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STATIC & ROTATIONAL EQUILIBRIUM Unit=
15 Dr. John P. Cise<=
/span>
Professor of Physics, Austin Community College, 1=
212
Rio Grande St., Austin Tx 78701 jpcise@austincc.edu&n=
bsp;
& New York T=
imes
Nov. 16,2009
By Gia Kourlas . Please send me an =
e-mail
informing me of context in which you used this New York Times physics
application. Thanks! Dr. Cise
Dance
Review | Trisha Brown Dance Company
Dance and Art Play Off Each Other BEACON, N.Y. — For the=
past
two years the Merce Cunningham Dance Company graced the galleries of Dia: B=
eacon
here, where the site-specific Beacon Events series was born. Now the torch =
has
been passed to the Trisha Brown Dance Company, which, over the weekend,
presented a sharply edited program of Ms. Brown’s early works (pieces
created between 1968 and 1975) that took audiences on a fast-paced trip thr=
ough
seven galleries. The residency will include appearances in February and May=
.
INTRODUCTION: Distance from foot on fl=
oor to
center of mass is 3.5 ft. Distance from center of mass to shoulder is 2=
ft.
QUESTION(S):
(a) Find vertical(V) and horizontal(H) forces at his foot?=
b>
Also, =
find the
tension(T) in his arm due to the dancer on the left pulling horizontall=
y on
his right arm? H=
INT: Set up three equations with the
three unknowns. The three equations will come from the two concepts on
static equilibrium: sum of Forces in X direction =3D 0 , sum of forces in the Y direction =
=3D 0.
+ one =
equation
from the conditions for rotational equilibrium, sum of torques =3D 0. G=
ood
luck!
ANSWERS: T =3D~=
76.73
lb , H =3D~76.73 lb, V =3D~160 lb
|
|
<=
/span>Skip to next paragraph
=
Trisha Brown Dance Company: Dai Jian, left, and Todd
Lawrence
Stone in "Leaning Duets," surrounded by &=
quot;24
Colors - for Blinky,"
at Dia:Beacon. More Photos
»
Multimedia
=
Slide Show
Dance and Art
Ms. Brown began her j=
ourney
in the galleries dedicated to Imi Knoebel’s “24 Colors — =
for
Blinky,” a 1977 cycle of shaped paintings that anchor movement in a
curiously satisfying way. For “Leaning Duets” (1970), two pairs=
of
dancers — one male, the other female — joined hands and maintai=
ned
balance by tilting away from the other while taking tentative steps. (The t=
rick
is that as their bodies wing out, the edges of their feet meet in the cente=
r.)
A witty test of balance and trust, “Leaning Duets” represents M=
s.
Brown’s scintillating experiments with capturing, losing and regaining
gravity.
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