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Updated live from Wikipedia, last check: May 31, 2012 02:00 UTC (45 seconds ago)

From Wikipedia, the free encyclopedia

Contact means to touch physically or to communicate with.

Contact may also refer to one of the things below.

Contents

In social interaction

  • Social contact, a person known to an individual, possibly on a different basis than friendship
  • vCard or hCard, in address books, a contact is the name, address, phone number, and other pertinent information
  • First contact (anthropology), between different cultures
  • Amateur radio contact, an exchange of information between two amateur radio operators
  • To actually touch in some way, be it physical, mental, emotional, or spiritual

In science and technology

  • Contact mechanics (see also Contact (mechanics)), a mathematical approach for calculating the contact areas, stresses, deformations and force-desplacement relations when two objects are pressed against each other
  • Contact process, a method for producing sulfuric acid on an industrial scale
  • Active component of an electric switch or electrical connector
  • Contact (mathematics), the idea of curves (for example) touching
  • Optical contacting, a process in which two highly polished surfaces are permanently or temporarily joined without use of any adhesive
  • Radar contact, the display of a single radar return from an object as a result of one radar sweep. (Compare with track)
  • Language contact, when different languages interact
  • Contact paper, in photography, used to print negatives without enlargement
  • The Contact Conference, an annual interdisciplinary scientific conference

In professional terminology

  • Contact (law), in Family Law, deals with the right of parents or other significant persons to meet with and relate to a child
  • In military parlance, a contact is any encounter with the enemy, generally (but not necessarily) involving fighting between sides.

In healthcare

  • Contact lens, a corrective, cosmetic, or therapeutic lens
  • Contact massage, massage that is done by hands or special electronic aids

Companies and organisations

Media

Albums

Songs

Other media

Other

See also


Quotes

Up to date as of January 14, 2010
(Redirected to Contact (film) article)

From Wikiquote

Contact is a 1997 film about a scientist, after years of searching, finds conclusive radio proof of intelligent aliens, who send plans for a mysterious machine.

Directed by Robert Zemeckis. Written by James V. Hart and Michael Goldenberg, based on the novel by Carl Sagan.
A message from deep space. Who will be the first to go? A journey to the heart of the universe. Taglines

Contents

Ellie Arroway

  • [Young Ellie on a ham radio following her father's death] CQ... CQ... this is W9GFO, come back? Dad, this is Ellie, come back?
  • Mathematics is the only true universal language.
  • [On why the message does not foreshadow an alien attack] We pose no threat to them. It would be like us going out of our way to destroy a few microbes on an ant hill in Africa.
  • So what's more likely? That an all-powerful, mysterious God created the Universe, and decided not to give any proof of his existence? Or, that He simply doesn't exist at all, and that we created Him, so that we wouldn't have to feel so small and alone?
  • Some celestial event. No - no words. No words to describe it. Poetry! They should have sent a poet. So beautiful. So beautiful... I had no idea.
  • I... had an experience. I can't prove it, I can't even explain it, but everything that I know as a human being, everything that I am tells me that it was real. I was given something wonderful, something that changed me forever. A vision of the universe, that tells us undeniably, how tiny, and insignificant and how... rare, and precious we all are! A vision that tells us that we belong to something that is greater than ourselves, that we are not, that none of us are alone.
  • Ok to go... Ok to go

Palmer Joss

  • You could call me a man of the cloth, without the cloth.
  • Ironically the thing that people are most hungry for, meaning, is the one thing that science hasn't been able to give them.
  • I'm not against technology, doctor. I'm against the men who deify it at the expense of human truth.
  • The reason I didn't vote for you to go Ellie, was a good reason but it wasn't the real one. I didn't vote for you to go, because I didn't want to lose you. Now you find your way home, alright?
  • What I'm asking is... are we happier? Is the world fundamentally a better place because of science and technology? We shop at home, we surf the Web, and at the same time we feel emptier, lonelier, and more cut off from each other than at any other time in human history...
  • As a person of faith, I'm bound by a different covenant than Dr. Arroway. But our goal is one and the same: the pursuit of truth. I for one believe her.

S.R. Hadden

  • They still want an American to go, doctor…Wanna take a ride?
  • First rule in government spending: why build one when you can have two at twice the price?
  • I've had a long time to make enemies, doctor. So many governments, business interests, even religious leaders that would like to see me depart this Earth. I'll grant them their wish soon enough. But before I do, I wish to make a small contribution. A final gesture of good will to the people of this little planet who have given—from whom I have taken—so much.

Others

  • Jay Leno: So it turns out there's life on other planets. Boy, this is really going to change the Miss Universe contest, you know what I mean?
  • David Drumlin: Ellie, still waiting for E.T. to call?
  • Ted Arroway: Small moves, Ellie, small moves.
  • Alien: You're an interesting species, an interesting mix. You're capable of such beautiful dreams and such horrible nightmares. You feel so lost, so cut off, so alone, only you're not. See, in all our searching, the only thing we've found that makes the emptiness bearable is each other.

Dialogue

Young Ellie Arroway: Dad, do you think there's people on other planets?
Ted Arroway: I don't know, Sparks. But I guess I'd say if it is just us... seems like an awful waste of space.

Palmer Joss: What are you studying up there?
Ellie Arroway: Oh, the usual. Nebulae, quasars, pulsars, stuff like that. What are you writing?
Palmer Joss: The usual. Nouns, adverbs, adjective here and there.

Dr. Kent Clark: Dr. Arroway will be spending her precious telescope time listening for... uh... listening for...
Ellie Arroway: Little green men.

Ellie Arroway: Occam's razor. You ever heard of it?
Palmer Joss: Hack-em's Razor. Sounds like some slasher movie.

Executive: We must confess that your proposal seems less like science and more like science fiction.
Ellie Arroway: Science fiction. You're right, it's crazy. In fact, it's even worse than that, it's nuts. You wanna hear something really nutty? I heard of a couple guys who wanna build something called an airplane, you know you get people to go in, and fly around like birds, it's ridiculous, right? And what about breaking the sound barrier, or rockets to the moon? Atomic energy, or a mission to Mars? Science fiction, right? Look, all I'm asking is for you to just have the tiniest bit of vision. You know, to just sit back for one minute and look at the big picture. To take a chance on something that just might end up being the most profoundly impactful moment for humanity, for the history... of history.

Michael Kitz: Your having sent this announcement all over the world may well constitute a breach of national security.
Ellie Arroway: This isn't a person-to-person call. You can't possibly think that a civilization sending this kind of message would intend it just for Americans.
Michael Kitz: I'm saying you might have consulted us; obviously, the contents of this message could be extremely sensitive.
Ellie Arroway: You want to classify prime numbers now?

[Ellie challenges Palmer to prove the existence of God]
Palmer Joss: Did you love your father?
Ellie Arroway: What?
Palmer Joss: Your dad. Did you love him?
Ellie Arroway: Yes, very much.
Palmer Joss: Prove it.

Palmer Joss: By doing this, you're willing to give your life, you're willing to die for it. Why?
Ellie Arroway: For as long as I can remember, I've been searching for something, some reason why we're here. What are we doing here? Who are we? If this is a chance to find out even just a little part of that answer... I don't know, I think it's worth a human life. Don't you?

Ellie Arroway: Why did you do it?
Palmer Joss: Our job was to select someone to speak for everybody. And I just couldn't in good conscience vote for a person who doesn't believe in God. Someone who honestly thinks the other ninety five percent of us suffer from some form of mass delusion.
Ellie Arroway: I told the truth up there. And Drumlin told you exactly what you wanted to hear.

David Drumlin: I know you must think this is all very unfair. Maybe that's an understatement. What you don't know is I agree. I wish the world was a place where fair was the bottom line, where the kind of idealism you showed at the hearing was rewarded, not taken advantage of. Unfortunately, we don't live in that world.
Ellie Arroway: Funny, I've always believed that the world is what we make of it.

Rachel Constantine: I assume you read the confidential findings report from the investigating committee.
Michael Kitz: I flipped through it.
Rachel Constantine: I was especially interested in the section on Arroway's video unit. The one that recorded the static?
Michael Kitz: Continue.
Rachel Constantine: The fact that it recorded static isn't what interests me.
Michael Kitz: [pauses] Continue...
Rachel Constantine: What interests me is that it recorded approximately eighteen hours of it.
Michael Kitz: That is interesting, isn't it?

Rachel Constantine: [about Adolf Hitler] Twenty million people died defeating that son of a bitch, and he's our first ambassador to outer space?
Ellie Arroway: Actually the Hitler broadcast from the...
David Drumlin: [interrupting] '36 olympics was the first television transmission of any power that went in to space. That they recorded it, and sent it back, is simply a way of saying "hello, we heard you."
Michael Kitz: Or, "Sieg Heil, you're our kind of people."

[asked what her one question to an alien race would be]
Ellie Arroway: How did you do it? How did you evolve, how did you survive this technological adolescence without destroying yourself?

[Ellie Arroway sees a suspicious man inside the walkway leading to the transport machine, then turns a security camera with a joystick so it faces him.]
Ellie Arroway: We've got a security problem here!
Security official: Are you sure?
Ellie Arroway: Yeah. That man? [points to suspicious man on-screen] I know him! He's not supposed to be there!
[Ellie Arroway puts on a headset with a microphone attached to it.]
Ellie Arroway: [speaking to a technician] Get me Drumlin on a secure loop please.
Ellie Arroway: [speaking to David Drumlin] David, can you hear me?
David Drumlin: Yeah, I hear.
Ellie Arroway: We have a security breach.

Senator: You come to us with no evidence, no record, no artifacts. Only a story that, to put it mildly, strains credibility... Are you really going to sit there and tell us that we should just take this all on faith?
Ellie Arroway: Is it possible that it didn't happen? Yes. . . . As a scientist I must concede that. I must volunteer that.
Kitz: Then why don't you simply withdraw your testimony and admit that this journey to the center of the galaxy, in fact, never took place?
Arroway: Because I can't. I had an experience. I can't prove it. I can't just explain it. But everything that I know as a human being, everything that I am tells me that it was real. I was given something wonderful, something that changed me forever: a vision of the universe that tells us undeniably how tiny and insignificant and how rare and precious we all are. A vision that tells us that we belong to something that is greater than ourselves, that we are not - that none of us is alone. I wish I could share that emotion, that everyone, if even for one moment, could feel that awe and humility and that hope that I felt, but... that continues to be my wish.

Taglines

  • A message from deep space. Who will be the first to go? A journey to the heart of the universe.
  • If it's just us, it seems like an awful waste of space.
  • Get ready for humans' biggest discovery ever!

Cast

External links

Wikipedia
Wikipedia has an article about:

Study guide

Up to date as of January 14, 2010

From Wikiversity

Contents

Concentrated Force on a Half-Plane

Concentrated force on a half plane

From the Flamant Solution

\begin{align} F_1 + 2\int_{\alpha}^{\beta} \left(\frac{C_1\cos\theta - C_3\sin\theta}{a}\right)a\cos\theta d\theta & = 0 \ F_2 + 2\int_{\alpha}^{\beta} \left(\frac{C_1\cos\theta - C_3\sin\theta}{a}\right)a\sin\theta d\theta & = 0 \end{align}

and

 \sigma_{rr} = \frac{2C_1\cos\theta}{r} + \frac{2C_3\sin\theta}{r} ~;~~ \sigma_{r\theta} = \sigma_{\theta\theta} = 0

If α = − π andβ = 0, we obtain the special case of a concentrated force acting on a half-plane. Then,

\begin{align} F_1 + 2\int_{-\pi}^{0} \left(C_1\cos^2\theta - \frac{C_3}{2}\sin(2\theta)\right) d\theta & = 0 \ F_2 + 2\int_{-\pi}^{0} \left(\frac{C_1}{2}\sin(2\theta) - C_3\sin^2\theta\right) d\theta & = 0 \end{align}

or,

\begin{align} F_1 + \pi C_1 & = 0 \ F_2 - \pi C_3 & = 0 \end{align}

Therefore,

 C_1 = - \frac{F_1}{\pi} ~;~~ C_3 = \frac{F_2}{\pi}

The stresses are

 \sigma_{rr} = -\frac{2F_1\cos\theta}{\pi r} - \frac{2F_2\sin\theta}{\pi r} ~;~~ \sigma_{r\theta} = \sigma_{\theta\theta} = 0

The stress σrr is obviously the superposition of the stresses due to F1 and F2, applied separately to the half-plane.

Problem 1: Stresses and displacements due to F2

The tensile force F2 produces the stress field

 \sigma_{rr} =- \frac{2F_2\sin\theta}{\pi r} ~;~~ \sigma_{r\theta} = \sigma_{\theta\theta} = 0
Stress due to concentrated force F2 on a half plane

The stress function is

 \varphi = \frac{F_2}{\pi} r\theta\cos\theta

Hence, the displacements from Michell's solution are

\begin{align} 2\mu u_r & = \frac{F_2}{2\pi}\left[(\kappa-1)\theta\cos\theta + \sin\theta - (\kappa+1)\ln(r)\sin\theta\right] \ 2\mu u_{\theta} & = \frac{F_2}{2\pi}\left[-(\kappa-1)\theta\sin\theta - \cos\theta - (\kappa+1)\ln(r)\cos\theta\right] \end{align}

At θ = 0, (x1 > 0, x2 = 0),

\begin{align} 2\mu u_r = 2\mu u_1 & = 0 \ 2\mu u_{\theta} = 2\mu u_2 & = \frac{F_2}{2\pi}\left[-1 - (\kappa+1)\ln(r)\right] \end{align}

At θ = − π, (x1 < 0, x2 = 0),

\begin{align} 2\mu u_r = -2\mu u_1 & =\frac{F_2}{2\pi}(\kappa-1)\ 2\mu u_{\theta} = -2\mu u_2 & = \frac{F_2}{2\pi}\left[1 + (\kappa+1)\ln(r)\right] \end{align}

where

\begin{align} \kappa = 3 - 4\nu & & \text{plane strain} \ \kappa = \frac{3 - \nu}{1+\nu} & & \text{plane stress} \end{align}

Since we expect the solution to be symmetric about x = 0, we superpose a rigid body displacement

\begin{align} 2\mu u_1 & = \frac{F_2}{4\pi}(\kappa-1)\ 2\mu u_2 & = \frac{F_2}{2\pi} \end{align}

The displacements are

\begin{align} u_1 & = \frac{F_2(\kappa-1)\text{sign}(x_1)}{8\mu} \ u_2 & = - \frac{F_2(\kappa+1)\ln|x_1|}{4\pi\mu} \end{align}

where

 \text{sign}(x) = \begin{cases} +1 & x > 0 \ -1 & x < 0 \end{cases}

and r = | x | on y = 0.

Problem 2: Stresses and displacements due to F1

The tensile force F1 produces the stress field

 \sigma_{rr} =- \frac{2F_2\cos\theta}{\pi r} ~;~~ \sigma_{r\theta} = \sigma_{\theta\theta} = 0
Stress due to concentrated force F1 on a half plane

The displacements are

\begin{align} u_1 & = - \frac{F_1(\kappa+1)\ln|x_1|}{4\pi\mu} \ u_2 & = - \frac{F_1(\kappa-1)\text{sign}(x_1)}{8\mu} \end{align}

Stresses and displacements due to F1 + F2

Superpose the two solutions. The stresses are

 \sigma_{rr} = -\frac{2F_1\cos\theta}{\pi r} - \frac{2F_2\sin\theta}{\pi r} ~;~~ \sigma_{r\theta} = \sigma_{\theta\theta} = 0

The displacements are

\begin{align} u_1 & = - \frac{F_1(\kappa+1)\ln|x_1|}{4\pi\mu} + \frac{F_2(\kappa-1)\text{sign}(x_1)}{8\mu} \ u_2 & = - \frac{F_2(\kappa+1)\ln|x_1|}{4\pi\mu} - \frac{F_1(\kappa-1)\text{sign}(x_1)}{8\mu} \end{align}

Distributed Force on a Half-Plane

Distributed force on a half plane
  • Applied load is p(ξ) per unit length in the x2 direction.
  • We already know the stresses and displacements due to a concentrated force. The stresses and displacements due to the distributed load can be found by { superposition}.
  • The Flamant solution is used as a Green's function, i.e., the distributed load is taken as the limit of a set of point loads of magnitude p(ξ)δξ.

At the point P

 u_2 = - \frac{(\kappa+1)}{4\pi\mu} \int_A p(\xi)\ln|x - \xi|~d\xi

As x \rightarrow \infty, u2 is unbounded. However, if we are interested in regions far from A, we can apply the distributed force as a statically equivalent concentrated force and get displacements using the concentrated force solution.


The avoid the above issue, contact problems are often formulated in terms of the { displacement gradient}

 \frac{du_2}{dx_1} = - \frac{(\kappa+1)}{4\pi\mu} \int_A \frac{p(\xi)}{x - \xi}~d\xi

If the point P is inside A, then the integral is taken to be the sum of the integrals to the left and right of P.

Indentation due to a Frictionless Rigid Flat Punch

Indentation by a plat rigid punch
  • Start with uneven surface profile u0(x1).
  • Unsymmetric load F, but sufficient for complete contact over the area A.

Displacement in x2 direction is

u2 = − u0(x1) + C1x1 + C0

where C0 is a rigid body translation and C1x1 is a rigid body rotation.


Rigid body motions can be determined using a statically equivalent set of forces and moments

\begin{align} \int_A p(\xi)~d\xi & = -F \ \int_A p(\xi)\xi~d\xi & = -Fd \end{align}

The displacement gradient is

 -\frac{du_0}{dx_1} +C_1 = - \frac{(\kappa+1)}{4\pi\mu} \int_{-a}^a \frac{p(\xi)}{x - \xi}~d\xi ~;~~ -a < x < a

Integral is a { Cauchy Singular Integral} that appears often and very naturally when the problem is solved using complex variable methods.


Note that the only thing we are interested in is the distribution of contact forces p(ξ).If we change the variables so that x = acosφ and ξ = acosθ, then

 \frac{1}{a\sin\phi}\frac{du_0}{d\phi}+C_1 = - \frac{(\kappa+1)}{4\pi\mu} \int_0^{\pi} \frac{p(\theta)\sin\theta}{\cos\phi - \cos\theta}~d\theta ~;~~ 0 < \phi < \pi

If we write p(θ) and du0 / dφ as

\begin{align} p(\theta) & = \sum_0^{\infty} \frac{p_n \cos(n\theta)}{\sin\theta} \ \frac{du_0}{d\phi} & = \sum_1^{\infty} u_n \sin(n\phi) \end{align}

and do some algebra, we get

\begin{align} p_0 & = -\frac{F}{\pi a} \ p_1 & = -\frac{F d}{\pi a^2} \ p_n & = -\frac{4\mu u_n}{(\kappa+1)a} ~;~~ n > 1 \end{align}

Flat Punch with Symmetric Load: u0 = C

In this case,

 \frac{du_0}{d\phi} = 0 \Rightarrow u_n = 0 ~;~~ n = 1 {\infty}

Also, d = 0 (origin at the center of A), hence p1 = 0. Therefore,

 p(x) = \frac{p_0}{\sin\phi} = -\frac{F}{\pi \sqrt{a^2 - x^2}}

At x = \pm a, the load is infinite, i.e. there is a singularity.

The Hertz Problem: Rigid Cylindrical Punch

Hertz indentation
  • The contact length a depends on the load F.
  • There is no singularity at x = \pm a.
  • The radius of the cylinder (R) is large.

We have,

 \frac{d^2 u_0}{dx^2} = -\frac{1}{R}

Hence,

 u_0 = C_0 - \frac{x^2}{2R} = C_0 - \frac{a^2\cos(2\phi)}{4R}-\frac{a^2}{4R}

and

 \frac{d u_0}{d\phi} = -\frac{a^2\sin(2\phi)}{2R}

Therefore,

 u_1 = 0 ~;~~ u_2 = \frac{a^2}{2R} ~;~~ u_n = 0 ~(n > 2)

and

 p_0 = -\frac{F}{\pi a} ~;~~ p_1 = 0 ~;~~ p_2 = \frac{2\mu a}{R(\kappa+1)} ~;~~ p_n = 0 ~(n > 2)

Plug back into the expression for p(θ) to get

 p(\theta) = \left(-\frac{F}{\pi a} + \frac{2\mu a}{R(\kappa+1)}\cos(2\theta) \right)/\sin\theta

This expression is singular at θ = 0 and θ = π, unless we choose

 \frac{F}{\pi a} = \frac{2\mu a}{R(\kappa+1)} \Rightarrow a = \sqrt{\frac{F(\kappa+1)R}{2\pi\mu}}

Plugging a into the equation for p(θ),

 p(\theta) = -\frac{2F\sin\theta}{\pi a} \Rightarrow p(x) = -\frac{2F\sqrt{a^2-x^2}}{\pi a^2}

Two deformable cylinders

If instead of the half-plane we have an cylinder; and instead of the rigid cylinder we have a deformable cylinder, then a similar approach can be used to obtain the contact length a

 a = \sqrt{\frac{FR_1R_2}{2\pi(R_1+R_2)}\left( \frac{\kappa_1+1}{\mu_1} + \frac{\kappa_2+1}{\mu_2}\right)}

and the force distribution p

 p(x) = -\frac{2F\sqrt{a^2-x^2}}{\pi a^2}


Many other problems are discussed in the texts by Timoshenko and Goodier (Elasticity) and K.L. Johnson (Contact Mechanics, 1985).

Related Content

Introduction to Elasticity


Strategy wiki

Up to date as of January 23, 2010

From StrategyWiki, the free strategy guide and walkthrough wiki

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Contact
Box artwork for Contact.
Developer(s) Grasshopper Manufacture
Publisher(s)
Release date(s)
Genre(s) RPG
System(s) Nintendo DS
Players 1

Table of Contents

Contact/Table of Contents


Gaming

Up to date as of January 31, 2010

From Wikia Gaming, your source for walkthroughs, games, guides, and more!

Contact

Developer(s) Grasshopper Manufacture
Publisher(s) Atlus
Designer(s) Akira Ueda
Release date November 19, 2006 (NA)

March 30, 2006 (JP)
February 2, 2007, (EU)
December 7, 2006 (AU)

Genre Role-playing game
Mode(s) Single player, Online
Age rating(s) ESRB: E10+
Platform(s) Nintendo DS
Media Game Card
Credits | Soundtrack | Codes | Walkthrough


Contact is an RPG designed by Akira Ueda, and developed by Grasshopper Manufacture, the team behind Killer 7. It breaks the fourth wall by including you, the player, as a character who is aiding the Professor, and the main character, Terry. The touch screen is used to manipulate decals & stickers which can give stat boosts, or perform specific tasks.

Contents

Storyline

The Professor and his Space Cat, Mochi, are in their space ship, being chased. They are shot down and lose all the power cells that are required for his ship. After landing on a strange planet, they meet Terry, a young boy who is a long way from home as a result of the Professor. Terry agrees to help the Professor, as they travel from island to island, solving quests in order to ultimately get all the power cells back.

Gameplay

There is a wide variety of gameplay to explain in Contact. Other than standard combat, Terry can also cook, fish, collect costumes, and much more.

Combat

The main combat is closer to real-time strategy games or MMORPGs than traditional RPGs. Players simply enter an "attack mode" and then move Terry near an enemy. Terry attacks automatically at a set rate of fire, but players can choose to use learned techs at any time, if they have the MP.

The game also features many statistics to level up, which are gained instantaneously. Every hit Terry takes increases your Defense EXP, every step increases his Jogging EXP, every meal he cooks increases his Cooking EXP, etc.

Players also have the unique ability to attack anyone in the game. There are enemies who attack you no matter what, but there are also helpless rabbits and sheep who are simply living out their lives, not expecting to be attacked. Terry can even be made to attack most NPCs, though killing innocents will lower his reputation and cause negative effects.

Screen Usage

The top screen will almost always display the Professor in an isometric, purposely pixel-heavy art style. The bottom screen features painted backgrounds and many more colors. Despite this, Terry will sometimes enter the Professor's 16-bit world.

The touch screen can be used to control movement and navigate menus, though buttons can also be used. The only thing that the touch screen does that the controls cannot is peel off and apply decal stickers.

Nintendo Wi-Fi Connection

Contact is Wi-Fi enabled, though not for multiplayer. Instead, players simply trade friend codes, "make contact" with each other, and then save. Every player you make contact with will appear in a place called WiFisland as an NPC. Here, you can have conversations and get free items or stat boosts.

External links

  • Official US Homepage
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Simple English

Simple English Wiktionary has the word meaning for:

Contact means to touch physically or to communicate with.

Contact could also mean:

Contents

General uses

  • Contact lens, a corrective, cosmetic, or therapeutic lens
  • Contact process, a method for producing sulfuric acid on an industrial scale
  • Contact network, a type of social network
  • Contact (law), in Family Law, deals with the right of parents or other significant persons to meet with and relate to a child
  • Active component of electric switch or electrical connector
  • vCard or hCard, in address books, a contact is the name, address, phone number, and other pertinent information
  • Contact paper, in photography, used to print negatives without enlargement
  • Contact (mathematics), a mathematical concept, the idea of curves (for example) touching
  • Optical contacting, a process in which two highly polished surfaces are permanently or temporarily joined without use of any adhesive
  • Contact Energy, an energy company in New Zealand
  • The initial fighting with an enemy unit, in a military context
  • Contact Conference, an annual interdisciplinary scientific conference
  • A social contact, a person renowned for performing special and often illegal favors for individuals in return for goods or services.
  • First contact between different cultures.
  • Radar contact, the display of a single radar return from an object as a result of one radar sweep. (Compare with track).
  • CONTACT USA, a Crisis Hotline.
  • Amateur radio contact, an exchange of information between two amateur radio operators
  • Contact massage, massage that is done by hands or special electronic aids
  • In military parlance a contact is a chance encounter with the enemy, typically while undertaking patrolling operations. Especially common in Britain, Australia/New Zealand and probably other Commonwealth forces such as india.

In music

  • Contact (musical), a dance musical

Albums

  • Contact (Fantastic Plastic Machine album), an album by Fantastic Plastic Machine
  • Contact!, an album by Eiffel 65
  • Contact (Silver Apples album), an album by Silver Apples
  • Contact, an album by The Benjamin Gate
  • Contact (Thirteen Senses album), an album by Thirteen Senses.
  • Contact (Indo G album), an album by Indo G
  • Contact (Minori Chihara album), an album by Minori Chihara.

Songs

  • "Contact", a song by Thirteen senses from the above album.
  • "Contact", a song from the broadway version of the rock opera, "Rent".
  • "Contact", a song by The Police from their 1979 album Reggatta de Blanc
  • "Contact (song)", by the French rock band Kyo.
  • "Contact" (Phish song), an early Phish song

Other media

  • Contact (novel), a science fiction novel by Carl Sagan
  • Contact (film), a movie based on the book
  • Contact (video game), a Nintendo DS game
  • Contact (Dance), a dance production by Paul Mercurio
  • Contact (The Culture), in novels by Iain M. Banks, the Exploration (and sometimes military) corp of the Culture
  • Contact (game), a word-guessing game.
  • Contact is English for Contacto, a publication of the British Interlingua Society.








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