A planar reconfigurable linear rigid-body motion linkage with two operation modes

A planar reconfigurable linear (also rectilinear) rigid-body motion linkage (RLRBML) with two operation modes, that is, linear rigid-body motion mode and lockup mode, is presented using only R (revolute) joints. The RLRBML does not require disassembly and external intervention to implement multi-task requirements. It is created via combining a Robert’s linkage and a double parallelogram linkage (with equal lengths of rocker links) arranged in parallel, which can convert a limited circular motion to a linear rigid-body motion without any reference guide way. This linear rigid-body motion is achieved since the double parallelogram linkage can guarantee the translation of the motion stage, and Robert’s linkage ensures the approximate straight line motion of its pivot joint connecting to the double parallelogram linkage. This novel RLRBML is under the linear rigid-body motion mode if the four rocker links in the double parallelogram linkage are not parallel. The motion stage is in the lockup mode if all of the four rocker links in the double parallelogram linkage are kept parallel in a tilted position (but the inner/outer two rocker links are still parallel). In the lockup mode, the motion stage of the RLRBML is prohibited from moving even under power off, but the double parallelogram linkage is still moveable for its own rotation application. It is noted that further RLRBMLs can be obtained from the above RLRBML by replacing Robert’s linkage with any other straight line motion linkage (such as Watt’s linkage). Additionally, a compact RLRBML and two single-mode linear rigid-body motion linkages are presented.

Portfolio of compositions with commentaries 2012-2015

This writing forms part of a portfolio of works which gathers together notations and recordings made between 2012 and 2015. The writing divides into four chapters. The first chapter undertakes an examination of abstraction. From the proposition obtained therein, that it is possible to extend within abstraction beyond a correspondence between its terms and concrete manifestations, I ask in what way abstraction may be considered to function therefrom. The second chapter performs an analysis of radical music notations from the nineteenth, twentieth, and twenty-first centuries. The central analysis identifies what is essentially an evolution of what I call ''figuration'' throughout three non-chronological phases of Christian Wolff's notations. The chapter closes by questioning what form of understanding might yet be pursued in respect of this work given (a) its nature, and (b) the nature of our inquiry. The third chapter reflects on some of the philosophical problematics raised in the preceding chapters, at the same time as it prepares for those that follow in the final chapter. The final chapter is a record of the development of my thought appertaining to my compositional work. It sets out two case studies (prepared piano and postcard notations) before proceeding to a selected set of commentaries. Finally, the notion of the functioning of written and acoustical ''marks'' developed in the preceding commentaries is generalised as I develop an aesthetics of scriptural experience.