9.3: Velocities in a rigid body
By taking the time derivative of the position vector \(\overrightarrow{\boldsymbol{r}}_{B}\) in Equation 9.4, we can determine the velocity vector of point \(B\) in the rigid body as follows:
\[\begin{align} \overrightarrow{\boldsymbol{v}}_{B, 2 D} & =\frac{\mathrm{d}}{\mathrm{d} t} \overrightarrow{\boldsymbol{r}}_{B}=\frac{\mathrm{d}}{\mathrm{d} t} \overrightarrow{\boldsymbol{r}}_{A}+\frac{\mathrm{d}}{\mathrm{d} t} \overrightarrow{\boldsymbol{r}}_{B / A} \tag{9.6} \label{9.6}\\[4pt] & =\overrightarrow{\boldsymbol{v}}_{A}+\dot{\phi}_{B / A}\left|\overrightarrow{\boldsymbol{r}}_{B / A}\right|\left(-\sin \phi_{B / A} \hat{\boldsymbol{\imath}}+\cos \phi_{B / A} \hat{\boldsymbol{\jmath}}\right) \tag{9.7} \label{9.7}\\[4pt] & =\overrightarrow{\boldsymbol{v}}_{A}+\dot{\phi}_{B / A}\left|\overrightarrow{\boldsymbol{r}}_{B / A}\right| \hat{\boldsymbol{\phi}}_{A} \tag{9.8} \label{9.8}\end{align}\]
In the last step we used Equation 5.71 to replace the terms in brackets by \(\hat{\phi}_{A}\), which represents the unit vector at point \(B\) of a cylindrical coordinate system with origin \(A\), which is why we add the subscript \(A\) to the unit vector. The velocity of point \(B\) in Equation 9.8 can be split up in two parts: a vector \(\overrightarrow{\boldsymbol{v}}_{B, \text { trans }}\) related to translation and a vector \(\overrightarrow{\boldsymbol{v}}_{B, \text { rot }}\) related to rotation:
\[\begin{align} \overrightarrow{\boldsymbol{v}}_{B} & =\overrightarrow{\boldsymbol{v}}_{B, \text { trans }}+\overrightarrow{\boldsymbol{v}}_{B, \text { rot }} \tag{9.9} \label{9.9}\\[4pt] \overrightarrow{\boldsymbol{v}}_{B, \text { trans }} & =\overrightarrow{\boldsymbol{v}}_{A} \tag{9.10} \label{9.10}\\[4pt] \overrightarrow{\boldsymbol{v}}_{B, \text { rot }, 2 D} & =\dot{\phi}_{B / A}\left|\overrightarrow{\boldsymbol{r}}_{B / A}\right| \hat{\boldsymbol{\phi}}_{A} \tag{9.11} \label{9.11}\end{align}\]
In Figs. 9.2, 9.3 and 9.4 we show these three velocity vectors \(\overrightarrow{\boldsymbol{v}}_{B, \text { trans }}, \overrightarrow{\boldsymbol{v}}_{B, \text { rot }}\) and \(\overrightarrow{\boldsymbol{v}}_{B}\). Let us first discuss two special types of rigid body motion: pure translation and pure rotation.
9.3.1 Pure translation
When the angle \(\phi_{B / A}\) is kept constant, like in Figure 9.2, all points in the rigid body move with the same velocity vector:
\[\overrightarrow{\boldsymbol{v}}_{B}=\overrightarrow{\boldsymbol{v}}_{B, \text { trans }}=\overrightarrow{\boldsymbol{v}}_{A} \tag{9.12} \label{9.12}\]
This type of motion is called pure translation. The rotational component of velocity is zero, as follows from Equation 9.11 and \(\dot{\phi}_{B / A}=0\). It is important to note that pure translation can happen along any path curve \(\overrightarrow{\boldsymbol{r}}_{A}(s)\), even a circular path. The word translation thus only means that the shape of the path is identical for all points in the rigid body because \(\phi_{B / A}\) is constant.
9.3.2 Pure rotation
When the position vector of a point in the rigid body is constant in time, and all other points make circular paths around it, e.g. because it rotates around an axle at that position, the motion of the rigid body is a pure rotation. We choose point \(A\) to be the point with constant position vector \(\overrightarrow{\boldsymbol{r}}_{A}\), as shown in Figure 9.3. Then according to Equation 9.11 the velocity vector of point \(B\) is given
by:
\[\overrightarrow{\boldsymbol{v}}_{B}=\overrightarrow{\boldsymbol{v}}_{B, \mathrm{rot}, 2 D}=\dot{\phi}_{B / A}\left|\overrightarrow{\boldsymbol{r}}_{B / A}\right| \hat{\boldsymbol{\phi}}_{A} \tag{9.13} \label{9.13}\]
To facilitate the analysis of rotations and generalise it to \(3 \mathrm{D}\), we now define the angular velocity \(\omega\) and angular velocity vector \(\overrightarrow{\boldsymbol{\omega}}\).
9.3.3 Angular velocity of a rigid body
The kinematics of a rigid body is closely linked to the time derivative \(\dot{\phi}_{B / A}(t)\), which is defined as its angular velocity.
The time derivative \(\dot{\phi}_{B / A}\) is the angular velocity \(\omega\) of the rigid body:
\[\omega \equiv \dot{\phi}_{B / A} \tag{9.14} \label{9.14}\]
The unit of angular velocity is rad/s. Interestingly, the angular velocity \(\omega\) of the rigid body is independent of the choice of the points \(A\) and \(B\) on the rigid body and is therefore a general property of a rigid body as can be shown as follows.
The angular velocity \(\omega\) of a rigid body is independent of the choice of points \(A\) and \(B\) on the rigid body.
Note that the angular velocity \(\omega\) of a rigid body is different from the orbital angular velocity \(\omega_{o}\) of a single point mass around an axis. Orbital angular velocity can depend on the position of the rotation axis or origin (Sec. 5.9.4). To distinguish angular velocity of a rigid body from orbital angular velocity, the angular velocity of a rigid body is therefore sometimes called its spin angular velocity.
9.3.4 Angular velocity vector
It can be seen in Figure 9.3 that for pure rotation all points in the rigid body move in circular paths around point \(A\). The velocity vector \(\overrightarrow{\boldsymbol{v}}_{B}\) and all other points in the rigid body, lie in the plane of those circles. To describe that plane we define the angular velocity vector to be perpendicular to that plane.
The angular velocity vector \(\overrightarrow{\boldsymbol{\omega}}\) of a rigid body is a vector with magnitude \(|\omega|=\left|\dot{\phi}_{B / A}\right|\) and a direction that is perpendicular to the plane in which the rigid body rotates. Its direction can be determined using the right hand rule.
The angular velocity vector (unit rad/s) of a rigid body that rotates in the \(x y\) plane is:
\[\overrightarrow{\boldsymbol{\omega}}_{2 D}=\omega \hat{\boldsymbol{k}}=\dot{\phi}_{B / A} \hat{\boldsymbol{k}} \tag{9.15} \label{9.15}\]
The direction of the vector can be determined using the right-hand rule by curving the fingers of your right-hand around the curved arrow in Figure 9.3, which indicates the direction of rotational motion. Then your thumb points in the \(\hat{\boldsymbol{k}}\) direction, in agreement with Equation 9.15.
9.3.5 Determining velocities with the angular velocity vector
From Figure 9.3 we see that the velocity vector \(\overrightarrow{\boldsymbol{v}}_{B, \text { rot }}\) lies in the plane in which the rigid body moves. It is therefore perpendicular to \(\overrightarrow{\boldsymbol{\omega}}\). It is also perpendicular to the vector \(\overrightarrow{\boldsymbol{r}}_{B / A}\), since this vector is the radius of the circular motion. To obtain a vector that is perpendicular to two other vectors we take the cross product of these vectors:
The rotational velocity of a point \(B\) in a rigid body is given by:
\[\overrightarrow{\boldsymbol{v}}_{B, \text { rot }}=\overrightarrow{\boldsymbol{\omega}} \times \overrightarrow{\boldsymbol{r}}_{B / A} \tag{9.16} \label{9.16}\]
For the 2D case, where \(\overrightarrow{\boldsymbol{\omega}}_{2 D}=\dot{\phi}_{B / A} \hat{\boldsymbol{k}}\) and \(\overrightarrow{\boldsymbol{r}}_{B / A}=\left|\overrightarrow{\boldsymbol{r}}_{B / A}\right| \hat{\boldsymbol{\rho}}_{A}\), it is straightforward to check the correctness of this equation by comparison with Equation 9.11 and by using that \(\hat{\boldsymbol{k}} \times \hat{\boldsymbol{\rho}}_{A}=\hat{\boldsymbol{\phi}}_{A}\) as follows from the right-hand rule.
9.3.6 General motion
In general, as shown in Figure 9.4, the motion of a point in a rigid body is a sum of translational and rotational motion. By combining Eqs. (9.9) and (9.16) we
obtain the most general equation and important equation for the velocity in a rigid body:
\[\overrightarrow{\boldsymbol{v}}_{B}=\overrightarrow{\boldsymbol{v}}_{A}+\overrightarrow{\boldsymbol{\omega}} \times \overrightarrow{\boldsymbol{r}}_{B / A} \tag{9.17} \label{9.17}\]
We note that this equation is valid in \(3 \mathrm{D}\) and for any choice of the points \(A\) and \(B\) as long as both points move along with the rigid body. However, a smart choice of point \(A\) can simplify the analysis.


4.13: Reading- Market Development Example
Poached Jobs
Market development: use existing products to capture new markets
Together, the hospitality industry, restaurants, and hotels account for 14 million jobs across the U.S., but the industry has a crushing 65 percent job-turnover rate. That means that, in a single year, there will be 8 million job openings in the industry. Most restaurant and hotel managers post jobs on Craigslist.com and have a terrible time sorting through hundreds of applicants who lack necessary qualifications or experience.
Poached Jobs is a young company that addresses this problem by providing an industry-based dedicated jobs platform that allows managers to find qualified applicants and manage the hiring process.
The company has chosen a market development strategy that’s based on geography. When Poached enters a new market, it wants to own that market and become the hiring solution for every restaurant and hotel in the region. The company used its initial markets, Seattle and Portland, to refine a market-entry strategy for its product and then took on larger markets such as San Francisco and Chicago. With each subsequent market the company incorporated new approaches that sped the adoption process. In late 2014, Poached entered the enormous New York City market. Most of 2015 was spent focusing on growth and success in that single market in order to build credibility that would enable it to move into other geographic regions.
The market development strategy allows a small company like Poached to stage its growth, perfect its existing product, and capture new markets one at a time.
Contributors and Attributions
- Market Development Example. Provided by : Lumen Learning. License : CC BY: Attribution
- Screenshot of Poached Jobs. Provided by : Poached Jobs. Located at : https://poachedjobs.com/jobs/all/everywhere . License : All Rights Reserved . License Terms : Fair Use


16.19: Phrases and Clauses
- Differentiate between phrases and clauses
- Differentiate between dependent and independent clauses
Phrases and Clauses
Phrases and clauses are groups of words that act as a unit and perform a single function within a sentence. A phrase is a group of words that may have a partial subject or verb but not both, or it may have neither a subject nor a verb. Phrases never have a subject doing the action of a verb. A clause , however, is by definition a group of words that has a subject and a verb. A sentence can have any number of clauses and phrases combined together. See the examples below:
| Phrases | Clauses |
| Needing help | Sarah smiled |
| With a green shirt | She laughs at shy people |
| Best friend | Because he gave her a puppy |
| On the horizon | When the saints go marching in |
| After the devastation | I waited for him |
| Because of her glittering smile | He wants to become an engineer |
Notice how each of the clauses has a subject and a verb, but the phrases do not. Some of the clauses contain phrases, like “She laughs at shy people.” “She laughs” is a clause, and “at shy people” is a phrase that complements the clause and completes the sentence.
Phrases can be any combination of words that do not combine a subject and a verb. There are many types of phrases, including noun phrases ( the nice neighbor , my best friend , troops of soliders ), verbal phrases ( waiting for the rain to stop , have been sleeping ), and prepositional phrases , which follow a preposition ( after the storm , to the end of time , in the road ).
You might be tempted to just assume that phrases are shorter than clauses. This is not always true. Many phrases are only two words long, but many are much longer. Look at the following sentence:
- In 1833 , Faraday’s experimentation with electrolysis indicated a natural unit of electrical charge , thus pointing to a discrete rather than continuous charge .
Each of the bolded segments of this sentence is a phrase. Be sure as you analyze each sentence that you are looking for a subject and a verb to decipher what is a clause and what is just a phrase.
Click through this interactive to learn more about the differences between clauses and phrases.
https://lumenlearning.h5p.com/content/1290910165214270728/embed
Dependent and Independent Clauses
There are two types of clauses: dependent and independent. A dependent clause has both a subject and a verb, but is not a complete sentence and does not express a complete thought. It is dependent on something else: it cannot stand on its own. Some examples of dependent clauses include:
- When we get enough snow
- Because I was upset
- Which book I want to read next
- Until the sun sets
You can see that each of these clauses has a noun and a verb, but they also have an additional word, like a subordinating conjunction ( because ) or a relative pronoun ( which ), which makes the clause feel incomplete. These clauses must be attached to an independent clause to be a part of a complete sentence.
An independent clause , on the other hand, is free to stand by itself. It contains a subject and a verb, and expresses a complete thought which does not require anything else. Here are some examples of independent clauses:
- I enjoy sitting by the fireplace.
- The sun set.
- This is the book I want to read next.
So how can you tell if a clause is dependent or independent? Sometimes they can be almost exactly the same. For example, “I was a little girl in 1995” is an independent clause, but “Because I was a little girl in 1995” is a dependent clause.
Look for the common words that are known to make dependent clauses, like subordinating conjunctions and relative pronouns. Some common ones are: after , although , as , as if , because , before , even if , even though , if , in order to, since , though , unless , until , whatever , when , whenever , whether , and while . Also pay attention to if the clause makes sense standing by itself. Do you understand the whole idea of what the sentence is saying? Does the thought seem incomplete? If it feels incomplete, it is probably a dependent clause.
Watch this video to learn more about dependent and independent clauses.
You can view the transcript for “Dependent and independent clauses” here (opens in new window) .
Contributors and Attributions
- Phrases and Clauses Interactive. Authored by : Excelsior OWL. Located at : https://owl.excelsior.edu/esl-wow/editing-polishing/check-punctuation/esl-basic-sentence-structure/ . License : CC BY: Attribution
- Text: Parts of a Sentence. Provided by : Lumen Learning. License : CC BY: Attribution
- Phrases and Clauses Additional Content. Authored by : Alyse Leininger for Lumen Learning. License : CC BY: Attribution
- Dependent and Independent Clauses. Authored by : Khan Academy. Located at : https://www.khanacademy.org/humanities/grammar/syntax-sentences-and-clauses/phrases-and-clauses/v/dependent-and-independent-clauses-syntax-khan-academy . License : CC BY: Attribution . License Terms : Standard YouTube License


8.5: Confidence Interval - Home Costs (Worksheet)
-
- Last updated
- Save as PDF
Name: ______________________________
Section: _____________________________
Student ID#:__________________________
Work in groups on these problems. You should try to answer the questions without referring to your textbook. If you get stuck, try asking another group for help.
Student Learning Outcomes
- The student will calculate the 90% confidence interval for the mean cost of a home in the area in which this school is located.
- The student will interpret confidence intervals.
- The student will determine the effects of changing conditions on the confidence interval.
Collect the Data
Check the Real Estate section in your local newspaper. Record the sale prices for 35 randomly selected homes recently listed in the county.
NOTE
Many newspapers list them only one day per week. Also, we will assume that homes come up for sale randomly.
-
Complete the table:
__________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________
Describe the Data
-
Compute the following:
- \(\bar{x}\) = _____
- \(s_{x}\) = _____
- \(n\) = _____
- In words, define the random variable \(\bar{X}\).
- State the estimated distribution to use. Use both words and symbols.
Find the Confidence Interval
-
Calculate the confidence interval and the error bound.
- Confidence Interval: _____
- Error Bound: _____
- How much area is in both tails (combined)? \(\alpha\) = _____
- How much area is in each tail? \(\frac{\alpha}{2}\) = _____
- Fill in the blanks on the graph with the area in each section. Then, fill in the number line with the upper and lower limits of the confidence interval and the sample mean.
- Some students think that a 90% confidence interval contains 90% of the data. Use the list of data on the first page and count how many of the data values lie within the confidence interval. What percent is this? Is this percent close to 90%? Explain why this percent should or should not be close to 90%.
Describe the Confidence Interval
-
In two to three complete sentences, explain what a confidence interval means (in general), as if you were talking to someone who has not taken statistics.
- In one to two complete sentences, explain what this confidence interval means for this particular study.
Use the Data to Construct Confidence Intervals
-
Using the given information, construct a confidence interval for each confidence level given.
Confidence level EBM/Error Bound Confidence Interval 50% 80% 95% 99% - What happens to the \(EBM\) as the confidence level increases? Does the width of the confidence interval increase or decrease? Explain why this happens.


34.13: SHOOK- Django is Madison Washington.. with a trigger happy finger.
Thanks Tarantino, you have me absolutely SHOOK. Okay, as most of us know or hopefully know what Django Unchained is, I decided to watch the movie again to see if I could make any connections to something that we have read. Good one Kristan. It was absolutely crazy to me how I could have missed it in the first place. Honestly, Tarantino does such a good job at the gore and exploding bodies everywhere that it’s pretty easy to get caught up and miss the actual POINT of the film.
Thats right. The point isn’t to watch the movie until Leo AKA my absolute boy Calvin Candie comes on the screen.
Look at that look-back. Damn. (and no I don’t love the character, I Love Leo. Titanic 4Evr)
Moving on. – Django is an echo of The Heroic Slave in many different senses. The movie follows Django (Jamie Foxx) as he is on the hunt to find Hildie, his estranged wife. Classically Tarantino in style, the film obviously is filled with its fair share of gun violence, swearing, brutality and over the top body explosions. At this point I even find myself asking ” So how are the two similar..?” It’s simple. Fredrick Douglass’ The Heroic Slave is a tale about slave resistance that follows the character of Madison Washington. In real life, real talk; Madison was an American enslaved cook who instigated a slave revolt. Douglass then based his character off of him and used his story to create a fictional account that later became known as The Heroic Slave. Who doesn’t love a little history am I right? Speaking of history, let’s take another loop back to why these two works are SO similar. The physical description of Madison Washington is just like that of how Django actually looks, and the entire fact that Madison set out to free his family is what the entire movie of Django is based on. However, there is a lot more to the movie than getting to watch Django kick some white supremacist butt.
In its entirety, Django Unchained shows and most importantly draws attention to the brutality that slaves endured. The film depicts violence in a way that some of us could never imagine, yet historically is accurate to a fault. By showing time and time again the objectification of humans, the film shows just how horrible racial superiority was. Django’s take on slave violence is comparable to Douglass’s in the sense that he advocated rebellion. Django is ALL about that rebellion.
What speaks volumes is the bigger message of Django . Weather Tarantino wanted to or not, he created a visualized account of slavery. He depicted that genuine violence between masters and slaves. He also shows a rarely depicted brand of black heroism that Douglass provokes in his narrative as well.

The depictions of white vs. black, and the unequal treatment of African Americans is something else to note. And no, I am not talking about how white people were horrible to slaves. I am talking about how even amongst slaves, there were ranks. Some slaves were field slaves, where as others were house slaves. This was based upon looks and who the master saw fit/ wanted in their house. Like, damn. Even in slavery there is vanity. Django provides a great portrayal of this in a few different scenes of the white plantation owners. We also see how the education and intelligence level between the slaves differ; Django is well spoken, and extremely intelligent, while some of the slaves he encounters he himself pokes fun at. As an audience it is visualized to us that not all slaves were treated equally.
In terms of American Literature, contemporary works like Django make us as a society ask the question: can slavery actually be considered a thing of the past? Django reshapes the context of The Heroic Slave , as well as many other texts about slavery in a satirical, Tarantino-esque way. It gets us asking bigger questions: Have we even truly made the transition from that horribly depicted time of violence, brutality, injustice and oppression? Or have we just crossed over into a different era of social injustice and misery.. minus the slaves and chains? As for American Literary History, it’s everywhere. Every form of social injustice and oppression going on in the world today is relatable. It’s sad but true, that seemingly from century to century we find something new to hate, discriminate or try to suppress.
But hey, if you don’t feel like being depressed about all of the social injustices of the world, just go watch Django . Seeing how white people should just NOT, is honestly so satisfying. Who doesn’t love to see a little social justice. Am I right?


1: Your Brain and Learning
-
- 1.5: Learning Preferences
- Several decades ago, a new way of thinking about learning became very prominent in education. It was based on the concept that each person has a preferred way to learn. It was thought that these preferences had to do with each person’s natural tendencies toward one of their senses. The idea was that learning might be easier if a student sought out content that was specifically oriented to their favored sense.
-
- 1.6: Personality Types and Learning
- Much like learning styles, there have been a number of theories surrounding the idea that different personality types may prefer different kinds of learning. Again, this builds on the original learning style concept that people may have a single preference toward how they learn, and then adds to it that certain personality traits may determine which learning style a person prefers.
Thumbnail: https://www.pexels.com/photo/man-reading-a-book-2861798/


15.2: Reading Links- Assessing Your Wellness
Purpose
This section focuses on important information about health and wellness. Topics include dimensions of health/wellness, behavior change theories, strategies to promote lifelong wellness, and how to create SMART goals among others.
Directions
The rest of this chapter contains your reading for this section.
Additionally, information on these external sources will be useful to deepen your understanding:
- American Council on Fitness’s “Fit Goals: Reaching Your Goals the SMART way”
- American Council on Fitness’s “Part V: Program Design and Implementation” (read pgs. 270-272)
- American Council on Fitness’s Podcast “Episode 4: Know Where You’re Going”
CC licensed content, Shared previously
- Lifetime Fitness and Wellness. Provided by : Extended Learning Institute of Northern Virginia Community College. Located at : https://eli.nvcc.edu/ . License : CC BY: Attribution


1.8: Setting
The setting is the environment in which the conflict can take place. The conflict and setting will also contribute to the action (or things that happen) on stage. You can set your play in any location you choose and as many locations as you would like. You can have a single location or multiple locations however, there are pros and cons to each.
When creating a play imagine that the life of the character is continuous and the play takes place on the most important day or set of days in this character’s life. Now you cannot stage the continuous life of this character uninterrupted because it would take too long, so you are choosing to show us the most important parts, of the most important day. Because you are selecting the most important events that happened on this day, all essential conflicts and actions should happen on stage. You want to make sure that the audience gets to be present for the major events, this will engage them more and allow them to feel as though they are part of the play.
Single Location
If you choose to set your play in a single location your play will be easier to produce and will be more accessible to theater companies later. Having your play in one location also allows your set to be detailed and specific. Your designer is only working on one location so the designer can focus on specifics. The catch is that you have to choose a location where multiple characters would logically meet and engage in the story and conflict. If for instance you have set your play at a school, you may want to choose a location at the school that everyone would use like a courtyard or cafeteria rather than a classroom because you will create an opportunity to introduce more characters. Setting your play in one location can be difficult, but if it is possible, try to achieve it.
Multiple Locations
If you choose to set your play in multiple locations then you are only limited by your imagination. You are free to take your audience to any location you choose at any moment, free from limitations. The drawback to this is that the more locations you choose to add into your play, the more money it will cost to produce it which can limit your accessibility, and the set design for each location will be less detailed than if you set it at one location. I have done plays with over 50 locations and some locations had to be suggested through lighting and sound only. Do not limit your creativity.
- Choose a theme you wrote down earlier in the Theme chapter. Pair the theme with a type of conflict. Choose 3 settings in which this conflict can take place. Compare and contrast the choices. What characters would interact here? What possibilities does the location give you, are there drawbacks. Once you have compared the attributes of each set, select one.
- Find a friend or partner and discuss your findings. Do you both agree with your findings? If not discuss and see if you can discover a location that might serve the play better.
- Choose a theme you wrote down earlier in the Theme chapter. Pair the theme with a type of conflict. Choose 2 settings in which this conflict can take place. Ask yourself “What possible locations are located within this setting?” Can you tell your story fully in these locations? Compare and contrast the choices. What characters would interact here? What possibilities does the location give you, are there drawbacks. Select your favorites.
- Find a friend or partner and discuss your findings. Do you both agree with your findings? If not discuss and see if you can discover a theme you can agree on.


10.2: Pre-Lab 10
(5 points)
Last Name: _______________________ First Name: _______________________
Instructions:
Fill in the table below with the appropriate terms. For the remaining exercises, label the structures accordingly.
(1 point)
| Name of a structure | is | directional term | to | Name of the second structure |
|---|---|---|---|---|
| trapezius | is | proximal | to | pectoralis major |
| diaphragm | is | superior | to | |
| is | inferior | to | scalenes | |
| rectus abdominis | is | anterior | to | |
| is | distal | to | biceps femoris | |
| pectoralis minor | is | medial | to | |
| is | lateral | to | external oblique |
Label the major muscles. (0.5 points)
This is the ( ventral /dorsal ) aspect of the body. (circle one)
Label the major muscles of the body. (0.5 points)
This is the ( ventral /dorsal ) aspect of the body. (circle one)
Label the muscles of the head. (0.25 points)
Label the muscles of the eye. (0.25 points)
Label the major abdominal muscles. (0.25 points)
Label the major muscles of the lower leg. (0.25 points)
Label the layers of the epidermis. (0.5 points)
Label the layers of integument and accessory structures. (0.5 points)


12: Ocean Sediments
After reading this chapter you should:
- know how sediments are classified based on physical characteristics (size, sorting etc.)
- identify the four main sources of marine sediments
- differentiate between organisms that produce different biogenous sediments
- understand the factors that determine the distribution of sediment types in the ocean
- know the different ways sediment samples can be obtained
- understand how biogenous sediments can be used to reconstruct past climate change
Let’s be honest; for the majority of people with an interest in the oceans and oceanography it is not the allure of the sediments that first grabs their attention. At first glance the muddy seafloor may not seem that interesting, but the sediments play a vital role in marine ecosystems and our understanding of ocean and geological processes. The sediments provide habitat for a multitude of marine organisms, and they contain information about past climates, plate tectonics, ocean circulation patterns, and the timing of major extinctions, just to name a few. In this chapter we will examine the major types of sediments, and their distribution on the ocean floor.
Thumbnail: A “black smoker” hydrothermal vent. The “smoke” consists of dissolved particles that precipitate into solids when exposed to colder water (NOAA, http://www.photolib.noaa.gov/htmls/nur04506.htm ).