Cm S To Ft S - Sarah Sitkin Interview: The Terrible Beauty Of Being Human

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Fri, 19 Jul 2024 23:22:29 +0000

However, we do not guarantee that our converters and calculators are free of errors. Convert cm/s to ft/s. Therefore, to increase viscosity, starch or flour is added to the milk in these recipes. Cms to ft inches. Some causes of high viscosity other than cold temperatures include hereditary or anomalous conditions of too many blood cells and too little plasma in the blood, as well as high cholesterol levels. The viscosity of a cosmetic product may be the determining factor of whether the consumer buys this product again. 03281 ft/s1 centimeter per second is 0. Viscous food is also easier to spread and can be used to hold foods together. Cosmetic products, such as liquid foundation, lip gloss, liquid eyeliner, mascara, nail polish, and various lotions, to name just a few, use viscosity to ensure that the products stay on the skin. They also allow one to place other foods on top of them in a decorative manner as you can see in the pictures of mayonnaise and yogurt.

1. Cms to ft inches
2. Ft to cm
3. Cm s to ftls.org
4. Ft to cm conversion chart
5. Cm/s to ft/s formula
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Manufacturers are responding by lowering the trans fat levels in margarine. It is easy to watch a similar phenomenon in the kitchen when heating up soup in a pot on the stove. Understanding viscosity and how to control it is very important in a range of industries. Terms and Conditions. Viscosity is often talked about in the context of shear stress, where shear stress is defined as stress that results from a force that acts parallel to the cross-section of the object. Cm s to ftls.org. Two cars started from two positions 87 km distant at the same time in opposite directions at speeds of 81 km/h and 75 km/h. Conversion centimeters per second to feet per second, cm/s to ft/ conversion factor is 0. How long will the light come from the Sun to the Earth? In the past, it has been linked with health problems due to the high content of saturated and trans fats, which are thought to increase blood cholesterol level. We work hard to ensure that the results presented by converters and calculators are correct. How long will an airliner fall from a height of 10000 m at a speed of 1, 000 km/h? When magma is low in viscosity, it will be pushed out of the crater with less pressure, and it will flow along the mountain. The plane from Prague to Warsaw flies 540 km in 1 hour and 12 minutes.

Ft To Cm

Miles Per Hour to Light Speed. The more common unit is centipoise (cP). More math problems ». Higher concentration on silica results in more viscous magma due to the structure of the silica molecules. The speed of an electric locomotive is 90 km/h. Ft to cm conversion chart. Lotions do not cling to hair as much because of lower viscosity, and thus are easier to use on the scalp and other areas covered with hair. Blood with high viscosity does not travel as well and as fast through the body as blood with normal viscosity, and this may prevent proper nutrition and oxygen flow to the tissue and organs, and even the brain.

Cm S To Ftls.Org

People who make their own cosmetics control the viscosity of the final project by combining the oils and waxes until the desired viscosity is reached. Solids that undergo small continuous stress, deform similar to liquids and could be described in terms of viscosity, but this property is most often used in relation to liquids and gases. Foot per minute also can be marked as foot/minute. The property of the jam to follow your hand is viscosity — the jam does not flow, even though you push it, but follows your hand instead. If a fluid with a viscosity of one Pa·s is placed between two plates, and one plate is pushed sideways with a shear stress of one pascal, it moves a distance equal to the thickness of the layer between the plates in one second. This property makes them popular in medicine.

Ft To Cm Conversion Chart

The Unit Conversion page provides a solution for engineers, translators, and for anyone whose activities require working with quantities measured in different units. In other words, the value in cm/s divide by 30. Such explosions are more dangerous because they are spontaneous. Because of their viscosity, lotions feel lighter and more refreshing on the skin. In this case, they would often be amputated. Post your question in TCTerms and you will get an answer from experienced technical translators in minutes. Conversion of a velocity unit in word math problems and questions. 1 centimeter per second (cm/s) = 1.

Cm/S To Ft/S Formula

00208854342332 slug/foot/second [slug/(ft·s)]. Controlling it saves lives, helps generate lucrative profits to the manufacturers of cosmetics, and makes cooking easier. Use the following facts to convert this units: 1 meter = 39. At what average speed did they move before the parachute opened?

The cgs physical unit for dynamic viscosity is the poise (P). The boiling of semolina in the picture is very similar in nature. The famous volcano eruption near Pompeii was such a kind. Viscosity is commonly used in cooking to enhance food presentation and the ease of consumption. It is important to note the difference between Newtonian and non-Newtonian fluids when talking about viscosity. If you put this jam cube onto a plate, then touch the top of the cube with your hand, and pull your hand parallel to the surface of the cube in any direction — you will be acting on the jam cube with a force that causes shear stress. In everyday terms (and for fluids only), viscosity is thickness or thinness, or internal friction. They then strictly adhere to the production guidelines and measure the viscosity of the product during the manufacturing, to ensure that it meets the viscosity standards. Cream is a good example of a non-Newtonian fluid because it is not very viscous under normal conditions or if some small amount of force is applied to it, but becomes very viscous if the force is intensified. To increase viscosity, oils from plants are often hydrogenated. Air bubbles in the soup will act the same as gas bubbles in magma, causing the mini eruption.

You may be interested in other converters in the Hydraulics — Fluids group: Do you have difficulty translating a measurement unit into another language? The distance to the places is 60 km. Some examples are emulsifying wax, which is wax-treated with a detergent-like solution, and ceteareth, a substance that is a combination of saturated fatty alcohols. Calculate the total energy of a body performing a harmonic oscillating motion if its mass is 200 g, the deflection amplitude is 2 cm, and the frequency is 5 Hz. 96850394 foot per minute (ft/min). For example, warm honey is easy to stir but is more viscous when colder, and so are some oils.

A passenger car covers 1 km in 2/3 minutes, and a truck in 50 seconds longer. Blood viscosity is extremely important in medicine because high blood viscosity can lead to a range of medical problems. The speed of the mail train is 1370 meters per minute. For example, imagine a substance so viscous, that it can retain its shape, say a cube, for several minutes almost without changing — like a very viscous fruit jam. Foods high in viscosity are also often used for decoration because they keep their shape. You can use this online converter to convert between several hundred units (including metric, British and American) in 76 categories, or several thousand pairs including acceleration, area, electrical, energy, force, length, light, mass, mass flow, density, specific volume, power, pressure, stress, temperature, time, torque, velocity, viscosity, volume and capacity, volume flow, and more. What was the distance between them after 2 hours and 50 minutes of driving?

SS: probably the head is my favorite part of the human body to mold. SS: I'm looking to bring the bodysuits show to other cities, next stop is detroit, michigan on may 4th 2018. All images courtesy of the artist. I started making molds of my own body in my bedroom using alginate and plasters when I was 10 or 11. Bodysuit underwear for men. my dad also did a face cast of me and my brother when we were kids, and the life cast masks sat on a shelf in the living room for years. Does creating pieces specifically for display in a gallery context change the way you approach a project, or is your process always the same regardless? When I take a life cast of someone's head, almost every time, the person responds to their own lifeless, unadorned replica with disbelief and rejection.

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DB: are there any mediums you have explored that you're keen to experiment with? With the accessibility of photography (everyone has a cameraphone), the ability to curate identity through image-based social media, and the culture of individualism—building experiences that facilitate other people documenting my artwork seems necessary if I want to connect with my audience. I have a solo show in december 2018 with nohwave gallery in los angeles, and I'm working on a very special collaboration with my friends from matières fécales. Most recently, sitkin's 'BODYSUITS' exhibition at superchief gallery in LA invited visitors to try on the physical molds of other people's naked bodies, essentially enabling them to experience life through someone else's skin. The work of sarah sitkin is delightfully hard to describe. Women bodysuit for men. Working within gallery walls is actually exciting right now because the opportunity to show work in person opens up the possibility to interact with the public in new and profound ways. 'bodies are volatile icons despite their banal ubiquity'. Flesh becomes a malleable substance to be molded and whittled into new and unrecognisable shapes. To what extent do you feel the personalities or experiences of your real-life subjects are retained by the finished molds, or, once complete, do you see the suits as standalone objects in their own right? The sculptures, while at times unsettling, are also incredibly intimate. SS: I've been a rogue artist for a long time operating outside the institutional art world. Sitkin's father ran a craft shop in LA called 'kit kraft' where she was first introduced to the art of special effects. I'm finally coming into myself as an artist in the past couple of years, learning how to fuse my craftsmanship with concept to achieve a complete idea.

Designboom: can you talk a bit about your background as an artist: how you first started making art, where the impulse came from and when you began to make these sculptural, body-focused pieces? Unable to contort the face itself into its best pose, the replica can feel like a betrayal of truth. In the sessions I've experienced a myriad of responses. There were several sessions that had an impact in ways I didn't foresee; a trans person was able to see themselves with a body they identify with, and solidified their understanding of themselves. We sweat, suffer and bleed to try and steer it into our own direction. As part of the project, I do 'fitting sessions' where I aid and allow people to actually wear the bodysuits inside a private, mirrored fitting room. It becomes a medium of storytelling, of self interrogation and of technical artistry. Sitkin's studio is home to a variety of different tools and textiles. Most all the ideas I have come from concepts I'm battling with internally every day; body dysmorphia, nihilism, transcendence, ageing, and social constructs. Female bodysuit for men. It can be a very emotional experience. A prosthetic iPhone case created by sitkin that looks, moves and feels like a real ear. A young person was able to wear ageing skin to reconnect with the present moment. Our brains are programmed to tune into the fine details of the face, I'm hardwired to be fascinated by faces. I imagine a virtual universe where I can create without obeying physics, make no physical waste, and make liberal use of the 'undo' button.

I suppose doing an interview with someone who's body was molded for the show would be an interesting read. But sometimes taking a closer look—at mucus, teeth, genitals, hair, and how it's all put together—can be a strangely uncomfortable experience. Sarah sitkin: I started making art in my bedroom as a kid with stuff my dad would bring home from work. A diverse digital database that acts as a valuable guide in gaining insight and information about a product directly from the manufacturer, and serves as a rich reference point in developing a project or scheme. Bodies are politicized and labeled despite the ideals and identities of those individuals, especially when presented without emotional or social markers.

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It's never a bank slate, we constantly have to find a way to work in a constant influx of aging, hormones, scar tissue, disease, etc. Combining an eclectic mix of materials, sitkin's work consists of hyper-realistic molds of the human form which toy with and tear apart the preconceptions we have about our own bodies, and the bodies of those around us. Are there any upcoming projects you'd like to share with us? The artist's most recent exhibition BODYSUITS took place at LA's superchief gallery. SS: our bodies are huge sources of private struggle. DB: what is the most difficult part of the human body to replicate, and what is your favorite part to work on? 'I try to curate, whenever possible, the environment that my work is seen in'. There were materials the shop carried like dental alginate, silicone, high quality clays, casting resins, plasters, and specialty adhesives that I got to mess around with as a young person because of the shops' proximity to the special effects studios and prop shops. I use materials and techniques borrowed from special effects, prosthetics, and makeup (an industry built on the foundations of those words) but the concepts I'm illustrating really have nothing to do with gore, cosplay, or horror. Sitkin's molds toy with and tear apart the preconceptions we have about our own bodies.

DB: can you tell us about your most recent exhibition 'bodysuits'? I definitely see the finished suits as standalone objects, however, it's also so important to approach each suit with care and respect, because they still represent actual individuals. SS: 'bodysuits' began as a project to examine the division between body and self. What was the aim of the project, and what was the general response like? DB: your sculptures, while at times unsettling, are also incredibly intimate and display the human form in a really unglamorous way that feels—especially in the case of 'bodysuits'—very personal. Removing the boundaries between the audience and the art allows the experience to become their own. DB: your work is often described as 'creepy' or 'horror art', and while there is something undeniably discomfiting about some of your pieces, are these terms ones you identify with personally and is this sense of disorientation something you intentionally set out to try and achieve? I try to curate, whenever possible, the environment that my work is seen in, using controlled lighting, soundscapes and design elements to make it possible for others to document my work in interesting and beautiful ways. By staging an environment for the audience to photograph, it invites them to collaborate. I'm pretty out of touch with pop music and culture. It forces us to confront the less 'curated' sides of the human body, and it's an aspect that artist sarah sitkin is fascinated with. Every day we have to make it our own; tailor, adorn and modify it to suit our identity at the moment.

There's a subtle discrepancy between what we think we look like and the reality of our appearance. SS: 'creepy' and horror' are terms I struggle to transcend. Sitkin's work forces us to encounter and engage with our bodies in new and unusual ways. I have to sensor the genitals and nipples (I'm so embarrassed that I have to do that) in order to share and promote the project on social media. 'I am deliberately making work that aims to bring the audience to a state of vulnerability'. Noses, mouths, eyes and skin are things we all have a fairly intimate relationship with, and changing the way we present these features can seem integral to our sense of identity.

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That ownership of experience is so important to eschew psychological blockades, to allow the work to be impactful in meaningful ways. DB: who or what are some of your influences as an artist? DB: what's next for sarah sitkin? The result is often unsettling but also deeply personal and affecting, and offers viewers new perspectives on the bodies they thought they knew so well. DB: your work kind of eschews categorisation—how do you see yourself in relation to the 'conventional' art world? This de-personification allows us to view our physical form without familiarity, and we are confronted with the inconsistency between how we appear vs how we exist in our minds. Sitkin's work tests the link between physical anatomy and individual sense of identity. For sitkin, the body itself becomes a canvas to be torn apart and manipulated.

BODYSUITS examines the divide between body and self, and saw visitors trying on body molds like garments. I try and insulate myself from trends and entertainment media. Moving a person out of their comfort zone is the first step in achieving vulnerability, and in that space, a person may allow themselves to be impacted. These early molding and casting experiments really came to play a huge role in the ideas I would later have as an artist, and got me very comfortable with the materials and process.

I never went to art school (in fact I never even graduated high school). As far as the most difficult body part to replicate…probably an erect penis for obvious reasons. SS: like so many people in my generation, photos are an integral part of how we communicate. In deconstructing the body itself, sitkin tests the link between physical anatomy and individual sense of identity.

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I was extremely fortunate because my father ran a craft shop called 'kit kraft' in los angeles, so he would bring me home all kinds of damaged merchandise to play around with. When someone scrolls past a pretty image it is disposable, but when someone takes their own pic, it becomes part of their experience. A woman chose to wear a male body to confront her fear and personal conflict with it. Combining sculpture, photography, SFX, body art, and just plain unadorned oddity, the strange worlds suggested by her creations are as dreamlike as they are nightmarish.

To present a body as separate from the self—as a garment for the self. Navigating the inevitable conflict, listening to opinions and providing emotional support is stressful but it's part of the responsibility of being an artist making provocative work around delicate subject matter. This wasn't just any craft shop—it was a craft shop in a part of the city that was saturated with movie studios so it catered to the entertainment industry. Designboom caught up with sitkin recently to talk about the exhibition, as well her background as an artist and plans for the future.

I developed my own techniques through experimentation and research, then distributed my work primarily via photographs and video on social media.