Liquid marble formation using hydrophobic powders

This work aims to investigate and quantitatively measure “liquid marble” phenomena using hydrophobic powders (granules). The hydrophobic powders based on a copper substrate were prepared by a silver deposition technique of particle sizes 9 µm, 20 µm and 320 µm and of contact angle with water approaching 160°. The hydrophobic powder poly-methylmethacralate (PMMA) particle size 42 µm and contact angle of 120° was also used to determine the effect of powder density on liquid marble stability. The experimental investigations indicated that for successful formation of liquid marbles a number of variables in addition to hydrophobicity need to be considered, namely: powder density; powder particle size; powder shape; liquid marble formation technique. It was found that liquid marbles were formed using all four powders to varying extents, with a low powder particle size forming more stable liquid marbles. In a series of gravimetric tests, adhered powder mass on liquid marbles was found to be directly proportional to the water droplet surface area. A more complete coverage of the water drops were found with PMMA powder than the hydrophobic granules. Moreover, a further procedure was developed to increase the mechanical strength of the liquid marble, by polymerising methylmethacrylate (MMA) on the surface of a PMMA powder – liquid marble, with the aim of maintaining water within a more robust PMMA – liquid marble shell. This technique may prove to be a novel way of encapsulating drug compounds, such as gentamicin sulphate, for PMMA bone cement.

Regarding the Real: Cinema, Documentary, and the Visual Arts

Regarding the Real: Cinema, Documentary, and the Visual Arts develops an interdisciplinary approach to documentary film, focusing on its cultural and formal relations to other visual arts, such as animation, assemblage, photography, painting, sculpture, and architecture. The book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form, an unstable expressive phenomenon that cannot but interrogate the validity of its own narratives and representational modes. Combining close analysis with cultural history, Regarding the Real calls for a re-assessment of the influence of the modern arts in subverting the structures of realism typically associated with documentary filmmaking.

First record of a chiton from the Palaeocene of Denmark (Polyplacophora : Leptochitonidae) and its phylogenetic affinities

Anew species of fossil polyplacophoran from the Danian (Lower Palaeocene) of Denmark is described from over 450 individual disarticulated plates. The polyplacophorans originate from the 'nose-chalk' in the classical Danish locality of Fakse Quarry, an unconsolidated coral limestone in which aragonitic mollusc shells are preserved through transformation into calcite. In plate architecture and sculpture, the new Danish material is similar to Recent Leptochiton spp., but differs in its underdeveloped apophyses and high dorsal elevation (height/width ca. 0.54). Cladistic analysis of 55 original shell characters coded for more than loo Recent and fossil species in the order Lepiclopleurida shows very high resolution of interspecific relationships, but does not consistently recover traditional genera or subgenera. Inter-relationships within the suborder Lepidopleurina are of particular interest as it is often considered the most 'basal' neoloricate lineage. In a local context, the presence of chitons in the faunal assemblage of Fakse contributes evidence of shallow depositional depth for at least some elements of this Palaeocene seabed, a well-studied formation of azooxanthellic coral limestones. This new record for Denmark represents a well-dated and ecologically well-understood fossil chiton with potential value for understanding the radiation of the Neotoricata.

Interview with Paul DeMarinis

Since the early 1970s, the American electronic media artist Paul DeMarinis (b. 1948, Cleveland, Ohio, USA) has created works that re-imagine modes of communication and reinvent the technologies that enable communication. His works (see Table 1) have taken shape as recordings, performances, electronic inventions, and site-specific and interactive installations; many are considered landmarks in the histories of electronic music and media art. Paul DeMarinis pioneered live performance with computers, collaborated on landmark works with artists like David Tudor and Robert Ashley, undertook several tours with the Merce Cunningham Dance Company, and brought to life obscure technologies such as the flame loudspeaker (featured in his 2004 sculpture Firebirds). His interactive installation The Music Room (1982), commissioned by Frank Oppenheimer for the Exploratorium in San Francisco, was the first automatic music work to reach a significant audience. His album Music As A Second Language (1991) marks one of the most extensive explorations of the synthesized voice and speech melodies to date. Installations like The Edison Effect (1989-1993), in which lasers scan ancient recordings to produce music, and The Messenger (1998/2005), in which electronic mail messages are displayed on alphabetic telegraph receivers, illustrate a creative process that Douglas Kahn (1994) has called "reinventing invention." [etc]

Fauna

Stapleton’s self designed instrument, the BoSS (Bonsai Sound Sculpture, 2010) combines with Rose’s circular breathed baritone, multi-phonic and harmonic textures, to explore other sound worlds through real time interaction/composition. The method of exploration commits to a free improvisation aesthetic whereby the music is created at the point of performance. Encountering one another’s music while performing at the ‘Call them Improvisers’ performance at SARC, an ensemble directed by Evan Parker (November 2010) an affinity to the possibilities of one another’s particular approach became immediately apparent. This strongly identified connection led them to further explore the musical possibilities within the parameters created by the duo setting. Duo activities include concerts at Ausland (Berlin), SARC (Belfast), Sowieso (Berlin), Wendel (Berlin), and a recording with Elmar Susse in Hoffnungskirche, Pankow released by the California-based pfMENTUM record label in 2013.

This output is published in the form of an audio CD on the pfMENTUM record label.

LIQUID MARBLES GRANULATED USING SUPER-HYDROPHOBIC METAL POWDERS

Superhydrophobic (SH) particles based on a copper substrate were prepared by a silver deposition technique of different particle sizes from 10µm to 425µm. Such SH particles were found to be pH-responsive and liquid marbles formed using the SH copper substrate destabilised under certain pH conditions. The exposure to high concentrations of acidic or basic gases caused immediate collapse of the liquid marble. However, low concentrations of acidic and basic gases could diffuse across the shell of liquid marbles without adversely affecting the structure. Liquid marbles formed with large SH particles (425
µm) did not fully form a mono-layer around the liquid droplet. This phenomenon, whereby SH particles slide down the surface of the water droplet until an equilibrium position is reached, was studied using a mathematical approach, which related the angle to the vertical axis of the SH particles at t
he equilibrium F, to the shape of liquid marble and the contact angle, ?.

Proxemics: The World is a Deaf Machine

A multi-channel sound installation involving fixed loudspeakers and multiple mp3 players, commissioned by the Sainsbury Centre of Visual Arts, Norwich as a response to the sculpture of Ian Tyson and the architecture of Denys Lasdun.

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on “spatial sound” privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an “ontopological” model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.

Rocking behaviour of multi-block columns subjected to pulse-type ground motion accelerations

Ancient columns, made with a variety of materials such as marble, granite, stone or masonry are an important part of the
European cultural heritage. In particular columns of ancient temples in Greece and Sicily which support only the architrave are
characterized by small axial load values. This feature together with the slenderness typical of these structural members clearly
highlights as the evaluation of the rocking behaviour is a key aspect of their safety assessment and maintenance. It has to be noted
that the rocking response of rectangular cross-sectional columns modelled as monolithic rigid elements, has been widely investigated
since the first theoretical study carried out by Housner (1963). However, the assumption of monolithic member, although being
widely used and accepted for practical engineering applications, is not valid for more complex systems such as multi-block columns
made of stacked stone blocks, with or without mortar beds. In these cases, in fact, a correct analysis of the system should consider
rocking and sliding phenomena between the individual blocks of the structure. Due to the high non-linearity of the problem, the
evaluation of the dynamic behaviour of multi-block columns has been mostly studied in the literature using a numerical approach
such as the Discrete Element Method (DEM). This paper presents an introductory study about a proposed analytical-numerical
approach for analysing the rocking behaviour of multi-block columns subjected to a sine-pulse type ground motion. Based on the
approach proposed by Spanos (2001) for a system made of two rigid blocks, the Eulero-Lagrange method to obtain the motion
equations of the system is discussed and numerical applications are performed with case studies reported in the literature and with a
real acceleration record. The rocking response of single block and multi-block columns is compared and considerations are made
about the overturning conditions and on the effect of forcing function’s frequency.
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