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On the way up, from the bottom to the top of the loop, gravity is in opposition to the direction of the cars and will slow the train. The train is slowest at the top of the loop. Once beyond the top, gravity helps to pull the cars down around the bend. If the loop's curvature is constant, the rider is subjected to the greatest force at the bottom.
The turn (symbol tr or pla) is a unit of plane angle measurement that is the measure of a complete angle—the angle subtended by a complete circle at its center. One turn is equal to 2π radians, 360 degrees or 400 gradians. As an angular unit, one turn also corresponds to one cycle (symbol cyc or c) [1] or to one revolution (symbol rev or r). [2]
Traditional Chinese visual design elements: their applicability in contemporary Chinese design (Master of Science in Design thesis). Arizona State University. Welch, Patricia Bjaaland (2012). Chinese art : a guide to motifs and visual imagery. Boston, US: Tuttle Publishing. ISBN 978-1-4629-0689-5. OCLC 893707208. Williams, Charles (2006).
A 540 crescent kick. In martial arts and tricking, [1] [2] the 540 kick (Chinese: 旋風腳; pinyin: Xuanfengjiao; lit. 'whirlwind kick') (also known as inside turning kick, jump inside kick, and "hyper" tornado kick) is a jump kick move. [3]
In mathematics and physics, the plate trick, also known as Dirac's string trick (after Paul Dirac, who introduced and popularized it), [1] [2] the belt trick, or the Balinese cup trick (it appears in the Balinese candle dance), is any of several demonstrations of the idea that rotating an object with strings attached to it by 360 degrees does not return the system to its original state, while ...
An angle larger than a straight angle but less than 1 turn (between 180° and 360°) is called a reflex angle. An angle equal to 1 turn (360° or 2 π radians) is called a full angle, complete angle, round angle or perigon. An angle that is not a multiple of a right angle is called an oblique angle.
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The automated nature of Can't Help Myself categorizes the sculpture as a work of kinetic art, which, in turn, generates an anthropomorphic quality to the robotic arm. [1] This anthropomorphism partially is because of the robotics performative nature and completion of the human task of cleaning up a spillage. [ 1 ]