How far can Tarzan jump?

The tree-based rope swing is a popular recreation facility, often installed in outdoor areas, giving pleasure to thrill-seekers. In the setting, one drops down from a high platform, hanging from a rope, then swings at a great speed like "Tarzan", and finally jumps ahead to land on the ground. The question now arises: How far can Tarzan jump by the swing? In this article, I present an introductory analysis of the Tarzan swing mechanics, a big pendulum-like swing with Tarzan himself attached as weight. The analysis enables determination of how farther forward Tarzan can jump using a given swing apparatus. The discussion is based on elementary mechanics and, therefore, expected to provide rich opportunities for investigations using analytic and numerical methods.Comment: 8 pages, 4 figure

\u3ci\u3eThe Anchor\u3c/i\u3e

The Anchor bulletin from the March 26, 1961 service at the Tarzan Church of Christ in Tarzan, Texas

Tarzan, un noir: Pour une critique de l’économie politique du nom «Afrique»

Depuis 1912, innombrables textes – romans, radio shows, bandes dessinées, séries de télévision, films – ont produit et articulé représentations de l’Afrique dans histoires dont le protagoniste est Tarzan, créé par l’étasunien Edgar Rice Burroughs (1875-1950). En prenant le nom « Afrique » comme référence, les textes qui orbitent et habitent le nom « Tarzan » appartiennent à une généalogie occidentale et à une histoire transculturelle. Après aborder l’économie de la marque « Tarzan ® » dans sa circulation globale, une description bref et schématique de la filmographie de Tarzan me permet d’interroger ce que j’appelle nomenclôture occidentaliste de l’« Afrique ». Finalement, par le moyen d’une lecture attentif de Moi, un noir (Jean Rouch 1959) comme un prisme à travers lequel la circulation globale de Tarzan peut être interprétée et réinventée, je suggère des possibilités de débordement imaginative, en ouvrant l’espacement transculturel de l’écriture de l’Afrique comme économie politique du nom « Afrique ». - Since 1912, countless texts – novels, radio shows, comic strips, television serials, films – produced and articulated representations of Africa in narratives which feature Tarzan, a character created by the US-American author Edgar Rice Burroughs (1875-1950). Taking the name of ‘Africa’ as a reference, the texts which surround and inhabit the name of ‘Tarzan’ belong both to a Western genealogy and to a cross-cultural history. After addressing the economy of the trademark ‘Tarzan’ in its global circulation, a brief and schematic description of Tarzan’s filmography allows me to interrogate what I call the occidentalist name-in-closure of ‘Africa’. At last, by means of a close reading of Jean Rouch’s Moi, un noir (1959) as a prism through which Tarzan’s global circulation can be interpreted and reinvented, I suggest possibilities of imaginative overflow, opening up the cross-cultural spacing of the writing of ‘Africa’ as political economy of the name of ‘Africa’

TARZAN

Karya tari Tarzan merupakan sebuah karya tari yang ber-genre langen carita. Karya tari ini terinspirasi dari cerita persahabatan manusia dan binatang. Binatang adalah makhluk bernyawa tapi tak berakal budi seperti monyet, gorila, dll. Stimulasi gerak binatang adalah suatu kegiatan yang dilakukan untuk merangsang gerakan yang tercipta dari gambaran kenyataan atau pengalamannya tentang binatang, agar kemampuan dasar anak dapat tumbuh dan berkembang secara optimal. Proses pembelajran tari anak-anak tidak hanya terampil menarikan gerak-gerak tarinya, tetapi dalam perkembangan juga diharapkan anak-anak mampu mengembangkan kreatifitas sesuai dengan usianya. Karya tari Tarzan menceritakan tentang persahabatan manusia dan binatang yang saling membantu sama lain, mulai dari Tarzan yang selalu diserang oleh harimau hingga pada akhirnya harimau sadar dan bersahabat dengan Tarzan yang divisualisasikan dalam bentuk karya tari koreografi pendidikan ber-genre langen carita. Pada proses penciptaan ini teori yang digunakan koreografer untuk mempermudah proses kreatif yaitu teori Jaqueline Smith dalam bukunya Komposisi Tari. Hasil dari proses pencitaan ini yaitu sebuah karya tari yang berjudul Tarzan.Kata Kunci: langen carita, Persahabatan, dan Tarza

Analisis hukum Islam terhadap kerjasama usaha Warung Kopi Tarzan di Jemursari Surabaya

Skripsi ini merupakan hasil penelitian lapangan tentang “Analisis Hukum Islam Terhadap Kerjasama Usaha Warung Kopi Tarzan di Jemursari Surabaya”. Bahasan utama pada skripsi ini meliputi dua hal. Pertama, prihal praktik kerjasama usaha Warung Kopi Tarzan, kedua, kesesuaian antara praktik kerjasama yang terjadi di Warung Kopi Tarzan dengan konsep shirkah dalam Islam. Penulis menggunakan metode diskriptif analisis, yaitu memaparkan secara sistematis data-data dan informasi tentang masalah shirkah dan pelaksanaannya yang terjadi di warung kopi. Selanjutnya semua data dan informasi tersebut dianalisis dengan konsep shirkah yang diatur dalam hukum bisnis islam. Kerjasama usaha Warung Kopi Tarzan di Jemursari Surabaya ini beranggota 4 orang. Saat pengumpulan modal, setiap orang menyetor modal yang sama yaitu Rp. 3000.000. Warung Kopi ini buka 24 jam dan dikelola sendiri oleh para anggota. Manajemen Warung Kopi Tarzan membagi para anggotanya dalam 2 shift kerja. setiap satu shift bekerja 12 jam. Pergantian shift terjadi pada 08.00 WIB dan jam 20.00 WIB. Keuntungan bersih dari usaha ini dibagi rata kepada para anggota. Analisis hukum Islam terhadap kerjasama usaha warung kopi Tarzan di Jemursari Surabaya adalah sah dan sesuai dengan hukum Islam. Hal ini sesuai dengan konsep shirkah, baik berhubungan dengan syarat kanggotaan, penanaman modal, pembagian kerja dan pembagian keuntungan. Berdasarkan kesimpulan di atas maka penulis berharap agar setiap kerjasama usaha dilakukan dengan sistem yang tidak merugikan salah satu pihak yang bekerjasama. Karena tujuan kerjasama usaha adalah sama-sama mencari keuntungan Maka pembagian hasil di warung kopi ini dibagi rata sesuai pembagian penanaman modal awal dan diharapkan pada semua pengelola warung kopi ini sebaiknya menggunakan kerjasama shirkah yang tidak mendekati adanya unsur gharar

The maximum sustainable yield leads to extinction of species in most single and multispecies fisheries

The Commission of the European Communities passed a resolution in 2006 to implement sustainability in EU fisheries through application of the maximum sustainable yield (MSY) based policy. It is shown here that attempts to reach MSY will lead towards extinction of species for every fishery that includes fishing of at least one trophic level which is directly or indirectly used as food for a higher trophic level. Because this condition is met by most single and multispecies fisheries, attempts to reach MSY should be discouraged instead of being legally prescribed as a goal. Based upon above result advice is given on how to manage a fishery which will not drive species to extinction

CADMIUM AND LEAD CONTENT IN AQUATIC ECOSYSTEM, BRACKISWATER PONDS AND FISH IN AREAS AFFECTED LAPINDO MUD

Lapindo mud has led to increased levels of heavy metals in aquatic ecosystem at eastern coastal Porong, sidoarjo, East Java, and therefore contributes to the heavy metals content in fish, especially cadmium and lead. This research aims to (1) determine levels of Cadmium and Lead in waters polluted by Lapindo mud, (2) analyzing the content of Cd and Pb in fish living in waters polluted by Lapindo mud, (3) determine the status of fishery product food safety on the farm affected Lapindo mudflow, ( 4 ) determine the recommendation for a solution. Research conducted by observation analytical method. Purposive sample was determined by Lapindo mud pollution maps. Location of research include aquatic ecosystem in Porong, Jabon, and Tanggulangin, Sidoarjo, which is divided into 5 sub locations namely: aquatic ecosystem around the Lapindo mud embankments reservoirs, fish ponds in the Reno Kenongo village, river in the Gempolsari village, brackish water ponds in the Tegalsari village, and ponds in the Permisan village. At each specified sub location, data collection 4 stations, each station is done 3 times repetition. Analysis of the levels of Cd and Pb doing in the Balai Besar Laboratorium Kesehatan Laboratory (BBLK) Surabaya with the method of Atomic Absorption Spectrophotometer (AAS). Data were analyzed descriptively qualitatively and comparing to the Standard Quality (East Java Governor Decree No.45/2002; Kepmen LH No.51/2004; PP.No 82/2001). The results showed the levels of Cd and Pb both in the water and the fish that live in waters polluted by Lapindo mud has exceeded the threshold value quality standard. Levels of Cd in water 0.018–0.080 ppm (>0.01 ppm), and Pb 0.013-0.074 ppm (>0.03 ppm). Cadmium concentration in fishs 0.037- 1.542 ppm (>0.001 ppm), and lead 0.179-1.367 ppm (>0.008 ppm), so it does not meet food safety standards. It is necessary for heavy metal remediation

APEmille: a parallel processor in the teraflop range

APEmille is a SIMD parallel processor under development at the Italian National Institute for Nuclear Physics (INFN). APEmille is very well suited for Lattice QCD applications, both for its hardware characteristics and for its software and language features. APEmille is an array of custom arithmetic processors arranged on a tridimensional torus. The replicated processor is a pipelined VLIW device performing integer and single/double precision IEEE floating point operations. The processor is optimized for complex computations and has a peak performance of 528Mflop at 66MHz and of 800Mflop at 100MHz. In principle an array of 2048 nodes is able to break the Tflops barrier. A powerful programming language named TAO is provided and is highly optimized for QCD. A C++ compiler is foreseen. Specific data structures, operators and even statements can be defined by the user for each different application. Effort has been made to define the language constructs for QCD.Comment: Talk presented at LATTICE96(machines