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what is electric when electricity is atom antsy Certainly not Rarefaction

Four little arcs dance The St Vitus dance... superconducting the day alle

Finding friends relatively read EA
And YEA?
Read on my friend if dare thus they
 
 Heady to begin another trey
 whence lyre long do Play
 anon the prize Apollo 
sound the sleepy screed soaked song
 end to begin Erato 
amour say She amour to us
 thusly thus the lyre for those whose service shows
 Self service served unselfishly
  who Share the wealth whence health is health
 be winsome wind  wander WESTWARD C 
Eastward turning endlessly
 
 more than five for four flip said flop
 first fInd  whence fence
 thence four flutter free
 to join the fray first honor they
 AND pay the fee Say taxes C
tidy as TRee at three thirty three 
whence  pious prey sentient say alle alle

 two tines twang tuned tomes Tang
each by each vocalize victory vehemently See
 volta vows Verily
thine vine looks fine fancy that mon sui
meeting thee thence
whence spoils roil commoner do Wrest 
 the Queen taxing toxin rolls in from the west
 Cries Quine spies swine finds fault flatulent c

 fancy flamingos flutter 
five find fairy food 
 final boarding bogs beggars build
Blue blue balk non alee
 letter leaves Green gap
 where gap gone green  be...

   Thusly thus  weld a truss
 burnt the smell of fine silt fills the sea
Salt fore Lorne the singer of said song
 sing salty sweet softly sour
 slumbering soundly somnambulent C

Matter occupies space has weight. Weight as so nebulously defined by divergent sects sectionally. Carbon must be the baseline. Not the Bayes lie n
Where the estimate is estimated
 by estimating an approximation and
 then attempting to ascertain 
the accuracy of the theoretical set of sunsets...

More useful than endless games of Solitaire when the crowd wants to play a game that everyone always wins by losing

The weight of C a carbon atom is 1 Q α Α άλπγα alpha
 the forces identifying C are three

P ositive the seeker pleases moves to ward the sun
O mnicHron neutral the stayer goer unattached spins stoic
N e g a t I v e the silently sought cultivates seeking elisively as Elise elides run 
Out of town on a fence rail pushed nest nuki by mommy dearest the doer...

Rarefaction

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An example of rarefaction is also as a phase in a sound wave or phonon. Half of a sound wave is made up of the compression of the medium, and the other half is the decompression or rarefaction of the medium.

Rarefaction is the reduction of an item's density, the opposite of compression.[1] Like compression, which can travel in waves (sound waves, for instance), rarefaction waves also exist in nature. A common rarefaction wave is the area of low relative pressure following a shock wave (see picture).

Rarefaction waves expand with time (much like sea waves spread out as they reach a beach); in most cases rarefaction waves keep the same overall profile ('shape') at all times throughout the wave's movement: it is a self-similar expansion. Each part of the wave travels at the local speed of sound, in the local medium. This expansion behaviour contrasts with that of pressure increases, which gets narrower with time until they steepen into shock waves.

Physical examples[edit source]

A natural example of rarefaction occurs in the layers of Earth's atmosphere. Because the atmosphere has mass, most atmospheric matter is nearer to the Earth due to the Earth's gravitation. Therefore, air at higher layers of the atmosphere is less dense, or rarefied, relative to air at lower layers. Thus rarefaction can refer either to a reduction in density over space at a single point of time, or a reduction of density over time for one particular area.

Rarefaction can be easily observed by compressing a spring and releasing it.



X Chi ΧχΞξ εΣ ΕπΣιλοη ενεΓγυ energy
Y Ρηθ ρΗΘ Νν Chiron the vig
Z eta θζΘηΗ the angle

The area near the apparent center of an atom is charged as  positive negative pairs orbit the valence valorously 

Two pair play partisan proles
 picking or putting one equally in Play
 Playing along as the game flows free
 finding sides when sides need to be

 Making friends as friends made flee
 with frequency frequently
 thus amplitude is birthed boyantly Buoyant
 as the Boiling Sea
Whence wave wind whirl
 girling the ocean gird fully
 is a baleful bard berating
you berating me...you see 

KEY CONCEPTS AND SUMMARY

VSEPR theory predicts the three-dimensional arrangement of atoms in a molecule. It states that valence electrons will assume an electron-pair geometry that minimizes repulsions between areas of high electron density (bonds and/or lone pairs). Molecular structure, which refers only to the placement of atoms in a molecule and not the electrons, is equivalent to electron-pair geometry only when there are no lone electron pairs around the central atom. 

Glossary

bond angle: angle between any two covalent bonds that share a common atom

bond distance: (also, bond length) distance between the nuclei of two bonded atoms

electron-pair geometry: arrangement around a central atom of all regions of electron density (bonds, lone pairs, or unpaired electrons)

linear: shape in which two outside groups are placed on opposite sides of a central atom

molecular structure: structure that includes only the placement of the atoms in the molecule

tetrahedral: shape in which four outside groups are placed around a central atom such that a three-dimensional shape is generated with four corners and 109.5° angles between each pair and the central atom

trigonal planar: shape in which three outside groups are placed in a flat triangle around a central atom with 120° angles between each pair and the central atom

valence shell electron-pair repulsion theory (VSEPR): theory used to predict the bond angles in a molecule based on positioning regions of high electron density as far apart as possible to minimize electrostatic repulsion

vector: quantity having magnitude and direction 

EXAMPLE 3: MOLECULAR SIMULATION

Using molecular shape simulator allows us to control whether bond angles and/or lone pairs are displayed by checking or unchecking the boxes under “Options” on the right. We can also use the “Name” checkboxes at bottom-left to display or hide the electron pair geometry (called “electron geometry” in the simulator) and/or molecular structure (called “molecular shape” in the simulator).

Build the molecule HCN in the simulator based on the following Lewis structure:

H-CN

Click on each bond type or lone pair at right to add that group to the central atom. Once you have the complete molecule, rotate it to examine the predicted molecular structure. What molecular structure is this?




Caterpillar
Alice character
Alice 05a-1116x1492.jpg
The Caterpillar using a hookah; an illustration by John Tenniel. The illustration is noted for its ambiguous central figure, whose head can be viewed as being a human male's face with a pointed nose and protruding chin or being the head end of an actual caterpillar, with two "true" legs visible.[1]
First appearanceAlice's Adventures in Wonderland
Created byLewis Carroll
In-universe information
AliasHookah-Smoking Caterpillar, Absolem
NicknameThe Blue Caterpillar
SpeciesCaterpillar
GenderMale
NationalityWonderland

In the book[edit source]

Introduced in Chapter Four ("Rabbit Sends in a Little Bill") and the main center of interest of Chapter V ("Advice from a Caterpillar"), the Caterpillar is a hookah-smoking caterpillar exactly three inches high (a height, the virtues of which, he defends against Alice's complaint). Alice does not like the Caterpillar when they first meet, because he does not immediately talk to her and when he does, it is usually in short, rather rude sentences, or difficult questions.

The original illustration by John Tenniel is something of a visual paradox, wherein the caterpillar's human face appears to be formed from the head and legs of a naturalistic caterpillar.[1]

John Tenniel

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John Tenniel
John Tenniel.png
Self-portrait of John Tenniel, c. 1889
Born28 February 1820
London, England
Died25 February 1914 (aged 93)
London, England
NationalityBritish
Known forIllustration, Children's literature, Political cartoons

Sir John Tenniel (/ˈtɛniəl/;[1] 28 February 1820 – 25 February 1914)[2] was an English illustrator, graphic humorist and political cartoonist prominent in the second half of the 19th century. He was knighted for artistic achievements in the 1893 Queen's Birthday Honours List. Tenniel is remembered mainly as the principal political cartoonist for Punch magazine for over 50 years and for his illustrations to Lewis Carroll's Alice's Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Found There (1871).

Early life[edit source]

John Tenniel, A Conspiracy, oil on panel, August 1850 (Private collection, UK)

Tenniel was born in Bayswater, West London, to John Baptist Tenniel, a fencing and dancing master of Huguenot descent,[3][4] and Eliza Maria Tenniel. Tenniel had five siblings; two brothers and three sisters. One sister, Mary, was later to marry Thomas Goodwin Green, owner of the pottery that produced Cornishware. Tenniel was a quiet and introverted person, both as a boy and as an adult. He was content to remain firmly out of the limelight and seemed unaffected by competition or change. His biographer Rodney Engen wrote that Tenniel's "life and career was that of the supreme gentlemanly outside, living on the edge of respectability."[5]

In 1840, Tenniel, while practising fencing, received a serious eye wound from his father's foil, which had accidentally lost its protective tip. Over the years, Tenniel gradually lost sight in his right eye;[6] he never told his father of the severity of the wound, as he did not wish to upset him further.[7]

In spite of a tendency towards high art, Tenniel was already known and appreciated as a humorist. His early companionship with Charles Keene fostered his talent for scholarly caricature.[8][9]

Alice[edit source]

Caterpillar using a hookah. An illustration from Alice's Adventures in Wonderland

Despite the thousands of political cartoons and hundreds of illustrative works attributed to him, much of Tenniel's fame stems from his illustrations for Alice. Tenniel drew 92 drawings for Lewis Carroll's Alice's Adventures in Wonderland (London: Macmillan, 1865) and Through the Looking-Glass and What Alice Found There (London: Macmillan, 1871).

Lewis Carroll originally illustrated Wonderland himself, but his artistic abilities were limited. Engraver Orlando Jewitt, who had worked for Carroll in 1859 and reviewed Carroll's drawings for Wonderland, suggested that he employ a professional. Carroll was a regular reader of Punch and therefore familiar with Tenniel, who in 1865 had long talks with Carroll before illustrating the first edition of Alice's Adventures in Wonderland.

Chapter 12: Alice's evidence. MS Eng 718.6 (12) Tenniel, John, Sir, 1820–1914. Studies for illustrations to Alice's Adventures in Wonderland: drawings, tracings, c. 1864 from Houghton Library, Harvard University

The first print run of 2,000 was sold in the United States, rather than England, because Tenniel objected to the print quality.[19] A new edition was released in December 1865, carrying an 1866 date, and became an instant best-seller, increasing Tenniel's fame. His drawings for both books have become some of the most famous literary illustrations. After 1872, when the Carroll projects were finished, Tenniel largely abandoned literary illustration. Carroll did later approach Tenniel to undertake another project for him. To this Tenniel replied:

It is a curious fact that with Looking-Glass the faculty of making drawings for book illustrations departed from me, and... I have done nothing in that direction since.[20]

Tenniel's Alice illustrations were engraved onto blocks of deal wood by the Brothers Dalziel. These then served as masters for the electrotype copies for the actual printing of the books.[21] The original wood blocks are held by the Bodleian Library in Oxford. They are not usually on public display, but were exhibited in 2003.[22]

The bronze Alice in Wonderland sculpture (1959) in Central Park in Manhattan, New York City, is patterned on his illustrations.[23][24]

Style[edit source]

Influence of German Nazarenes[edit source]

The style associated with the Nazarene movement of the 19th century influenced many later artists, including Tenniel. It can be characterised as "shaded outlines", where the lines on the side of figures or objects are given extra thickness or drawn double to suggest shading or volume.[25] Furthermore, this style is extremely precise, with the artist making a hard clear outline for its figures, dignifying them and the compositions, while giving restraint in expression and paleness of tone.[26] Though Tenniel's early illustrations in the Nazarene style were not well received, his encounter with the style pointed him in a good direction.[27]

Eye for detail[edit source]

After the 1850s, Tenniel's style was modernised to incorporate more detail in backgrounds and in figures. The inclusion of background details corrected the previously weak Germanic staging of his illustrations. Tenniel's more precisely-designed illustrations depicted specific moments of time, locale and individual character instead of just generalised scenes.[28]

In addition to a change in specificity of background, Tenniel developed a new interest in human types, expressions, and individualised representation, something that would carry over into his illustrations of Wonderland. Referred to by many as theatricality, this hallmark of Tenniel's style probably stemmed from his earlier interest in caricature. In Tenniel's first years on Punch he developed this caricaturist's interest in the uniqueness of persons and things, almost giving a human like personality to the objects in the environment.[29] For example, a comparison of one of John Everett Millais's illustrations of a girl in a chair with Tenniel's illustration of Alice in a chair shows clearly that Millais's chair is just a prop, whereas Tenniel's chair possesses a menacing and towering presence.

Another change in style was his shaded lines. These transformed from mechanical horizontal lines to vigorously hand-drawn hatching that greatly intensified darker areas.



Predicting Electron Pair Geometry and Molecular Structure

The following procedure uses VSEPR theory to determine the electron pair geometries and the molecular structures:

  1. Write the Lewis structure of the molecule or polyatomic ion.
  2. Count the number of regions of electron density (lone pairs and bonds) around the central atom. A single, double, or triple bond counts as one region of electron density.
  3. Identify the electron-pair geometry based on the number of regions of electron density: linear, trigonal planar, or tetrahedral. (Figure 6, first column).
  4. Use the number of lone pairs to determine the molecular structure (Figure 6). If more than one arrangement of lone pairs and chemical bonds is possible, choose the one that will minimize repulsions, remembering that lone pairs occupy more space than multiple bonds, which occupy more space than single bonds.

The following examples illustrate the use of VSEPR theory to predict the molecular structure of molecules or ions that have no lone pairs of electrons. In this case, the molecular structure is identical to the electron pair geometry.

Physical properties

Comparison of the 1962 US Standard Atmosphere graph of geometric altitude against air densitypressure, the speed of sound and temperature with approximate altitudes of various objects.[37]

Pressure and thickness

The average atmospheric pressure at sea level is defined by the International Standard Atmosphere as 101325 pascals (760.00 Torr; 14.6959 psi; 760.00 mmHg). This is sometimes referred to as a unit of standard atmospheres (atm). Total atmospheric mass is 5.1480×1018 kg (1.135×1019 lb),[38] about 2.5% less than would be inferred from the average sea level pressure and Earth's area of 51007.2 megahectares, this portion being displaced by Earth's mountainous terrain. Atmospheric pressure is the total weight of the air above unit area at the point where the pressure is measured. Thus air pressure varies with location and weather.

If the entire mass of the atmosphere had a uniform density equal to sea level density (about 1.2 kg per m3) from sea level upwards, it would terminate abruptly at an altitude of 8.50 km (27,900 ft).

Air pressure actually decreases exponentially with altitude, dropping by half every 5.6 km (18,000 ft) or by a factor of 1/e (0.368) every 7.64 km (25,100 ft), (this is called the scale height) -- for altitudes out to around 70 km (43 mi; 230,000 ft). However, the atmosphere is more accurately modeled with a customized equation for each layer that takes gradients of temperature, molecular composition, solar radiation and gravity into account. At heights over 100 km, an atmosphere may no longer be well mixed. Then each chemical species has its own scale height.

In summary, the mass of Earth's atmosphere is distributed approximately as follows:[39]

  • 50% is below 5.6 km (18,000 ft).
  • 90% is below 16 km (52,000 ft).
  • 99.99997% is below 100 km (62 mi; 330,000 ft), the Kármán line. By international convention, this marks the beginning of space where human travelers are considered astronauts.

By comparison, the summit of Mt. Everest is at 8,848 m (29,029 ft); commercial airliners typically cruise between 10 and 13 km (33,000 and 43,000 ft) where the lower density and temperature of the air improve fuel economy; weather balloons reach 30.4 km (100,000 ft) and above; and the highest X-15 flight in 1963 reached 108.0 km (354,300 ft).

Even above the Kármán line, significant atmospheric effects such as auroras still occur. Meteors begin to glow in this region, though the larger ones may not burn up until they penetrate more deeply. The various layers of Earth's ionosphere, important to HF radio propagation, begin below 100 km and extend beyond 500 km. By comparison, the International Space Station and Space Shuttle typically orbit at 350–400 km, within the F-layer of the ionosphere where they encounter enough atmospheric drag to require reboosts every few months, otherwise, orbital decay will occur resulting in a return to Earth. Depending on solar activity, satellites can experience noticeable atmospheric drag at altitudes as high as 700–800 km.

Temperature

Temperature trends in two thick layers of the atmosphere as measured between January 1979 and December 2005 by microwave sounding units and advanced microwave sounding units on NOAA weather satellites. The instruments record microwaves emitted from oxygen molecules in the atmosphere. Source:[40]

The division of the atmosphere into layers mostly by reference to temperature is discussed above. Temperature decreases with altitude starting at sea level, but variations in this trend begin above 11 km, where the temperature stabilizes over a large vertical distance through the rest of the troposphere. In the stratosphere, starting above about 20 km, the temperature increases with height, due to heating within the ozone layer caused by the capture of significant ultraviolet radiation from the Sun by the dioxygen and ozone gas in this region. Still another region of increasing temperature with altitude occurs at very high altitudes, in the aptly-named thermosphere above 90 km.

Speed of sound

Because in an ideal gas of constant composition the speed of sound depends only on temperature and not on pressure or density, the speed of sound in the atmosphere with altitude takes on the form of the complicated temperature profile (see illustration to the right), and does not mirror altitudinal changes in density or pressure.

Density and mass

Temperature and mass density against altitude from the NRLMSISE-00 standard atmosphere model (the eight dotted lines in each "decade" are at the eight cubes 8, 27, 64, ..., 729)

The density of air at sea level is about 1.2 kg/m3 (1.2 g/L, 0.0012 g/cm3). Density is not measured directly but is calculated from measurements of temperature, pressure and humidity using the equation of state for air (a form of the ideal gas law). Atmospheric density decreases as the altitude increases. This variation can be approximately modeled using the barometric formula. More sophisticated models are used to predict the orbital decay of satellites.

The average mass of the atmosphere is about 5 quadrillion (5×1015tonnes or 1/1,200,000 the mass of Earth. According to the American National Center for Atmospheric Research, "The total mean mass of the atmosphere is 5.1480×1018 kg with an annual range due to water vapor of 1.2 or 1.5×1015 kg, depending on whether surface pressure or water vapor data are used; somewhat smaller than the previous estimate. The mean mass of water vapor is estimated as 1.27×1016 kg and the dry air mass as 5.1352 ±0.0003×1018 kg."

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