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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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Excerpt from The Philosophy of Soaring Flight: Inductive Results Applicable to the Art of Aeroplane Construction It may be stated beforehand also that the main difference is found to lie in certain peculiar qualities characteristic of all natural wings, as distin guished from form and dimensions in relation to weight supported. And these qualities refer more particularly to a combination in a system of elasticity and lightness. With but slight and unimportant exceptions - and such show no system or proper appreciation of their importance - the incorporation of these qualities in aeroplane surfaces has not hitherto seriously engaged the attention of builders. Led to their course by numerous instances of breakage due to apparent material weakness, it is true, nevertheless, that their aim has been to obtain a maximum strength with a minimum weight of material. But in their primitive methods of construction this strength has, for incidental unavoidable causes, been associated with rigidity and the question of quality left out as of secondary concern, not recognizing that rigid, unadaptable surfaces are under the circumstances in which they operate a source of weak ness just because they are rigid and are heavy because in combination with rigidity more material is necessary to provide a reasonable factor of safety. Thus, acre-surfaces, one may observe, are fixed in place to stay the same whether the aeroplane is in the air or in its shed. Of course no known material is absolutely rigid and unyielding, and so even wires and stays drawn tight by turnbuckles or other means have a certain amount of give orelasticity to them. Still, by far the greater number of accidents that have happened are traceable to no other cause than that these parts were unable to give enough, or avoid being overstrained, when subjected to sudden great stresses incident to conditions met with in the atmosphere, the inertia of the aeroplane as a whole preventing it from responding in the short time given to the sudden excessive pressures arising, with result of breakage or disturbance of equilibrium not possible of correction in the time given. Acci dents are thus frequent in spite of the fact that in the best up-to-date engineer ing practice devoted to this art, wing structures (stays, uprights, beams, etc.) are given a margin of strength of three, and even more times, over and above what is required for resisting the stress due to the weight supported alone. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Captain Bunn founded SOAR to develop effective methods for dealing with flight anxiety. Therapists who have found this phobia difficult to treat will find everything they need to give their clients success. Anxious flyers who have “tried everything” to no avail can look forward to joining the nearly 10,000 graduates of the SOAR program who now have the whole world open to them as they fly anxiety free wherever they want. This approach begins by explaining how anxiety, claustrophobia, and panic are caused when noises, motions—or even the thought of flying—trigger excessive stress hormones. Then, to stop this problem, Captain Bunn takes the reader step-by-step through exercises that permanently and automatically control these feelings. He also explains how flying works, why it is safe, and teaches flyers how to strategically plan their flight, choose the right airlines, meet the captain, and so on. Through this program, Captain Bunn has helped thousands overcome their fear of flying. Now his book arms readers with the information they need to control their anxiety and fly comfortably.
This book is concerned with the sport of soaring, mainly with the mathematical basis of sailplane design and operation. It does not tell the beginner how to fly, but it will give an experienced pilot some background, with historical notes showing how ideas have evolved and could develop in the future. Some of the material is taken from OSTIV (Organisation Scientifique et Technique Internationale de Vol a Viole) publications and from Technical Soaring, neither of which is readily available to the general public, including papers by the author and others. Extensive references are provided in each chapter.
My career as a pilot began in the Royal Air Force, passing through the renowned Empire Test Pilots' School, and culminating as Chief Test Pilot of Airbus Industrie, where it was abruptly brought to an early conclusion by a severe stroke in June 2000. These are stories from my flying life which relate the sensations of being airborne, the joy and the little worries or big frights, the pleasures and the moments when you wish you had stayed in bed. The book begins with the take off and culminates with the return to earth, the landing, passing through the various activities such as going fast, going slow and stalling, low level, formation, display flying, and aerobatics. There are also chapters describing the various aspects of flight-testing which have formed the majority of my career, particularly at the end. Each chapter finishes with an interesting or amusing tale from my own flying life. As far as flying machines are concerned, they go from an Avro Tri-plane of 1910 vintage to the latest in fly-by-wire civil transports passing through light planes from the twenties and thirties, fighters and bombers, airliners and executive jets. Although based on my own flying life the work is not chronological but organised by topics.
What is solitude, why do we crave and fear it, and how do we distinguish it properly from loneliness? It lies at the core of the lives of philosophers and their self-reflective contemplations, and it is the enabling (and disabling) condition that allows us to seriously question how to live creatively and meaningfully. David Farrell Krell is one of the decisive philosophical voices on how philosophers can creatively engage their solitudes. The scale and range of his understanding of solitudes are taken up in this book by some of the most distinguished Continental philosophers. Authors address the problem of solitude from different angles, and imagine how to face and respond creatively to it. Blending philosophical narrative and straightforward philosophical treatises, this book provides inspiration for contemplation of our own versions of solitude and their creative potentials. Some authors focus on the work of historical figures in philosophy or poetry, such as Heidegger and Hölderlin, while others deal more directly with Krell's work as exemplary of their own imaginings of creative solitudes. Other authors respond more personally and creatively in their demonstrations of how we can, and must, seek our solitudes. Including an original chapter by David Farrell Krell, this book is an invigorating meditation on the possibility of being philosophical about a life through solitude, and the meaning of this powerfully resonant and universal human experience.