Evaluation of Food Fineness by the Bionic Tongue Distributed Mechanical Testing Device

In this study, to obtain a texture perception that is closer to the human sense, we designed eight bionic tongue indenters based on the law of the physiology of mandibular movements and tongue movements features, set up a bionic tongue distributed mechanical testing device, performed in vitro simulations to obtain the distributed mechanical information over the tongue surface, and preliminarily constructed a food fineness perception evaluation model. By capturing a large number of tongue movements during chewing, we analyzed and simulated four representative tongue movement states including the tiled state, sunken state, raised state, and overturned state of the tongue. By analyzing curvature parameters and the Gauss curvature of the tongue surface, we selected the regional circle of interest. With that, eight bionic tongue indenters with different curvatures over the tongue surface were designed. Together with an arrayed film pressure sensor, we set up a bionic tongue distributed mechanical testing device, which was used to do contact pressure experiments on three kinds of cookies—WZ Cookie, ZL Cookie and JSL Cookie—with different fineness texture characteristics. Based on the distributed mechanical information perceived by the surface of the bionic tongue indenter, we established a food fineness perception evaluation model by defining three indicators, including gradient, stress change rate and areal density. The correlation between the sensory assessment and model result was analyzed. The results showed that the average values of correlation coefficients among the three kinds of food with the eight bionic tongue indenters reached 0.887, 0.865, and 0.870, respectively, that is, a significant correlation was achieved. The results illustrate that the food fineness perception evaluation model is effective, and the bionic tongue distributed mechanical testing device has a good practical significance for obtaining food texture mouthfeel information

Biopolymers from Natural Resources

This work covers all aspects related to the obtainment, production, design, and processing of biopolymers obtained from natural resources. Moreover, it studies characteristics related to the improvement of their performance to increase their potential application at an industrial level, in line with the concept of a global circular economy. Thus, this work firstly classifies biopolymers obtained from natural resources (e.g., biobased building blocks and biopolymers extracted directly from plants and biomass), and then summarizes several cutting-edge research works focused on enhancing the performance of biopolymers from natural resources to extend their application in the industrial sector, and contribute to the transition to more sustainable plastics

Aeronautical engineering: A continuing bibliography with indexes (supplement 193)

This bibliography lists 682 reports, articles and other documents introduced into the NASA scientific and technical information system in October 1985

Proceedings of the 2018 Canadian Society for Mechanical Engineering (CSME) International Congress

Published proceedings of the 2018 Canadian Society for Mechanical Engineering (CSME) International Congress, hosted by York University, 27-30 May 2018

Proceedings of the 21st International Congress of Aesthetics, Possible Worlds of Contemporary Aesthetics Aesthetics Between History, Geography and Media

The Faculty of Architecture, University of Belgrade and the Society for Aesthetics of Architecture and Visual Arts of Serbia (DEAVUS) are proud to be able to organize the 21st ICA Congress on “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media”. We are proud to announce that we received over 500 submissions from 56 countries, which makes this Congress the greatest gathering of aestheticians in this region in the last 40 years. The ICA 2019 Belgrade aims to map out contemporary aesthetics practices in a vivid dialogue of aestheticians, philosophers, art theorists, architecture theorists, culture theorists, media theorists, artists, media entrepreneurs, architects, cultural activists and researchers in the fields of humanities and social sciences. More precisely, the goal is to map the possible worlds of contemporary aesthetics in Europe, Asia, North and South America, Africa and Australia. The idea is to show, interpret and map the unity and diverseness in aesthetic thought, expression, research, and philosophies on our shared planet. Our goal is to promote a dialogue concerning aesthetics in those parts of the world that have not been involved with the work of the International Association for Aesthetics to this day. Global dialogue, understanding and cooperation are what we aim to achieve. That said, the 21st ICA is the first Congress to highlight the aesthetic issues of marginalised regions that have not been fully involved in the work of the IAA. This will be accomplished, among others, via thematic round tables discussing contemporary aesthetics in East Africa and South America. Today, aesthetics is recognized as an important philosophical, theoretical and even scientific discipline that aims at interpreting the complexity of phenomena in our contemporary world. People rather talk about possible worlds or possible aesthetic regimes rather than a unique and consistent philosophical, scientific or theoretical discipline

Relationships amongst science, ethics and polis in pre-modern times

The emergence of the Modern Age is depicted as a replacement of a long standing political philosophy by a distinctly new one. Foundational meanings are attributed to key terms Science, Ethics and Polis, nuance in these terms is traced against those attributed meanings, and the integrating impact of that nuance on relationships amongst key terms is interpreted as changing political philosophy. Speculative questioning reflection is expressed about the nature of the next Polis

Telepathy in contemporary, conceptual and performance art

This thesis investigates the impact of telepathy and psi on conceptual and performance art from 1968. Emerging from the author’s art practice, the thesis argues telepathy is a key leitmotif and creative concern within much post 60s art, and has become central to the practice of a number of contemporary video, performance and new media artists. This thesis is composed of two interrelated parts: an exhibition of the artwork by the author concerning telepathic processes, and a written project which uses the major themes of the exhibition to frame an historical study of a number of key contemporary artists whom, it is argued, work with telepathy. These artists, Jane and Louise Wilson, Suzanne Treister and Susan Hiller are discussed under the themes of ‘twinning and doubling,’ ‘technological mediums’ and ‘telepathy experiments’. These themes also overlap in the authors artwork, are introduced through an overarching analysis of the work of performance artist Marina Abramoviç and philosopher Jacques Derrida who, it is argued, provide a new model of telepathy as an art practice. In addition, the thesis argues that telepathy is an often suppressed thematic in art which may not appear to directly address it, and uses the work on the Wilsons, Treister and Hiller to re-look at other 20th Century artists and artistic themes in the light of the conclusions it draws on telepathy and art. Walter Benjamin greatly admired the Surrealists, but had virtually no time for their interest in telepathy, hypnosis and psi. Together with positive materialist misappropriations of Adorno’s Thesis Against Occultism, artistic and theoretical work with telepathy and psi has been sidelined from other important themes in art and critical theory, all of which telepathy and psi illuminate, energise and empower. The art of the author and other more recognised and established artists can be seen to work with telepathy in ways that flow into and reinforce the grain of progressive leftist practice and aesthetics. Women’s work with telepathy should be considered as important as women’s work with sexuality. Women, sexuality, Otherness, liminality, spirituality, telepathy, trauma, healing, radical politics, and other taboo areas of patriachal codes, were adandoned by macho participants of fluxus and Conceptual art. The recent conceptual and performance tilt in contemporary art sheds new light on the problem of working within and developing an effective and dynamic lineage of telepathy in post 60s art as well as early modern art movements. Contemporary developments in science, engineering, biology, psychoanalysis, warfare, popular culture and sociology show the wider relevance of discourse on telepathy. There is much at stake for visual art, aesthetics and visuality in representing, celebrating and interrogating the theme of psi and telepathy in current practice and art history. Artist's work with telepathy and psi, although not always explicitly psychological, political or aesthetic, is often very psychologically, politically and aesthetically effective