Separation simulator

Separation simulator, consisting of a control panel and an electromechanical simulator unit, simulates electrical separation of space flight vehicle stages. Simulation is accomplished by electrically inserting the simulator between the normal interstage couplings of the vehicle. Actual separation is accomplished by energizing two solenoids

Separation/Integration

This programme is built around David C Johnson’s 4-channel tape piece Telefun, realised in the WDR Studio for Electronic Music, Cologne. Gemini 8 is a new work by Sean Williams for Grey Area based on NASA's Gemini missions of the 1960s which paved the way for the Apollo missions to the moon. Gemini 8, piloted by Neil Armstrong, was the first manned space mission in which two spacecraft, launched an hour and a half apart, successfully docked with one another, although not without almost catastrophic problems and the forced aborting of the mission. This was the practical application of technology that was going on outside the studio whilst others were toiling away, crafting some of the finest electronic music made to date. Gemini 8 is a structured improvisation, so aside from this structure, equal creative input is given by each player. David C Johnson occupies a rare position in 20th Century music history, having worked with many composers and musicians from Lachenmann to avant rock band Can. From 1966-1970 he worked at the WDR Studios for Electronic Music in Cologne, assisting Karlheinz Stockhausen with the realisation of Hymnen and other works, and was one of the musicians who performed for 6 months in the West German pavilion of the 1970 World's Fair in Osaka. In 1970 during the World’s Fair in Osaka, Johnson, along with Rolf Gehlhaar and Johannes Fritsch separated from Stockhausen to set up the Feedback Studio out of which a wide range of innovative music practices and research flourished, including more open ideas about the role of the composer, especially in sound art and more cybernetic audio practices. Telefun was composed and realised during a break in the realisation of Hymnen when Stockhausen was in Tokyo creating Telemusik. The piece allows for a number of interruptions, the first of which will be: Toccatina by Helmut Lachenmann, performed by Emma Lloyd, is a short study for solo violin. The piece explores some of the more peculiar sounds in the violin’s timbral range, including notes played with the screw of the bow and sounds made by bowing the tail-piece, bridge, tuning pegs and scroll. Karlheinz Stockhausen’s Klavierstück XVI was written for piano or synthesizer as a scene from Friday from the Licht operas and is our second interruption to Johnson’s Telefun. Simon Smith plays his own realisation for synthesizer and is accompanied by the 4-channel tape version. PIANO PIECE XVI does not demand virtuosity, but rather, imagination and a sense of humour. It is up to the pianist to decide how many and which notes of the tape he (she) synchronously plays. At a given moment, there are many different possibilities. Our third interruption is a realisation of Yoko Ono’s 1963 Tape Piece III: Snow Piece: Take a tape of the sound of the snow falling. This should be done in the evening. Do not listen to the tape. Cut it and use it as strings to tie gifts with. Make a gift wrapper, if you wish, using the same process with a phonosheet. ©Copyright Yoko Ono 1964 I started trying to realise this piece in November 2010 but my tape machine got stuck in a lift overnight as I was moving it to get near a window. It didn’t snow again in the evening that winter. I had better luck the following winter where it snowed over a couple of days, and I was luckier with my tape machine that time. Although two private gifts have been given so far, this is the first public realisation of this piece. After the final part of Telefun, we’ll have an interval, and after that… Unlimited was written by Stockhausen in 1968 as part of the Aus den Sieben Tagen text pieces and was performed by the ensemble on various occasions. Separation from Mary Bauermeister triggered the crisis that was the backdrop for the composition of these text pieces. Questions of distributed creativity and the roles of interpretation and performance surrounding these text-based works contributed to the separation of Gehlhaar, Fritsch and Johnson from Stockhausen's ensemble to form the Feedback Studio in 1970. This piece can last for a very long time... Sean Williams, April 2014 Contributors: Simon Smith – synthesizer Grey Area: Nikki Moran - viola Emma Lloyd - violin Owen Green - bowed box Armin Sturm - double bass Shiori Usui - piano frame and voice Sean Williams - synthesizer and sound projectio

Single-shot layered reflectance separation using a polarized light field camera

We present a novel computational photography technique for single shot separation of diffuse/specular reflectance as well as novel angular domain separation of layered reflectance. Our solution consists of a two-way polarized light field (TPLF) camera which simultaneously captures two orthogonal states of polarization. A single photograph of a subject acquired with the TPLF camera under polarized illumination then enables standard separation of diffuse (depolarizing) and polarization preserving specular reflectance using light field sampling. We further demonstrate that the acquired data also enables novel angular separation of layered reflectance including separation of specular reflectance and single scattering in the polarization preserving component, and separation of shallow scattering from deep scattering in the depolarizing component. We apply our approach for efficient acquisition of facial reflectance including diffuse and specular normal maps, and novel separation of photometric normals into layered reflectance normals for layered facial renderings. We demonstrate our proposed single shot layered reflectance separation to be comparable to an existing multi-shot technique that relies on structured lighting while achieving separation results under a variety of illumination conditions

A parameterization of flow separation over subaqueous dunes

Flow separation plays a key role in the development of dunes, and modeling the complicated flow behavior inside the flow separation zone requires much computational effort. To make a first step toward modeling dune development at reasonable temporal and spatial scales, a parameterization of the shape of the flow separation zone over two-dimensional dunes is proposed herein, in order to avoid modeling the complex flow inside the flow separation zone. Flow separation behind dunes, with an angle-of-repose slip face, is characterized by a large circulating leeside eddy, where a separation streamline forms the upper boundary of the recirculating eddy. Experimental data of turbulent flow over two-dimensional subaqueous bed forms are used to parameterize this separation streamline. The bed forms have various heights and height to length ratios, and a wide range of flow conditions is analyzed. This paper shows that the shape of the flow separation zone can be approximated by a third-order polynomial as a function of the distance away from the flow separation point. The coefficients of the polynomial can be estimated, independent of flow conditions, on the basis of bed form shape at the flow separation point and a constant angle of the separation streamline at the flow reattachment point. \ud \u

Sound Source Separation

This is the author's accepted pre-print of the article, first published as G. Evangelista, S. Marchand, M. D. Plumbley and E. Vincent. Sound source separation. In U. Zölzer (ed.), DAFX: Digital Audio Effects, 2nd edition, Chapter 14, pp. 551-588. John Wiley & Sons, March 2011. ISBN 9781119991298. DOI: 10.1002/9781119991298.ch14file: Proof:e\EvangelistaMarchandPlumbleyV11-sound.pdf:PDF owner: markp timestamp: 2011.04.26file: Proof:e\EvangelistaMarchandPlumbleyV11-sound.pdf:PDF owner: markp timestamp: 2011.04.2

Acoustic particle separation

A method is described which uses acoustic energy to separate particles of different sizes, densities, or the like. The method includes applying acoustic energy resonant to a chamber containing a liquid of gaseous medium to set up a standing wave pattern that includes a force potential well wherein particles within the well are urged towards the center, or position of minimum force potential. A group of particles to be separated is placed in the chamber, while a non-acoustic force such as gravity is applied, so that the particles separate with the larger or denser particles moving away from the center of the well to a position near its edge and progressively smaller lighter particles moving progressively closer to the center of the well. Particles are removed from different positions within the well, so that particles are separated according to the positions they occupy in the well

Separation nut Patent

Contamination free separation nut eliminating combustion products from ambient surroundings generated by squib firin