From the earliest days of aviation where the pilot would drop simple bombs by hand, to the highly agile, stealthy aircraft of today that can deliver smart ordnance with extreme accuracy, engineers have striven to develop the capability to deliver weapons against targets reliably, safely and with precision. Aircraft Systems Integration of Air-Launched Weapons introduces the various aspects of weapons integration, primarily from the aircraft systems integration viewpoint, but also considers key parts of the weapon and the desired interactions with the aircraft required for successful target engagement. Key features: Addresses the broad range of subjects that relate directly to the systems integration of air-launched weapons with aircraft, such as the integration process, system and subsystem architectures, the essential contribution that open, international standards have on improving interoperability and reducing integration costs and timescales Describes the recent history of how industry and bodies such as NATO have driven the need for greater interoperability between weapons and aircraft and worked to reduce the cost and timescales associated with the systems integration of complex air-launched weapons with aircraft Explores future initiatives and technologies relating to the reduction of systems integration costs and timescales The systems integration of air-launched weapons with aircraft requires a multi-disciplinary set of engineering capabilities. As a typical weapons integration life-cycle spans several years, new engineers have to learn the skills required by on-the-job training and working with experienced weapons integrators. Aircraft Systems Integration of Air-Launched Weapons augments hands-on experience, thereby enabling the development of subject matter expertise more quickly and in a broader context than would be achieved by working through the life-cycle on one specific project. This book also serves as a useful revision source for experienced engineers in the field.
This book is devoted to integration, one of the two main operations in calculus. In Part 1, the definition of the integral of a one-variable function is different (not essentially, but rather methodically) from traditional definitions of Riemann or Lebesgue integrals. Such an approach allows us, on the one hand, to quickly develop the practical skills of integration as well as, on the other hand, in Part 2, to pass naturally to the more general Lebesgue integral. Based on the latter, in Part 2, the author develops a theory of integration for functions of several variables. In Part 3, within the same methodological scheme, the author presents the elements of theory of integration in an abstract space equipped with a measure; we cannot do without this in functional analysis, probability theory, etc. The majority of chapters are complemented with problems, mostly of the theoretical type. The book is mainly devoted to students of mathematics and related specialities. However, Part 1 can be successfully used by any student as a simple introduction to integration calculus.
One of Andrew Wyeth's most important paintings, "Wind from the Sea" (1947), is also the artist's first full realization of the window as a recurring subject in his art. Wyeth returned to windows during the course of the next 60 years, producing more than 300 remarkable works that explore both the formal and conceptual richness of the subject. Absent from these spare, elegant, almost abstract paintings is the narrative element inevitably associated with Wyeth's better-known figural compositions. In 2014 the National Gallery of Art, Washington, presents an exhibition of a select group of these deceptively realistic works, window paintings that are in truth skillfully manipulated compositions centering on the visual complexities posed by the transparency, beauty and formal structure of windows. In its exclusive focus on paintings without human subjects, this catalogue offers a new approach to Wyeth's work and represents the first time that his non-figural works have been published as a group since the 1990s.The authors explore Wyeth's fascination with windows--their formal structure and metaphorical complexity. In essays that address links with the poetry of Robert Frost and the paintings of Edward Hopper, Charles Sheeler and other artistic peers, the authors consider Wyeth's statement that he was, in fact, an abstract painter.American painter Andrew Wyeth lived his entire life in his birthplace of Chadds Ford, Pennsylvania, and his summer home in mid-coast Maine. His seven-decade career was spent painting the land and people that he knew and cared about. Renowned for his tempera "Christina's World" (1948), Wyeth navigated between artistic representation and abstraction in a highly personal way.