Dimensional hyper-reduction of nonlinear finite element models via empirical cubature

We present a general framework for the dimensional reduction, in terms of number of degrees of freedom as well as number of integration points (“hyper-reduction”), of nonlinear parameterized finite element (FE) models. The reduction process is divided into two sequential stages. The first stage consists in a common Galerkin projection onto a reduced-order space, as well as in the condensation of boundary conditions and external forces. For the second stage (reduction in number of integration points), we present a novel cubature scheme that efficiently determines optimal points and associated positive weights so that the error in integrating reduced internal forces is minimized. The distinguishing features of the proposed method are: (1) The minimization problem is posed in terms of orthogonal basis vector (obtained via a partitioned Singular Value Decomposition) rather that in terms of snapshots of the integrand. (2) The volume of the domain is exactly integrated. (3) The selection algorithm need not solve in all iterations a nonnegative least-squares problem to force the positiveness of the weights. Furthermore, we show that the proposed method converges to the absolute minimum (zero integration error) when the number of selected points is equal to the number of internal force modes included in the objective function. We illustrate this model reduction methodology by two nonlinear, structural examples (quasi-static bending and resonant vibration of elastoplastic composite plates). In both examples, the number of integration points is reduced three order of magnitudes (with respect to FE analyses) without significantly sacrificing accuracy.Peer ReviewedPostprint (published version

El saber originario acerca de Dios. El saber originario acerca de dios, connatural al hombre constitutivamente religioso, y su relación con las pruebas filosóficas de la teodicea

AratículoEl problema del origen de la noción de Dios en el hombre parece rebasar la pura filosofía (1). Hoy se insiste en la necesidad de enfocar los temas antropológicos desde una perspectiva existencial -sit venia verbo- que tenga en cuenta todas las dimensiones del ser personal cognoscente, en su concreción real y viviente, situacional. Ahora bien, el creyente afirma (y puede mostrar lo razonable de su afirmación), que a cada uno de los hombres le afecta, de hecho, un acontecimiento de primerísima magnitud, histórica y metahistórica a la vez: el misterio de Cristo, centro y eje de la historia

From love to the sinister in Blade Runner 2049

MHCJ Vol. 12 (1) | Año 2021 - Artículo nº 9 (176) - Páginas 181 a 202 - mhjournal.org181ResumenEl presente artículo aborda lo siniestro en Blade Runner 2049 (Villeneuve, 2017), puesta en relación con Blade Runner (Scott, 1982), a partir de la presencia en la película de los elementos y temas que, según Freud, son portadores del fenómeno. El objetivo de este artículo es comprobar si la mera presencia de estos (la incertidumbre, el animismo, la am-putación de los ojos, el doble y la repetición) basta para que lo siniestro irrumpa, o si es necesario que su carga alcance a la materiali-dad fílmica, rasgando los códigos del modo de representación hegemónica, para que el fenómeno alcance toda la radicalidad de su manifestación con la aparición de la angustia que le caracteriza. Para ello analizaremos diversas secuencias que establecen la relación en-tre Joi y `K ́ y Deckard y Rachel, porque es en ellas donde lo siniestro toma forma a partir del amor y de la figura de la mujer que retorna de la muerte. Pondremos el foco igualmente en la relación que se establece entre lo siniestro y aquello que surge entre la resistencia del sujeto y las imágenes de consumo capitalistas.This article addresses the sinister in Blade Runner 2049 (Villeneuve, 2017), related to Blade Runner (Scott, 1982), starting with the elements and themes that, according to Freud, were the carriers of the phe-nomenon. The objective of this article is to check if the mere presence of these (the uncertainty, the animism, the eyes amputation, the doppelganger, and the repetition) in the film is enough for the sinister to erupt. Another way of checking the sinister’s presence is by looking at the filmic materiality tearing the codes of the hegemonic mode of representation. This way the phenomenon would reach all the radicality of its manifestation with the apparition of the anguish. In order to do this, we will base ourselves on various sequences that estab-lish the relationship between Joi and `K ́ and the one between Deckard and Rachel. It is in these relationships where the sinister takes shape from love and death in the figure of the woman who returns from death. We will also focus on the connection that is established between the sinister and the result of combining the resistance of the subject with the images of capitalist consumption