#statics and dynamics 14th

[celestialprincesse]

police officer!Simon x detective!reader perhaps..? reader is higher ranked than him

I love love love this dynamic💕 @alwaysshallow writes Ghost and Higher ranked!reader perfectly too! I'd highly recommend reading their stuff on them!

The wind is nothing short of biting as you stand outside the forensics tent, pulling your coat tighter around your shoulders with a huff. Your watch reads 04:17AM, Thursday the 14th of November. Cold and tired. Homicides always come at the worst times. Sirens and blindingly bright blue and red lights only serve to worsen the migraine you can feel clawing up the back of your neck, trying to find purchase within the walls of your skull, already swimming with ugly ideas and images.

"-ed a perimeter." The gruff rumble of Simon 'Ghost' Riley's voice snaps you from your self pitying reverie, his eyes crinkling at the sides in a small, secret smile when you look up at him with bleary, confused eyes, envying the balaclava which covers his face from the nose down. "What?" A wince crinkles your stinging, cold face as your voice cracks like broken radio static. Simon's face softens at your obvious weariness. "You need to stop staying up so late." He chides you like a parent would a child, concern melting his brown eyes into molten brass. It's easy for him to forget that not everyone shares the same military background as him, that most can't go for days with only a few hours of sleep and stay sharp. "I was working on the Makarov case." You huff, running your hands down your face in an attempt to wipe away the lingering tiredness settled there. "I know it's eating at you, but you're no use to anyone when you can barely keep your eyes open." Simon's voice takes on that chastising tone that reminds you of his former military prowess - pre honourable discharge. The thought still makes you sad, fills your chest with warm, sticky pity, choking you up with a lump in your throat.

You stuff your hands into your pockets in a futile attempt to stave off the cold, rumbling out complaints and drawing instinctively closer to your colleague as he parts the crowd of forensic scientists and officers with his presence alone. The officer doesn't hesitate to lay his coat across your shoulders, forever looking out for you, if not just to see the way you relax under the warm weight of his jacket. "Can we go for breakfast after this?" A gentle smile flickers across Simon's face as you plead with him. The strength of your stomach never fails to surprise him, your ability to think about food in the middle of a crime scene eternally entertaining. Truly a person after his own heart. "Course we can."

You're not really sure why you're here, seeing as you only seem to get in the way of forensics gathering evidence as Simon walks you around the scene, detailing what the team knows so far about the crime, leaving you and your tired mind to decipher the rest. Unfortunately, with the lack of caffeine and bacon in your system, all you can do is nod dumbly and try to hide the way you keep yawning. Simon, as always, is ever present at your back, your side, letting you lean into him or mutter about how hungry you are under the pretence of talking about information relating to the crime. He's known you for long enough now to know that trying to get your brain firing at this time in the morning is futile. You work better at night.

Before Simon is given the opportunity to usher you away from the impending crushing of some poor kids' hopes and dreams, one of Graves' wide eyed, freakishly excited mentees is making a beeline your way - not that you notice when you've got your head in your hands and no will to live. The prepubescent sounding screech of their voice makes you wince, drilling a hole in your skull just big enough for the migraine to slip through. "You worked under Laswell right?" They chirp, far too energised for this obscene hour in the morning, and for someone play investigating the scene of a double homicide. "Yup." The dull, tired drone of your voice should be enough indication that you're not feeling talkative, and the look Simon angles them is unwavering enough to make a grown man weep. Not that they seem to notice. Or care. "Isn't this so cool? like a real life, actual homicide? Did you see the bodies? They were so gross."

Simon notices the way you bristle, shoulders at your ears. Despite your grumbling, you have the decency to respect the dead, something that Kate taught you long ago. "One of them had this like-" is enough to send you over the edge, shooting the kid a cruel look as you stand from where you'd been hunched in the back of the police van. "Enough." You growl, and Simon reaches out to place a grounding hand on the small of your back, trying his best to soothe your anger. "Don't be so fucking immature." The sound of your hiss is enough for the trainee to take a nervous step back. "Those are dead people. Those are dead people that were brutally murdered, in their beds at shit o'clock in the morning. Have some respect." You snap before pointing back at Graves with a furious blaze in your tired eyes. "Now go back to your shitty mentor and rifle through some bins."

"I'm impressed." Simon perks up from behind you, waiting with open arms for you to inevitably stumble into, emotionally and physically exhausted. "Breakfast?" You plead again into the plain fabric of his jumper. "Breakfast."

[theblogs2024]

Chiya Clicker: Redefining Present-day Artwork By Means of Hyper-Minimalism

The art entire world thrives on innovation, and every so normally, an artist emerges who redefines the boundaries of creativity. Chiya Clicker, a soaring star inside the modern artwork scene, is undertaking just that. With his special Mix of modern pixel iconography and refined artistic approaches, Chiya is crafting a universe that resonates with collectors, galleries, and art lovers alike. His function, coined under the phrase "hyper-minimalism," transcends standard categorizations, supplying a fresh new viewpoint on timeless art.

The Birth of Hyper-Minimalism

At the guts of Chiya Clicker’s creative ethos lies the notion of hyper-minimalism—a design and style that distills the essence of contemporary Visible society into its most striking and impactful sort. Unlike classic minimalism, which frequently emphasizes simplicity and reduction, hyper-minimalism embraces complexity inside of simplicity. Chiya Clicker achieves this by merging the electronic aesthetic of pixel icons While using the natural and organic fluidity of summary splashes and strokes. His operates exude a sense of playful class, combining the available allure of recent icons While using the sophistication of fine artwork.

Pixel Icons Reimagined

Chiya Clicker’s paintings undoubtedly are a bold reinterpretation of pixel icons, which happen to be normally dismissed as fleeting components of electronic culture. By transforming these symbols into tangible performs of artwork, he elevates their position, blending them seamlessly with cultural motifs and historic narratives. The end result is a dialogue among the past and existing, custom and innovation, the ephemeral as well as enduring.

Certainly one of Chiya Clicker’s most noteworthy achievements is his ability to imbue pixel icons with a sense of timelessness. Through summary strokes and splashes of coloration, he infuses his operates by having an emotional depth that transcends their electronic origins. This artistic alchemy transforms day-to-day symbols into a thing profound, evoking equally nostalgia and wonder.

A Colourful Universe

Chiya Clicker is not merely generating art; he is creating a universe. His paintings are populated by a Forged of lively, quirky figures that reflect the colourful chaos of modern day everyday living. These people, even though rooted in pixel iconography, are considerably from static. They interact with their surroundings, weaving stories which are as intricate as They're intriguing.

The vibrant universe Chiya Clicker is making goes over and above aesthetics. It's really a space the place artwork, society, and historical past intersect, featuring viewers an opportunity to explore a planet that may be each common and fantastical. This dynamic interaction of features is what makes his operate so compelling, captivating to the two seasoned artwork collectors and newcomers trying to find something clean and exciting.

A Historical Standpoint: 14th-Century Chinese Porcelain

Chiya Clicker’s first collection draws inspiration from an unlikely supply: 14th-century Chinese porcelain. This collection is usually a testament to his power to bridge vastly various worlds. By incorporating the sensitive designs and motifs of ancient porcelain into his hyper-minimalist paintings, Chiya Clicker generates a harmonious mixture of tradition and modernity.

This collection has garnered significant attention for its modern solution. The intricate layouts of Chinese porcelain serve as a counterpoint on the Daring simplicity of pixel icons, making a visual rigidity that is certainly both fascinating and imagined-provoking. The collection is usually a celebration of cultural heritage, reimagined via a present-day lens.

Growing Fascination from Collectors and Galleries

Chiya Clicker’s function has not absent unnoticed. His debut exhibition at the prestigious Purist Gallery in London was met with vital acclaim, setting up him like a power to be reckoned with while in the art entire world. The exhibit attracted a diverse viewers, from seasoned collectors to young art fans, all eager to working experience Chiya Clicker’s special eyesight.

Collectors are especially drawn to Chiya Clicker’s capacity to Mix good artwork with present-day pop sensibilities. His perform appeals to individuals that enjoy refined preferences but are trying to find something which demonstrates the zeitgeist of the digital age. This dual attraction would make Chiya Clicker a standout determine in the emerging markets, in which You will find a escalating demand from customers for artwork that bridges the hole between tradition and innovation.

A Vision for the Future

As Chiya Clicker continues to evolve as an artist, the possibilities for his perform are countless. He is previously Discovering new themes and mediums, pushing the boundaries of what hyper-minimalism can obtain. His capacity to weave pixel iconography with cultural and historic narratives makes sure that his perform will continue to be suitable and impactful For several years to come back.

Chiya Clicker’s journey can be a reminder on the transformative electricity of art. Via his paintings, he difficulties us to determine the world in a new light-weight, to search out splendor while in the surprising, and to embrace the intersection with the previous and the new. As he builds his vibrant universe, something is evident: Chiya Clicker is not simply an artist; he is a visionary.

Summary

Chiya Clicker’s emergence like a contemporary artist marks an important second within the artwork planet. His innovative method of hyper-minimalism, combined with his capacity to blend modern-day pixel icons with historical and cultural motifs, sets him aside as being a trailblazer. With An effective debut exhibition and expanding desire from collectors and galleries, Chiya Clicker is poised to become a defining determine of his technology.

For anyone looking for artwork that is both equally visually impactful and deeply resonant, Chiya Clicker’s function presents an unparalleled encounter. His paintings tend to be more than simply functions of artwork; they are windows into a universe that may be as vibrant and dynamic since the artist himself. As we glance to the future, one thing is for certain: the whole world of modern art is brighter with Chiya Clicker in it.

Get more info. here: Yoshitomo Nara

[sasindi-mga2025mi6011]

The Evolution of Poster Design: A Historical Overview

This blog post explores the rich history of poster design, tracing its origins from ancient wall paintings to modern digital formats. It highlights key developments in printing technology, the role of posters in communication and propaganda, and their influence on contemporary visual culture.

Posters have played a fundamental role in visual culture, serving as one of the most prominent forms of visual communication throughout the 20th century. This blog post delves into the history of posters, examining their origins, development, and impact on modern visual communication.

The Importance of Posters in Visual Communication

Posters are integral to the promotion and production of various content, including films, political propaganda, and social events. They visually communicate concepts and ideas, making them a vital part of advertising and public messaging.

Early Beginnings: From Cave Paintings to Ancient Communication

The use of visual communication can be traced back to ancient times when people utilized cave walls to express thoughts and ideas. For instance, in Pompeii, just before the eruption of Mount Vesuvius, walls were adorned with text and graffiti that served as a means of communication.

The Advent of Printing Technology

The history of posters is closely linked to the development of printing techniques. In the 14th century, the invention of the Gutenberg printing press revolutionized the way information was disseminated. The first paper poster was created by William Caxton, who brought the press to Britain. However, the first printed poster that included a visual element was produced by Jean Dupin in France in 1492.

The Role of Lithography

Lithographic printing, which involves using a stone to transfer ink onto paper, allowed for more detailed and colorful posters. This technique led to the creation of visually appealing posters that became popular in the 18th and 19th centuries, particularly in France, where they were used to promote theater performances and social events.

The Explosion of Visual Art in the 18th and 19th Centuries

The 18th and 19th centuries saw a significant increase in the use of visual art for communication. Posters became a medium for promoting dance and theater performances, showcasing vibrant colors and creative typography. Artists like Jules Chéret and Henri de Toulouse-Lautrec were instrumental in this movement, creating iconic posters that captured the essence of the era.

The Influence of Indian and Japanese Art

In India, the introduction of the printing press by Raja Ravi Varma allowed for the mass production of religious images, which were used as posters. Similarly, in Japan, woodblock prints gained popularity in the 17th to 19th centuries, with artists like Hokusai creating visually striking works that influenced poster design.

The Rise of Conceptual Posters

The Art Deco era introduced flowing natural forms and elegant designs in posters. This period also marked the beginning of minimalism in poster design, with artists like Leonetto Cappiello focusing on bold colors and central concepts rather than cluttered imagery.

Propaganda and Nationalism During the World Wars

World War I and II saw the rise of propaganda posters that encouraged enlistment and national pride. These posters often featured strong graphic styles and catchy phrases to motivate the public. In India, nationalist movements utilized posters to promote unity and independence, employing symbols like Bharat Mata to resonate with the masses.

The Digital Age and Modern Poster Design

With the advent of digital technology, poster design has evolved significantly. Digital posters can now be animated and integrated into social media marketing strategies. They are no longer static but can be dynamic, capturing the attention of audiences in urban landscapes like Times Square.

The Influence of Social Media

Today, posters influence a wide range of content on social media and websites. They are designed to convey information visually and promote messages effectively, reflecting the ongoing evolution of visual communication in the digital age.

Conclusion

The history of poster design is a testament to the power of visual communication. From ancient wall paintings to modern digital formats, posters have continuously adapted to the needs of society, influencing how we perceive and interact with the world around us. As we move forward, the role of posters in communication will only grow, shaping the future of visual culture.

[mythrojanmedieval]

Clothed in Time: A Journey through Medieval Fashion

The history of medieval clothing spans a vast period, roughly from the 5th to the 15th century, and it was characterized by diverse styles, materials, and social distinctions. Here is an overview of the evolution of medieval clothing:

Early Medieval Period (5th to 10th century):

Tunic and Cloak: The basic garment for both men and women was the tunic, a simple knee-length garment often belted at the waist. Cloaks were worn for additional warmth.

Fabrics: Wool was the most common fabric, and linen was also used. The quality of clothing often reflected one's social status.

High Medieval Period (11th to 13th century):

Introduction of Tailoring: The 11th century saw the development of more fitted clothing due to advancements in tailoring. Women's fashion began to include more fitted gowns with longer skirts.

Houppelande: In the 14th century, the houppelande, a loose, full-sleeved outer garment with a high collar, became popular. It was the common medieval clothing for men and women.

Late Medieval Period (14th to 15th century):

Fashion Changes: Clothing became more extravagant, with pointed shoes, elaborate headwear, and complex layers. Men's hose (tight-fitting leg coverings) became a prominent fashion item.

Cotehardie: The cotehardie was a fitted, buttoned garment that became fashionable in the 14th century. It had tight sleeves and a snug fit, reflecting changing tastes.

Hennin: Women's headwear became distinctive, with the hennin being a cone-shaped headdress worn by noblewomen.

Sumptuary Laws:

Social Distinctions: Sumptuary laws were enacted to regulate the types of clothing that people of different social classes could wear. These laws reinforced social hierarchies and limited extravagance.

Influence of Trade and Crusades:

Silk and Exotic Fabrics: Increased trade and contact with the East during the Crusades introduced Europeans to luxurious fabrics like silk. This influenced fashion and led to the use of more colorful and exotic materials.

Armor and Military Clothing:

Plate Armor: Knights and warriors wore plate armor for protection during the later medieval period. This armor was often decorated and symbolized the wearer's status.

Surcoats and Tabards: Over armor, knights wore surcoats and tabards bearing their heraldic symbols for identification.

Renaissance Transition:

End of Medieval Era: The late 15th century marked the transition from the medieval to the Renaissance period. Fashion became more influenced by classical styles, leading to significant changes in clothing. Understanding medieval clothing involves recognizing the influence of social status, trade, and cultural exchange on the evolving styles. The clothing of this era was not static but underwent continuous transformations, reflecting the dynamic nature of medieval society.

[govindhtech]

MSI Motherboards with Intel Application Optimization

Intel Application Optimization on MSI Motherboards to Boost Gaming Performance It’s important to remain on top of technical improvements in the ever-changing gaming industry. With the release of its 14th generation Core processors, Intel unveils Intel Application Optimization (APO), a revolutionary new capability.

Designed to improve the performance of certain games, APO requires a calculated setup procedure to reach its maximum capacity. This article is your go-to guide for setting up Intel Application Optimization on MSI motherboards and getting a noticeable speed improvement for gaming.

Revealing the Needs for Intel Application Optimization: It is necessary to fulfill the requirements set out by Intel in order to start this path toward improved gaming. This is what you require:

Intel Core i9-14900K/KF and Core i7-14700K/KF processors are compatible CPUs that may be used to access the world of Intel Application Optimization.

BIOS Configuration: To ensure peak performance, activate “Intel Dynamic Tuning Technology” in the BIOS settings.

The driver for Intel Dynamic Tuning Technology (DTT):

Intel DTT driver, and install it without any problems. The two essential components could be located in the Device Manager window after placement: the “Intel has Dynamically Calibration Technology Updater Components” and that “Intel Static Calibration Technologies Product Extender portion.”

Intel Application Optimization software:

Download and install the Intel Application Optimization software from the Microsoft Store. This phase creates a customized optimized experience by opening the door to a world of compatible games and apps.

Operating PC: To ensure flawless compatibility with Intel Application Optimization, make sure your PC is running Windows 11.

Supported Games: Certain games, such Metro Exodus and Tom Clancy’s Rainbow Six Siege, are enhanced in terms of performance by Intel Application Optimization. Make sure you have these games in your library.

It’s important to remember that installing the Intel Application Optimization user interface on unsupported systems will not improve performance.

Setting Up Intel Dynamic Tuning Technology in Your BIOS:

To see the BIOS settings, go to:

Make that “Intel Dynamic Tuning Technology” is activated in the BIOS before beginning the installation of the Intel Dynamic Tuning Technology (DTT) driver. To activate this crucial option, go to “Overclocking\CPU Features” and flip the button.

Intel DTT driver after downloading it:

Navigate to the Intel DTT driver page on the official MSI website, choose it, and then download and install it. After installation, watch your Device Manager for the “Intel Dynamic Tuning Technology Updater Component” and the “Intel Dynamic Tuning Technology Device Extension Component” to emerge.

Intel Application Optimization Integration: Go to the Microsoft Store, find the Intel Application Optimization application, and start the installation procedure. The software will automatically search your computer for compatible games and apps after installation. You may adjust the support for Intel Application Optimization for particular games to take control of your gaming experience.

To sum up, using Intel Application Optimization to optimize your MSI motherboard is a calculated step toward unmatched gaming performance. You may create an exceptional gaming experience by following the instructions and making sure that the required gear and software work together. Reimagine your gaming experience with Intel Application Optimization to stay ahead of the curve and to the fullest extent possible.

Read more on Govindhtech.com

[theartofdigitalmarketing]

What is the Actual Meaning of a Website and a Blog and how it is different from each other?

Meaning of Blog and Website

Most of us get confused between a website and a blog. We usually consider websites and blogs to be the same thing, but actually, they both have huge differences.

So, we are going to cover the differences between a website and a blog.

Blog is a type of website where the content is posted in reverse chronological order. In the blog, the latest post or content comes first. For example, 5 content have been posted on the 7th, 10th, 12th, 13th, and 14th of July. Out of all of these dates, the content dated 14th July will be shown first. So, that is what reverse chronological order is whereas a website is static or dynamic in nature.

Content is in the form of blog posts and can be updated regularly. Even though the blog is a type of website, its content has been updated regularly. For example, if you are following an individual's blog page, then you will see that yesterday, the "Digital Marketing Course" blog has been posted, then today "What is SEO" blog has been posted like that whereas, on the website, it is in the form of a web page, its content has not been updated frequently. Its frequency of updating websites is low as compared to blogs whose frequency of updating is high.

Blogs often encourage reader interaction through comments, allowing readers to engage in discussions or provide feedback on the content. This fosters a sense of community and two-way communication, while websites may include contact forms or other means of communication, they generally focus more on providing information to visitors rather than fostering ongoing dialogue.

[bm-asian-art]

Taizō-kai Mandara, 14th century, Brooklyn Museum: Asian Art

Description with 21.240.1 Two large, rectangular cosmic diagrams, painted in colors and gold on silk, which together form the Ryokai Mandara. Such pictures that depict Buddhist deities arranged in a geometrical pattern are the principal objects displayed in the temples of the Shingon sect, although these objects are more likely form the Tendai Sect. The teachings of Tendai and Shingon were practiced simultaneously at several Buddhist temples in Japan. These scrolls are typical products of esoteric Buddhism, the meaning of whose complex teaching could be explained more easily in pictures then in words. They are displayed during the ceremony of Kancho (baptism). According to Professors Shunsho Manabe and Ryuichi Abe (Dec 16, 2002) they also were originally displayed in the Adhisekhara ritual initiation and the month of January for the New Years festival. 21.240.1 No. 1 is the Kongokai (Vajradhutu Mandara). It is also called the Nishi or Western Mandara. It consists of six squares framed by borders containing Buddhist deities or symbols. In the upper center square is Dainichi Nyorai (Vairocana) seated on a lotus pedestal within a circle, and with two halos behind him. In the four corners of the square are Buddhist vessels. In the square to his proper left are nine Buddhist deities arranged in rows of three each against a green ground cross hatched with gold. All of the other squares contain smaller figures of deities, or their symbols, arranged five within a circle, and five of these circles within a larger circle, this latter circle set on a green ground lined with gold within a square. Lotus flowers are generally in the corners of the squares. The deities and their symbols arranged in this geometrical fashion are regarded as emanations of Dainichi Nyorai. A narrow border of stylized blue leaves on a pink ground surrounds the picture. According to Shunsho Manabe, there is no similar example. 21.240.2 No. 2 is the Taizokai or Garbhadhatu Mandara, and is also known as the Higashi or Eastern Mandara. In the center is Dainichi Nyorai (Vairocana) seated on a lotus pedestal within a circle, and with two circles behind him. From this circle emanates the eight lobed Mahavairocana lotus. The petals are divided by vajra, each petal containing one of the four Dhyani Buddhas or his Bodhisattva. This group is contained in a square with green ground lined with gold. Above the square is a triangle topped by a leaf-shaped device (both the triangle and leaf contain a swastika) backed by a halo and resting on a lotus base. Two swastikas presented in this way are rare and hint at the connection with the Tendai sect (the Shingon sect typically only illustrates one). It is the symbol of Adi-Dharma or matter. The central square is surrounded by three rows of Buddhist divinities on a dark blue ground, one row on a green ground, and an outer row of smaller figures again on a dark blue ground, all arranged in hieratic fashion. They are regarded as emanations of Dainichi Nyorai. According to Shunsho Manabe, in the outer boarder is represented the Juniten (12 deva guardians who are the gods of the 12 directions) who are transmigrating through the six paths. The bottom of the outer boarder represents the pure land (amitabha) A narrow border of flowers on a red ground surrounds the picture. This mandara represents the world forms and its dynamic activity, while the other mandara represents the static world of ideas. According to Shunsho Manabe, there is a similar piece in the Barnet Burto collection, Cambridge. Also, Hyogo Prefecture has a mandara almost identical, which is dated to the Kamakura period. Both 21.240.1-2 Each picture has two borders, each narrow on the sides but wide above and below. The first is of light yellowish brown compound satin weave silk, patterned with all-over lotus scrolls made by the extra flat guild paper weft threads. The second and far larger paintings, of similarly woven blue silk, is so patterned by the flat guild paper extra weft threads that the allover design of diagonal cloud bands, stylized flower medallions, swastikas and other patterns appear in blue on a gold ground. The colors of the paintings are now subdued. The silk is cracked and torn and much of the paint is chipped. The execution, however, is excellent, and the silk is of a close fine weave. (This also may have changed since because of the conservation work). Size: overall: 84 1/2 x 50 1/8 in. (214.6 x 127.3 cm); image: 46 11/16 x 38 7/8 in. (118.6 x 98.7 cm) Medium: Opaque watercolor, ink and gold on silk

https://www.brooklynmuseum.org/opencollection/objects/3195

[crazyforstudy-cfs]

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[hergrim]

French tactical developments in the 14th century.

The French get a bad rap in a lot of older scholarship and, as a result, also in pop-history and movies. The near-constant defeat of the French has been taken as evidence that the French, in their arrogance, preferred to keep their "chivalric" tactics and rely solely on the massed cavalry charge and individual prowess for most of the the Hundred Years' War. 

The truth, though, is that the French already made massive changes in how they fought by the time of Agincourt and, importantly, they made many of these changes early in the HYW, not late. While they had never relied solely on the cavalry charge, having made extensive use of combined arms tactics all the way back into the 11th and 12th centuries, they altered this dynamic considerably during the first decade of actual combat against the English.

I'm going to trace the development of French tactics through the end of the 1360s, where they had very nearly completely matured their tactics against the English. At some point in the near future, I’ll take up the second half of the story and talk about the very interesting changes made in the 15th century.

French Tactics Prior to the Hundred Years' War

Starting at the Battle of Courtrai in 1302, we see the French combined arms system as it had been more or less for several centuries. Both the French and the Flemish put their crossbowmen out in front of their lines, with the French placing light infantry (bidauts, Spanish javelin men) behind their crossbowmen to bolster their line. Behind the Flemish crossbowmen, though, was a solid formation of infantry, while behind the French crossbowmen were mounted men-at-arms. The French crossbowmen drove off their Flemish rivals, and the Flemish line moved back from the edge of the stream in order to get away from the French missile fire. The French crossbowmen, however, were running low on bolts and the bidauts were not adequate for standing up to heavy infantry, even if they were good at skirmishing. If either force crossed, the Flemish would probably destroy them against the stream.

On the other hand, the Flemish did look to the French like they were in retreat and, if pushed immediately and not given time to regroup, could be defeated. They therefore launched a cavalry charge across the stream. This is where they went wrong - there wasn't enough room on the other bank to fully regroup after crossing, and there were a number of ditches on the other side that were full of water and broke up the French formation further. The result was that the French didn't have the space to launch their charge, except in the center. There they very nearly broke through, and some of the men there began to flee, but reserves came up and reinforced it. As a result, the French were forced back against the stream and into the ditches all across the battlefield, which is where most of the casualties were taken.

It really needs to be understood here that the French were very nearly successful. True, they did underestimate their opponents and also misinterpreted a tactical withdrawal for the beginnings of a rout but, in spite of the sup-optimal battlefield conditions, they came close. Had the battle been fought on open ground, they still might have lost, but the battle wouldn't have been the disaster that it was.

By the time of the next major battle, Mons-en-Pévèle in 1304, the French altered their plan of attack slightly. They brought along siege engines to target the Flemish formation - although the Flemish managed to destroy these before the battle started - and started off by skirmishing and staging a false charge to test the Flemish resolve. When this failed, they tried repeated charges in conjunction with an attack on the wagenburg at the rear, but this failed as well. After retreating to their camp, Flemish went on the offensive and attacked the camp. This plan almost succeeded, but failed when the French rallied and attacked the disordered Flemish infantry, solidly defeating them.

Cassel, in 1328, was the culmination of what the French had learned from Courtrai and Mons-en-Pévèle. The French again deployed some siege engines against the Flemish, but rather than mount cavalry charges they stuck to skirmishing and ravaging the Flemish countryside around the static Flemish position. In essence, they besieged the Flemish camp and forced them to take the offensive. When they did, a mounted reserve was used slam into their flank and crush them. The heavy losses suffered in this phase of the battle meant that the French could then break the final Flemish defensive formation and claim total victory.

French Tactics From Morlaix to Poitiers

Not too long after this, the HYW began. The first two major campaigns, in 1339 and 1340, ended with not battle, but with both sides standing off from the other and daring each other to make an attack. This was in keeping with lessons the French had learned fighting the Flemish, while the English knew they had too few men-at-arms to successfully storm the French field fortifications. It was only in 1342, at Morlaix, that the first land battle of the HYW was fought.

The English army probably had 2400 men, about half archers and half men-at-arms, while the Breton force had, at most, 3000 cavalry, 1500 Genoese and a large number of Breton infantry. The numbers for the Bretons, reported in English chronicles, are probably quite high and can be halved or reduced by 2/3 for the cavalry, as Charles only had 1000-1500 at St-Pol-de-Leon (actually Restellou, see below) in 1346 and 1800 at La Roche Derrien in 1347. The Genoese numbers are more likely, as the survivors of 14 Genoese galleys destroyed as a result of an English attack (11 ships deliberately burned by the Genoese, with 3 escaping) were probably present. However, contracts from 1337 and 1338 show only 25 crossbowmen per ship and that the other 180 fighting men were equipped with coats-of-plate, helmets, mail collars and shields. If 1500 Genoese were present, about half the fighting men of the ships, probably somewhere under 200 of them can be said to be crossbowmen for sure.

What happened at the battle isn't precisely known, but we do know that the English had time to dig pits and trenches in front of their line and disguise them. The French then either launched a cavalry charge at the English or sent their best infantry forward to fight with the English. The confusion comes from Henry Knighton's use of the word "galea" ("helmet") in discussing the first attack. While galea is most often used to refer to knights, as it is by Adam Murimuth, it is occasionally used to refer to well armoured foot soldier. In the absence of any other use of the term by Knighton, it's likely that this was his intended meaning.

What this means is that Charles of Blois had already begun to use the next adaptation of French tactics: the use of heavy infantry. While later it would be dismounted men-at-arms who made the attack, this seems to be one of the first experiments in the new tactic. In this case, the tactic didn't really work and the infantry were beaten off before they reached the defensive trench. The archers aren't mentioned in the battle at all, but they must have played a major role in this phase of the battle.

A cavalry charge was tried next, but the disguised pits and trenches broke it up and the French were hardly able to reach the English lines. Those who did were captured, while those who were driven off before coming into contact had to contend with the concealed traps as much as when they advanced. The result was a French defeat and heavy losses among both the infantry and cavalry, but it was nonetheless an innovation.

1346 sees two battles where the French, although unsuccessful in both, had changed their methods once again. The first, the battle of Restellou (once known as the battle of St-Pol-de-Leon), was a comparatively minor affair, although it was one of the most incredible English successes. 80 English men-at-arms, with 100-120 archers and 80 bidowers (probably Gascon javelin men) fought off a French force that included something between 1000 and 1500 men-at-arms, large numbers of crossbowmen and large numbers of other infantry.

The English took up a position on a hill between the two halves of the village of Restellou, likely forming the men-at-arms between the two sets of buildings with the archers among the buildings themselves. Behind them they formed a defensive barrier of carts and horses, perhaps with the bidowers as guard. Charles divided his force into two sections. The main force, consisting of 500 of his best men-at-arms, was sent up the hill in a frontal assault supported by the crossbowmen and some of the light infantry. The second force, 400 mounted men-at-arms and many of the light infantry, he sent around behind the English.

As Clifford J. Rogers notes, if the two forces had attacked simultaneously then the English would have been destroyed. However, in order to sneak up on the English, the second force would have needed to make a 13km trip and so only arrived after the initial attack had been made. Subsequently, the hill the English were on would have made it impossible for the two forces to co-ordinate an attack and the English must have beaten off one attack only to deal with another. By the end of the day every man of the English was wounded and most of their horses had been killed, but the French withdrew as night fell and the English, not having lost a single man, were able to march overnight to safety.

The frontal assault by the dismounted men-at-arms, supported by crossbowmen, presaged French tactics at Poitiers a decade later, while the mounted assault on the rear would become part of French doctrine in later decades.

The second battle was, of course, Crecy. Wherever the English made their stand - and this has come into question in the last few years - they also used wagons to form a defensive position at the rear of their army and may have even placed wagons in front of their archers. The French adapted their tactic at Courtrai and sent considerable numbers of crossbowmen out in front of their army. This was actually a substantial change. Whereas earlier armies might have had 1-2000 crossbowmen and other missile troops, it's plausible that the French deployed 4000 armoured crossbowmen, both Genoese and crossbowmen from the towns. Some sources suggest the presence of javelin men from southern France/Spain or other infantry behind the crossbowmen, and then a strong force of French cavalry behind all this.

It seems that the French plan was to copy the English to an extent, but to adapt it to their own circumstances. While archery was not unknown in France, and bows were more popular than crossbows in many areas, heavily armoured crossbowmen with pavises offered advantages of their own. Their shields could take the sting out of much of the English archery, while their heavy armour meant that they could stand up to an attack much better than the crossbowmen and light infantry at Courtrai. That, at least, was the theory.

However, at Crecy, Philip VI seems to have advanced with his vanguard very fast in order to try and bring the English to battle before they could link up with the Flemish forces to the North or otherwise escape. As a result, the crossbowmen were marching without their armour or pavises. When they engaged the English, who may well have been protected by the wagons, and with the ground turned to mud by the rain, the Genoese were unable to load quickly under fire and were soon put to flight. This, in turn, put any infantry behind them to flight and caused the French cavalry to launch an ill-advised charge.

This is where the disaster happened. The French cavalry and the fleeing crossbowmen and infantry came together in a mess that stopped the charge and allowed the English archers to inflict heavy wounds on the French horses who, maddened, went every which way. The English vanguard then advanced and carried out heavy slaughter among the French. Subsequent attacks were managed better, but ultimately the French were soundly defeated.

Although the French made some extremely bad mistakes at Crecy, most importantly not waiting until the next morning to attack, it's clear that they had a new plan to deal with the English. It was an evolution of older tactics and, properly carried out, it stood a good chance of succeeding. Unfortunately, the political and tactical situation (Philip had lost a lot of political capital in not fighting the English in 1339/40 and had every reason to think the English might flee during the night) resulted in a bad modification to the plan.

In between the Battle of Crecy and the Battle of Poitiers is the Battle of Mauron, fought 1352 in Brittany between Guy de Nesle on the French side and Walter Bentley on the English side. Bentley, on arriving in Brittany, had quickly destroyed two minor French forces besieging Monfortist castles but was intercepted by Guy de Nesle near the small village of Mauron. The English, according to the Chronique Normandie, had about 1500 archers and men-at-arms and the French 1400 “combatants”, although Jonathan Sumption has suggested the English only numbered about 750 men.

The English had not been able to find an ideal piece of ground, so they settled for forming up at the top of a long slope, with a hedge at their back and archers on either side of the men-at-arms. The French all dismounted, save for a hundred and forty men-at-arms under the lord of Hangest, as they had the year before during the Battle of Saintes (a very minor battle, with few details beyond the French dismounting) and advanced up the slope, which was covered in thick underbrush and tired the French men-at-arms.

While the precise details of the battle are lost to us, we know that the English were forced back against the hedge because the lord of Hangest succeeded in either partially or completely driving off the archers on his flank. For unknown reasons, two large bodies of French men-at-arms suddenly retreated and, as a result, the archers on the flank opposite the lord of Hangest were able to flank the rest of the men-at-arms. This turned the tide in the favour of the English, who managed to rally and defeat the remaining men-at-arms. Somewhat above 800 French men-at-arms were killed or captured but, although we don’t know how many English were killed other than the 30 archers executed for desertion, we do know that Bentley’s force was badly mauled and he himself suffered serious wounds.

Mauron makes clear that cavalry could absolutely charge archers and win through against them if they didn’t have any sort of natural or artificial barrier protecting them. It also demonstrates that the French had settled on dismounting to fight the English before Poitiers. Not only had they done so in the South of France a year earlier, but at Mauron they showed that, when a small force of cavalry was kept in reserve to chase off the archers, it could be used to inflict serious damage on the English. The battle might have been a defeat, but it was the closest the French had yet come to victory.

Only four years later, the French came even closer to winning at Poitiers, and this was again the result of them adapting to the changing face of warfare. The battle plan had been adjusted from Crecy slightly and more resembled Charles of Blois' plan at Restellou. The vanguard consisted of crossbowmen behind shieldbearers who, by number, equaled the English archers, supported by heavily armoured knights on the flanks to ride down the archers and by a further battle of dismounted men-at-arms behind.

The French had intended to fight the English that morning, but the Black Prince, who was in a bad position lacking food or adequate water, attempted a maneuver that would either allow him to either disengage or to fight the French as they moved to intercept him. This caused the two forces of French heavy cavalry to make a precipitous attack that might nonetheless have worked if the English had been less disciplined. The attack on the English right was caught in a lane between two rows of hedges and annihilated, while the attack on the English left was repulsed and the mounted men-at-arms retreated to the flank of their infantry and formed a barrier against the flanking archers with their armoured horses.

The English archers were eventually lead in a flanking movement to attack the rear of the armoured cavalry, where the horses were unprotected, which provoked the horses into flight, crashing through both the vanguard and the battle behind. A mounted attack on the flank of the crossbowmen and infantry then seems to have been made by the English left, in conjunction with the archers, putting it to flight.

A second, stronger, attack was then made by the second battle, led by the Dauphin. In spite of being outnumbered by the English overall (The French likely had only 8-10 000 men-at-arms and 3-4 000 infantry in three/four divisions, while the English were in a single formation of 6000 men), this was a hard fight that the English nearly lost. It was, however, beaten off and the English thought they won the day, as the third battle, under the Duke of Orleans, appeared to flee. This was likely the result of King Jean II's order that, considering the heavy fighting, his youngest sons should be removed from the battlefield being misinterpreted and large numbers leaving with them.

The third and final attack was launched by the king and was quite probably the largest attack of the day, with the king having gathered the remnants of all the previous attacks, including many crossbowmen and shieldbearers from the vanguard. The English archers, exhausted, wounded and running so short of arrows they had to retrieve them from dead or dying men, had little impact as the French formed up a shield wall and advanced to meet the English again. In desperation, the Black Prince sent the Captal de Buch with 60 men-at-arms and 100 archers in an encircling maneuver to attack the French from the rear and, to restore the confidence of his men as they saw what appeared to be the Captal fleeing, advanced to meet the French.

This desperate ploy of making an attack on the French rear was ultimately what saved the English from defeat. Although the attacking force was tiny in comparison to the French forces, it had the advantage of surprise and the brittle morale of the French. already they had been beaten twice, and many of the men who had been beaten were in their ranks. The result was that, attacked from the rear, they broke and fled, resulting in the capture of Jean II of France as he stood defiant and refused to flee.

Poitiers is a good example of how the French had adapted and learned from their experiences so far. This time, in spite of the English provocations, they didn't attack the night they arrived on the battlefield and waited for the next day. As had been the plan at Crecy, before circumstances had changed, they deployed shielded crossbowmen to counter the English archers that, had the English stayed within their initial lines, might have worked. Importantly, however, the French were now using very heavily armoured mounted men to try and charge through the English archers in order to allow the men on foot to reach the English men-at-arms and engage them. The dismounting of their men-at-arms was also, while not unique considering previous variations in Brittany, was the first time it had been done on such a wide scale.

For all they had done right, however, the French had made a mistake: they had split their battles up into forces which were each smaller than the English which meant that, although the French men-at-arms were well armoured and superb warriors, they were always fighting at a numerical disadvantage in spite of their larger army. While this did allow them to wear down the English, it's entirely possible that the Dauphin's battle might have prevailed over the English if it had had the men from the Duke of Orlean's battle to throw into the fight.

French Tactics From Poitiers to Nájera

After Poitiers, there are a couple of interesting smaller battles, almost skirmishes, that are of interest in addition to one large scale battle.

The first is the battle of Nogent-sur-Seine in 1359, between Sir Eustace d'Ambreticourt, a Hainaulter knight serving the English, and Sir Broquart de Fenestrages, a French knight fighting on behalf of the Duke of Normandy. d'Ambreticourt had 400 men-at-arms and 200 archers and had underestimated the size of the French force, which consisted of 1200 men-at-arms and 900 heavy infantry. He drew up on a small hill in the middle of a vineyard, with his archers in his front and had his men-at-arms dismount and shorten their lances to five feet.

The French formed up in three battles, all mounted, and charged. Two attempted to break through the English men-at-arms, first one and then, in support, the other, but these charges were stopped dead by the solid formation and lances of the English. The English archers, who seem to have retreated behind the men-at-arms and taken a position higher on the hill, started to shoot down into the melee but were then forced to beat off the third French battle. While this mounted force was unable to charge down the archers, who continuously re-positioned themselves to avoid being overrun, they did prevent the archers from supporting their men-at-arms. Then, when the French heavy infantry finally caught up with the cavalry, they went around the main fight and pushed up into the archers. Protected by pavises, the 900 foot soldiers were able to ignore the arrows of the English and rout the archers thoroughly, the third battle pursuing and slaughtering or capturing every archer and all the servants with the baggage.

While this was taking place, the first and second battles broke the line of English men-at-arms so badly that there was no chance of rallying. The French then captured or killed the English at their leisure, with only a few managing to escape to the town of Nogent, where the English had a garrison.

Nogent-sur-Seine is an interesting battle for a number of reasons. Firstly, it shows that the French desire for a cavalry charge was not a pointless adherence to an outdated method of war. Even against well positioned, disciplined and armoured enemy the cavalry charge could still defeat infantry when used correctly. Secondly, it shows the use of the flanking attack by cavalry which, as I’ve noted above, became an increasingly important part of French tactics. Thirdly, it highlights the limitations of archers. Philippe de Commynes famously said that archers are only effective when they number in the thousands, and Nogent-sur-Seine is a good small scale example of this. The English simply didn't have enough archers to attempt to flank the French cavalry or to effectively beat off the heavy infantry. Another 200-600 archers might have made all the difference in the battle.

The second battle of note is the Battle of Cocherel in 1364. Fought between the forces of Charles V of France and Charles II of Navarre, it was part of a dynastic dispute over the inheritance of the duchy of Burgundy. Jean de Greilly, also known as the captal de Buch and commanded the Naverrese forces, had 700 men-at-arms, 300 English archers and 500 good infantry of other sorts. Bertrand du Guesclin, who commanded the French army, had around 1500 men-at-arms. The two armies converged near the village of Cocherel in Normandy, with the French blocking the progress of the Navarrese/English and the Navarrese/English taking up defensive positions on a steep hillside.

There followed a stalemate as the French were unwilling to attack such a strong position and the Navarrese/English force was similarly hesitant to advance to the attack. A lack of supplies ultimately decided the manner, as at Poitiers, since the French force began to retreat. Seeing this, the English contingent of men-at-arms and archers immediately came down from the hill to attack the French and the captal was forced to follow. The French, who had prepared for the eventuality of this attack, quickly reordered themselves on foot and stood against their opponents.

As at Nogent-sur-Seine several years previously and at Auray later in the year, the English archery had little effect on the French men-at-arms as a result of their shields and armour. They fell back through the English men-at-arms, who had previously opened to let them through, and fought hand to hand with the French in support of the men-at-arms. The fighting then became a savage melee that the Navarrese/English force had begun to win.

The battle was turned by two measures. Firstly, the French had detailed thirty of the best knights mounted on the biggest and best armoured horses to push through the press and carry off the captal. Aided by some Gascons on foot, they managed to succeed in doing just this.

Secondly, du Guesclin had kept a body of 200 Gascons in reserve, something the captal had failed to do. In the wake of the captal's capture, this reserve flanked the Navarrese/English army and attacked the guard the captal had placed around his flag. Killing the guards, they tore down the captal's standard and precipitated rout by the enemy force who, seeing their standard overthrown, came to the conclusion that the day was lost.

The main lesson we can take from this battle was that the English were continuing to aggressively counter attack when the situation presented itself and that the archers were finding more and more use not just as archers, but also as skilled light infantry who could contribute to the intense hand to hand fighting of battle. Both of these factors would be key at Auray later in the year.

Auray, fought four months after Cocherel, was the final battle in the quarter century long War of Breton Succession between John de Montfort, whom the English supported, and Charles de Blois, who the French supported. Monfort and his English allies had 1600 men-at-arms and 800-900 archers, while Charles de Blois had somewhere between 3000 and 4000 men-at-arms.

Both sides dismounted drew up in a single line, divided into three main battles, with a rearguard. The English mixed their archers with the men-at-arms and, although the precise details of their deployment aren't mentioned, they were likely positioned in front of the men-at-arms in each battle. The French advanced to the attack, climbing a gentle slope to the English. The archers had little effect as at Cocherel, and it’s likely they then withdrew to the rear of their battle to support the men-at-arms by plugging any gaps and fighting around the edges of the battle to prevent any flanking.

Before the battle there were a number of defections on the French side, and these may have been the men of the rearguard, which did not play a role in the battle. In contrast, the English rearguard played a vital role, moving up to support John de Montfort's battle early in the battle when it looked like being overrun and collecting those who were "thrown into confusion" (possibly those trying to sneak away from the battle) and guiding them back to their proper positions. It also made a decisive final attack when Charles of Blois' standard began to waver. The end result was the routing and destruction of Charles of Blois' army, the death of the duke himself and the ending of the Breton War of Succession after almost a quarter of a century in the favour of the English preferred candidate, John de Montfort.

Auray serves to repeat the lessons of the previous battles. Men-at-arms, in plate armour and carrying shields, were for all intents and purposes invulnerable to English archery when there were only limited numbers of archers. An active reserve, as at Cocherel, proved to be an immense asset and significantly contributed to the victory, while the archers' role as good light infantry fighting hand-to-hand with the French helped the English to defeat the French. The increasing role of the English archer in this role would come to its highest level at Agincourt.

The final battle of this period, the largest of them all, was the Battle of Nájera in 1367. Part of the First Castillian Civil War, it was proxy war in a similar vein to the War of Breton Succession, fought between King Peter of Castile (the English preference) and his illegitimate half brother, Count Henry of Trastámara (the French favourite). Henry had managed, with the help of English mercenaries among others, to oust Peter and gain nominal control over the kingdom. Edward III sent his two sons, Edward the Black Prince and John of Gaunt, at the head of a small English army to aid Peter in regaining his throne. Some additional English garrisons from southern France and mercenaries who had been serving Peter and defected now, aided the ousted king, in addition to numbers of Gascon men-at-arms and other, non-English, mercenaries.

At first Henry attempted to avoid battle and wear the Anglo-Castilian force of his brother down by denying them access to reliable food. While this did have some success and the English were desperate for food by the time of the battle, Henry began to lose support as his brother began recapturing towns and the English laid waste to the countryside in their foraging. With one large garrison of 600 men defecting, and hearing of threats of defection from other sources, Henry had to force a battle.

After some initial skirmishing and success on Henry's side, the English managed to flank him by a night march around a high ridge and arrayed themselves for battle on a broad plain. The Castilians, who had been prepared for battle to come from another direction, were nonetheless able to rearrange their lines to fight the English and both sides advanced to the attack. This was an exceptional attack by the English, who almost always stayed in their defensive position for the first part of a battle, that is explained by two factors. Firstly, they were almost out of food and needed to win in order to put Peter back on the throne and gain access to more reliable supplies. Secondly, unlike almost every battle in the Hundred Years War, the English weren't outnumbered by their opponents.

Numbers for the English are hard to estimate but, based on the more reliable chroniclers and other English armies of the period, they probably had somewhere around 5000 men-at-arms and 5000 archers and other light troops. The Castilians had around 4500 men-at-arms and an unknown number of light cavalry and slingers, javelin men and crossbowmen. The fact that the English and Castilian forces had similar numbers of men-at-arms, however, likely gave the Black Prince enough confidence to attempt the dangerous advance.

The dismounted English men-at-arms advanced in a single line, divided into three battles with archers attached to each battle, although the manner in which they were deployed isn't clear from the sources, while the Castilian force had four battles: a dismounted vanguard made up of French mercenaries, two wings of mounted men-at-arms and a large main battle of men-at-arms behind the vanguard. In front of the vanguard were Genoese crossbowmen, and slingers, javelin men and light cavalry were in front of the wings.

Neither the English archers in front of the English center nor the Genoese in front of the French had much effect on either formation, but those on the wings managed to quickly route the Castilian light infantry and, after one attempt to charge, the heavy cavalry there as well. The French had had some success against the English men-at-arms, but with the routing of the Castilians on the wings the English were free to attack the flanks of the French, first by shooting into them and then by sending in the men-at-arms. In spite of an attempted charge by Henry, the usurper, most of the Castilian main battle fled as well and the Gascons were ultimately crushed.

Although it was tactically an English victory, in the long term Nájera was a disaster for the Black Prince, bankrupting him when Peter refused to pay what he owed and, since Henry escaped, the civil war continued and soon ended with Peter's death. Tactically, the main takeaways are that English archers were still ineffective against men-at-arms when facing them head on, although they were more effective when deployed against the flanks, and that the English use of defensive positions was mostly down to being outnumbered rather than an inherent part of their tactical system.

Select Bibliography

Infantry Warfare in the Early Fourteenth Century, by Kelly DeVries

The Art of Warfare in Western Europe, by J.F. Verbruggen, tr. Sumner Willard

The Great Warbow, by Matthew Strickland and Robert Hardy

War Cruel and Sharp, by Clifford J. Rogers

The Wars of Edward III, ed. Clifford J. Rogers

"Sir Thomas Dagworth in Brittany, 1346-7: Restellou and La Roche Derrien" by Clifford J. Rogers, Journal of Military History Volume 3

The Crecy War, by A.H. Burne

The Agincourt War, by A.H. Burne

The Hundred Years' War, Volumes 1-4, by Jonathan Sumption

The Battle of Crecy, 1346, ed. Andrew Ayton and Sir Philip Preston

The Battle of Crecy: A Casebook, ed. Michael Livingston and Kelly DeVries

In the Steps of the Black Prince, by Peter Hoskins

To Win and Lose a Medieval Battle: Nájera (April 3, 1367), A Pyrrhic Victory for the Black Prince, ed. Donald Kagay and L. J. Andrew Villalon

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Solution Manual for Engineering Mechanics Statics and Dynamics 14th Edition by Hibbeler

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Engineering Mechanics: Statics & Dynamics excels in providing a clear and thorough presentation of the theory and application of engineering mechanics. Engineering Mechanics empowers students to succeed by drawing upon Professor Hibbeler’s everyday classroom experience and his knowledge of how students learn. This text is shaped by the comments and suggestions of hundreds of reviewers in the teaching profession, as well as many of the author’s students. The Fourteenth Edition includes new Preliminary Problems, which are intended to help students develop conceptual understanding and build problem-solving skills. The text features a large variety of problems from a broad range of engineering disciplines, stressing practical, realistic situations encountered in professional practice, and having varying levels of difficulty.

Solution Manual for Engineering Mechanics Statics and Dynamics 14th Edition by Hibbeler

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1 General Principles 2 Force Vectors 3 Equilibrium of a Particle 4 Force System Resultants 5 Equilibrium of a Rigid Body 6 Structural Analysis 7 Internal Forces 8 Friction 9 Center of Gravity and Centroid 10 Moments of Inertia 11 Virtual Work 12 Kinematics of a Particle 13 Kinetics of a Particle: Force and Acceleration 14 Kinetics of a Particle: Work and Energy 15 Kinetics of a Particle: Impulse and Momentum 16 Planar Kinematics of a Rigid Body 17 Planar Kinetics of a Rigid Body: Force and Acceleration 18 Planar Kinetics of a Rigid Body: Work and Energy 19 Planar Kinetics of a Rigid Body: Impulse and Momentum 20 Three-Dimensional Kinematics of a Rigid Body 21 Three-Dimensional Kinetics of a Rigid Body 22 Vibrations

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OnePlus Launches the OnePlus 11 5G officially in Malaysia

The OnePlus 11 5G is OnePlus’ latest flagship with an extremely fast and smooth experience, effortless imaging, and a modern elegant design.

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The OnePlus 11 5G sports a 6.7-inch 2K 120Hz Super Fluid AMOLED Display with LTPO 3.0. LTPO 3.0 is a self-developed technology that saves energy and adapts refresh rates according to the specific use, ensuring touch response and accuracy, and power efficiency. Additionally, the OnePlus 11 5G is certified by TÜV SÜD Precise Touching S Rating and SGS Low Blue Light Ex.

Furthermore, The OnePlus 11 5G is one of the first Android smartphones that feature ground-breaking Dolby Vision HDR imaging to elevate every mobile experience with a stunning picture that brings your on-the-go entertainment to life. The OnePlus 11 5G is also equipped with Dual “Reality” Speakers and supports Dolby Atmos, which takes the audio experience to a new level, via both onboard speakers and Bluetooth headphones.

In addition, with the support of Dolby Head Tracking on the OnePlus 11 5G, you will be able to enjoy a new level of lifelike realism and experience a better sense of space when using compatible wireless earbuds – as you turn your head left and right when listening to your favourite surround sound or Dolby Atmos content, the audio recalibrates the soundstage to create a more natural and more immersive audio experience, keeping you in the middle of the story.

Effortless Imaging with the 3rd Gen Hasselblad Camera for Mobile 

The OnePlus 11 5G has a powerful and balanced camera setup designed to accurately record each of life’s milestones at every angle – capturing everything the eyes can see. 

It is fitted with a “three-main-sensor” triple camera system. At the core of the camera setup is a 50MP IMX890 sensor with an optical image stabilizer (OIS) for steady shots. The main camera allows for more light-intake and lets users capture brighter and sharper images and record videos in low-lit and backlit environments, chosen particularly for wide dynamic range image capture. Supplementing the main camera are a 115° 48MP ultra-wide camera and an IMX709 32MP portrait lens, ensuring users get photos with absolute clarity and capture stunning DSLR-like portraits respectively. 

Additionally, the OnePlus 11 5G is equipped with the latest iteration of our inhouse algorithm for High Dynamic Range (HDR), namely the TurboRAW HDR, to help to capture scenes (images) with "pristine HDR clarity" of wide dynamic range. 

OnePlus and Hasselblad Collaboration

The collaboration between OnePlus and Hasselblad continues with the latest OnePlus 11 5G. The brand-new Natural Color Calibration with Hasselblad feature on OnePlus 11 5G delivers industry-leading colour science. Moreover, a 13-channel multi-spectral sensor for light-colour identification has been introduced on the OnePlus 11 5G for wider spectral analysis of light.

The Hasselblad Portrait Mode helps users to easily shoot images with almost DSLR-like depth-tracking, natural bokeh, and light flare effects. Benchmarked against exacting Hasselblad optical standards to achieve portraits in perfection, the result simulates stunning professional portraits captured by an actual Hasselblad camera fitted with XCD 30mm and 65mm lenses.

Intelligent Software

Indeed, a lot of intelligence has been built-in into the OnePlus 11 5G. With support from OxygenOS 13, the smartphone boasts intuitive AI capabilities that learn from users’ habits to be able to anticipate certain actions moving forward.

This intelligence is apparent in the device’s HyperBoost Gaming Engine, whose machine learning GPA frame rate stabilization 4.0 technology actively learns and adapts to the user's gameplay. 

With an industry-breaking 1Hz Always-On Display (AOD), OnePlus 11 5G consumes 30% less power compared with a typical 30Hz AOD. This lets users access frequently opened applications, other widgets and information, while not having to worry about depleting the phone’s battery.

Modern Elegance Design

Designed specifically for those who desire to be different, the OnePlus 11 5G adopts a bold, loud, confident, and shiny "modern elegance" design. It is a continuity and evolution of the OnePlus 10 Pro’s design to deliver the OnePlus classic simple, elegant, and purposeful design philosophy. The OnePlus 11 5G has a K-shape curve along the camera decor which make the module more vivid with the flow of light.

The OnePlus 11 5G comes in two colours – the calm Titan Black and the rousing Eternal Green, respectively inspired by the black hole in the universe and by the shades of the rainforest at dusk. Both colours are meant to bring out “rawness”. 

By utilizing the Matte Frosted Glass, the Titan Black version delivers an irresistibly smooth, soft but sturdy hand-held feeling. With a multi-layering of glass, the Eternal Green version adopts the purposeful design of OnePlus to successfully combine a brand-new dusk green colour and internal layering treatment. The design ensures high resistance to sweat and fingerprint stains. 

With purpose design in mind, OnePlus puts much attention into engineering every exterior piece to specifically ensure a smooth transition between the Corning® Gorilla® Glass Victus® and midframe, which improves feel-in-hand by nearly eliminating any bumps between parting lines.

Pricing and Availability:

The OnePlus 11 5G retails at:

Titan Black (8GB/256GB): RM3,299

Eternal Green (16GB/512GB): RM3,599

Enjoy these special promotions when you pre-order from 16 February (10:00 am) until 24 February:

Free Buds Pro 2

Free OnePlus 11 5G Bumper Case Sandstone

Free 1-year Extended Warranty

Free 1-year Screen Protection

Chance to participate in the lucky draw

Jackson Wang postcard

For the first sale which will start from 25 February until 3 March, Malaysians will also enjoy:

Buds Pro 2 PWP RM200 discount

Free OnePlus 11 5G  Bumper Case Sandstone

Free 1-year Extended Warranty

Free 1-year Screen Protection

Chance to participate in the lucky draw

Jackson Wang postcard

Please log on to www.oneplus.com/my/oneplus-11, Shopee - http://bit.ly/3jYgFa7, Lazada - http://bit.ly/3Klg9Oz and go to OnePlus Official Retail Stores to check out the new OnePlus 11 5G.

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Engineering Mechanics: Statics and Dynamics (14th Edition) – eBook PDF A Proven Approach to Conceptual Understanding and Problem-solving Skills. Engineering Mechanics: Statics & Dynamics 14th edition (PDF) excels in providing a clear and thorough presentation of the theory and application of engineering mechanics. Engineering Mechanics empowers college students to succeed by drawing upon…

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Engineering Mechanics: Statics and Dynamics (14th Edition) – eBook PDF

Engineering Mechanics: Statics and Dynamics (14th Edition) – eBook PDF

Engineering Mechanics: Statics and Dynamics (14th Edition) – eBook PDF A Proven Approach to Conceptual Understanding and Problem-solving Skills. Engineering Mechanics: Statics & Dynamics 14th edition (PDF) excels in providing a clear and thorough presentation of the theory and application of engineering mechanics. Engineering Mechanics empowers college students to succeed by drawing upon…

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As you most likely are aware, it is the most essential thing to keep your business website updated with the latest trends to make it more alluring and engaging for guests and your clients. With time, the website specialists are getting new plans to make something remarkable and more imaginative to inspire each web client on the site. IM Solutions will provide Best Web Designers in Bangalore to its global clients with the most reasonable rate.

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URL should be search friendly

Use Heading Tags Wisely

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Externalization of Scripts

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Blog

Responsive website for mobile friendly

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The reason behind every web design process will be the creation of the best web designers and developers who are brought out. As a website proprietor,  you just give the detailed information about your services and hint about your expectations for the proposed website. With this details kept in mind, IM Solutions will design as per the requirements are given by the customers and in like manner put their deft hands into work to plan a one of a kind, unique, stylish, attractive, purposeful and thematic web-design, which at last meets with your fulfillment and endorsement by its second to none.

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IM Solutions website specialists by their tremendous experience know about the most well-known styles in making Web Development Company . You more likely than not run over any of them amid your wandering over the Internet. The web design makes the visitors stay on your page for a longer time. If you are planning to do SEO services in Bangalore then designing a blog will be helpful for better ranking. Our hand-drawn blog design will surely guide your website to make more visitors to your site.

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Engineering Mechanics: Statics and Dynamics (14th Edition) – PDF

Engineering Mechanics: Statics and Dynamics (14th Edition) – PDF

Engineering Mechanics: Statics and Dynamics (14th Edition) – eBook PDF A Proven Approach to Conceptual Understanding and Problem-solving Skills. Engineering Mechanics: Statics & Dynamics 14th edition (PDF) excels in providing a clear and thorough presentation of the theory and application of engineering mechanics. Engineering Mechanics empowers college students to succeed by drawing upon…

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Engineering Mechanics: Statics and Dynamics (14th Edition) – eBook PDF

Engineering Mechanics: Statics and Dynamics (14th Edition) – eBook PDF

Engineering Mechanics: Statics and Dynamics (14th Edition) – eBook PDF A Proven Approach to Conceptual Understanding and Problem-solving Skills. Engineering Mechanics: Statics & Dynamics 14th edition (PDF) excels in providing a clear and thorough presentation of the theory and application of engineering mechanics. Engineering Mechanics empowers college students to succeed by drawing upon…