Active design of tooth profiles using parabolic curve as the line of action

This paper proposes a method for the design of gear tooth profiles using parabolic curve as its line of action. A mathematical model, including the equation of the line of action, the equation of the tooth profile, and the equation of the conjugate tooth profile, is developed based on the meshing theory. The equation of undercutting condition is derived from the model. The influences of the two design parameters, that present the size (or shape) of the parabolic curve relative to the gear size, on the shape of tooth profiles and on the contact ratio are also studied through the design of an example drive. The strength, including the contact and the bending stresses, of the gear drive designed by using the proposed method is analyzed by an FEA simulation. A comparison of the above characteristics of the gear drive designed with the involute gear drive is also carried out in this work. The results confirm that the proposed design method is more flexible to control the shape of the tooth profile by changing the parameters of the parabola.

Towards an Asynchronous Cinema: how can the asynchronous use of sound in artists' moving image underpin the creation of dialectic tension between the audio, the visual and the audience?

This PhD by publication examines selected practice-based audio-visual works made by the author over a ten-year period, placing them in a critical context. Central to the publications, and the focus of the thesis, is an exploration of the role of sound in the creation of dialectic tension between the audio, the visual and the audience. By first analysing a number of texts (films/videos and key writings) the thesis locates the principal issues and debates around the use of audio in artists’ moving image practice. From this it is argued that asynchronism, first advocated in 1929 by Pudovkin as a response to the advent of synchronised sound, can be used to articulate audio-visual relationships. Central to asynchronism’s application in this paper is a recognition of the propensity for sound and image to adhere, and in visual music for there to be a literal equation of audio with the visual, often married with a quest for the synaesthetic. These elements can either be used in an illusionist fashion, or employed as part of an anti-illusionist strategy for realising dialectic. Using this as a theoretical basis, the paper examines how the publications implement asynchronism, including digital mapping to facilitate innovative reciprocal sound and image combinations, and the asynchronous use of ‘found sound’ from a range of online sources to reframe the moving image. The synthesis of publications and practice demonstrates that asynchronism can both underpin the creation of dialectic, and be an integral component in an audio-visual anti-illusionist methodology.