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Hats with year 1 students
Article posted November 7, 2009 at 02:16 AM GMT0 •
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On friday 10th november some selected year 6 students got chosen to help the year 1's to make a hat. I worked with bailey we thought our hat was the best. What we did was: Got three sheets of newspaper , folded them all up and then we had to fit one of the newspapers around his head and then we stapled and cut of the exess newspaper then we put one of the folded up newspapers and put that in the slot of the newspaper around his head we had to do that two times then we had to scrunch up one more piece of paper and lay it flat on the table and put the hat on the newspaper upside down and then folded the newspaper over the hat and then stapled and cut of all of the exess newspaper off then we had the basic outline of the hat so then we were going to make the beak of the cap so for that we needed one sheet of newspaper and he drew out the basic outline of of the beak and then cut it out and stapled it on. and thats how we made our hat.:D
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Article posted November 7, 2009 at 02:16 AM GMT0 •
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GTR skyline r32
Article posted October 14, 2008 at 06:23 AM GMT0 •
comment • Reads 174
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The R32 GT-R was introduced in 1989 and continued the very successful racing heritage of its famous GT-R predecessors with several championship titles. This car was built to fit Japanese Group A racing specifications and only hit the road, because the rules demanded its street homologation. So in reality, this is a race-car for the street.
For more pictures, visit the R32 GT-R Showroom
A length of 4545mm and a width of 1755mm make the R32 the smallest of all newer GT-R's, and with a height of 1355mm it is also 5mm lower than its successors. The R32 looks sportive, although, from today's point of view, the car's design is quite dated.
The front is dominated by the front spoiler, which is clefted with air inlets and makes for an aggressive appearance on the street. Except for some bulges around the wheels, the look of the side is pretty much that of the standard coupe's, just with a slightly taller rear-wing. The 16-inch tires seem a bit undersized for the large wheel-housings, a characteristic feature that (unfortunately) has been kept on the
succeeding version as well.
The GT-R's back gets the twin round tail-lights common to all R32 series Skylines, and its back can only be distinguished from the standard coupe by its larger wing and the GT-R badge.
The overall design of the car feels actually quite simple and inconspicuous - as strange as this may sound concerning a Skyline GT-R. There is no
real hint for outsiders to show what this car is really capable of. It rather looks like a simple family-coupe that some over-ambitious tuning-freak had its hands on. But in reality, the clefted front spoiler, the bulges and the rear wing are no exaggerated design tricks, but features directly taken from racing. They all have their purpose in a car that, at the time it was built, was considered to be one of the best sports cars of the world - maybe even THE best.
The interior convinces with excellent ergonomics, although the used materials look cheaper than on newer models. The instruments on the other hand are comprehensive, with additional front-torque and oil-temperature gauges in the centre console, which are quite useful for track-use.
The sportive layout of the car is further supported by well sculpted bucket seats, which are a bit short on lumbar support, though, and a leather steering wheel without an airbag. But the GT-R is not all track-specced. A digital climate control and the common powerpack make this car as well useable as a daily commuter. If you plan to transport someone on the rear-seats, though, make sure they are child-
ren, because the R32 offers the least headroom of all GT-R's in the back. Still, even with its small trunk, Godzilla is quite practical for the sportive car it is.
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Article posted October 14, 2008 at 06:23 AM GMT0 •
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porce 911
Article posted October 6, 2008 at 10:06 AM GMT0 •
comment • Reads 129
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The Porsche 911 (pronounced as Nine Eleven, German: Neunelfer) is a sports car made by Porsche AG of Stuttgart, Germany. The famous, distinctive, and durable design is notable for being rear engined like the Porsche-designed Volkswagen Beetle it had been based on. It was also air-cooled until the introduction of the all-new Type 996 in 1998. Since its introduction in autumn 1963[1], it has undergone continuous development even though Porsche neglected the 911 during most of the 1970s and 1980s in favour of front-engine cars like the Porsche 928.
Since its inception the 911 has been modified, both by private teams and the factory itself, for racing, rallying and other types of automotive competition. It is often cited as the most successful competition car ever, as the normally aspirated 911 Carrera RSR in the mid 1970s has won major world championship sports car races such as Targa Florio, Daytona, Sebring or Nürburgring outright even against prototypes. The 935 turbo also added the coveted 24 Hours of Le Mans in 1979.
In the international poll for the award of Car of the Century, the 911 came fifth after the Ford Model T, the Mini, the Citroën DS and the Volkswagen Beetle. It is the most successful surviving application of the air (now water) cooled opposed rear engine layout pioneered by its original ancestor, the Volkswagen Beetle, having increased its original 25 PS more than tenfold, or 30fold in turbocharged race cars
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Article posted October 6, 2008 at 10:06 AM GMT0 •
comment • Reads 129
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Volkswagen Beetle
Article posted October 6, 2008 at 10:05 AM GMT0 •
comment • Reads 27
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The Volkswagen Beetle, officially known as the type 1, and originally called ‘Käfer’, is an economy car produced by the German auto maker Volkswagen (VW) from 1938 until 2003. Although the names "Beetle" and "Bug" were quickly adopted by the public, it was not until August 1967 that VW itself began using the name Beetle in marketing materials in the US.
In Britain, VW never used the name Beetle officially. It had only been known only as either the "Type I" or as the 1100, 1200, 1300, 1500, or 1600 which had been the names under which the vehicle was marketed in Europe; the numbers denoted the vehicle's approximate engine size in cubic centimetres. In 1998, many years after the original model had been dropped from the lineup in most of the world (production continued in Mexico until 2003), VW introduced the "New Beetle" (built on a Volkswagen Golf Mk4 platform) which bore a cosmetic resemblance to the original.
Its peculiar styling, underpowered motor, rough ride, and high noise levels compared to modern vehicles might have made it a market failure. In its day, though, it was more comfortable and powerful than most European small cars, and ultimately the longest-running and most-produced automobile of a single design (a record that will not take long to be beaten by its younger "cousin" the Type-2 Bus or Kombi, which is still in production in Brazil, with the same basic characteristics of the first series). It remained a top seller in the US, even as rear-wheel drive conventional subcompacts were refined, and eventually replaced by front-wheel drive models. The Beetle car was the benchmark for both generations of American compact cars such as the Chevrolet Corvair, and subcompact cars such as the Ford Pinto and Chevrolet Vega. In the international poll for the award of the world's most influential car of the twentieth century the Beetle came fourth after the Ford Model T, the Mini, and the Citroën DS.
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Article posted October 6, 2008 at 10:05 AM GMT0 •
comment • Reads 27
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Rolls-Royce Silver Ghost
Article posted October 6, 2008 at 10:04 AM GMT0 •
comment • Reads 15
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The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.
Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works moving to Derby in July 1908 and between 1921 and 1926 at Springfield, Massachusetts factories. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
The chassis and engine were also used as the basis of a range of Rolls-Royce Armoured Cars.
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Article posted October 6, 2008 at 10:04 AM GMT0 •
comment • Reads 15
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Austin7
Article posted October 6, 2008 at 10:03 AM GMT0 •
comment • Reads 20
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The Austin 7 was a vintage car produced from 1922 through to 1939 in the United Kingdom by the Austin Motor Company. It was one of the most popular cars ever produced there and wiped out most other British small cars and cyclecars of the early 1920s[1], its effect on the British market was similar to that of the Model T Ford in the USA. It was also licensed and copied by companies all over the world [2]. The first BMW models (BMW Dixi) were licensed Austin 7s, as were the original American Austins. In France they were made and sold as Rosengarts while in Japan Nissan also used the 7 design as the basis for their original cars, though not under licence [2].
After World War II, many Austin 7s were rebuilt as "specials"[3][4][5] including the first Lotus, the Lotus Mk1 which was based on an Austin 7.
Such was the power of the Austin 7 name that the company re-used it for early versions of both the A30 in 1951 [6] and Mini in 1959.
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Article posted October 6, 2008 at 10:03 AM GMT0 •
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globe theatre
Article posted August 17, 2008 at 11:40 AM GMT0 •
comment • Reads 85
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Although Shakespeare's plays were performed at other venues during the playwrite's career, the Globe Theatre in the Southwark district of London was the venue at which the Bard's best known stage works (including his four great tragedies) were first produced. The Globe was built during Shakespeare's early period in 1599 by one of his long-standing associates, Cuthbert Burbage, the brother of the most famous Shakespearean actor of the Elizabethan Age, Richard Burbage.
In 1597, Cuthbert Burbage inherited another London theater that was the first of its kind and simply called the Theatre. But there was a problem with this valuable legacy: Cuthbert Burbage owned the Theatre, its structure and materials, but the land on which the Theatre was erected was leased by his father and his eldest son was unable to negotiate a renewal of the land lease. The far-sighted if fledgling impresario tore down the Theatre and used its timbers and other elements as the building materials for what would become the Globe Theatre. Before erecting the Globe at a nearby site, Cuthbert assured himself and his partners that they would have a stream of stellar content and the most renowned company of actors in England. Burbage essentially built the Globe for the Chamberlain's Men, including their chief writer, William Shakespeare. The lease for the land and the ownership of the Globe was divided in two: 50 percent of the assets were owned by Cuthbert and, Richard Burbage; the other 50 percent stake was apportioned among five other members of the Chamberlain's men, John Heminge, Augustine Phillips, Thomas Pope, Will Kempe, and, Shakespeare himself.
After some initial successes in the early years of the 1590s with the three parts of Henry VI, The Comedy of Errors and (most importantly) Richard III, during the seasons of 1592 and 1593 an outbreak of plague struck London and shuttered its theaters, causing Shakespeare to turn from the playwright's trade to the composition of poetry. It was in 1594 when the theaters of London, including the Theatre and soon the Swan Theatre (1595), reopened that Shakespeare emerged as the powerhouse of a revitalized and extraordinarily vibrant Elizabethan stage world. Five years prior to the Globe's opening, Shakespeare became one of the share-owning partners in a theater company organized under the sponsorship of the Lord Chamberlain, the head of Queen Elizabeth I's royal household. Appearing as "Chamberlain's Men," Shakespeare's acting/production company dominated the London theater scene during both the last decade of Elizabeth reign and, after 1603, under her Jacobean Age successor, James I. Indeed, under James I, Shakespeare's troop was re-dubbed "His Majesty's Servants," its principals enjoying an exalted status as members of James I's royal household. The aura of royal patronage extended to its commercial productions at the Globe, to performance staged at the more intimate Blackfriars Theatre, and, of course to special command performances before the royal court at Whitehall Palace.
II. Structure of the Globe
The theater that Cuthbert Burbage built for the Chamberlain's Men had a total capacity of between 2,000 and 3,000 spectators. Because there was no lighting, all performances at the Globe were conducted, weather permitting, during the day (probably most often in the mid-afternoon span between 2 P.M. and 5 P.M.). Because most of the Globe and all of its stage was open air, acoustics were poor and the actors were compelled by circumstances to shout their lines, stress their enunciation, and engage in exaggerated theatrical gestures. What would seem most striking to a modern (Broadway) theatergoer about the productions staged at the Globe is that they were completely devoid of background scenery. Although costumes and props were utilized, changes of scene in Shakespeare's plays were not conducted by stagehands during brief curtain closings. There was no proscenium arch, no curtains, and no stagehands to speak of other than the actors themselves. Instead, changes of scene were indicated explicitly or implicitly in the speeches and narrative situations that Shakespeare wrote into the text of the plays.
The stage of the Globe was a level platform about 43 feet in width some 27 or 28 feet deep that was raised about five feet off the ground. The stage was fitted with a number of mechanisms (trap doors in its floor for instance), and distinct sections (e.g., a sub-stage space toward its back lip for parallel action) that were creatively utilized by Shakespeare in his stage directions. It was surrounded on three sides by the "pit" in which "one-penny" spectators stood and, at a setback, by an amphitheater three stories high, each having a gallery and seating for "two-penny" theatergoers. While the galleries of the two-penny section may have been partially covered, the stage and the pit were open air. On the fourth side of the stage was an adjacent "tiring" house, where costumes changes were made. It was capped by a small turret structure, from which a flag and a trumpeter would announce the day's performances.
III. The Audience and the Actors
During Shakespeare's era, the Globe Theatre was not in the formal jurisdiction of London per se, but was located on the south side of the Thames River in the Southwark district. Along with its predecessors and rivals, the Globe Theatre was part of what might be called the "sporting district" (if not the "red light district") of Greater London. Although condemned by London authorities, along with cock-fighting, bear-baiting and the bawdy attractions of taverns, the Southwark theater district operated outside the legal reach of the City's officials. But while the Globe Theatre, and indeed, the entire Elizabethan theater scene opened its doors to the low life of the pits, it also accommodated an audience of higher-status, well-heeled, and better educated individuals. As Harry Levin notes in his general introduction to the Riverside Shakespeare (1974), the "Globe was truly a microcosm or little world of man". With its logo of Hercules holding up the earth (as a temporary replacement to Atlas), the Globe Theatre constituted a "little world" in which the social elite rubbed up against a cross-section of common vulgarians, drunken idlers, and other shady, street-wise sorts. Yet, at the same time, the Globe was grand even in the eyes of Elizabethan society's most powerful and prosperous leaders. As Levin also observes in his prefatory essay, recently discovered documents indicate that reconstructions of the Globe as "a quaint little Tudor cottage" have been errant, since Burbage's house "may have had arches, pilaster, and other details of Baroque architecture". Contemporaneous accounts suggests that the Globe was far more impressive than the thatched and half-timbered models of it can capture, having a more spectacular look to its structure than is commonly recognized, one that was further heightened by property embellishments (e.g. fabric hangings) and spectacular pageantry.
As the disapproval of the Globe and its counterparts by London's town fathers suggests, the Elizabethan theater and the acting companies that animated it were looked upon askance by at least some conservative elements in England. Considered a purple profession, acting was a precarious way of life even during the relatively enlightened reigns of Elizabeth and James. Most stage players were vulnerable to arrest on charges of vagrancy if they were not under the protection of a powerful sponsor. Shakespeare's company at the Globe was set apart by virtue of being formally patronized by first the Lord Chamberlain of Queen Elizabeth and then by King James I himself.
A total of 26 names are recorded as the "Principal Actors" of Shakespeare's company at the Globe in the First Folio of the Bard's collected plays. Near the top of the list we find Richard Burbage, brother to Cuthbert, major partner in the Globe, and the foremost tragedian of the Elizabethan stage. The sole owner of another, significantly smaller venue (the Blackfriars Theatre), Richard Burbage initiated the performance of some of Shakespeare's most famous characters, including Hamlet, Lear, and Othello, and brought even greater vitality to other roles, e.g., Richard III. The extent to which Shakespeare wrote his great tragic hero roles with Burbage in mind cannot be determined, but the indirect evidence strongly suggests that the playwright knew in advance that Burbage would be the "star" and had him in mind when he created the characters of Hamlet, Lear, Othello and the like. Despite the need for exaggeration in the Globe's outdoor setting, Burbage was best known for his naturalistic style of acting, his subtler performances standing in sharp relief to the wild rantings of his peers.
Prior to the Globe's opening in 1599, the leading comic actor of the Chamberlain's men (and another shareholder in the Globe) was Will Kemp. His roles included those of the servant Peter in Romeo and Juliet, (probably) Bottom in A Midsummer Night's Dream, and (quite possibly), Falstaff of the Henry IV plays. In 1599, Kemp prepared to cede his position as the leading comic actor of Shakespeare's troop when another popular comedian, Robert Armin, joined the Chamberlain's Men. Armin's capacity for wordplay through malaprops and half-meant puns became legendary, particularly in the clown roles of Touchstone ( As You Like It) and Feste (Twelfth Night); it is possible that Armin made his debut at the Globe in the role of Feste, with Viola, the heroine of Twelfth Night saying, "This fellow is wise enough to play the fool" (III, i., l.60). In any event, during the great tragedies period, Armin was blessed with one of the best comic roles in Shakespeare's canon, that of the Fool in King Lear.
IV. Shakespeare and the End of the Globe
It is often mentioned in passing that Shakespeare himself appeared as an actor on the Globe's stage. This aspect of the Bard's life in the theater should not be over-estimated. Shakespeare's name appears in the cast lists of plays written by himself and by other Elizabethan authors, but there is no indication of the roles that he played. Tradition ascribes two parts to Shakespeare himself, that of the Ghost of Hamlet's Father in Hamlet and that of Adam, the loyal, aged servant in As You Like It. In 1603, Shakespeare apparently acted in a play written by his friend and fellow author, Ben Jonson, but this is last time and last date in which Shakespeare is mentioned in the cast lists of the Elizabethan/Jacobean theater. Shakespeare acted, but this activity was subordinate not only to his work as a playwright but also to his labors as a theatrical producer.
The original structure of the Globe Theatre stood until 29 June, 1613, when its thatched roof was set ablaze by a cannon fired in a performance of Henry VIII and the Globe burned to the ground. By this time, Shakespeare was in semi-retirement at Stratford-on-Avon where he would die three years later at the age of fifty-two. The Globe was reconstructed in 1614, with tiles replacing flammable straw on its partial roof. In 1642, however, a quarter-century after Shakespeare's death, a new, Puritanical and decidedly anti-theater regime assumed power in England and closed down all of the country's theaters. Two years later, Cromwell's round heads tore down the Globe, leveled the site and constructed tenement housing upon it.
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Article posted August 17, 2008 at 11:40 AM GMT0 •
comment • Reads 85
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power plants
Article posted July 29, 2008 at 06:26 AM GMT0 •
comment • Reads 24
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In a generating plant, the potential energy of various types of fuels (fossil, nuclear, or renewable) is converted into another form of energy (usually mechanical or heat energy). This energy is used to turn fan-like blades inside a turbine. These blades are attached to a pole-like shaft. When the blades inside the turbine begin to turn, the shaft begins to turn. This causes wires located inside a magnetic field within the generator to turn. The resulting flow of electrons is electricity. More or less electricity can be created by varying certain factors including: the type of materials used in the wire, the speed at which the turbine rotates, the size of the magnetic field, and the number of wire coils inside the magnetic field, among others.
Wires coming from the generator are used to conduct the flow of electricity out to a neighboring switchyard, where the electricity is “stepped up” (i.e., the voltage is raised) so that it can be sent to customers.
Steam-electric plants produce electricity by using heat energy to turn water into steam. The highly pressurized steam then travels through pipes to the blades in the turbine. When the steam hits the turbine, it causes the blades to spin.
Hydroelectric generating facilities use mechanical energy (i.e., the movement of water) to cause the blades in the turbine to turn.
In a steam-electric solar generating facility, heat from the sun’s rays is used to create the steam that is needed to rotate the turbine.
Fossil Plants.
Steam-electric plants produce energy by using some form of heat energy to turn water into steam. The highly pressurized steam then travels through pipes to fan-like blades in a turbine. The turbine begins to turn, causing giant wire coils inside the generator to turn. This creates an electromagnetic field, which forces electrons to move and starts the flow of electricity.
In a steam-electric fossil-fired plant, some type of fossil fuel is burned to create the heat that is needed to produce steam. Fossil fuels include coal, oil (also called petroleum) and natural gas. The fossil fuels were formed millions of years ago from plants and animals that died and decomposed beneath tons of soil and rock.
A gas-fired turbine does not use steam. It works similar to a jet airplane engine. Natural gas is ignited and burned. The heat creates pressure that turns the turbine.
Nuclear Plants
Nuclear plants use the fission process to generate the energy needed to produce electricity. In a nuclear plant, atoms of low-grade uranium are split apart. This creates the heat needed to create steam.
The highly pressurized steam then travels through pipes to fan-like blades in a turbine. The turbine begins to turn, causing giant wire coils inside the generator to turn. This creates an electromagnetic field, which forces electrons to move and starts the flow of electricity.
Renewable energy resources naturally replenish themselves and tend to have the fewest direct effects on the environment. They are virtually inexhaustible in duration but limited in the amount of energy that is available per unit of time. Renewable energy resources include: biomass (burning waste products), hydro (water), geothermal, solar, wind, ocean thermal, wave action, and tidal action.
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Article posted July 29, 2008 at 06:26 AM GMT0 •
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My report
Article posted June 10, 2008 at 07:02 AM GMT0 •
comment • Reads 140
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In my maths book I think I did really well . I think it would be round a c+ because I didn't set out all of my work properly.with also I doodled in my book when i was bored.But when I dont get it I give up and stop. with the time tables I am improving every time.with the triangular numbers needs improving.
In my literecy I think I will get an b . I need improving in my alliterration . And when it comes to neatness im no good . With my letters i need to improve on my indenting.My literacy is good for doing the right thing. i like my setting out of pages.
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Article posted June 10, 2008 at 07:02 AM GMT0 •
comment • Reads 140
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Mars
Article posted February 25, 2008 at 11:50 PM GMT0 •
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Mars is the fourth planet from the sun. Mars is more than 220 million km away from the sun . Mars takes 687 days to orbit the sun witch is just under 2 of Earth years.Mars is mostly called the red planet due to the red blood apperance.Mars is most like Earth because scientest belive that Mars had lakes bigger than the amazon. Mars orbits the sun 228,000,000 million km away from the sun. Mars is half the size of earth with a whith of 6,800 km.
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Article posted February 25, 2008 at 11:50 PM GMT0 •
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