Evaporation-induced evolution of the capillary force between two grains

© 2014, Springer-Verlag Berlin Heidelberg.The evolution of capillary forces during evaporation and the corresponding changes in the geometrical characteristics of liquid (water) bridges between two glass spheres with constant separation are examined experimentally. For comparison, the liquid bridges were also tested for mechanical extension (at constant volume). The obtained results reveal substantial differences between the evolution of capillary force due to evaporation and the evolution due to extension of the liquid bridges. During both evaporation and extension, the change of interparticle capillary forces consists in a force decrease to zero either gradually or via rupture of the bridge. At small separations between the grains (short & wide bridges) during evaporation and at large volumes during extension, there is a slight initial increase of force. During evaporation, the capillary force decreases slowly at the beginning of the process and quickly at the end of the process; during extension, the capillary force decreases quickly at the beginning and slowly at the end of the process. Rupture during evaporation of the bridges occurs most abruptly for bridges with wider separations (tall and thin), sometimes occurring after only 25% of the water volume was evaporated. The evolution (pinning/depinning) of two geometrical characteristics of the bridge, the diameter of the three-phase contact line and the “apparent” contact angle at the solid/liquid/gas interface, seem to control the capillary force evolution. The findings are of relevance to the mechanics of unsaturated granular media in the final phase of drying.

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio with Scott LaFaro and Paul Motian.

Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a “bending” of time.

The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans’ recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Young’s “My Foolish Heart” as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larson’s theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of “My Foolish Heart,” showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the song’s inherent rhetorical tension to the instrumental musical discourse.