Examples of second-class lever in the following topics:
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- Classes of levers include:
- In a second-class lever, the force is
applied at one end with the pivot at the other and the load in between.
- Second-class
levers are also relatively uncommon in the body.
- All second-class levers in the
body act at a mechanical advantage since the force is always applied closer to the
load than to the pivot.
- In a third-class lever the force is applied
between the load and the pivot.
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- The target behavior for the rat was to press a lever that would release food.
- For example, Skinner would reward the rat for taking a step toward the lever, for standing on its hind legs, and for touching the lever—all of which were successive approximations toward the target behavior of pressing the lever.
- For example, once the rat had touched the lever, Skinner might stop rewarding it for simply taking a step toward the lever.
- In Skinner's experiment, each reward led the rat closer to the target behavior, finally culminating in the rat pressing the lever and receiving food.
- Second, she cleans up five toys; then chooses whether to pick up ten toys or put her books and clothes away; then cleans up everything except two toys.
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- Among these were the Smith-Lever Act, and Fuel and Food Control Act, the U.S.
- In 1914, Congress passed the Smith-Lever Act, which created the Cooperative Extension Service in order to develop more effective agricultural and animal husbandry classes, programs, and use of land grant institutions such as Washington State University, Texas Agriculture & Mining, and the University of Wisconsin.
- Distinguish the purposes of the Smith-Lever Act, the Fuel and Food Control Act, the U.S.
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- In his first work with rats, Skinner would place the rats in a Skinner box with a lever attached to a feeding tube.
- Whenever a rat pressed the lever, food would be released.
- After the experience of multiple trials, the rats learned the association between the lever and food and began to spend more of their time in the box procuring food than performing any other action.
- He fed the pigeon on continuous intervals (every 15 seconds) and observed the pigeon's behavior.
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- The first class (actor 7) has dense sending ties to the third (actors 5 and 2); and receives information from all three other classes.
- The second, and largest, class sends information to the first and the third class, and receives information from the third class.
- The third class (5 and 2) send information to the first and second class, as well as among themselves; they receive information from the second class.
- The last class (actor 6), sends to the first class, but receives from none.
- what is the position of each class, as defined by its relations to the other classes?
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- Children figure out ways to elicit responses by "doing", such as pulling a lever on a music box to hear a sound, placing a block in a bucket and pulling it back out, or throwing an object to see what happens.
- Children begin to organize objects by classes and subclasses, and they can perform mathematical operations and understand transformations, such as addition is the opposite of subtraction and multiplication is the opposite of division.
- The second child understands conservation, demonstrating the concrete operational stage.
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- We've already seen that the set class list can tell us some very interesting and important things about the intervallic properties of a set class and its complement.
- Each placeholder in the interval vector tells us how many of a particular interval class are in a given set class.
- For example, in the (027) set class shown below, all members of that class will have two interval class 5s and one interval class 2.
- Those numbers also tell us how many common tones are retained when those sets are transposed by a member of that interval class.
- That is, because there is a 1 in the second column, a pitch class set belonging to (027) will retain 1 common tone when transposed by either T2 or T10.
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- A cumulative frequency distribution is the sum of the class and all classes below it in a frequency distribution.
- Each data value should fit into one class only (classes are mutually exclusive).
- The second column should be labeled Frequency.
- Fill in your class limits in column one.
- The second entry will be the sum of the first two entries in the Frequency column, the third entry will be the sum of the first three entries in the Frequency column, etc.
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- The first is actor A; the second is composed of the three actors B, C, and D; the third is composed of the remaining five actors E, F, G, H, and I.
- These actors are regularly equivalent to one another because a) they have no tie with any actor in the first class (that is, with actor A) and b) each has a tie with an actor in the second class (either B or C or D).
- Actors B, C, and D form a class because a) they each have a tie with a member of the first class (that is, with actor A) and b) they each have a tie with a member of the third class.
- B and D actually have ties with two members of the third class, whereas actor C has a tie to only one member of the third class; this doesn't matter, as there is a tie to some member of the third class.
- Actor A is in a class by itself, defined by a) a tie to at least one member of class two and b) no tie to any member of class three.
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- Following are a few tips, terms, and common structures that will be helpful for analyzing early twentieth-century atonal music, such as that composed by members of the Second Viennese School (Schönberg, Berg, Webern).
- Hexatonic – A six-pitch-class scale that alternates i1 and i3 (semitones and minor thirds/augmented seconds).
- Pitch-class transposition does the same thing.
- For pitch-class transpositions, use ordered pitch-class intervals (numbers 0–11).
- Pitch-class inversion occurs when all pitch classes of a collection are inverted, or flipped, around an axis of symmetry in pitch-class space (in other words, the axis of symmetry is a pitch class).