Indebted 2

This is a textbook written for use in a graduate-level course for students of mechanics and engineering science. It is designed to cover the essential features of modern variational methods and to demonstrate how a number of basic mathematical concepts can be used to produce a unified theory of variational mechanics. As prerequisite to using this text, we assume that the student is equipped with an introductory course in functional analysis at a level roughly equal to that covered, for example, in Kolmogorov and Fomin (Functional Analysis, Vol. I, Graylock, Rochester, 1957) and possibly a graduate-level course in continuum mechanics. Numerous references to supplementary material are listed throughout the book. We are indebted to Professor Jim Douglas of the University of Chicago, who read an earlier version of the manuscript and whose detailed suggestions were extremely helpful in preparing the final draft. He also gratefully acknowledge that much of our own research work on variational theory was supported by the U.S. Air Force Office of Scientific Research. He are indebted to Mr. Ming-Goei Sheu for help in proofreading. Finally, we wish to express thanks to Mrs. Marilyn Gude for her excellent and pains­ taking job of typing the manuscript. J. T. ODEN J. N. REDDY Table of Contents PREFACE 1. INTRODUCTION 1.1 The Role of Variational Theory in Mechanics. 1 1.2 Some Historical Comments ……… . 2 1.3 Plan of Study …………… . 5 7 2. MATHEMATICAL FOUNDATIONS OF CLASSICAL VARIATIONAL THEORY 7 2.1 Introduction .

Breaking All the Rules; Transgressing All the Boundaries

Growing up in public is a tough gig, but Australian trio the Goon Sax don’t have a lot of choice. They were still at school when their 2016 debut album Up to Anything was released, with prosaic, witty songs about unrequited crushes, Saturday jobs and dates ruined by sweaty hands and bad haircuts. It would probably have been compared to the early, Jonathan Richman-indebted work of the Go-Betweens even if frontman Louis Forster’s dad hadn’t been the Go-Betweens’ Robert Forster. Frankly, if you’re a trio from Brisbane with a female drummer, dealing in smart, twitchy-but-melodic guitar rock with lyrics majoring in affairs of the heart, you’re going to provoke comparison to the Go-Betweens – who were all of those things 40 years ago – regardless of whether your old fella was in them or not.

Joe Moore is incredible. Sometimes we wonder how time will treat the work of such a multifaceted, open-minded author. He offers us music as a whole, as an absolute. The arrangements, the melodies, these are the ends to which everything else is the means. Styles don’t matter, labels don’t matter. There are just songs. His new Mini-LP, “Filter”, released under the name of THE PERFECT KISS, the moniker he reserves for his most electronic compositions, makes this clear. Because just as he has played different styles of pop, the sixties sound and chamber music with his main project, THE YEARNING, with THE PERFECT KISS his musical language takes a major turn. Where “Disconnect”, THE PERFECT KISS’ debut Mini-LP, was a marvelous electro-pop treatise, “Filter” dives head first into italo disco, without letting go of the synth-pop. And again, it’s a triumph.