking the drum.

Finally, there is also a force of compression, which occurs when the drumhead is pushed downwards due to the impact force. These forces are essential in producing the sound that we associate with drums and are essential to a musician's ability to play the instrument effectively.

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the following parameters are indicative of what type of effect? threshold ratio attack release

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The parameters threshold, ratio, attack, and release are indicative of the type of effect known as compression. Compression is a process where the dynamic range of an audio signal is reduced, meaning that the loud parts are made quieter and the quiet parts are made louder.

The threshold determines the point at which compression begins to take effect, the ratio controls how much the signal is compressed once it passes the threshold, the attack determines how quickly the compressor kicks in once the signal crosses the threshold, and the release determines how quickly the compressor stops working once the signal falls below the threshold again.

All of these parameters can be adjusted to achieve a desired effect on the audio signal, but they all play a crucial role in the compression process and can have a significant impact on the final sound. A long explanation can be necessary to fully understand how these parameters work together to create a compression effect.

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Extemporaneous speeches combine the preparation of a manuscript speech with the spontaneity of an impromptu speech. Select all the reasons for practicing an extemporaneous speech out loud. Multiple select question. It can provide the opportunity for audience feedback. It can help you memorize the exact words of a speech. It can help you master the content of your speech. It can help you time your speech accurately

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When practicing an extemporaneous speech out loud, there are multiple reasons why it can be beneficial. The following options highlight some of these reasons:

- It can provide the opportunity for audience feedback: Practicing your speech aloud allows you to gauge the audience's reaction and adjust your delivery accordingly. This feedback helps you refine your message and connect better with your listeners.

- It can help you master the content of your speech: Speaking your speech out loud helps you internalize and understand the material more effectively. It allows you to identify areas that may need further clarification or improvement, enabling you to refine your content and delivery.

- It can help you time your speech accurately: By practicing your speech out loud, you can gauge the timing and ensure that you stay within the allocated time limit. It helps you pace yourself and maintain a consistent flow, avoiding rushing or exceeding the time constraints.

Note: "It can help you memorize the exact words of a speech" is not a valid reason for practicing an extemporaneous speech out loud since extemporaneous speeches are not meant to be delivered word-for-word memorized. Instead, they rely on a prepared outline or key points, allowing for flexibility and spontaneity in the actual delivery.

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The El Paso International Airport and the El Paso Zoo recently held an exhibit that displayed paintings made by orangutans, elephants, gila monsters and meerkats. Does this qualify as art? Make an argument in favor or against and support your case

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The question of whether the paintings created by orangutans, elephants, gila monsters, and meerkats at the exhibit held by the El Paso International Airport and the El Paso Zoo qualify as art is subjective and open to interpretation.

In favor of considering it art, one could argue that art is not limited to human creation alone. It is a form of expression that can transcend species boundaries. The animals in question are given the opportunity to engage in a creative process, using various techniques and materials, resulting in unique visual representations. The intention behind their actions, the process of creation, and the final outcome can be seen as elements that align with the broader definition of art.

Furthermore, the artistic value of these animal-created paintings can be appreciated from a perspective of novelty and authenticity. The works possess a certain rawness and instinctive quality, reflecting the natural behaviors and characteristics of the animals involved. This offers viewers a fresh and unconventional experience, challenging preconceived notions of what art should be.

On the other hand, arguments against considering these paintings as art could be based on the concept of intentionality and the role of human agency in artistic expression. Critics may argue that true art requires conscious intention, conceptualization, and the ability to convey abstract ideas or emotions. Since animals lack the same level of cognitive understanding and artistic intent as humans, their creations may be considered more as a byproduct of their natural behaviors rather than deliberate artistic expression.

In conclusion, the question of whether the paintings created by orangutans, elephants, gila monsters, and meerkats qualify as art is a matter of perspective. While some may find value in the novelty, authenticity, and creative process involved, others may argue that art necessitates conscious intent and human agency. The exhibit provides an opportunity for viewers to engage in this debate and challenge their preconceptions about art.

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how does haydn signal the start of the variation on theme b in the third movement of his trumpet concerto in e flat major?

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In the third movement of Haydn's Trumpet Concerto in E flat major, he signals the start of the variation on theme b by introducing a new melody that is distinctly different from the previous one. This melody is played by the orchestra in unison, with a lively and energetic tempo that sets the stage for the variation to come.

Additionally, Haydn uses a number of other techniques to signal the start of this variation. For example, he changes the key of the piece from E flat major to C minor, which creates a sense of tension and anticipation. He also introduces new instrumentation, such as the use of the bassoon, which adds a rich and complex texture to the music.Another way that Haydn signals the start of the variation on theme b is through the use of dynamics.

He gradually increases the volume of the music, building up to a crescendo that signals the arrival of the new melody. This creates a sense of excitement and anticipation, drawing the listener in and preparing them for the variation to come.Overall, Haydn employs a variety of musical techniques to signal the start of the variation on theme b in the third movement of his Trumpet Concerto in E flat major.These techniques include changes in melody, key, instrumentation, and dynamics, all of which work together to create a sense of excitement and anticipation as the music unfolds.

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Haydn signals the start of the variation on theme B in the third movement of his Trumpet Concerto in E-flat major by using a change in orchestration, rhythmic alteration, and melodic development.

First, Haydn changes the orchestration, which is the way instruments are used in the music. The trumpet takes a more prominent role, playing the melody while the rest of the orchestra provides accompaniment. This shift in instrumental focus draws attention to the new theme.

Second, Haydn employs rhythmic alteration to introduce variation on theme B. Rhythmic alteration means changing the note values or adding rhythmic embellishments to the original theme. Haydn modifies the rhythm of theme B to create a sense of contrast and development from the previous theme. This rhythmic transformation also helps to emphasize the beginning of the new variation.

Lastly, Haydn incorporates melodic development in the variation on theme B. Melodic development is the process of expanding, transforming, or reworking an existing melody. In this case, Haydn takes theme B and introduces new melodic ideas, further enhancing the sense of change and progression in the music. This melodic development helps to distinguish the variation on theme B from the original theme and signals the start of this new section in the third movement of the Trumpet Concerto in E-flat major.

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a triangular display pedestal is to be made of corrugated paper. using illustration 7, what size sheet needs to be designated on the drawing?

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To calculate the size of the sheet needed to make a triangular display pedestal out of corrugated paper, you will need to calculate the area of the triangular faces, multiply it by the paper's thickness, and add a margin to account for any material loss during cutting and folding.

Firstly, you will need to determine the dimensions of the pedestal's base, height, and sides. Once you have these measurements, you can calculate the area of the triangular faces that will make up the pedestal. To do this, use the formula for the area of a triangle which is:

Area = 0.5 x Base x Height

Multiply the result by the number of triangular faces needed to construct the pedestal.

Next, determine the thickness of the corrugated paper that you plan to use. This will be needed to calculate the volume of the paper required. To find the volume, multiply the area of the triangular faces by the thickness of the paper.

Finally, to determine the size of the sheet that needs to be designated on the drawing, you will need to add a margin to the calculated area.

This margin should account for the material lost during the cutting and folding process, as well as any other factors that may impact the final size of the sheet needed.

In summary, to determine the size of the sheet needed to make a triangular display pedestal out of corrugated paper, you will need to calculate the area of the triangular faces, multiply it by the paper's thickness, and add a margin to account for any material loss during cutting and folding.

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Answer the following question in 1-2 complete sentences. An abstract sculpture of a woman's head. She has no hair on the top of her head, and her eyes are large and placed in the center of the egg-shaped face. Define the term tactility. Look at the sculpture shown above, how would you describe its tactility?.

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Tactility refers to the sense of touch or the ability to perceive and experience texture, shape, and other physical qualities through touch.

In the sculpture described, its tactility can be perceived as smooth and polished, with a lack of hair on the top of the head and the smoothness of the egg-shaped face, while the large, centrally placed eyes might offer a contrasting tactile experience with their pronounced shape and texture. The juxtaposition of these tactile elements in the sculpture can evoke a sense of balance between smoothness and prominence, inviting a sensory exploration through touch and potentially stimulating an emotional or intellectual response from the viewer.

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Three Greek columns. Which of the following is not one of the three Greek orders? a. Doric c. Ionic b. Classical d. Corinthian.

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b. Classical. The Classical order is not one of the three Greek orders. The three Greek orders are the Doric, Ionic, and Corinthian.

The Doric order is the oldest and simplest of the three, characterized by its sturdy and masculine appearance. It features columns with no base, a plain shaft, and a capital consisting of a circular cushion-like element called an echinus and a square abacus on top.

The Ionic order is known for its more slender and elegant design. It features columns with a base, a fluted shaft, and a capital adorned with scroll-like elements known as volutes.

The Corinthian order is the most ornate and elaborate of the three. It features columns with a base, a slender fluted shaft, and a capital adorned with intricate acanthus leaves and volutes.

While the term "Classical" is often used to refer to the architecture and art of ancient Greece, it is not a specific architectural order in itself. Instead, it generally refers to the period of ancient Greek history known for its cultural achievements and contributions to Western civilization.

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Which best describes the next passage of music in this section, from the middle of Dance of the Youths and Maidens?

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Answer:

B

Explanation:

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12-tone composers: (mark all that apply) stressed dissonance and fragmentation avoided a tonal center favored extensive programmatic works created angular and disjointed melodies

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The characteristics that were common among 12-tone composers stressed dissonance and fragmentation, avoided a tonal center, favored extensive programmatic works, and created angular and disjointed melodies. angular and disjointed melodies.

The 12-tone composition is a technique in music composition that uses a specific arrangement of the twelve chromatic pitches to create a new harmonic and melodic language that avoids traditional tonal hierarchies.

The approach was developed in the early 20th century by Arnold Schoenberg and his disciples Alban Berg and Anton Webern. The question requires identifying the characteristics that were common among 12-tone composers.

To start with, these composers emphasized dissonance and fragmentation in their works, often using unconventional harmonies that didn't resolve to traditional tonal centers.

This approach allowed them to break free from the limitations of the traditional tonal system and explore new musical possibilities.

Another hallmark of 12-tone composers was their preference for extensive programmatic works, which were often inspired by literature, art, or political events.

These works were intended to convey specific emotional or intellectual themes through music, and the 12-tone system offered a way to express complex emotions and ideas without relying on conventional musical language.

12-tone composers also tended to create angular and disjointed melodies, which were characterized by their asymmetry and irregularity.

This approach to melody was a departure from the lyrical and flowing melodies of the Romantic era, and it served to further distance 12-tone music from traditional tonal music.

In summary, 12-tone composers stressed dissonance and fragmentation, avoided a tonal center, favored extensive programmatic works, and created angular and disjointed melodies.

These characteristics were central to the development of the 12-tone system and helped to create a new musical language that continues to inspire composers today.

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EARTHSC 2GG3. Course Title. Natural Disasters. Instructor. M. Padden. Term. Fall 2021. Outline. Outline. Course Code. EARTHSC 2GG3. Course Title.

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The course "Natural Disasters" (EARTHSC 2GG3) was taught by instructor M. Padden during the Fall 2021 term. It focused on studying the occurrence, causes, and impacts of various natural disasters.

The course "Natural Disasters" (EARTHSC 2GG3) was offered during the Fall 2021 term and instructed by M. Padden. This course aimed to provide students with an in-depth understanding of natural disasters, including their occurrence, causes, and the impact they have on the environment and human populations.

Throughout the course, students likely explored a range of topics related to natural disasters, such as earthquakes, hurricanes, floods, wildfires, and volcanic eruptions. They may have examined the geological processes behind these events, including plate tectonics, climate patterns, and weather phenomena.

In addition, the course may have covered the social, economic, and environmental consequences of natural disasters, including their effects on infrastructure, communities, and ecosystems. Students might have also studied disaster management strategies, including prevention, mitigation, and response measures.

Overall, the course "Natural Disasters" provided students with a comprehensive understanding of the science and impact of natural disasters, equipping them with knowledge to analyze and address these significant events.

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applying deeper tones along the hairline, temples and under the chin can be used to visually shorten this facial shape:

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Applying deeper tones along the hairline, temples, and under the chin can be used to visually shorten an oblong facial shape.

An oblong face shape is characterized by a longer and narrower shape, with a high forehead, long jawline, and often a prominent chin.

The use of contouring techniques to add deeper tones to specific areas of the face can create a more balanced and proportionate appearance. By applying deeper tones along the hairline and temples, the forehead can appear shorter and less prominent, which can help to balance out the length of the face.

Similarly, by applying deeper tones underneath the chin, the jawline can appear less elongated, creating the illusion of a shorter face.

As with any makeup technique, it's important to blend the deeper tones seamlessly to avoid any harsh lines and ensure a natural-looking result. It's also worth noting that makeup is a temporary solution and does not permanently alter facial shape.

For individuals looking for a more permanent solution, there are various surgical and non-surgical options available to alter facial shape, such as jawline reduction surgery or dermal fillers.

However, it's important to thoroughly research and consult with a qualified professional before considering any permanent alterations to facial shape.

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What is the fallacy?

Forced military service is an issue that touches our fundamental concepts of liberty and rights. To argue in support of the draft is to concede to abrogation of inalienable rights. To persist in such support after so recent a slaughter of draftees in Vietnam is to confess a vicious moral turpitude

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The fallacy in the provided statement is known as the "Appeal to Emotion." This fallacy attempts to persuade by appealing to the emotions of the audience rather than presenting logical reasoning or evidence.

In this case, the statement utilizes emotionally charged language and evokes strong negative feelings associated with the Vietnam War and the loss of lives of draftees. By framing support for the draft as an abrogation of inalienable rights and a confession of moral turpitude, the argument tries to manipulate emotions rather than presenting a substantive argument.

While emotions can play a role in discussions and decision-making, relying solely on emotional appeals without addressing the underlying logical or factual aspects of an issue is fallacious reasoning. To have a meaningful and productive discussion about forced military service or the draft, it is important to consider a range of perspectives, analyze the historical context, examine the practical implications, and discuss the philosophical underpinnings of liberty and rights.

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Define contemporary art as collaborative integrative and process oriented how do these mediums and techniques differ from tradition or moderm arts

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Contemporary art is characterized by its collaborative, integrative, and process-oriented nature. These mediums and techniques differ from traditional or modern art forms in their emphasis on collaboration, integration of various disciplines, and focus on the artistic process.

Contemporary art often involves collaboration, where artists work together to create a piece or involve the audience in the creative process. This collaborative approach breaks away from the individualistic nature of traditional or modern art, where artists typically worked independently. It encourages dialogue, shared experiences, and the merging of different perspectives.

Integrative practices in contemporary art involve the blending of multiple disciplines, such as combining visual arts with technology, performance, or installation. This multidisciplinary approach allows artists to explore new possibilities and challenge traditional boundaries of art forms. It often incorporates elements from different fields like science, technology, and social activism.

Process-oriented art in the contemporary realm focuses on the artistic process itself rather than solely on the final outcome. Artists may prioritize experimentation, improvisation, and exploration of materials and techniques. This approach emphasizes the value of experimentation, personal expression, and the journey of creating art rather than adhering to predetermined rules or aesthetics.

In contrast, traditional art forms were often rooted in established techniques, materials, and subject matters, following conventional styles and rules. Modern art, while breaking away from traditional norms, still had a strong emphasis on individual expression and formal innovation, often centered around the artist's personal vision.

Overall, contemporary art's collaborative, integrative, and process-oriented nature challenges traditional and modern art forms by embracing interdisciplinary collaboration, experimentation, and focusing on the artistic process as an integral part of the artwork itself.

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Why did the author write « my » people with quotation marks?What would "to do anthropology" consist of?What is the Fulani? Why not using it?What smoking tobacco enabled N. Barley to initiate?What does "taking one's skin off" mean?In the text, find a sentence that could define the inductive approach

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The author likely wrote "my" people with quotation marks to signify a sense of distance or detachment.

It suggests that the author may not personally identify as part of the group they are referring to, but rather uses the term as a way to describe a particular cultural or social affiliation.

"To do anthropology" refers to the practice and study of anthropology as a discipline. It involves conducting research, gathering data, and analyzing various aspects of human culture, society, and behavior. This can include fieldwork, participant observation, interviews, and the examination of cultural artifacts or practices.

The Fulani, also known as the Fula or Fulbe, are an ethnic group spread across several countries in West Africa, including Nigeria, Senegal, Guinea, Mali, and others. They are a pastoralist and nomadic group known for their cattle herding and trading activities. It is unclear why the author did not use the term "Fulani" in the given context, as it is the most commonly used name for this ethnic group.

Smoking tobacco enabled N. Barley to initiate conversations and build relationships with the Fulani people. Tobacco smoking can serve as a social activity, creating opportunities for interaction and establishing connections with others, including the Fulani community.

"Taking one's skin off" is a metaphorical expression that implies shedding one's own cultural or personal identity in order to immerse oneself in the culture and perspectives of another group. In the context of the text, it likely refers to the anthropologist's effort to adopt a more objective and empathetic stance, temporarily setting aside their own biases and assumptions in order to better understand and engage with the Fulani people and their way of life.

A sentence in the text that could define the inductive approach is: "Anthropologists are confronted with an inductive task: to derive the universal from the particular, the general from the specific, the timeless from the temporal." This sentence highlights the inductive approach in anthropology, which involves drawing general conclusions or theories based on specific observations or data collected from particular cultural contexts or social phenomena.

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ART has come out with a new and improved product. As a result, the firm projects an ROE of 28%, and it will maintain a plowback ratio of 0.25. Its earnings this year will be $5.0 per share. Investors expect a 17% rate of return on the stock. What price do you expect ART shares to sell for in 4 years?

Answers

The price you can expect ART shares to sell in 4 years is $50.62.

To calculate the expected price of ART shares in 4 years, we can use the dividend discount model formula:

P0 = (D1 / (r - g))

where P0 is the present stock price, D1 is the next year's dividend, r is the required rate of return, and g is the growth rate of dividends.

1. First, let's find the growth rate (g):

g = ROE * Plowback Ratio = 0.28 * 0.25 = 0.07 (7%)

2. Next, calculate the next year's dividend (D1):

D1 = Earnings per Share * (1 - Plowback Ratio) = $5 * (1 - 0.25) = $3.75

3. Now, apply the dividend discount model formula:

P0 = ($3.75 / (0.17 - 0.07)) = $37.50

To find the expected price in 4 years (P4), we can use the formula:

P4 = P0 * (1 + g)^4

P4 = $37.50 * (1 + 0.07)^4 = $50.62

So, you can expect ART shares to sell for approximately $50.62 in 4 years.

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musical interval that will result when two strings of identical wave speed but different specified lengths are sounded together.

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The musical interval that will result when two strings of identical wave speed but different specified lengths are sounded together is known as an interval of harmonic consonance.

This interval is created by the different wave lengths of the two strings. When the two strings are played together, the longer string will vibrate at a slower rate than the shorter string, resulting in an interval of harmonic dissonance. This is because the wave length of the longer string is longer than the wave length of the shorter string, and therefore the two wave lengths do not match up perfectly.

This creates an interval of harmonic dissonance between the two strings, resulting in a unique sounding musical interval. This interval of harmonic dissonance can be used to create interesting and unique musical compositions.

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complete question is :

musical interval that will result when two strings of identical wave speed but different specified lengths are sounded together. explain.

Music lacking any literary or pictorial association is called:

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Music lacking any literary or pictorial association is called absolute music.

Absolute music refers to instrumental music that is created solely for its own sake, without any explicit or intended connection to a specific story, text, or imagery.

It is music that exists purely in the realm of sound, without any external program or narrative. Absolute music focuses on the intrinsic qualities of melody, harmony, rhythm, and form, allowing listeners to engage with the music on a purely emotional and abstract level.

Without the constraints of a predetermined narrative or imagery, absolute music offers a more open-ended and subjective experience, allowing each listener to interpret and connect with the music in their own unique way.

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PLS HELP. Two Numbers add to K. If you double the smaller number and halve the larger number, then the two new number are equal. These two equal numbers add to


a)5/6 K b)4/5 K c) 3/4 K d) 2/3 K e)K

Answers

(e) K. Let's solve the problem step by step to find the answer.

Let's assume the two numbers are x and y, where x is the smaller number and y is the larger number.

According to the given information:

1. x + y = K

2. 2x = (1/2)y

To solve for x and y, we can rearrange equation 2 to get y in terms of x:

y = 4x

Substituting this value of y in equation 1, we have:

x + 4x = K

5x = K

x = K/5

Now, we can substitute the value of x back into equation 2 to find y:

2(K/5) = (1/2)y

K/5 = (1/2)y

y = (5/2)(K/5)

y = K/2

So, the two numbers are x = K/5 and y = K/2.

The two equal numbers obtained by doubling the smaller number and halving the larger number are:

2(K/5) = (2/5)K

(1/2)(K/2) = (1/4)K

The sum of these two equal numbers is:

(2/5)K + (1/4)K = (8/20)K + (5/20)K = (13/20)K

Therefore, the answer is (e) K.

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You’re interested in calculating the standard deviation of the exam scores of a national standardised test to see if many people scored close to the mean or not. Use the following dataset. Test Taker Score 1 20 2 40 3 60 4 60 5 75 6 80 7 70 8 65 9 70 10 90

Answers

The dataset provided consists of exam scores of 10 test takers. The standard deviation can be calculated to measure the spread or variability of the scores around the mean.

To calculate the standard deviation of the exam scores, follow these steps:

1. Find the mean (average) of the scores. Add up all the scores and divide the sum by the total number of scores (10 in this case). The mean is calculated as (20+40+60+60+75+80+70+65+70+90) / 10 = 65.

2. Calculate the difference between each score and the mean. Subtract the mean from each score and write down the differences: -45, -25, -5, -5, 10, 15, 5, 0, 5, 25.

3. Square each difference. Square each of the differences obtained in the previous step: 2025, 625, 25, 25, 100, 225, 25, 0, 25, 625.

4. Find the mean of the squared differences. Add up all the squared differences and divide the sum by the total number of scores. The mean of squared differences is calculated as (2025+625+25+25+100+225+25+0+25+625) / 10 = 325.

5. Take the square root of the mean of squared differences. The square root of 325 is approximately 18.03.

Therefore, the standard deviation of the exam scores is approximately 18.03. This indicates the amount of variation or dispersion in the scores around the mean value of 65.

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Question 4(Multiple Choice Worth 5 points)

(MC)


Two people described the same experience. One described it implicitly by writing, "I sat in the theater and felt salty drops run from my eyes. "


Which sentence below explicitly delivers the same message?


The chair gave me allergies. The darkness scared me. The movie made me cry. The water splashed my face.

Answers

The sentence that explicitly delivers the same message as the implicitly described experience is: "The movie made me cry."

In the implicitly described experience, the person mentions sitting in the theater and feeling salty drops run from their eyes, which implies that they were moved to tears. The explicit sentence "The movie made me cry" directly states that the movie caused the person to cry, conveying the same message as the implicit description.

The other options do not convey the same message. "The chair gave me allergies" introduces a new element of allergies that was not mentioned in the original description. "The darkness scared me" focuses on fear rather than the emotional response of crying. "The water splashed my face" introduces water and physical contact, which are not present in the original description.

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which function is performed by the collapsed core layer in a two-tier architecture?

Answers

forwarding large amounts of packets both reliably and quickly

The function performed by the collapsed core layer in a two-tier architecture is to combine the core and distribution layers into a single layer, simplifying network design and reducing complexity.

This is achieved by consolidating the core layer's high-speed switching and routing capabilities with the distribution layer's policy enforcement, access control, and traffic management functions.

In a traditional three-tier architecture, the core layer focuses on providing fast and efficient data transport, while the distribution layer connects the core to the access layer, implementing policies and controlling network access. By collapsing these two layers, the two-tier architecture optimizes the network infrastructure for small and medium-sized businesses or scenarios with limited scalability requirements.

The benefits of a collapsed core layer in a two-tier architecture include:

1. Reduced hardware and maintenance costs, as fewer switches and routers are required.


2. Simplified network management and configuration, due to the integration of core and distribution layer functions.


3. Improved network performance and reduced latency, as the elimination of the separate core layer streamlines data transmission paths.


4. Enhanced flexibility, as the collapsed core layer can easily adapt to changes in network requirements.

In summary, the collapsed core layer in a two-tier architecture performs the combined functions of the core and distribution layers, providing a cost-effective, efficient, and flexible solution for small to medium-sized network environments.

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Today "N-de Descending Staircase" is considered a masterpiece. Has that always been the case? What did Duchamp bring to Cubism that had not previously been seen?

Answers

No, "Na-ked Plummeting a Staircase" was not at first well-received and caused contention when it was, to begin with, displayed within the 1913 Armory Appear in New York. The portrayal was criticized for its theoretical fashion and flight from conventional portrayals of the human shape.

In any case, over time, the portrayal has come to be recognized as a groundbreaking work of craftsmanship and a showstopper of innovator portrayal. Its utilization of divided, geometric shapes and numerous viewpoints prefigures numerous of the advancements in cutting-edge craftsmanship that are taken after, and it remains a compelling work to this day.

In terms of Duchamp's commitment to Cubism, he was a part of the movement's inward circle in Paris and was intensely impacted by the work of Pablo Picasso and Georges Braque.

In any case, Duchamp's approach was more conceptual and less centered on the visual components of shape and color than other Cubist craftsmen.

In "Bare Plummeting a Staircase," Duchamp combined the standards of Cubism with the thoughts of Futurism, a development that celebrated speed, innovation, and the advanced world. The portrait appears as a figure in the movement, capturing the energetic vitality of present-day life in a way that had not been seen some time recently in Cubist craftsmanship.

This accentuation on development and the entry of time was a critical departure from the inactive, divided pictures of conventional Cubist portray.

Duchamp's commitment to Cubism, subsequently, was to bring a modern conceptual measurement to the development and to extend its run of topics and subject matter past still lifes and representations. His work cleared the way for the improvement of unused shapes of deliberation and conceptual craftsmanship within the 20th century.

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in the work, plantoir, claes oldenburg and coosje van bruggen created shock value through use of ______.

Answers

The sculpture by Claes Oldenburg and Coosje van Bruggen called Plantoir creates shock value through the use of scale and juxtaposition.

Plantoir achieves its shock value through radical changes in scale, jarring juxtapositions, the discomfort of the familiar made unfamiliar, and its provocative conceptual approach.
Final answer:

In the work, Plantoir, Claes Oldenburg and Coosje van Bruggen created shock value through the use of scale by creating a large, three-dimensional representation of a garden tool.

Explanation:

In the work, Plantoir, artists Claes Oldenburg and Coosje van Bruggen created shock value through the use of scale. The work is a large, three-dimensional representation of a common garden tool- a plantoir or a trowel. Its enormous size gives it a surreal effect that captures the viewer's attention and creates a sort of shock value. The artists often used everyday objects, inflated to a monumental scale, to blur the boundaries between art and reality. Thus, the shock value in the work Plantoir emanates from the unexpected transformation of a regular, mundane item to an unusual, gigantic piece of art.

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According to the author of the article Frank Gehry, Guggenheim Bilbao, what do the walls of the museum resemble?

Answers

Answer:

The author of the article "Frank Gehry, Guggenheim Bilbao" is Paul Goldberger, and he describes the walls of the museum as resembling "sheets of randomly shaped titanium, overlapping and interlocking like scales or petals on a flower."

By now, you should be in the final stages of planning your final project. it's time to make some
decisions and stick to them.

Answers

At this stage of the final project planning, it is important to make decisions and commit to them.

As you approach the final stages of your project planning, it is crucial to solidify your decisions and maintain a clear focus. This involves making key determinations regarding the project's scope, objectives, timeline, and resources. It is essential to carefully consider all available information, assess potential risks, and weigh different options before making final decisions.

Once decisions are made, it is important to stick to them and avoid unnecessary changes or indecisiveness. Adhering to the chosen plan ensures consistency, stability, and efficient progress throughout the project. It allows for effective allocation of resources, clear communication with stakeholders, and the ability to meet project deadlines.

However, it is important to remain flexible and open to adjustments when necessary. While sticking to decisions is vital, it is equally important to evaluate the project's progress regularly and adapt as needed. This may involve revisiting decisions if new information or circumstances arise that significantly impact the project's success. Striking a balance between commitment and flexibility is key to successful project execution.

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What is one geometrical fact explained in the lecture that reflects the mathematical technique da Vinci used in The Last Supper? a. He doesn?t use mathematics in the painting. B. He uses trigonometry to find the exact place where each thing should be located and create the picture plane. C. He uses the coffers of the ceiling to place Jesus in the mathematical center, and to create an illusion that extends the room beyond what is visible. Please select the best answer from the choices provided A B C.

Answers

C. He uses the coffers of the ceiling to place Jesus in the mathematical center and to create an illusion that extends the room beyond what is visible.

In the lecture, it is explained that Leonardo da Vinci used mathematical techniques in The Last Supper, specifically by utilizing the architecture of the room to create geometric alignments. The coffers (recessed panels) of the ceiling in the painting are used strategically to position Jesus at the mathematical center of the composition. This placement not only creates a focal point but also aligns with the vanishing point, contributing to the overall perspective and depth in the artwork.

Additionally, da Vinci used these architectural features to create an illusion of space that extends beyond the visible boundaries of the room. By employing mathematical principles of perspective, he enhanced the sense of depth and three-dimensionality in the painting, making it appear as if the room extends further than what is physically depicted.

Therefore, the geometrical fact explained in the lecture that reflects the mathematical technique da Vinci used in The Last Supper is that he used the coffers of the ceiling to place Jesus in the mathematical center and create an illusion of extended space.

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