Word: linearized
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...civilization is more than abstract thought. It consists of a body of knowledge, its systematization, the multiplication of tools and implements for using the knowledge, and an implicit belief that human life can and ought to be changed. This last aspect requires that human history be seen as a linear, irrversible movement, and is therefore opposed to the deeply-rooted belief of eastern religions in a cyclical theory of change in human experience. Further, can science, which has grown up in the Christian notion of love for the whole material world as God's Creation, co-exist with the eastern...
...speed of light--not too great a change in percentage terms. What does increase dramatically is the energy (and the mass). At the beginning of an experiment, a beam of electrons may have a rest energy of 1/2 million electron volts; it is directed through a linear "pre-accelerator" (or "injector") where the energy is increased to 20 million electron volts. Then, in the accelerator proper, the energy may be raised to the maximum of 6 billion electron volts...
...lecture, "The Role of Symmetry in Physics," Yang showed the relation between his discovery and parallel examples in physics where the discovery of "symmetry" and "invariance" in a system led to a law of conservation within the system. He cited conservation of linear momentum and the conservation of angular momentum as examples...
Barlach, for instance, represented both by woodcuts and lithos, proves far more convincing in the former category. The woodcut, rarely a delicate medium, is one challenging to subtlety; Barlach capitalizes upon its bold, vigorous hardness, converting a linear element to sculptural, determined shape, substituting candid and forceful areas for greater refinement of expression. In dealing directly with problems of drawing, via lithography, Barlach's result becomes highly tenuous, unsure, and often completely confused. The same attempt at vitality employed to convey vignettes brutal in subject falters and emerges much weaker in its substitution of the crayon for the chisel...
Marcks, seen here through his woodcuts alone, utilizes an almost completely linear approach. The Orpheus and Eurydice series seeks sculptural monumentality through the use of freer, more flexible line than is commonly found in woodcuts. Paradoxically, the "freer" the line attempts to become, the more it appears as the slave of an unconquered medium. Caught between an oddly Germanic type of flowing grace and a more indigenous forcefulness of expression, the product is unresolved. At times, especially in the matter of such problems as the portrayal of facial expressions, Marcks' drawing becomes trivial, often being nothing short of silly. Ironically...