Selasa, 26 Agustus 2014

Ebook , by J. E. Gordon

Ebook , by J. E. Gordon

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, by J. E. Gordon

, by J. E. Gordon


, by J. E. Gordon


Ebook , by J. E. Gordon

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, by J. E. Gordon

Product details

File Size: 8309 KB

Print Length: 400 pages

Publisher: Penguin (September 26, 1991)

Publication Date: September 26, 1991

Sold by: PEN UK

Language: English

ASIN: B002XHNNHU

Text-to-Speech:

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Amazon Best Sellers Rank:

#640,710 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

Structures: Or why things don’t fall down A very interesting book, covering a wide field of topics, from the ground up you might say.Basic concepts of forces are addressed. Compression, tension, shear and torsion forces, and their occurrence in everything from bridges, ancient coliseums, trees, boats and human biology. This, the author does very well; constantly interweaving the effects of various types of strains and stresses and fractures as they occur in wood construction and metal beams, as well as human skeletons and arteries.Reasons for, and types of failure are described for wood, concrete, boat sails, steel, femurs and aortas. Advantageous shapes of design for handling wind and accepting impacts are given, and reasons for spoke wheels. Critical and safe limits of fatigue and fracture are described…historical cases are offered, describing why early aero planes crashed and bridges fell down, and why boats capsize.Cautions are pointed out. Over design of repair: The repair must work in harmony with the repaired material, and not be so unyielding that it works against it. So many invisible forces of tension and compression are at play, and violation of acceptable limits must be watched for when they manifest in fractures.Different approaches to bridge trusses are explained, not so much mathematically, but in concepts of load bearing and the transference of force throughout the truss. By way of example, Bowstring bridges seem quite clever in design, where the internal force of the arch pulls the roadway below it taught so that the whole thing is held in equilibrium like a bow and arrow on a giant scale.The all important “thrust line” is a constant theme from chapter to chapter. Now I know why those old cathedrals have so many spires and spooky statues way up there, and it’s not for warding off evil spirits, it’s because they’re heavy.There are photographs, all clumped together in the middle of the book. Black and white, kind of blurry, but still a helpful aid. Very nice drawings, not blurry, and graphs are abundant in all chapters to help visualize the topics being discussed.These and many more topics and application fill this book, none of it came across as boring or dry.Beyond the final chapter, a few concepts are given a light mathematical treatment. Moments in I-beams, deflections in cantilevers and so forth.The pages are made of sturdy heavy paper, the printing is nice size and clear for those who require reading glasses, with ample space around the print for making marginal notes.

I wish Gordon was my Strength of Material Professor. His grasp of the subject is only exceeded by his writing skills.Reminds me of Richard Feynman in his knowledge and his ability to teach a complex topic..BTW this is on the recommended book list of Elon Musk. That's a nice endorsement.

What this book does very well is demonstrate the scientific process from a practical and engineering perspective. The book is written sort of like a narrative, and the historical descriptions take on a nearly first-person feel to it. It's almost like 'you' can experience the evolution of thought and understanding of structural mechanics.It's as close to a representation of how science is actually done as I've seen. Very unique.FYI though, the guy tends to get a bit verbose and it sometimes feels like words were added to make his stream of consciousness writing make sense to others, but not enough words were taken away later.

I thought this would be a bit dry, but it's geared toward the layperson, and it's informative and entertaining.

Written by an Englishman with dry wit, this is a textbook that lay persons such as I can read smoothly and enjoyably. There are 24 photo plates in the middle, and stick drawings on almost every page. Mathematical formulas abound, but if you don't like math, you can skip the formulas and continue reading with pleasure.

This classic book was a good read, especially the dramatic stories told with humor of old technology in ships and bridges when they failed. I read it due to Elon Musk's recommendation in his list of "must read" books. I learned here the basics of structural engineering, at least qualitatively.However, I didn't like the poor job done turning this into an ebook. Many of the scanned illustrations were of poor quality and the text had many mistakes caused by poor optical character recognition (OCR) and poor proofreading. Luckily the author's intent was usually clear, even though the OCR errors were plentiful.

There are two kinds of books engineers need to read--the dry, math-bound classroom textbooks that allow them to believe they can precisely analyze their creations to two decimal places, and the practical, generalist books like this one that explain why all that math does nothing to prevent their creations from breaking into multiple pieces. Tension and compression, stress and strain, and the dreaded torsion are the subjects of this book, but its real accomplishment is explaining the reality of structures--where the mathematically ideal tension of a rope meets the concomitant but difficult-to-quantify need for attachments at both ends. The author does this with a fine English wit and easy-to-follow prose.One of my chief recreational interests is the design and construction of experimental aircraft, and pretty much every topic discussed in this book is pertinent to that activity. In particular, the sections on work of fracture and crack propagation are explained better here than in any design book I've ever read. A must-read in my opinion for anyone involved in structural or mechanical designs.

I read about 20 books/year, This book is literally one of the best books i have ever read in my life. Math is very minimum some complicated stuff but very rare and a must read for every Mechanical/Civil engineer.

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Senin, 18 Agustus 2014

Download PDF The Seven Basic Plots: Why We Tell Stories

Download PDF The Seven Basic Plots: Why We Tell Stories

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The Seven Basic Plots: Why We Tell Stories

The Seven Basic Plots: Why We Tell Stories


The Seven Basic Plots: Why We Tell Stories


Download PDF The Seven Basic Plots: Why We Tell Stories

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The Seven Basic Plots: Why We Tell Stories

Product details

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Audible Audiobook

Listening Length: 38 hours and 58 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Tantor Audio

Audible.com Release Date: March 5, 2019

Whispersync for Voice: Ready

Language: English, English

ASIN: B07NYY518B

Amazon Best Sellers Rank:

The first half of this book gets 5 stars without qualification. It is a clear explanation of the archetypes that appear in the most fundamental stories, how they work together, and the ultimate purpose for telling stories. He then uses this archetypal system to analyze stories through the ages, down to very recent years. I found his analysis of Shakespeare, for instance, very helpful. This is what I bought the book for, and I am not at all disappointed.In some ways this book is not as immediately useful as, say, 'Save the Cat' and others like it are useful for screenwriting. However, I think this book delivers the groundwork for stories--the groundwork beyond which we cannot go. Its information is more fundamental than the 'Save the Cat' types. If I were a literature professor, this might well be the book I started with.As he moves into how stories have gone rogue, trying to escape from the archetypal patterns, the book begins to become repetitive, and the tone begins to change from that of confident lecturer to exasperated preacher. But these chapters are still valuable.Then he applies the archetypes to history, and things become not only repetitive, especially if you already know something about history in general and the history of religion in particular, but also without clear focus. I'm not sure he is always correct with either his facts or his analysis, although generally I consider him authoritative. It also seems to me that he is projecting the archetypes onto history, which is one of the things he warns against.Still, I find his thesis very useful, which in short is that as we lose touch with our religious ties to God, and therewith our ties to the Self (Jung), we become isolated and egotistical, on both the individual level as well as the national level. And, furthermore, that story structure can tell us how we are deficient if only we have the humility to look for it, again, both as groups, even nations, and as individuals. Ultimately these could be the most profound and important chapters of the book, but a good editor would have been useful to sort them out. For me, they were a bonus: not what I bought the book for, but a welcome introduction to the possibility of using stories to heal ourselves.

This book is actually many things:- An introduction to the seven basic plots and their many associated archetypes that work in combination.- A system. It can be applied to any story you know (and it’s fun to do so).- A tool. An almost obligatory read for anyone who invents stories. If you don’t tap on this 37 years research you’re simple on disadvantage. It’s not that everyone should follow the author's guidance in order to write stories that fulfill the self and not the ego, on the contrary, a writer might find herself not wanting to do so, but the structure the book provides is a map to decide when and how to move away or within the Self archetypical path.- A partial and moral history of literature, and an even more partial and equally moral history of Western culture.- A psychoanalis of our modern western culture, throughout the stories we invent and the ones we tell ourselves. And it's, indeed, a moralistic analysis, something that can pull the nerves of a grownup reader.- A compendium of great and diverse stories.- A source of unexpected spoilers (if you read the book be very careful with this, for it reveals the plot of so many stories and books, that chances are it will spoil something you want to read. I had to overlook several paragraphs when reading).The Odyssey versus Ulysses, E.T. versus Encounters of the Third Type, Terminator versus Frankenstein… in each comparison the author prefers the first and rejects the second option. Interestingly, this framework (or as I called it: system) allows strange and yet consistent and justifiable comparisons, such as Jaws versus Gilgamesh (borrowing a famous gedankenexperiment from Chomsky, if someone told these two stories to a martian, it will think they are just two slightly different versions of the same). It’s refreshing to see how the author jumps without loss of continuity from Hollywood B movies to universal classics. And this tool's lack of respect for the boundaries between high and low cultures (the below-the-line and the above-the-line archetype), which is itself a moral construct, compensates, in my opinion, its otherwise unbearable moralism regarding other aspects (ego versus self).In summary: vaccinate yourself against moralism, enjoy this awesome construction and the many stories it contains, be aware of spoilers, and use what you learned to write great new stories.

THE SEVEN BASIC PLOTS by Christopher Booker is a provocative book. The basic idea is that any story can be boiled down to one of seven plots:Overcoming the MonsterRags to RichesThe QuestVoyage and ReturnComedyTragedyRebirthWhat is excellent about this book is the amount of learning involved and the interesting connections made between authors as disparate as Jane Austen and Luigi Pirandello. However, this is a big book at over 700 pages, and I think that part of it could have been condensed.Like other readers, I believe that the strength of the book lies in Part One of the book, titled THE SEVEN GATEWAYS TO THE UNDERWORLD. The following three parts are less strong, mainly because of Booker's contention that any narrative, such as Mary Shelley's FRANKENSTEIN, which doesn't conform to what Booker takes to be archytypal norms, is fatally flawed. That this can't possibly be true is borne out by the fact that is ranked at number 59 on Amazon's list of Bargain Books. Readers continue to love this book some 200 years after it was published. So it obviously isn't "fatally flawed" for them.If you are interested in reading a provocative interesting account of stories, and how they might relate to our psychology, this book is for you. For my part, I think that a strong editorial hand was needed on Parts Two, Three and Four, which were too often filled with silly Freudian cliches. Three stars.

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