This book examines the idea of ‘good education’ which is thought to include a scientific and technical component, a mathematical component, a writing component, and an ethical and aesthetic component. Bunn proposes a new three-way intersection in these teachings: the basic sciences and mechanics of levering on a seesaw, the basic formulations of patterning an algebraic equation, and the basic rules for writing a sentence in English. In all three forms of inquiry, balance is the mainstay through which problems in US middle school education are brought together and analyzed.
In this daring book, the author proposes that artistic and literary forms can be understood as modulations of wave forms in the physical world. By the phrase "natural syntax," he means that physical nature enters human communication literally by way of a transmitting wave frequency. This premise addresses a central question about symbolism in this century: How are our ideas symbolically related to physical reality? The author outlines a theory of communication in which nature is not reached by reference to an object; rather, nature is part of the message known only tacitly as the wavy carrier of a sign or signal. One doesn't refer to nature, even though one might be aiming to; one refers with nature as carrier vehicle. The author demonstrates that a natural language of transmission has an inherent physical syntax of patterned wave forms, which can also be described as certain "laws of form"a phrase used by D'Arcy Thompson, L. L. Whyte, Noam Chomsky, and Stephen Jay Gould. He describes a syntax inherent in natural languages that derives from the rhythmic form of a propelling wave. Instead of the "laws" of a wave's form, however, the author speaks of its elements of rhythmic composition, because "rythmos" means "wave" in Greek and because "composition" describes the creative process across the arts. In pursuing a philosophy of rhythmic composition, the author draws on cognitive science and semiotics. But he chiefly employs symmetry theory to describe the forms of art, and especially the patterns of poetry, as structures built upon the natural syntax of wave forms. Natural syntax, it turns out, follows a fascinating group of symmetry transformations that derive from wave forms.
The Natural Law of Cycles assembles scientific work from different disciplines to show how research on angular momentum and rotational symmetry can be used to develop a law of energy cycles as a local and global influence. Angular momentum regulates small-scale rotational cycles such as the swimming of fish in water, the running of animals on land, and the flight of birds in air. Also, it regulates large-scale rotation cycles such as global currents of wind and water.James H. Bunn introduces concepts of symmetry, balance, and angular momentum, showing how together they shape the mobile symmetries of animals. Chapter 1 studies the configurations of animals as they move in a head-first direction. Chapter 2 shows how sea animals follow currents and tides generated by the rotational cycles of the earth. In chapter 3, Bunn explores the biomechanical pace of walking as a partial cycle of rotating limbs. On a large scale, angular momentum governs balanced shifts in plate tectonics.Chapter 4 begins with an examination of rotational wind patterns in terms of the counter-balancing forces of angular momentum. The author shows how these winds augment the flights of birds during migrations. A final chapter centres on the conservation of energy as the most basic principle of science. Bunn argues that in the nineteenth century the unity of nature was seen in the emergent concept of energy, not matter, as the source of power, including the movements of animals and machines. In each chapter Bunn features environmental writers who celebrate mobile symmetries. This book will interest students, naturalists, and advocates of the environmental movement.
This book examines the idea of ‘good education’ which is thought to include a scientific and technical component, a mathematical component, a writing component, and an ethical and aesthetic component. Bunn proposes a new three-way intersection in these teachings: the basic sciences and mechanics of levering on a seesaw, the basic formulations of patterning an algebraic equation, and the basic rules for writing a sentence in English. In all three forms of inquiry, balance is the mainstay through which problems in US middle school education are brought together and analyzed.
In this daring book, the author proposes that artistic and literary forms can be understood as modulations of wave forms in the physical world. By the phrase "natural syntax," he means that physical nature enters human communication literally by way of a transmitting wave frequency. This premise addresses a central question about symbolism in this century: How are our ideas symbolically related to physical reality? The author outlines a theory of communication in which nature is not reached by reference to an object; rather, nature is part of the message known only tacitly as the wavy carrier of a sign or signal. One doesn't refer to nature, even though one might be aiming to; one refers with nature as carrier vehicle. The author demonstrates that a natural language of transmission has an inherent physical syntax of patterned wave forms, which can also be described as certain "laws of form"a phrase used by D'Arcy Thompson, L. L. Whyte, Noam Chomsky, and Stephen Jay Gould. He describes a syntax inherent in natural languages that derives from the rhythmic form of a propelling wave. Instead of the "laws" of a wave's form, however, the author speaks of its elements of rhythmic composition, because "rythmos" means "wave" in Greek and because "composition" describes the creative process across the arts. In pursuing a philosophy of rhythmic composition, the author draws on cognitive science and semiotics. But he chiefly employs symmetry theory to describe the forms of art, and especially the patterns of poetry, as structures built upon the natural syntax of wave forms. Natural syntax, it turns out, follows a fascinating group of symmetry transformations that derive from wave forms.
The all new Ministers Manual, the most trusted and comprehensive resource available for preachers, features more than 200 sermons and sermon outlines. James Cox has gathered the best of traditional and contemporary sources to assist ministers in sermon preparation and ignite their imaginations.
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