Big Pieces Research Articles

Knit fashion design inspired by Peony flower image

The purpose of this study is to analyze the characteristics and symbolism of peony, the traditional noble flower, create knit fashion designer applying the aesthetic beauty of flower, and suggest the various possibility of developing knit fashion design. As for the study method, the study conducted review on literature and previous studies to investigate on history, characteristics, symbolism of peony, and examined various expressive technique through previous studies about fashion design using flower images. To express characteristics of peony in three dimensions, the study investigated and reflected on crochet expressive technique to design 4 women’s knitwear. The results are as below. First, as shape of peony is big, voluminous, fancy and noble, it symbolizes wealth and beauty. Including red which is the generally known color of peony, there are yellow, white, pink, purple, green, blue, black, gray, white purple, white color. This study reflected characteristics and symbolism of peony and created knit fashion design applying abundant aesthetic characteristics of flower. Second, crochet method is advantageous as it is operable with thread and hooked crochet hook without time and space restriction, it can create unique fashion design. Crochet knitting on hand knit can diversity changes to express relief textures, and as there is no limit in size, it can be applied to small props to big pieces. This study suggested the various possibility of knit fashion design development and various expressive possibility on modern fashion design.

Self-similarity, positive Lebesgue measure and nonempty interior

In this paper, we introduce BBI spaces (“big balls of itself”), which based on the notion of BPI spaces (“big pieces of itself”) used by David and Semmes to study self-similarity. We prove that the “self-similar” construction described by BBI spaces ensures the equivalence of positive Lebesgue measure and nonempty interior. We apply this result to self-conformal sets satisfying the WSC and prove that positive Lebesgue measure implies nonempty interior for such sets. This generalizes Zerner's corresponding result for self-similar sets.

Characterising the big pieces of Lipschitz graphs property using projections

We characterise the big pieces of Lipschitz graphs property in terms of projections. Roughly speaking, we prove that if a large subset of an n -Ahlfors–David regular set E \subset \mathbb R^d has plenty of projections in L^2 , then a large part of E is contained in a single Lipschitz graph. This is closely related to a question of G. David and S. Semmes.

Microbiological hazards at several stages of production and distribution of cooked sausages

Fifty one (51) samples of several types of cooked sausage paste, prepared by two meat factories in N. Greece were examined. TPC of these samples ranged between 5,3-6,3 Log10CFU/g. Coliforms were regularly present reaching populations of 93->2.400 MPN/g and lactic acid bacteria ranged between 5-6,3 Log10CFU/g. L. monocytogenes was detected in 56 and 38,4% of the samples collected in each factory. E. coli was detected in 20 and 16,6%, and Salmonella spp in 12 and 16,6% respectively. Neither pathogens nor coliforms were detected in 51 samples of cooked sausages originated from the same pastes examined before. No recovery of any injured cells of the pathogenic bacteria and coliforms was observed after their storage at 4°C for 20 days. TPC of the cooked sausage samples, after thermal treatment, ranged between 3-4,7 Log10CFU/g and consisted mainly of lactic acid bacteria (range <2-4,5 Log10CFU/g) and sporeformers (range 3-4,5 Log10CFU/g). After 20 days storage at 4°C the TPC and lactid acid bacteria counts of the cooked sausages, increased by <1 Log. We also examined 16 surface and center samples of cooked sausages and meat products without casings, consisting of big meat pieces (bacon, smoked ham,etc). Surface TPC ranged between 5-5,3 Log10CFU/g and from the center of the meats they ranged between 2-3,5 Log1 0CFU/g. Coliforms, E. coli, L. monocytogenes and Salmonella spp were not detected. Lactic acid bacteria were the main flora. Furthermore we examined surface samples of cooked meat products, without casings, during several stages following thermal treatment and up to storage for 24 h at 4° C, without any protective package. TPC immediately after thermal treatment were <2 Log^CFU/g, after cooling with water increased they increased at 3 Log10CFU/g and remained the same during the following 24 h storage at 4°C. Coliforms were detected in the stored products. Their populations exceeded 2.400 MPN/g on the surface of the samples after storage for a few days at 4°C. It is assumed that the flora on the surface of these products originated from the environment and the cooling water. Finally we examined 69 samples from surfaces of the slicing and packaging equipment of cooked meat products in 3 meat factories and 28 samples from 12 super markets. L. monocytogenes was detected in 6 and 14,2% of the samples that originated from the slicing blades in the factories and super markets respectively. The results of this study underline the importance of GMP for the prevention of contamination of cooked sausages with pathogens and the control of the growth of the spoilage bacteria population which minimize the self life of these products. This is especially true after thermal treatment during peeling and slicing.

On the parabolic Lipschitz approximation of parabolic uniform rectifiable sets

We prove the existence of big pieces of regular parabolic Lipschitz graphs for a class of parabolic uniform rectifiable sets satisfying what we call a synchronized two cube condition. An application to the fine properties of parabolic measure is given.

FRAGMENTS OF AN ASSUMED DREAM STELA OF THUTMOSIS IV FROM GIZA

The fragments that were found in different locations and of diverse sizes have been restoredit returned once more similar to its original state of the Dream Stela. The stela is of arectangular form, but missing small segments on all sides, measuring about 175 cm width, 97cm height and 14.5 cm thick. It seems that the stela was unfinished, due to the different levelsand rough surface, as well as the different quality in finishing the scene of the two lions. Thereare some similarities with the reliefs and its accompanied inscriptions between this stela andthe Sphinx dream stela. The stela is made out of fine and white limestone, found in the mainmagazine of Giza plateau, but came in many pieces. Two big pieces of the stela are found bySelim Hassan during his excavations in the temple of Amenhotep II nearby of the Sphinx.

Ahlfors‐regular distances on the Heisenberg group without biLipschitz pieces

We show that the Heisenberg group is not minimal in looking down. This answers Problem 11.15 in Fractured fractals and broken dreams by David and Semmes, or equivalently, Question 22 and hence also Question 24 in Thirty-three yes or no questions about mappings, measures, and metrics by Heinonen and Semmes. The non-minimality of the Heisenberg group is shown by giving an example of an Ahlfors 4-regular metric space X having big pieces of itself such that no Lipschitz map from a subset of X to the Heisenberg group has image with positive measure, and by providing a Lipschitz map from the Heisenberg group to the space X having as image the whole X. As part of proving the above result we define a new distance on the Heisenberg group that is bounded by the Carnot-Carathéodory distance, which preserves the Ahlfors-regularity, and such that the Carnot-Carathéodory distance and the new distance are biLipschitz equivalent on no set of positive measure. This construction works more generally in any Ahlfors-regular metric space where one can make suitable shortcuts. Such spaces include, for example, all snowflaked Ahlfors-regular metric spaces. With the same techniques we also provide an example of a left-invariant distance on the Heisenberg group biLipschitz to the Carnot-Carathéodory distance for which no blow-up admits non-trivial dilations.

Harmonic measure and approximation of uniformly rectifiable sets

Let E \subset \mathbb R^{n+1} , n \ge 1 , be a uniformly rectifiable set of dimension n . We show E that has big pieces of boundaries of a class of domains which satisfy a 2-sided corkscrew condition, and whose connected components are all chord-arc domains (with uniform control of the various constants). As a consequence, we deduce that E has big pieces of sets for which harmonic measure belongs to weak- A_\infty .

Non-homogeneous Square Functions on General Sets: Suppression and Big Pieces Methods

We aim to showcase the wide applicability and power of the big pieces and suppression methods in the theory of local $Tb$ theorems. The setting is new: we consider conical square functions with cones $\{x \in \mathbb{R}^n \setminus E: |x-y| < 2 \operatorname{dist}(x,E)\}$, $y \in E$, defined on general closed subsets $E \subset \mathbb{R}^n$ supporting a non-homogeneous measure $\mu$. We obtain boundedness criteria in this generality in terms of weak type testing of measures on regular balls $B \subset E$, which are doubling and of small boundary. Due to the general set $E$ we use metric space methods. Therefore, we also demonstrate the recent techniques from the metric space point of view, and show that they yield the most general known local $Tb$ theorems even with assumptions formulated using balls rather than the abstract dyadic metric cubes.

A Good Six-Two

A Good Six-Two Kiki Delancey (bio) HE WAS BIG, BUT FRAGILE. If he'd straightened completely he'd have been a good six-two. A good tall man with large shoulders and a broad back, he was a big size in the old way, what we used to call "country big"; his body expressed physical work, the bearing aloft of bales and crates, combined with a diet of abundance, bowls of potato chunks and plates of hot meat, squash and beans from the earth out back, sliced bread and cut-up tomatoes and helpings of carrots and beets in big pieces that had been put up in this kitchen last fall, enough for the family of three, spooned and stacked on the china plates that had been bought piece by piece from the grocery store over forty-eight weeks in 1965. The fragility is hard to explain. He would be looking at a box of macaroni on a shelf in the grocery when another customer would reach around him, and that simple motion of a stranger's hand would undo him. He'd abdicate the space to whomever it would be, closing his eyes and whispering. In this way he hoped to vanish. In the days when he worked, traveling his circuit of rooms at William Boyd Elementary School, he kept as silent as possible. The children mocked him. Of course they knew. When they taunted him [End Page 79] he'd remove his glasses as though to clean the lenses and let them disappear into blurs of hard noise and the smell of his ammonia. Then he'd quietly complain to himself for ever having begun working here, six weeks ago, eight months ago, thirty years ago, knowing when he did the inevitability of what would come. He could no more disappear than he could strike back at them; they knew the weakness of his armor. He was an easy mark. They could still see the naïve boy in the front row, eyes too weak to read the board and shoes laced with picture wire. The teachers were no different, were they? It wasn't hard to avoid them; the suggestion of a movement into the recess of a doorway was enough to escape. He escaped them permanently and at last when he was sixty-four. The school board laid him off after the latest levy rejection. That was a moment of triumph. He felt so good he was giddy, sitting up straight in the driver's seat of his old car with his mail in his lap, clenching and crushing the papers repeatedly as a paroxysm of hatred spiraled up his neck and over his scalp. In seven months he'd be sixty-five and eligible for social security. Until then he had savings: what he'd inherited from his parents, and what he'd set aside from his pay, twenty dollars a week at first and a hundred a week and more at the end, saved in. By planning every purchase, making constant lists and amendments to his lists, he spent in total less than three thousand and three hundred dollars between his last paycheck and his first social security check. He was proud of that. If he were to say to someone near him in line at the bank, for example, that he'd been able to cap his expenses including rent at four-fifty a month they would wanly smile, not believing him. He expected to live into old age. His mother after all had passed eighty and his father nearly ninety. Without words he realized he was due that. His father had not spent time with him or taught him but longevity could be accepted in place of those things. His father had been vital in age, marrying at sixty and working outdoors until his last days. His photograph at fifty showed a thin, rather short man and yet there was supposed to be strong resemblance between them of blondness, fine blue eyes, and big strong teeth. His mother had told him that hundreds of times over the years: his brother was black-headed and he was the blond, although that wasn...

RECORDINGS IN REVIEW

1 9 2 Y R E C O R D I N G S I N R E V I E W J A Y N O R D L I N G E R At any moment, there is a crop of young pianists, eager to show what they have. And as we get older, I think, our concept of ‘‘young’’ slides upward. Yuja Wang was born in 1987 and is therefore still in the under-thirty category. She has recorded the Ravel piano concertos with the Tonhalle Orchestra of Zurich, led by its chief conductor, Lionel Bringuier (Deutsche Grammophon B0023931-02). Bringuier is a touch older than Wang, born in 1986. I first reviewed him in 2007, when he was twenty. I wrote, ‘‘It’s always risky to say that someone, in any field, is can’t-miss, but it’s not so risky in this case.’’ It was not. The two Ravel piano concertos are the one in G major, for your standard two hands, and the one in D major, for the left hand alone. They are obviously a familiar pairing. But on LPs and CDs, they have often needed a filler, usually an additional French piece. When Alicia de Larrocha recorded the concertos in the mid-1970s, she added Fauré’s Fantasy in G for piano and orchestra. Wang, too, adds Fauré, but not the Fantasy and not a piano and orchestra piece at all: she plays the Ballade in F-sharp major. It so happens that Fauré made a piano and orchestra version of this piece, but Wang elects to go solo. 1 9 3 R Leaving Fauré aside for a moment, Wang is virtually made for Ravel. Among her qualities are nimbleness, clarity, agility, and color. Much of what she plays sounds like Ravel, or Debussy, even when it shouldn’t: the Liszt Sonata, for example. She seldom makes a fat, lush sound, going deep into the keys. But that is seldom called for in Ravel or Debussy. On her new CD, she begins with the G-major concerto, to which she imparts a nice sense of jazz. This reminds me that she is quite good in the big Gershwin pieces: Rhapsody in Blue and the Concerto in F. In Ravel’s middle movement, she is wisely matter-of-fact, or straightforward. And from both her and the orchestra, the music builds beautifully and excitingly. This movement ends with a famous long trill. I like it slower and sultrier than Wang plays it, but she is entitled to her choice. And the last movement, a kind of toccata, Wang hammers elegantly, just as Ravel wants. Again, she is virtually made for this music. She next turns to the Fauré Ballade, which she plays competently , needless to say. But one can imagine more seamlessness or fluidity in it. At the same time, the piece expresses its uncomplicated charm. Wang ends her CD with the left-hand concerto, in which she is superb. Bringuier and the Tonhalle Orchestra do their part, too. The concerto has what it needs, including beauty, bite, sensuality, glitter, blues, a sense of architecture – and, from the soloist, staggering virtuosity. By the way, I had a thought when I was a kid: Do pianists cheat when they record the left-hand concerto in a studio? That is, do they bring the right hand in, when two hands would be an advantage? Who would know? The conductor , orchestra, and engineers would, so I imagine the pianist’s pride and vanity would prevent cheating. In any field, there are people who are special targets of envy and resentment. Yuja Wang is one such target, and we might guess at the reasons: she is young and indecently talented; she enjoys tremendous PR and fame; and on the stage she tends to dress as skimpily as possible. Her latest CD cover is comparatively tame, but it does allow for bare arms and midri√. Lang Lang is a target of envy and resentment too. This pianist, like Yuja Wang, was born in China, though five years earlier: in 1982. He too is young, indecently talented, and famous, and though he does not dress provocatively, he has...

Entertaining Deities and Humans with Performances of Puju (Puzhou Opera) at a Temple Fair in Yangxie Village, Southwestern Shanxi, May 29 – June 2, 2013

ENTERTAINING DEITIES AND HUMANS WITH PERFORMANCES OF PUJU (PUZHOU OPERA) AT A TEMPLE FAIR IN YANGXIE VILLAGE, SOUTHWESTERN SHANXI, MAY 29–JUNE 2, 2013 ZIYING YOU College of Wooster On the evening of the twenty-fourth day of the fourth lunar month (June 2), 2013, the fifth day of the temple fair at the Old Temple Complex of King Tang Yao (Tang Yao guyuan 唐堯故園; for a map of the complex, see Fig. 1) in Yangxie 羊獬 Village, Hongdong County, Shanxi Province, a local Puju 蒲劇 (Puzhou opera) troupe was to give their last performance. However, a rainstorm with strong winds came up unexpectedly that afternoon, causing a power outage in the village and at the temple. The once-crowded temple soon became empty, and almost all the vendors and visitors rushed back home. I went backstage to meet the troupe members, and asked them if they would give the performance as scheduled. One actor said, “I will perform even if there is only one person before the stage watching the performance , that is how my master taught me” 台下只有一個看戲的, 我也要演, 這 是我師傅教我的. One actress said, “The plays are performed for the gugu” 戲是 演給姑姑的.1 Gugu 姑姑 (Aunty) is how Yangxie residents call King Yao’s two daughters, Ehuang 娥皇 and Nüying 女英, whom he married to King Shun. Yangxie residents believe that they themselves are the descendants of King Yao, and so they call his two daughters “aunties.” Every year, on the third day of the third lunar month, Yangxie residents go to neighboring Lishan 歷山, where King Shun’s temple is located, to invite their two “aunts” back to visit the home of their parents, King Yao and his wife, in Yangxie.2 On the twenty-eighth day of the fourth lunar month—believed to be King Yao’s birthday—Lishan residents come to Yangxie to escort Ehuang and Nüying back to Lishan. The temple fair at the Old Temple Complex of King Yao in Yangxie starts on the twentieth day, and ends on the twenty-ninth day of the fourth lunar month. Two different troupes were invited by the Old Temple Complex of King Yao Reconstruction Association (Tang Yao Guyuan Xiufu 1 This actor and actress will be introduced below, in the first section on actors. 2 For a detailed account of the activities involved during 2007, see Chen Yongchao 陳泳超 et al., “Yangxie, Lishan sanyuesan ‘jie gugu’ huodong diaocha baogao” 羊獬、歷山三月三 “接 姑姑” 活動調查報告 (A report of a survey of the activities that are part of “inviting the aunties” in Yangxie and Lishan on the third of the third lunar month), Minjian wenhua luntan 民間文化 論壇 (Forum on folk culture) 2007.3: 59–69. CHINOPERL: Journal of Chinese Oral and Performing Literature 34. 2 (December 2015): 139–161© The Permanent Conference on Chinese Oral and Performing Literature, Inc. 2015 DOI 10.1080/01937774.2015.1096554 Weiyuanhui 唐堯故園修復委員會) to perform at the temple fair in 2013; the Puju troupe performed the first five days. Their performances were well received, with a large audience for each show, but on the night in question, it was not clear whether the performance would take place at all. Eventually, however, the power came back on at 9:30 p.m., and the performance started. My host family in Yangxie sponsored the performance in gratitude for the “aunties”’ help in protecting their 19-year-old son from dying of heart disease. Before the performance started, the whole family burned incense and kowtowed in the main hall of the Temple of King Yao, and then in the main hall of Gugu Temple (Temple of Ehuang and Nüying). They saw to it that two special chairs with two big pieces of red cloth on them given by the Temple Fair Office (Miaohui bangongshi 廟會辦公室) were placed in front of the stage for the “aunties” to sit in and enjoy the performance. When the show started, fireworks were set off, attracting some villagers to come to the temple to watch the performance. Although it was very cold that evening, a decent number of Puju fans sat through the whole show from beginning to end. The Puju troupe gave a wonderful performance that evening, and the show did not end until midnight. The troupe left very early the next day. FIG. 1. Schematic Map...

Uniform measures and uniform rectifiability

In this paper, it is shown that if μ is an n-dimensional Ahlfors–David regular measure in R d which satisfies the so-called weak constant density condition, then μ is uniformly rectifiable. This had already been proved by David and Semmes in the cases n = 1 , 2 and d − 1 , and it was an open problem for other values of n. The proof of this result relies on the study of the n-uniform measures in R d . In particular, it is shown here that they satisfy the ‘big pieces of Lipschitz graphs’ property.

Quasiconformal planes with bi-Lipschitz pieces and extensions of almost affine maps

A quasiplane f(V) is the image of an n-dimensional Euclidean subspace V of RN (1≤n≤N−1) under a quasiconformal map f:RN→RN. We give sufficient conditions in terms of the weak quasisymmetry constant of the underlying map for a quasiplane to be a bi-Lipschitz n-manifold and for a quasiplane to have big pieces of bi-Lipschitz images of Rn. One main novelty of these results is that we analyze quasiplanes in arbitrary codimension N−n. To establish the big pieces criterion, we prove new extension theorems for “almost affine” maps, which are of independent interest. This work is related to investigations by Tukia and Väisälä on extensions of quasisymmetric maps with small distortion.

Two-Phase Approach to the Nesting problem with continuous rotations

This paper presents an approach that assists in producing highly compacted Nesting layouts with irregular pieces using free rotations. This approach consists in the selection and compaction of big pieces in a first phase, while in a second phase, places the remaining small pieces between the big pieces, compacting all of them. The effect of several parameters are analyzed, such as minimum length to be achieved in the first phase, attraction of the pieces to the edges of the container, attraction between each pair of pieces, among others. This approach can provide good compaction results, while improving computational cost in some cases, which can allow to tackle real world problems more effectively and efficiently.

Uma mulher no rastro da seda

O presente artigo apresenta a história de uma costureira parisiense e de sua curiosa paixão por sedas no ano em que o Primeiro Salão de Moda de Paris acontecia, alimentado pelos ares frutíferos da Belle Époque. Entre os lançamentos de moda estava o ícone dos últimos tempos: o vestido de seda. Foi nesse cenário que Marie Benjamin começou a furtar tecidos. Havia sido presa 26 vezes por pegar as sedas nas bancas dos magazines de tecidos da cidade. Além do roubo, masturbava-se compulsivamente com os retalhos em plena loja. Era presa e conduzida aos manicômios da cidade, onde conheceu o médico Gaetan Gatian de Clérambault, um psiquiatra excêntrico que amava, além da medicina, os tecidos e drapeados árabes. O encontroimprovável entre esses dois personagens é uma história real com nuances dos contos fantásticos do século XIX.

Invited Presentation: Research on Nano-Si/C Nanocomposites as Anode for Li-Ion Batteries

Nanosized silicon has been paid much attention as high capacity anode materials for Li-ion batteries since our first report in 1999. The main challenge for Si anode is the large volume variation during lithium insertion and extraction, which shows a linear dependence on the capacity. Several problems are caused consequently: 1) the total specific capacity of anode has to be limited due to fairly strict restriction on volume variation of batteries during operating, especially for tablet devices. Thus, the advantages of the high theoretical capacity and the volumetric energy density are not as significant as expected. 2) The solid electrolyte interphase (SEI) on the surface of silicon is not as stable as graphite and could be very thick, which consume lithium from cathode and nonaqueous electrolyte irreversibly, leading to low columbic efficiency, capacity fading, increase of internal resistance and gas release. 3) Nanosized silicon particles tend to agglomerate or merge into big pieces and follow further cracking, leading to the formation of the SEI on freshed surface and the loss of electronic contact for active particles. In order to solve above problems, great efforts have been paid and many strategies have been considered. Among them, SiOx, amorphous Si alloy and nano-Si/C composite are more promising for practical application in view of the electrochemical performances and cost. In this report, we will summarize our investigation on the formation of very thick solid electrolyte interphase (SEI) on naked silicon anode at low rate, direct 3Dvisualization of multiple layer structured SEI. The optimization on additive, binder and microstructure for controlling interfacial properties and maintaining the structure stability of nano-Si/C composite anodes will be reported. Acknowledgment: Financial support from CAS project (KJCX2-YW-W26), "Strategic Priority Research Program" of the Chinese Academy of Sciences,Grant No. XDA09010102 and National project 973 (2012CB932900) are appreciated.

Novel Comparative Efficiency of Ozone and Gamma Sterilization on Fungal Deterioration of Archeological Painted Coffin, Saqqara Excavation, Egypt

An archeological wooden painted coffin was excavated in Tety tomb from Saqqara excavation. It belonged to the Ministry of Antiquities. This coffin was discovered in a bad state of conservation with many destroyed big and small pieces in Saqqara stores. Analyses and investigation study were performed on the ground layer of the coffin by X-ray diffraction (XRD), Energy dispersive X ray analysis (EDX) equipped with environmental scanning electron microscopy (ESEM) and Fourier transform infrared spectroscopy (FTIR). Results confirmed that the degradation factors affecting the wooden painted coffin are essentially attributed to direct effects of microbial phenomena, which have lead to many deterioration forms as: macro- and microcracks, hydrated salts, flaking, coloration, scaling and defoliation microbiological spots. Nine deteriorating fungal species were isolated from the painted and ground layers of the tested coffin. Fusarium moniliforme followed by Aspergillus flavus able to significantly solublize calcium salts as major components of the ground layer of archeological wooden coffin. Effect of ozone and Gamma sterilization on growth; lipid, tryptophan oxidation and protein, nucleic acid leakage in the most dominant toxigenic deteriorated fungal species were detected. No mycelial growth was observed at 4 ppm of ozone at all exposure times. As Gamma radiation dose increased over 250 Gy, the growth parameter gradually decreased to reach the lethal dose at 2000 Gy. The production of mycotoxins by the tested toxigenic fungi was completely disappeared under the exposure to 3 ppm and 90 min to ozone.

A Novel Algorithm for Detecting Conjugate Archaeological Fragments

Matching fragmented archaeological parts has always puzzled archaeologists. Very few attempts have been made so far for the automation of this procedure and thus assisting scholars to this effect. In this paper an innovative method for the detection of conjugate fragments is proposed, which is based mainly on their geometry. The Fragmatch algorithm developed for that purpose is presented, together with an extensive analysis of both of its parts; the global and the partial matching of surfaces. The method proposed is based on the comparison of vectors and surfaces, performed linearly, for simplicity and speed. It addresses mainly fragments of relatively big architectural pieces. A series of simulations have been performed in order to test the limits of the algorithm for the noise and the accuracy of scanning, for the number of scan points, as well as for the wear of the surfaces and the diversity of shapes. Problems that have been encountered during the application of these examples are interpreted and ways of dealing with them are being proposed. In addition a practical application is presented to test the algorithm in real conditions. Finally, the key points of this effort are being mentioned, followed by an analysis of the advantages and disadvantages of the proposed Fragmatch algorithm along with proposals for future work.

Spin Art

Spin Art Brenda Miller (bio) I’m spinning in a circle—five years old—in the backyard of that Amestoy Avenue house. Alone, save for the eucalyptus trees, still young and thin, watching in their soldierly line, and the orange trees, the grapefruit. The walnut tree too, with its fuzzy covered fruits. I’m spinning and spinning, arms flung out wide, feet in dirty red Keds, the lawn dry and almost green. Anything that spins has, paradoxically, at its core, something quite still. Something spinning whirls in on itself, but at the same time shoots energy outward. A spinning thing—like a dreidl—never knows where it will land. It must acquiesce to the force of orbit. A spinning thing is isolated and connected at once. I’m spinning and thinking of the carnival at the synagogue, walking among the games of chance until I arrive at the Spin Art machine. All the colors aligned in squeeze bottles like ketchup, while the canvas spins on its peg, so fast it’s only a blur, and your job is all timing and finesse: knowing when to squirt in a bit of red, a glob of yellow. The machine itself has no intention; it’s all action, all centrifugal force. “Centrifugal,” I learn years later, means to flee the center, and that’s what these colors do once thrown into the mix. [End Page 71] My job is patience. My job is quiet. My job is to go into the center of it without flinching, holding a color in each hand, waiting for the art to arrive. You can’t see it while it’s still spinning, the art hidden within motion. It will surprise or disappoint; you can’t know ahead of time. Spin art is all about the unexpected. About what will be revealed once the spinning stops. Your own blueprint of the universe. I’m spinning, and any minute now I’m going to fall down laughing, though there’s no one to share the joke. But I know someone might be watching: my mother behind the sliding glass door, perhaps, or even from the kitchen, where surely she can’t see me but can watch me nonetheless. Or something else—as invisible as my mother and as present—that keeps me always in sight, a force that nudges beauty out of chaos. I’ll fall down, laughing, and for a moment feel the way the eucalyptus must feel always: how movement never ceases. I’ll hear the laughter of other children nearby; they’re close and yet so far. All I have to do is open the gate to join them. Any two objects that pass one another will naturally begin to spin. Here, at the Grateful Dead show, you’ve become a physics experiment, your body gaining momentum from each body you encounter. Bodies thin and dry; bodies heavy and damp. Half-naked bodies and bodies swathed in scarves. Bodies that have flown off their handles—arms wild, bodies unnaturally arced. You’re all spinning off one another, flinging off layers like a tire on the highway losing its tread: big hard pieces littering the road, hazardous, until you’re down to bare rubber and flying. Those Sufi whirling dervishes know the most direct way in to God is via a circle—you can’t get there in a straight line, as the crow flies. All this spinning shears off the crust that keeps you separate from each other, and now you’re all merging until the music stops. But even then you keep spinning, out the door to the bathroom, where all those bodies that seemed so beautiful on the dance floor now look bedraggled in the fluorescent light: lips chapped, feet filthy, pupils too dark in pale faces, skin clammy. You catch a sideways glimpse [End Page 72] of yourself in the mirror: thin, gaunt, your hair in strings along your face—so all the treads start reattaching themselves, patching you up, re-armoring, until someone pulls you from the mirror, says gently, don’t look too long, man. You spin back out into the crowd that’s circling the stadium, a surge, and you...