Maksud Moment

[Rebecca Donnelly]

AnATM is a machine built into the wall of a bank or other building, which allows people to take out money from their bank account by using a special card registered to their bank account

For our first use of ATM (at the moment), it will often appear in text messages. An example of this is a text exchange between you and your friend. They might ask \"what are you doing atm?\" if they want to know what you are presently doing.

For our first use of ATM (at the moment), it will often appear in text messages. An example of this is a text exchange between you and your friend. They might ask "what are you doing atm?" if they want to know what you are presently doing.

The second moment of area, or second area moment, or quadratic moment of area and also known as the area moment of inertia, is a geometrical property of an area which reflects how its points are distributed with regard to an arbitrary axis. The second moment of area is typically denoted with either an I \displaystyle I (for an axis that lies in the plane of the area) or with a J \displaystyle J (for an axis perpendicular to the plane). In both cases, it is calculated with a multiple integral over the object in question. Its dimension is L (length) to the fourth power. Its unit of dimension, when working with the International System of Units, is meters to the fourth power, m4, or inches to the fourth power, in4, when working in the Imperial System of Units or the US customary system.

In structural engineering, the second moment of area of a beam is an important property used in the calculation of the beam's deflection and the calculation of stress caused by a moment applied to the beam. In order to maximize the second moment of area, a large fraction of the cross-sectional area of an I-beam is located at the maximum possible distance from the centroid of the I-beam's cross-section. The planar second moment of area provides insight into a beam's resistance to bending due to an applied moment, force, or distributed load perpendicular to its neutral axis, as a function of its shape. The polar second moment of area provides insight into a beam's resistance to torsional deflection, due to an applied moment parallel to its cross-section, as a function of its shape.

For more complex areas, it is often easier to divide the area into a series of "simpler" shapes. The second moment of area for the entire shape is the sum of the second moment of areas of all of its parts about a common axis. This can include shapes that are "missing" (i.e. holes, hollow shapes, etc.), in which case the second moment of area of the "missing" areas are subtracted, rather than added. In other words, the second moment of area of "missing" parts are considered negative for the method of composite shapes.

Consider a rectangle with base b \displaystyle b and height h \displaystyle h whose centroid is located at the origin. I x \displaystyle I_x represents the second moment of area with respect to the x-axis; I y \displaystyle I_y represents the second moment of area with respect to the y-axis; J z \displaystyle J_z represents the polar moment of inertia with respect to the z-axis.

Consider an annulus whose center is at the origin, outside radius is r 2 \displaystyle r_2 , and inside radius is r 1 \displaystyle r_1 . Because of the symmetry of the annulus, the centroid also lies at the origin. We can determine the polar moment of inertia, J z \displaystyle J_z , about the z \displaystyle z axis by the method of composite shapes. This polar moment of inertia is equivalent to the polar moment of inertia of a circle with radius r 2 \displaystyle r_2 minus the polar moment of inertia of a circle with radius r 1 \displaystyle r_1 , both centered at the origin. First, let us derive the polar moment of inertia of a circle with radius r \displaystyle r with respect to the origin. In this case, it is easier to directly calculate J z \displaystyle J_z as we already have r 2 \displaystyle r^2 , which has both an x \displaystyle x and y \displaystyle y component. Instead of obtaining the second moment of area from Cartesian coordinates as done in the previous section, we shall calculate I x \displaystyle I_x and J z \displaystyle J_z directly using polar coordinates.

The second moment of area about the origin for any simple polygon on the XY-plane can be computed in general by summing contributions from each segment of the polygon after dividing the area into a set of triangles. This formula is related to the shoelace formula and can be considered a special case of Green's theorem.

A polygon is assumed to have n \displaystyle n vertices, numbered in counter-clockwise fashion. If polygon vertices are numbered clockwise, returned values will be negative, but absolute values will be correct.

Through this layering of gestures, Maksud composes both an elegy to the agony of embodied hegemony and a hopeful ode to future hybridities. worried notes provokes an awakening to the overlapping physical, spatial, and emotional traumas of colonial entanglement, and urges us to chart pathways of resistance to that which is known.

old blues, new bruises, embroidery on carbon paper, sand, light and sound installation, 2023.

Mapping and sound are at the center of old blues new bruises. Drawing from diagrammatic systems such as musical notation, architecture and city planning, and practices of counter-mapping that are used in multiple disciplines to reclaim colonized territory, Maksud presents an aurally and visually rich environment in the gallery, complete with embroidery on carbon paper, sound and light. Historically, carbon paper was utilized to create copies from an original document or record. For the exhibition, this paper is used as both an instrument of replication and also one of abstraction. Using embroidery as a drawing tool to navigate the audible traces of African postcolonial histories, Maksud embroiders musical notations through the paper producing a double-sided document where on the one side you have replicated drawings from sheet music of various national anthems and on the other rhizomatic marks that operate in excess of these diagrammatic systems of knowledge. Here Maksud draws upon musical notation as a language to think through the traces and audible legacies of history and identity, particularly in relation to African independence.

Throughout the exhibition, Maksud draws parallels between audibility and legibility to consider the structures that continue to perpetuate a colonial order. Intervening within the architecture of the gallery is a new multi-channel sound installation composed of frequencies captured by an ETHER recorder which receives all the interference and radiation that a traditional radio tries to eliminate in order to create a clean signal. Here Maksud considers, how we can attune ourselves to pick up different frequencies, to feel what reverberates and hear what sounds at the margins? What might be a practice of decolonial listening? How might we tune out colonial sub frequencies that constantly hum in our ears? How might we hear beyond them or beneath them or perhaps hear another future?

They Try Their Tongues sonically considers transitions of political power and freedom as a constant struggle. Fragments of music from one African country that has changed its national anthem, as political power has shifted, three times since independence are embroidered into paper. The thread in some is falling apart suggesting the need for renewal while light illuminates the rhizomatic lines through the paper creating a visual noise.

Provisional Notes on Freedom is an immersive light, sound and sculptural installation that deconstructs notions of borders and boundaries. In my work, I think of national anthems sonic borders, but sound, as we know, is omni directional and cannot be contained. As such in this work I am interested in ideas based on leakage (as in sound leakage) and bleed (as in light build) and use them as a framework to think about notions excess.

Untitled Compositions, cyanotype and cyanotype dyed with mate tea, 15 x 21 inches, 2021.

This series of cyanotypes draws from diagrammatic systems of representation. I am interested in how line, form and shape is utilised to construct space and identity. These modalities of drawings albeit invisible to most, have been used to fix bodies in space and abstract land. As such, Untitled Compositions aims to transgress these systems of drawing, creating counter maps that resist legibility.

Untitled Anthem is a deconstructed version of national anthem of Algeria, which is reflective of a military song. Here it is transformed into anthem with spiritual undertones that speaks instead to notions of communing. It is at once about the collective voice coming together and also individual reflection.

Faces of Africa points to the ways in which electronic technologies affect the construction of identity and questions the material from which history is pictured and remembered. The images in this series are created by playing YouTube versions of Faces of Africa, a documentary series that highlights important figures and definitive moments in African histories, on an iPhone and placing it on a flatbed scanner which captures re-mediated historical moments in still image, resulting in artefacts of the technology revealing itself - prismatic distortions slurring movements and the passages of time in unpredictable ways. These documentaries mainly focus on the project of independence and unification by highlighting the life histories of leaders such as Kwame Nkrumah and Julius Nyerere, pointing to a moment of hope when the continent was undergoing rapid change in identity and representation. The resulting scanned still images however, are distorted, fragmented and at times, illegible just as those moments in history have become.

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