Shape Of You Ne Demek
Savage Doherty
BREP (Boundary Representation) is a common method for representing 3D objects in computer graphics and computer-aided design (CAD). In the context of NURBS (Non-Uniform Rational B-Splines) 3D modeling, a BREP is a mathematical representation of a solid object that defines its boundaries using curves and surfaces.
A BREP model consists of a set of vertices, edges, and faces, where the faces are represented by NURBS surfaces. Each NURBS surface is defined by a set of control points, a degree, and a knot vector, which determine the shape of the surface. The boundaries of the object are defined by the edges and vertices, which are connected to form closed loops and polygons.
If you are going to be doing some scripting in Rhino, at some point you will need to understand what a Brep is - as well as a number of other technical terms commonly used to define 2D and 3D geometry. If you use exclusively rhinoscriptsyntax, you will still see references to surfaces/polysurfaces, but as soon as you look under the hood (RhinoCommon for example), you will see that these are represented as Breps.
A very simplified way to look at it is that all surface or polysurface geometry in Rhino are Breps, the difference between a surface and a polysurface is that a surface is a Brep with just one face and polysurfaces are Breps that have more than one face. There are exceptions like extrusion objects, but most of the time these too have to be converted to Breps under the hood in order to work with them.
Well in my limited understanding Boundary Representation is what the name implies - surface objects represented by their boundaries - but not necessarily closed volumes. But then I am not a programmer or computer geometry mathematician.
Boundary representation has also been extended to allow special, non-solid model types called non-manifold models . As described by Braid, normal solids found in nature have the property that, at every point on the boundary, a small enough sphere around the point is divided into two pieces, one inside and one outside the object.[citation needed] Non-manifold models break this rule. An important sub-class of non-manifold models are sheet objects which are used to represent thin-plate objects and integrate surface modelling into a solid modelling environment.
You probably know "crescent" as the shape of a moon that is less than half-illuminated. These days, "crescent" is generally used of either a waxing or waning moon, but that wasn't always the case. Originally, it referred only to the increasing illumination phase that immediately follows the new moon. That original meaning nicely reflects the meaning of the word's Latin ancestor crescere, which means "to grow." The meaning of "crescere" also shines through when we use "crescent" as an adjective meaning "increasing" or "growing." English speakers have been using "crescent" in this way since the 16th century.
numpy allow us to give one of new shape parameter as -1 (eg: (2,-1) or (-1,3) but not (-1, -1)). It simply means that it is an unknown dimension and we want numpy to figure it out. And numpy will figure this by looking at the 'length of the array and remaining dimensions' and making sure it satisfies the above mentioned criteria
The new shape should be compatible with the original shape. If an integer, then the result will be a 1-D array of that length. One shape dimension can be -1. In this case, the value is inferred from the length of the array and remaining dimensions.
It will give you the same result and it's more clear for readers to understand: Set b as another shape of a. For a, we don't how many columns it should have (set it to -1!), but we want a 1-dimension array (set the first parameter to 1!).
-1 corresponds to the unknown count of the row or column.We can think of it as x(unknown). x is obtained by dividing the number of elements in the original array by the other value of the ordered pair with -1.
The external array contains observations/rows. The inner array contains columns/features. This causes two special cases when we have either an array of multiple observations of only one feature or a single observation of multiple features.
you are only saying for the numpy.reshape to automatically calculate the size of the vector (rows x columns) and relocate it into a 1-D vector with that dimension. This command is interesting because it does it automatically for you. If you wanted to reshape the vector to 1-D by putting a positive integer value, the reshape command would only work if you correctly entered the value "rows x columns". So being able to enter a negative integer makes the process easier, you know.
Explicitly, this will make the -1 dimension the quotient of the original array's dimension product by the dimension product of the newly specified dims. If this is not an integer it will return an error.
One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-pli, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allgro.
Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in the fifth position. If an assembl is port it requires a preparatory step such as a glissade to precede it. If an assembl is en tournant it must be preceded by a preparatory step. Assembls are done petit or grand according to the height of the battement and are executed dessus, dessous, devant, derrire, en avant, en arrire and en tournant. They may be done en face, crois, effac or cart. Assembl may also be done with a beat for greater brilliance. In the Cecchetti assembl both knees are bent and drawn up after the battement so that the flat of the toes of both feet meet while the body is in the air.
Big assembl, turning. This assembl is done in the same manner as grand assembl. It is taken only dessus or derrire. It is traveled directly to the side, on a diagonal traveling upstage, in a circle, etc. It is usually preceded by a pas couru or a chass. The battement at 90 degrees to the second position is taken facing upstage, then the dancer completes the turn en dedans and finishes the assembl facing the audience.
A particular pose in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni da Bologna. It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. The supporting foot may be terre, sur la pointe or sur la demi-pointe. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. There are a number of attitudes according to the position of the body in relation to the audience:for example, attitude croise, attitude efface, attitude de face.
Beating. A beating action of the extended or bent leg. There are two types of battements, grands battements and petits battements. The petits battements are: Battements tendus, dgags, frapps and tendus relevs: stretched, disengaged, struck and stretched-and-lifted .
Disengaged battement. A term of the Cecchetti method. The battement dgag is similar to the battement tendu but is done at twice the speed and the working foot rises about four inches from the floor with a well-pointed toe, then slides back into the first or fifth position. Battements dgags strengthen the toes, develop the instep and improve the flexibility of the ankle joint. Same as battement tendu jet (Russian School), battement gliss (French School).
Battement fondu developed. This is performed in the same manner as battemen fondu simple(q.v). As the supporting leg straightens, the working leg does dvelopp at either 45 or 90 degrees. If the dvelopp is at 45 degrees, the working leg opens from sur le cou-de-pied. If the dvelopp is at 90 degrees, the working leg is brought from sur le cou-de-pied to retir, that opens in the desired direction as the supporing knee straightens. the leg moves evenly until reaching the angle of 45 or 90 degree and is sustained momentarily in the extended position before slowly returning to sur cou-de-pied as the suppoting leg executes a demi-pli.
Struck battement. An exercise in which the dancer forcefully extends the working leg from a cou-de-pied position to the front, side or back.This exercise strengthens the toes and insteps and develops the power of elevation. It is the basis of the allegro step, the jet.
Small battement on the ankle. This is an exercise at the bar in which the working foot is held sur le cou-de-pied and the lower part of the leg moves out and in, changing the foot from sur le cou-de-pied devant to sur le cou-de-pied derrire and vice versa. Petits battements are executed with the supporting foot terre, sur la demi-pointe or sur la pointe.
Battement stretched. A battement tendu is the commencing portion and ending portion of a grand battement and is an exercise to force the insteps well outward. The working foot slides from the first or fifth position to the second or fourth position without lifting the toe from the ground. Both knees must be kept straight. When the foot reaches the position pointe tendue, it then returns to the first or fifth position. Battements tendus may also be done with a demi-pli in the first or fifth position. They should be practiced en croix.
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