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Books on the topic 'Smooth texture'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Bentley, Joyce. Smooth. North Mankato, MN: Chrysalis Education, 2005.

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2

Michele, Tracey. Rough and smooth. North Mankato, Minn: Smart Apple Media, 2006.

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3

Smooth or rough. Chicago, Ill: Heinemann Library, 2008.

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4

Dawson, Emily C. Rough and smooth. Mankato, Minnesota: Amicus, 2012.

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5

Dawson, Emily C. Rough and smooth. Mankato, Minnesota: Amicus, 2012.

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6

Rough or smooth. Chicago: Raintree, 2005.

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7

Brocket, Jane. Spiky, Slimy, Smooth: What Is Texture? Lerner Publishing Group, 2011.

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8

Brocket, Jane. Spiky, Slimy, Smooth: What Is Texture? Lerner Publishing Group, 2010.

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9

Spiky Slimy Smooth What Is Texture. Millbrook Press, 2011.

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10

Little Nippers: Is It - Rough or Smooth (Little Nippers). Heinemann Library, 2004.

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11

Dürsteler, Max R., and Erika N. Lorincz. Stereo Rotation Standstill and Related Illusions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0106.

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When we fixate the center of a rotating three-dimensional structure, such as a physically rotating wheel made out of sectors, which stereo cues are encoded with a static random-dot “texture,” a rather striking global motion illusion occurs: the rotating three-dimensional wheel appears as standing still (stereo rotation standstill). Even when using a dynamic (flickering) random-dot texture, it is still impossible to gain a percept of smooth rotation. However, local motion can still be clearly perceived. When the random-dot texture “overlaying” the wheel is also rotating, the concealed wheel is

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12

Royston, Angela. Rough and Smooth. Heinemann Library, 2003.

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13

Smooth and Rough. Heinemann, 2003.

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14

Fiona, Watt. That's not my angel ...: Her dress is too smooth. 2012.

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15

Cooper, Brittney C. Prologue. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252040993.003.0001.

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Beyond Respectability employs an Anna Julia Cooperian approach to reading and interrogating the theoretical work and lived experiences of Black women intellectuals. To understand this methodological approach, one needs to first become acquainted with two of Cooper’s cardinal commitments. They include: 1) a commitment to seeing the Black female body as a form of possibility and not a burden, and 2) a commitment to centering the Black female body as a means to cathect Black social thought. In Voice, Cooper places the Black female body and all that it knows squarely in the center of the text’s me

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