Doublecloth: History, Technique, Possibilities.

Merged with duplicate record 10026.1/2320 on 06.20.2017 by CS (TIS)The aim of this research is to analyse through practical and historical investigation the manner in which Doublecloth in the twentieth century has been transformed from a traditional woven technique to one of artistic innovation and challenge. The first series of woven samples and historic enquiry concerns the structure and pattern of doublecloth at a time when its industrial and craft-based use was for the production of decorative and utilitarian woven fabrics. The research focuses on the extent to which this technique was given aesthetic credibility by its altered profile at the Bauhaus and the subsequent influence of the writings and work of Anni Albers. While the philosophy and products of the Bauhaus and the role of Walter Gropius have been documented and widely debated the practice of textiles, and the influence on it of gender, class and the hierarchical practice of craft, has received little critical attention. The research seeks to redress this imbalance, evaluating why the output of the textile workshops was undervalued artistically and considered marginal to the products from other workshops. This leads to a consideration of the interface between the practice of Fine Art and the practice of Craft, between designing and making, between art and industry. The woven samples are a process of experimentation against which the historic stages can be tested and the technical constraints of contemporary practice can be explained. This primary material leads to a consideration of the new technology and the impact of Nuno doublecloth fabrics on the production of doublecloth for the mass market. The evidence suggests that while new fabric finishes and experimental pattern effects are desirable, the difficulties of hand production are so prohibitive, that it is only with computer aided technology that such ambitions can be me

Criteria for graphic representation in musical scores: Visual elements in musical scores

A interdisciplinaridade entre a música e as artes visuais tem sido explorado por conceituados teóricos e filósofos, embora não exista muito na área da interpretação visual do grafismo de partituras musicais. Este estudo investiga como os grafismos na notação e símbolos musicais afectam o intérprete na sua transformação em som, com referência especial a partituras contemporâneas, que utilizam notação menos convencional para a criação de uma interpretação por sugestão. Outras relações entre o som e o visual são exploradas, incluindo a sinestesia, a temporalidade e a relação entre obra de arte e público. O objectivo desta dissertação é a de constituir um estudo inovativo sobre partituras musicais contemporâneas, simultaneamente do ponto de vista musical e visual. Finalmente, também vai mais longe, incluindo desenhos da própria autora inspirados e motivados pela música. Estes já não cumprem uma função de notação convencional para o músico, embora existe uma constante possibilidade de uma reinterpretação. ABSTRACT; The inter-disciplinarity between music and visual art has been explored by leading theorists and philosophers, though very little exists in the area of the visual interpretation of graphic musical scores. This study looks at how the graphics of musical notation and symbols affect the performer in transforming them into sound, with particular reference to contemporary scores that use non¬conventional notation to create an interpretation through suggestion. Other sound-visual relationships are explored, including synaesthesia, temporality and the interconnection between work of art and audience or public. This dissertation aims to be an innovative study of contemporary musical scores, from a musical as well as visual perspective. Finally, it takes a step further with drawings of my own, directly inspired and motivated by the music. These no longer fulfil a conventionally notational function for the musician, yet the potential for a re-interpretation is ever-present

The ingenuity of common workmen: and the invention of the computer

Since World War II, state support for scientific research has been assumed crucial to technological and economic progress. Governments accordingly spent tremendous sums to that end. Nothing epitomizes the alleged fruits of that involvement better than the electronic digital computer. The first such computer has been widely reputed to be the ENIAC, financed by the U.S. Army for the war but finished afterwards. Vastly improved computers followed, initially paid for in good share by the Federal Government of the United States, but with the private sector then dominating, both in development and use, and computers are of major significance.;Despite the supposed success of public-supported science, evidence is that computers would have evolved much the same without it but at less expense. Indeed, the foundations of modern computer theory and technology were articulated before World War II, both as a tool of applied mathematics and for information processing, and the computer was itself on the cusp of reality. Contrary to popular understanding, the ENIAC actually represented a movement backwards and a dead end.;Rather, modern computation derived more directly, for example, from the prewar work of John Vincent Atanasoff and Clifford Berry, a physics professor and graduate student, respectively, at Iowa State College (now University) in Ames, Iowa. They built the Atanasoff Berry Computer (ABC), which, although special purpose and inexpensive, heralded the efficient and elegant design of modern computers. Moreover, while no one foresaw commercialization of computers based on the ungainly and costly ENIAC, the commercial possibilities of the ABC were immediately evident, although unrealized due to war. Evidence indicates, furthermore, that the private sector was willing and able to develop computers beyond the ABC and could have done so more effectively than government, to the most sophisticated machines.;A full and inclusive history of computers suggests that Adam Smith, the eighteenth century Scottish philosopher, had it right. He believed that minimal and aloof government best served society, and that the inherent genius of citizens was itself enough to ensure the general prosperity

The effect of rotor and casing geometry on the performance of cross-flow fans.

SIGLEAvailable from British Library Document Supply Centre- DSC:D38032/81 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Experimental determination of gap flow-conditioned forces at turbine stages and their effect on the running stability of simple rotors

Instabilities in turbine operation can be caused by forces which are produced in connection with motions involving the oil film in the bearings. An experimental investigation regarding the characteristics of such forces in the case of three typical steam turbine stages is conducted, taking into account the effect of various parameters. Supplementary kinetic tests are carried out to obtain an estimate of the flow forces which are proportional to the velocity. The measurements are based on the theoretical study of the damping characteristics of a vibrational model. A computational analysis of the effect of the measured fluid forces on the stability characteristics of simple rotor model is also conducted

A Biomimetic, Energy-Harvesting, Obstacle-Avoiding, Path-Planning Algorithm for UAVs

This dissertation presents two new approaches to energy harvesting for Unmanned Aerial Vehicles (UAV). One method is based on the Potential Flow Method (PFM); the other method seeds a wind-field map based on updraft peak analysis and then applies a variant of the Bellman-Ford algorithm to find the minimum-cost path. Both methods are enhanced by taking into account the performance characteristics of the aircraft using advanced performance theory. The combined approach yields five possible trajectories from which the one with the minimum energy cost is selected. The dissertation concludes by using the developed theory and modeling tools to simulate the flight paths of two small Unmanned Aerial Vehicles (sUAV) in the 500 kg and 250 kg class. The results show that, in mountainous regions, substantial energy can be recovered, depending on topography and wind characteristics. For the examples presented, as much as 50% of the energy was recovered for a complex, multi-heading, multi-altitude, 170 km mission in an average wind speed of 9 m/s. The algorithms constitute a Generic Intelligent Control Algorithm (GICA) for autonomous unmanned aerial vehicles that enables an extraction of atmospheric energy while completing a mission trajectory. At the same time, the algorithm automatically adjusts the flight path in order to avoid obstacles, in a fashion not unlike what one would expect from living organisms, such as birds and insects. This multi-disciplinary approach renders the approach biomimetic, i.e. it constitutes a synthetic system that “mimics the formation and function of biological mechanisms and processes.