Ga T 11: Fill & Download for Free

I am gonna mention those anime (well I'll try to) which are not included in other answers..30) Banana fishThere's a lot more to the story then you can imagine, it's rating is also great. So you can binge watching this one..29) After the rainCame to know about this one through an AMV, it was quite different and interesting to watch..28) Psycho passIt's mentioned in other lists (I think) but I don't want you guys to miss this one.Note:- Only it's 1st season.27) NichijouSuch a clean and awesome comedy this show has.Just brilliant!.26) Dr.stoneIt's fun to watch this guy trying to make 21st century things in 47–48th century..25) Run with the windYou can't miss this masterpiece of an anime, I can't believe they made marathon anime with such a fine and interesting plot..24) Re:zeroWhat a wide and wonderful plot, I am now eagerly waiting for it's 2nd season..23) Tsuki ga kireiYou can't have a more satisfying ending..22) Silver spoonThis is a very funny and a good educational anime, well I consider it educational..22) BarakamonSave it for your worst of the worst days it will help you. (It worked for me).21) BeastarsWhat a unique and awesome plot this anime has!! It was a treat to watch..20) Girls last tourRecently finished it and it was slow. But worth it..19) RelifeI recommend it's webtoon that is just awesome. What a ending. So after watching it's anime don't watch Ova just go and read it's webtoon..18) Death paradeThis anime's first episode was enough for me to put it in this list..17) March comes in like a lionWhat a day that was when I finished this masterpiece. It was slow but was worth it..16) Fruits basketIt's a perfect watch if you want to watch a shojo romance anime..15) Violet EvergardenSomeone recommended it to me months ago, I just finished it and it was so good!!.14) Kaguya Sama love is warHey! Hey!No. That's S2 but still both of them are so good and just wait.. and appreciate it for the amount of memes it gave us..13) konosubaMy favourite isekai anime! Just love it“Kazuma desu” I can hear him saying that.12) 91 daysIt's some next level gangster sh*t..11) HyoukaIt's first episode will suck you in..Now before answering the real question, time for some honourable mentionsDemon slayerAssassination classroomFood warsYuri on ice7 deadly sinsErased.Now let's get into the Top 10 of the decade-10) Ping pong the animationNever ever ignore this one because when you'll finish it you'll regret ignoring it in the past..9) Ao haru rideOne of the most underrated romance anime ever..8) OregairuOne of the most relatable protagonist ever.( I Can relate ).7) Made in AbyssThis anime is not childish!!! Just watch it!.6) OrangeMy favourite romance anime of all time! I can give it a rewatch now! if I can..5) Vinland SagaIt's a legendary manga which got a very wonderful anime adaptation in 2019. So give it a try you might find it slow at the beginning but don't stop just keep watching..4) The Promised NeverlandJust watch it's first episode, you'll finish it in a go by yourself..3) JoJo Bizarre adventureFinished stardust crusaders and my oh my! The hype was not for nothing. It really was next level!“ Muda muda muda muda” “yare yare daze”.2) Haikyuu!It's a legendary sports anime! Which cannot be overtaken. It's sad to see that it's manga is about to end....Now for number 1 it's none other than..ParasyteSo this one is just a brilliant piece of diamond! What a roller coaster ride this 24 episode anime was...Lemme remind you these were the anime which were not frequently used in other lists.Now I'll mention those anime which were definitely one of the best but they were in every list, so I didn't mentioned them in my list above.Attack on titanHunter X HunterOne punch manMob psycho 100Steins gate.That is it for my list I hope you got some recommendations…Dang.. it took hours to write this one..18th May, 2020.Arigato.

When practicing parachute landing falls in Jump School at Ft Benning, GA, students will jump from a platform between 3 and 4 foot tall (a little over 1 meter) in order to get used to the sequence of events during the parachute landing fall.When actually jumping the T-10 parachute is designed to descent between 22 to 24 feet per second (6.7 to 7.3 m/s); total suspended weight limitation is 360 pounds (160 kg). The newer T-11 is designed for 19 feet per second (5.8 m/s) for the 95th percentile service member for less chance of injury and a recognizance of the greater weight carried by the modern paratrooper. The main hindrance to a ‘soft’ landing is the rucksack and weapon strapped to the parachutist’s harness, (note maximum harnessed weight for a T-10 listed above).

My favourite story about Feynman and mathematics is (as with so much else) in James Gleick’s great biography, Genius. However, I’ve lent the book to a friend, so I tried to find the tale online. It’s an account of a talk he gave at Los Alamos during the Manhattan Project, titled “Some Interesting Properties of Numbers”. I remembered that he said that all the “mighty minds” were “mightily impressed” by his tour de force.So a search on the Internet finally yielded the passage—someone else had been so impressed by it that he had folded that page in Gleick’s book, and found it right away 20 years later, it was the only page he’d marked in this way: Folded Corners.Here’s the passage in full:Meanwhile, under the influence of this primal dissection of mathematics, Feynman retreated from pragmatic engineering long enough to put together a public lecture on “Some Interesting Properties of Numbers.” It was a stunning exercise in arithmetic, logic, and — though he would never have used the word — philosophy. He invited his distinguished audience (“all the mighty minds,” he wrote his mother a few days later) to discard all knowledge of mathematics and begin from first principles — specifically, from a child’s knowledge of counting in units. He defined addition, a + b, as the operation of counting b units from a starting point, a. He defined multiplication (counting b times). He defined exponentiation (multiplying b times). He derived the simple laws of the kind a + b = b + a and (a + b) + c = a + (b + c), laws that were usually assumed unconsciously, though quantum mechanics itself had shown how crucially some mathematical operations did depend on their ordering. Still taking nothing for granted, Feynman showed how pure logic made it necessary to conceive of inverse operations: subtraction, division, and the taking of logarithms. He could always ask a new question that perforce required a new arithmetical invention. Thus he broadened the class of objects represented by his letters a, b, and c and the class of rules by which he was manipulating them. By his original definition, negative numbers meant nothing. Fractions, fractional exponents, imaginary roots of negative numbers — these had no immediate connection to counting, but Feynman continued pulling them from his silvery logical engine. He turned to irrational numbers and complex numbers and complex powers of complex numbers — these came inexorably as soon as one from facing up to the question: What number, i, when multiplied by itself, equals negative one? He reminded his audience how to compute a logarithm from scratch and showed how the numbers converged as he took successive square roots of ten and thus, as an inevitable by-product, derived the “natural base” e, that ubiquitous fundamental constant. He was recapitulating centuries of mathematical history — yet not quite recapitulating, because only a modern shift of perspective made it possible to see the fabric whole. Having conceived of complex powers, he began to compute complex powers. He made a table of his results and showed how they oscillated, swinging from one to zero to negative one and back again in a wave that he drew for his audience, though they knew perfectly well what a sine wave looked like. He had arrived at trigonometric functions. Now he posed one more question, as fundamental as all the others, yet encompassing them all in the round recursive net he had been spinning for a mere hour: To what power must e be raised to reach i? (They already knew the answer, that e and i and π were conjoined as if by an invisible membrane, but as he told his mother, “I went pretty fast & didn’t give them a hell of a lot of time to work out the reason for one fact before I was showing them another still more amazing.”) He now repeated the assertion he had written elatedly in his notebook at the age of fourteen, that the oddly polyglot statement e πi + 1 = 0 was the most remarkable formula in mathematics. Algebra and geometry, their distinct languages notwithstanding, were one and the same, a bit of child’s arithmetic abstracted and generalized by a few minutes of the purest logic. “Well,” he wrote, “all the mighty minds were mightily impressed by my little feats of arithmetic.For me, this story tells volumes. First, Feynman was never content until he had broken something down to its bare bones, especially something mathematical. He would not accept “black boxes” that produced regular results, but whose inner operations were not understood. Second, he would intuit an overarching principle for the system he was studying, and use this principle to engage and guide the mathematical machinery to “shake out” a proper proof or formalism.Here, he used the Euler identity (sorry, I can’t find a way to do superscripts in Quora, so I hope you understand what is meant above by e πi + 1 = 0) to guide his systematic breaking-down and building-up of the entire complex number system we use. It’s the rabbit he pulls out of the hat at the very end and everything builds up to that point.Another example is his embrace of the principle of least action—which he was initially very reluctant to use, because it seems like magic, as in, how does light know this is the shortest path—to formulate his final version of quantum mechanics.Third: even as the youngest physicist at Los Alamos, among all the mighty minds solving all the problems of the world, he was not scared to be playful, to take everyone back to first principles, and maintain a fundamental perspective on everything they were doing.However, there is another aspect to Feynman’s arithmetic, and the way he broke numbers down, which deserves attention. This was his ability to play cross rhythms on the drums. I seem to remember “11 against 12”, but online I can only find: “Remember Feynman and the bongo drums? It was said he could play 10 beats with his right hand to 11 with his left.”(That’s a conga above, by the way, not bongos).How did Feynman do this? How does one separate left and right brain, and count something as crazy as this? Can any of you do this? I must say, I’ve never met another physicist who even knew how to try, although I’ve met one mathematician who could play two against three.I don’t know how Feynman did it, but I described some of the tricks African musicians use in my very first post on Quora: Karl Muller's answer to Is music really math?If you work out the rhythm slowly, and then assign a mnemonic to the beats, it’s actually quite easy (with practice) to separate your hands. However, there’s a more mathematical way of doing it, which I often use when first working out a cross rhythm from first principles. This is actually an application of modulo arithmetic.To play 3 beats on your left hand, and 4 beats on your right hand: you count 4 x three beats on your right hand, and 3 x four beats on your left hand.I use a wonderful system called TaKeTiNa to count these rhythms, this is by far the best rhythm system I’ve ever found in my life: HomeTo count three beats, you say “Ga Ma La”. To count four beats, you say “Ta Ke Ti Na”.So: 4 x “Ga Ma La” = 3 x “Ta Ke Ti Na”.Now just play the right-hand rhythm, I generally use my right hand for the faster rhythm, this goes “Ga Ma La Ga Ma La Ga Ma La Ga Ma La…”Your right hand hits the drum each time you say “Ga” and you do this four times. If you’re counting like an orchestral musician, you say: “One, two, three; Two, two, three; Three, two, three; Four, two, three…”—and you get 4 x 3 = 12 beats.On your left hand, you now want 3 x “Ta Ke Ti Na”. However, you are busy counting the “Ga Ma La” on your right hand. So how do you do both?You start by saying “Ta Ke Ti Na Ta Ke Ti Na…”, hitting the drum with your left hand each time you say “Ta”, keeping the same pulse as before. Just do this with one hand, until you’re in the rhythm. Then, still hitting every fourth beat, you start saying “Ga Ma La”. So now you are doing this with your left hand:“Ga Ma La Ga Ma La Ga Ma La Ga Ma La…” —and now you have 3 x 4 = 12.I hope you can see some of the similarities with the arithmetic lecture.Now look carefully at what you’re saying as you hit the drum with your left hand. You are saying “Ga … Ma … La … Ga … Ma … La…”.That’s not so hard, is it? All you really have to count is Ga, Ma, La.So now you put it together: using bold for the right hand, italics for the left, and bold italics for both hands together, you get:Ga Ma La Ga Ma La Ga Ma La Ga Ma La, Ga Ma La Ga Ma La Ga Ma La Ga Ma La, …”So both your left hand and right hand are saying the same thing, Ga Ma La, in interwoven sequence. Once you get used to it, you don’t have to count.To fit a mnemonic to this: To pick up the right-hand rhythm, I say the following (this is my own invention, if you can find a better one, go for it, I’ve tried for years, this one is completely stuck in my head):“Don’t Di-ther, Do the Deed. “To pick up the left-hand, you keep the rhythm exactly the same, but you say:“Don’t for-Get the Coff-ee…” (using bold now to indicate the beats on the left hand).This way, you can shift your attention at will to concentrate on and improvise with one hand, while the other keeps its rhythm unchanged.Yet another way to do it is to use a metronome and just look at how your hands work. If T = Together, R = Right and L = Left, you can do a quick calculation, and work out this:T 2 R L 1 R 1 L R 2, T …You count it like this to a metronome beat: “Together, one, two, right left, one, right, one, left right, one two, Together…”If you take this sequence and run it backwards and forwards, it is, of course, symmetric —this is true of all the cross rhythms.One of the tricks a “higher intelligence” would be able to perform, they say, would be to compose a piece of music spontaneously that is symmetric, i.e., that can be played both backward and forward. You can see that this trick is actually a completely normal skill among African drummers. As we begin playing a cross rhythm, from the beginning, we can immediately hear how it’s going to come around at the end.Now: if you do this for long enough, you eventually find these rhythms cycling within yourself, and you can switch from one to another without even thinking. I can play three beats with my left hand, and do 1, 2, 3, 4, 5, and 6 beats with my right hand at will (I’m still working on 3 against 7 … 4 against 7 is much easier.)I must admit, I’ve never tried 10 against 11, but I do have a fully worked out composition in 11 time. I actually count it in two bars of five-and-a-half, so it’s called the “The Take Five-and-a-Half Cha-Cha-Cha”. You find these strange tunes just appearing as you work on your cross rhythms.According to the neurologist Oliver Sacks, the only profession one can recognise just by looking at someone’s brain, is “musician”. The cerebral cortex is much more developed, as a result of what’s called “long-term potentiation” of the brain: the brain synapses actually physically grow and form stronger connections to reinforce repeated brainwave patterns. Musicians aren’t born like with brains like this: it’s tens of thousands of hours of physical practice that causes the brain to develop in this way.Sacks also says the corpus callosum, the thick fibre joining left and right brains, is especially enhanced in musicians.With all the incessant drumming Feynman was doing, on desks, doors, walls, pots, pans, wine glasses, literally anything to hand, he was constantly keeping his left and right brains working together, yet autonomously. And perhaps this is one of the secrets to The Feynman Algorithm for solving a problem: http://wiki.c2.com/?FeynmanAlgorithm:Write down the problem.Think real hard.Write down the solution.Maybe it should be “Think real hard while drumming with your fingers.”One last point: Reinhard Flatischler, the originator of the TaKeTiNa system, makes a big distinction between actions that are automatic and those that are autonomous. By definition, doing something automatically means you’re doing it without thinking about it. The moment you start thinking about it, it’s no longer automatic. Now, you ask any piano player who has drilled their skills, and who may be playing something perfectly, whether they get in trouble when they start looking at their fingers and thinking about what they’re doing. This can be disastrous, and it happens to the best of performers.When you can look at your left hand, and find that it’s keeping that rhythm all by itself — “Ga Ma La Ga Ma La Ga Ma La …”—and that when you pay attention to it, you don’t lose the beat, rather, the beat says, “Thank you for finally paying attention to me, now, you can start improvising a bit with this hand, don’t worry, I’ve got this…”—in other words, your two hands are both quite autonomous, they are each under their own control and can move quite independently, just as you will them to—Then, you can actually say you’re counting with your whole brain. It’s quite easy to count to three fours with one hand, but you try doing it when your other hand is counting four threes. This is African higher mathematics. Even highly trained Western orchestral musicians are completely lost the moment they hit complex African music. Take Tubular Bells as an example of difficult Western rhythms: this starts with 7, 7, 7, and 9 beats, making 30 overall, but it’s quite linear, there are no real cross rhythms in it. An African musician would take one look at this and say, hm, 30 beats, let’s try six bars of 5 time… Ga, Ma, La, Ta, Ki, Ga, Ma, La, Ta, Ki… might be a bit boring, but it’s a good start…