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Enkele visjes; hang ook een emmertje op waaruit water druppelt in een vaas met nauwe hals die je daaronder plaatst. wanneer het schip onbeweeglijk is, merk dan aandachtig op hoe de vliegende diertjes zich in alle richtingen van de kajuit met gelijke snelheid verplaatsen. de vissen zwemmen overal op dezelfde wijze en de vallende druppels belanden allemaal in de vaas eronder ; indien u iets naar uw vriend toegooit, hoeft u niet krachtiger te werpen in de ene richting dan in de andere wanneer de afstanden gelijk zijn . ; wanneer u dit alles zorgvuldig heeft waargenomen, zet het schip dan in beweging aan de snelheid die u wenst; indien de beweging gelijkmatig is, zonder gewieg in de ene of andere riching, dan zal u niet de geringste wijziging waarnemen in al de uitwerkingen die we zonet aangaven; niet n zal u doen beseffen of het schip beweegt ee dan wel stilligt. galileo, 1632 ; de verzameling van referentiestelsels waarvoor de wetten van de mechanica en bij uitbreiding van de natuur gelijk zijn, noemen we inertiaalstelsels. alle referentiestelsels die ten opzichte van zo een inertiaalstelsel in nparige rechtlijnige beweging zijn, zijn zelf ineree tiaal. een meer preciese beschrijving van dat principe van galileo maakt gebruik van de notie van de groep van galileo; dat is een wiskundige structuur, zeg een verzameling van transformaties op de ruimte-tijd structuur die de mechanica invariant moeten laten. we gaan daar niet verder op in. het volstaat hier in te zien dat dit ons een constructief principe geeft om krachten te vinden of, op zijn minst, om bepaalde vormen van krachten uit te sluiten. we hebben het al gebruikt zonder het te vermelden. bemerk hoe de expliciete afhankelijkheid van de tijd t in de functie m uit formule 1.1.3 ; stilletjes verwijderd is in de kracht f van formule 1.1.4 ; . en van de galileo-transformaties is een translatie in de tijd. invae riantie voor tijdstranslaties betekent dat de natuurwetten constant zijn in de tijd and casino game online. Dance disappears. the amount of choreography that is forever lost to us is staggeringly high. if someone were to compile a list of all the dances that have been premiered by rambert dance company over its 80-year history, it would show that the vast number of them have long since vanished into thin air. they will be remembered, if at all, as misty-coloured memories of the way they were. preservation, like memory, is a moveable feast. `she did this. he did that.' `no, you're wrong; it was the other way around.' who do you trust? just whose memory can possibly serve as the ultimate arbiter in this game of remembered truths? rambert's artistic director, mark baldwin, is acutely aware of the possible pitfalls inherent in revivals, but he also recognises that part of his job is to act as the caretaker in charge of rambert's rich and diverse heritage. `i think it is important for us to use our fabulous archive to generate new work, ' he says, `and also to pay homage to some of our early pieces, so that they can stay open and alive for current and future audiences. since i've been here we've brought back frederick ashton's five brahms waltzes and antony tudor's judgement of paris, ian spink did a new work based on ashton's a tragedy of fashion, which had been the company's first ever piece, and, because they don't have to come from way back, we've also revived michael clark's swamp which dates from 1988.' now baldwin is in charge of a new production of another of rambert's pivotal early works, andre howard's lady into fox. `it's been an interesting journey for me, ' he says. `i now think the missing choreographer in the british jigsaw puzzle is probably andre howard 19101968 ; . the effect of her legacy is definitely larger than we think. we don't know that much about her, but you can see how she filtered into tudor and ashton.' only a few of rambert's early creations have been properly preserved, and even they throw up questions of authorial authenticity. tudor created his dark elegies in 1937 for what was then known as ballet rambert. it has been in the repertoire ever since. but in 1940, after he had emigrated to new york, tudor restaged dark elegies for american ballet theatre, making several changes to the original. both versions still resonate, but which should be considered the more valid: the white heat of his first take or his considered revision? there is no ultimate answer. tudor's jardin aux lilas, which dates from 1936, had its premiere on rambert's minuscule stage at the mercury theatre in london's notting hill gate. as with all the other ballets premiered there, including lady into fox, it was conceived as `up close and personal', presented nightly to an audience of less than 150 who could be completely swept up in its subtleties and nuances. how can anyone claim to be seeing the same ballet when they watch jardin aux lilas being danced by american ballet theatre in the mammoth 3, 995-seat metropolitan opera house? obviously, even if the abt version is textually accurate, the impact could hardly be more different than it was at its intimate chamber-scaled birth. despite such drastic variations, the hard facts of tudor's originals are still well within the grasp of today's dancers; but what about andre howard's lady into fox? created for rambert in 1939, it was last seen in 1950. over the years since those final performances, there have been various plans. 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