Word: shocking
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Dates: during 1960-1969
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...Shock Effect. At the trial, Lament testified that he had read to the protesting prisoners Article 94 of the Military Code, which defines mutiny, "for the shock effect." He said that he did not read the article that prescribes the penalties for disturbing the peace because his mind was "focused on mutiny." The defense brought in an acoustical expert who said that the prisoners in the enclosed courtyard could not have heard Lament's warning carried over a loudspeaker. The charge of mutiny itself was questioned by Army Investigator Captain Richard J. Millard. In a report that was never...
...trouble was the upper surface of the conventional wing, which has a convex curve to provide lift.* When the plane reaches about 80% of the speed of sound, however, the velocity of the air flowing over the upper side of the wing reaches the sonic barrier. A shock wave forms about half way back from the wing's leading edge, disturbing the airflow and increasing drag-the resistance of air to the plane's passage...
...efforts to reduce turbulence, Whitcomb finally hit upon the design for what NASA now calls the "supercritical wing." To reduce the peak airflow speed and move the shock wave farther back on the wing, he drastically flattened the curvature of the upper wing surface. To compensate for the loss of lift that resulted, he increased the curvature near the wing's trailing edge and put a concave contour on the underside. "Some people think that I merely turned the wing upside down," Whitcomb says...
Reduced Drag. Wind-tunnel data revealed that when the airflow reached sonic and supersonic velocities along the redesigned upper surface, only a modest shock wave was generated near the trailing edge of the wing. There was negligible turbulence. Although the changes did not affect lift, drag was reduced by as much...
...Music," as Roger Sessions remarked in his opening lecture, "is to be judged on its own merits, however slowly they reveal themselves. . . . The criteria is authenticity and immediacy in regard to experience." Some way out of our present musical somnambula must be found. "The world," feels Mr. Kirchner, "needs shock treatment; this is the role of the avant-garde. It is sacrificial, self-immolating." The purpose of such men as John Cage and Pierre Boulez is to inter the paralyzing reputations of the masters, especially the twentieth-century masters who have become classics and therefore dead issues. The finest contemporary...