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Theory of boomerang
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The Physics of Boomerangs
The successful flight of a boomerang looks as though it never should happen. Its more or less circular flight path comes from the interaction of two physical phenomena: the aerodynamic lift of the arms of the boomerang and the spinning boomerang’s maintenance of angular momentum. Briefly put, the airfoil at the boomerang’s forward rotating edge provides more lift than its rearward rotating edge. This elevates one side of the boomerang. The spinning object maintains angular momentum by turning at a right angle to its axis of rotation. When the spin and the velocity of boomerang are just right, it flies away and returns in an aesthetically satisfying circle.
The boomerang’s distinctive flight starts with its aerodynamic properties. Boomerangs come in a variety of shapes. The traditional forms are variations on an L with equally long arms. There are also boomerangs with three or even four arms radiating from a center. And there are delta boomerangs.1 Whatever the configuration, every boomerang has airfoils at its extremities. Looking outward from the center of rotation of the boomerang, the left side of the blade is the leading edge of the air foil for right-handed throwers.2
As the boomerang spins, the airfoils at its perimeter create lift. Our text, Physics: A World View, discusses aerodynamics and Bernoulli’s principle. It explains the relationship between the velocity of a fluid and the pressure that the fluid exerts. A fluid gains energy when it speeds up as, for example when it goes through a constricting area in a pipe or passes around an airfoil. Since the gravitational potential energy is constant, the change is in kinetic energy. Since there is an acceleration of the fluid, the press...
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...d San Francisco. McGraw-Hill Company Limited, 1982. 20-21.
5http://www.grc.nasa.gov/WWW/K-12/airplane/bern.html. I also visited several Google sites, “boomerang,” though I did not draw on them for this project. They generally have a bit of (undocumented) history/anthropology, some physics, and throwing instructions. For example: http://www.gel-boomerang.com/, and http://www.boomerangs.org/ (pictures of some odd shapes).
This is consistent with my experience. Trying to put more spin on the boomerang mainly has the effect of making a throw unnatural and therefore prone to fly into the ground.
7When in college, my daughter would often suggest “going to throw a boomerang” as a first date. Her idea was that she learned a lot about a guy seeing him cope with failing miserably--a certainty the first time out with a boomerang--at a seemingly simple athletic activity.
Dropper Poppers are rubber toys that resemble half a rubber ball and are shaped as hemispheres. They are turned upside-down (or inside-out), left on a flat surface, and after approximately 5 seconds, the dropper popper flies upwards, going higher than its original position. Simply put, the rubber needs to return to its original position, and creates a high surface tension. The rubber’s urge to return to its original position also causes instability within the structure of the dropper popper. When you drop the toy onto a flat surface, the inverted part pops back out, slams into the surface, and causes the toy to bounce into the air. This is a very basic explanation of what causes the dropper popper to act the way it does, and the physics principles
If you throw a ball with a lot of spin the ball will create air resistance (drag) then the ball will curve or slide as the ball reaches the plate and causes the batter to swing. This is because the faster moving air below the ball creates a smaller amount of pressure, which forces the ball to dive or break.
Once a paintball gets into the air its flight is much like that of a golf ball. There are a verity of forces that act upon the ball once its in the air. The ball always has the force of gravity acting on it. This causes the paintball to travel in an arc and return to the earth.
The Purpose of this lab is to use the impulse and momentum concepts to explain what happens when the eggs are dropped onto various objects.
The realism movement of the late nineteenth century produced works in literature that were marked by reduced sentimentality and increased objectivity. The goal was to let details tell the story, and remove noticeable bias of the author through scientific and detailed descriptions. While this form of storytelling undoubtedly is most accurate, it creates difficulties for authors to incorporate their themes into the story. This resulted in an increase in symbolism in realist works. The objects and descriptions within the story are the author’s vehicle for displaying the values and themes of the work. Light and darkness are symbols commonly used in literature, and have held specific symbolic meanings for hundreds of years. Simply stated, light commonly symbolizes good, while darkness symbolizes its antithesis - evil. (Cooper) For centuries light vs. dark has been quite possibly the most common symbol in all literature. In Heart of Darkness, Joseph Conrad uses detail to create a feeling that transcends the literal text - most notably through his use of light and dark and the inversion of their traditional meanings. The end goal of this inversion is the establishment of the theme that not everything is as it seems. More specifically, Conrad uses detailed imagery of light and dark to show often times white men can be more savage than the natives.
The more and more I look around I begin to see how physics are integrated into practically everything that we do. These things would surely go unnoticed without making a conscious effort to notice them. For example simple things like riding a bike, or driving a car, or playing catch with a son or daughter. Just as these activities are loaded with elements of physics, sports are also, especially basketball. Physics play a part in every aspect of the game, from dribbling, passing, and shooting, to things as simple as setting a screen. First we should take a look at the elements of dribbling.
It is often said that when considering a work of great literature, the title of such work can be just as important as the context of the story. Authors time and again wait until they have completed the context of their work to give it a title as to make sure this chosen title is the best possible representation of their work. Stated equally as often is that the significance of some of these titles is easy to recognize while in other titles, the significance is only developed gradually. The latter is the case for Joseph Conrad’s Heart Of Darkness. The author implements the literary devices of contrast, repetition and point of view to successfully convey the meaning and symbolism of his title.
Soon after joining the organization, the founder and I decided to scale our operations and a fully funded project in Dehradun, the capital of Uttarakhand was in the pipeline. However, in a trice the challenges of worki...
* Conrad, Joseph. “Heart of Darkness” in The Norton Anthology of English Literature, M.H. Abrams, general editor. (London: W.W. Norton, 1962, 2000)
The value of luck cannot be overstated. A bullet may leave the muzzle of a weapon at over a thousand feet per second and slam into a concrete wall. This may deform the round beyond all recognition. Just about anything can and does happen to flying projectiles.
...ming techniques are showing result. If the reader sees Petruccio’s behavior as more altruistic, instead of cruel then it would be easier to reconcile the play with a true farce.
Since its publication in 1899, Joseph Conrad’s Heart of Darkness has rarely been disputed on the basis of its literary merits; in fact, it was long seen as one of the great novels of the burgeoning modern era, a sort of bridge between the values and storytelling styles of the waning Victorian period and those of the modern era (Gatten), and regarded a high-ranking space amidst the great literature of the century, if not the millennia (Mitchell 20). Conrad’s literary masterpiece manages references to other great literature, universal themes which cut to the heart of philosophical questions of the innate goodness or evil of man, and historical references such as the Belgium and Roman empires (Kuchta 160), among other accomplishments, and so has garnered a lexicon all its own in the annals of literary criticism, debate, and analysis.
The Heart of Darkness, by Joseph Conrad, displays the power of humans and nature. Joseph Conrad says, “ My task is by the power of the written word before all, to make you see.” His words display, the contradiction of humanity and their actions through the manipulation of the light and dark forces. The heart of darkness is ambiguity between humans, their malcontent with themselves, and how they bend to natures will.
Beckoning readers closer, the gloomy foreboding of a mysterious darkness has typically been indicative of an antagonist or a horror that is to follow, and the glory of a shining light has signified a positive connotation. The pair is often utilized to express an author’s ideas and theme and Joseph Conrad uses the two paradigms liberally in his interpretation of European colonialism in Heart of Darkness. While Conrad employs the typical binary of light and darkness as positive and negative forces, respectively, he also challenges this notion by exposing the contradictions of misdeeds done in light and the portrayal of darkness as a sanctuary.
Projectile motion is the force that acts upon an object that is released or thrown into the air. Once the object is in the air, the object has two significant forces acting upon it at the time of release. These forces are also known as horizontal and vertical forces. These forces determine the flight path and are affected by gravity, air resistance, angle of release, speed of release, height of release and spin