1) Briefly describe one of your past experiences with mathematical modeling. What was the problem, and how did you try to solve it?
2) Is a sphere a good model of a cow? Why and why not? When might it be a suitable model? When is it not be a suitable model?
perspectives the temperatures. The AirShard represents a ravaged and vacuous husk-like shell, which is neither an outdoor nor indoor space; while offering some shelter, it is also exposed to the elements. This architecture harnesses the weather to facilitate a sensory museum experience. The weather and wind contributes to this space as nonhuman actors, in dancing and swooping to fill this monumental shard, creating an audio and haptic experience. Beside human audiences, these nonhuman participants also have agency over the AirShard. Human audiences complete their humbling IWMN visit with this experience; a stark and visceral reminder of the harsh cold that comes with grief and the powerlessness of the individual without agency within the context of war. Therefore this experience indicates that spaces within Imperial War Museum North are not only vessels for understanding war, in standing as an instrument and monument, but as a hybrid by engaging human audiences with human participants, therefore challenging who museums may be for within posthumanist museum practices. Therefore museum spaces could be considered objects within their own right, in that it is used as a standalone vehicle to access collections by creating specific experiences for human and nonhuman actors. Arguably this museum space goes further than existing within a single spatial and temporal moment. IWMN does this insofar as, like an object, the physical museum structure and what it symbolises, combined with its geographical context; speaks to histories and millennia of conflicts. The Imperial War Museum North’s spaces not only utter past and current experiences of war, but the removed ‘war shapes lives’ narrative leaps into the future by framing war as a perpetuating, cyclical and affective transcending body. This space can be considered holistically, in that it is always reacting to and presenting manifestations of war, which is an entity that transcends space and time, in not belonging to one particular moment. Therefore this fluid quality of the museum space responding to its collections can be contextualised by posthumanist philosopher Morton, who would consider war as a hyperobject. How a hyperobject can be applied to the Imperial War Museum North’s spaces, can be understood from a hyperobject’s characteristics: They are viscous, which means that they “stick” to beings that are involved with them. They are nonlocal; in other words, any “local manifestation” of a hyperobject is not directly the hyperobject. They involve profoundly different temporalities than the human-scale ones we are used to. […] Hyperobjects occupy a high-dimensional phase space that results in their being invisible to humans for stretches of time. And they exhibit their effects interobjectively; that is, they can be detected in a space that consists of interrelationships between aesthetic properties of objects. The hyperobject is not a function of our knowledge: it’s hyper relative to worms, lemons, and ultraviolet rays, as >GET ANSWER