Raphael into the Baroque: drawing in the Carracci workshop

Discussion of the influence of Raphael's drawings on the practice of the workshop of Annibale Carracci in Rome.

Realising the cup product of local Tate duality

We present an explicit description, in terms of central simple algebras, of a cup product map which occurs in the statement of local Tate duality for Galois modules of prime cardinality p. Given cocycles f and g, we construct a central simple algebra of dimension p^2 whose class in the Brauer group gives the cup product f\cup g. This algebra is as small as possible.

Tribological Testing of Some Potential PVD and CVD Coatings for Steel Wire Drawing Dies

Cemented carbide is today the most frequently used drawing die material in steel wire drawing applications. This is mainly due to the possibility to obtain a broad combination of hardness and toughness thus meeting the requirements concerning strength, crack resistance and wear resistance set by the wire drawing process. However, the increasing cost of cemented carbide in combination with the possibility to increase the wear resistance of steel through the deposition of wear resistant CVD and PVD coatings have enhanced the interest to replace cemented carbide drawing dies with CVD and PVD coated steel wire drawing dies. In the present study, the possibility to replace cemented carbide wire drawing dies with CVD and PVD coated steel drawing dies have been investigated by tribological characterisation, i.e. pin-on-disc and scratch testing, in combination with post-test observations of the tribo surfaces using scanning electron microscopy, energy dispersive X-ray spectroscopy and 3D surface profilometry. Based on the results obtained, CVD and PVD coatings aimed to provide improved tribological performance of steel wire drawing dies should display a smooth surface topography, a high wear resistance, a high fracture toughness (i.e. a high cracking and chipping resistance) and intrinsic low friction properties in contact with the wire material. Also, the steel substrate used must display a sufficient load carrying capacity and resistance to thermal softening. Of the CVD and PVD coatings evaluated in the tribological tests, a CVD TiC and a PVD CrC/C coating displayed the most promising results.

Spiral drawing during self-rated dyskinesia is more impaired than during self-rated off

Background: A mobile device test battery, consisting of a patient diary collection section with disease-related questions and a fine motor test section (including spiral drawing tasks), was used by 65 patients with advanced Parkinson's disease (PD)(treated with intraduodenal levodopa/carbidopa gel infusion, Duodopa®, or candidates for this treatment) on 10439 test occasions in their home environments. On each occasion, patients traced three pre-drawn Archimedes spirals using an ergonomic stylus and self-assessed their motor function on a global Treatment Response Scale (TRS) ranging from -3 = very 'off' to 0 = 'on' to +3 = very dyskinetic. The spirals were processed by a computer-based method that generates a "spiral score" representing the PD-related drawing impairment. The scale for the score was based on a modified Bain & Findley rating scale in the range from 0 = no impairment to 5 = moderate impairment to 10 = extremely severe impairment. Objective: To analyze the test battery data for the purpose to find differences in spiral drawing performance of PD patients in relation to their self-assessments of motor function. Methods: Three motor states were used in the analysis; OFF state (including moderate and very 'off'), ON state ('on') and a dyskinetic (DYS) state (moderate and very dyskinetic). In order to avoid the problem of multiple test occasions per patient, 200 random samples of single test occasions per patient were drawn. One-way analysis of variance, ANOVA, test followed by Tukey multiple comparisons test was used to test if mean values of spiral test parameters, i.e. the spiral score and drawing completion times (in seconds), were different among the three motor states. Statistical significance was set at p<0.05. To investigate changes in the spiral score over the time-of-day test sessions for the three motor states, plots of statistical summaries were inspected. Results: The mean spiral score differed significantly across the three self-assessed motor states (p<0.001, ANOVA test). Tukey post-hoc comparisons indicate that the mean spiral score (mean ± SD; [95% CI for mean]) in DYS state (5.2 ± 1.8; [5.12, 5.28]) was higher than the mean spiral score in OFF (4.3 ± 1.7; [4.22, 4.37]) and ON (4.2 ± 1.7; [4.17, 4.29]) states. The mean spiral score was also significantly different among individual TRS values of slightly 'off' (4.02 ± 1.63), 'on' (4.07 ± 1.65) and slightly dyskinetic (4.6 ± 1.71), (p<0.001). There were no differences in drawing completion times among the three motor states (p=0.509). In the OFF and ON states, patients drew slightly more impaired spirals in the afternoon whereas in the DYS state the spiral drawing performance was more impaired in the morning. Conclusion: It was found that when patients considered themselves as being dyskinetic spiral drawing was more impaired (nearly one unit change in a 0-10 scale) compared to when they considered themselves as being 'off' and 'on'. The spiral drawing at patients that self-assessed their motor state as dyskinetic was slightly more impaired in the morning hours, between 8 and 12 o'clock, a situation possibly caused by the morning dose effect.

Material properties under drawing and extrusion with cyclic torsion

A copper bar was drawn while a lead bar was extruded through a cyclically twisting die in a specifically designed experimental rig. The drawing/extrusion load fluctuated at the same frequency as that of die twisting. The load tended to be at a level of monotonic deformation when the die was changing direction. The degree of the reduction in load for both the drawing and extrusion processes depended on the deformation conditions and requires optimisation for industrial application.

Interaction between the coating characteristics of galvanneal steel and forming parameters during flat die drawing

Galvanneal steel is considered to be better for automotive applications than its counterpart, galvanized steel, mainly because of its superior coating and surface properties. Galvanneal steel is produced by hot dipping sheet steel in a bath of molten zinc with small, controlled, levels of aluminium, followed by annealing which creates a Fe-Zn intermetallic layer. This intermetallic layer of the coating improves spot weldability and improves subsequent paint appearance. However, if the microstructure of the coating is not properly controlled and forming parameters are not properly selected, wear of the coating could occur during stamping. Frictional sliding of the sheet between the tool surfaces results in considerable amount of coating loss. An Interstitial Free steel with a Galvanneal coating of nominally 60g/m2 was used for the laboratory experiments. Flat Face Friction (FFF) tests were performed with different forming conditions and lubricants to simulate the frictional sliding in stamping. Glow-Discharge Optical Emission Spectrometry (DG-OES) was used to measure the change in the coating thickness during sliding. Optical microscopy was considered for imaging the surfaces as well as an optical method to compare the changes in the coating thickness during the forming. The change to the Galvanneal coating thickness was found to be a function of forming parameters.

A general rooted tree drawing algorithm

A general rooted tree drawing algorithm is designed in this paper. It satisfies the basic aesthetic criteria and can be well applied to binary trees. Given an area, any complex tree can be drawn within the area in users' favorite styles. The algorithm is efficient with O(LxNxlogN) time complexity and self-adaptive as well.

Cross-discipline collaboration and innovation in the design studio : drawing on the Bath model

As information expands and comprehension becomes more complex, so the need increases to develop focused areas of knowledge and skill acquisition. However, as the number of specialty areas increases so the languages that define each separate knowledge base become increasingly remote. Hence, concepts and viewpoints that were once considered part of a whole become detached. This phenomenon is typical of the development of tertiary education, especially within professional oriented courses, where disciplines and sub-disciplines have grown further apart and the ability to communicate has become increasingly fragmented.
One individual and visionary who was well acquainted with the shortcomings of the piecemeal development between the disciplines was Professor Sir Edmond Happold, the leader of the prestigious group known as Structures 3 at Ove Arup and Partners, who were responsible for making happen some of the landmark buildings of their time, including Sydney Opera House and the Pompidou Centre, and the founding professor of the Bath school of Architecture and Civil Engineering in 1975. While still having a profound respect for the knowledge bases of the different professions within the building and construction industry, Professor Happold was also well aware of the extraordinary synergies in design and innovation which could come about when the disciplines of Architecture and Civil Engineering were brought together at the outset of the design process.
This paper discusses the rational behind Professor Happold’s cross-discipline model of education and reflects on the method, execution and pedagogical worth of the joint studio-based projects which formed a core aspect of the third year program at the School of Architecture and Civil Engineering at the Bath University.

Drawing and the subjectivity of the 'other'

Scenes of the Aboriginal family sitting around a table in the film The Fringe Dwellers present the boy quietly drawing, while other members of the family are engaged in discussion. The boy is less visible, more passive and contemplative, and his subjectivity is suggested rather than explored in the film. He repeats the same activity and the same inward concentration. My hypothesis is that the boy's subjectivity and agency are projected elsewhere, towards an imaginary field beyond the film's structure and beyond the social reality of the film's outside. What is the aboriginal boy drawing? In one scene, is a glimpse of his 'projection', he draws a house. The boy is mesmerised and pre-occupied by his drawing. We have seen the mystery of this preoccupation in images of heroic modernist architects (Le Corbusier, Frank Lloyd Wright, Oscar Niemeyer come to mind) presenting a connection between the hand of the architect and his sketch as an essential gift in the making of a 'master architect'. Through this visual association, the 'Aboriginal boy drawing' is associated with the field of 'a universal human subject' and the essay investigates how his practice might participate in new subjective positions across disciplines. Through his inscriptions, the Aboriginal boy expresses more than a wish: he articulates and inhabits another dwelling, an imaginary dwelling of a subjectivity and 'identity' beyond the black and white divide. The boy, however, is not a 'master', making his drawing a subversive and risky practice.

The design studio: fabricating a sense of architecture in drawing

The purpose of this paper is to provide a platform for investigating the relationship between the student and the tutor via the design drawing and in particular the idea that what gives grounds for architecture to embody something is what is imagined is expressed in the design drawing. It is suggested that in architectural education the sense of architecture's fabricated properties find their apparent expression from the convergence of the tutor and student toward these drawings. In an act of perceptual contortion, there is an endeavour to reconcile what they see with what they think the drawing might suggest. Part of this mental reconstruction is based on the expectation that something is in the drawing to see. The drawing is produced based on the supposition that it will be read, generating a particular conditioning of the student's attitude toward the relevance of the drawing. It is engaged as the receptacle of ideas about what architecture is. The result is that sometimes the emphasis on the drawing as something to be consumed implies a permeation of the supposed sensory qualities of architecture imagined by the student designer, the portrayal of which is indubitably a product of the medium. While this might be commonly experienced in studios, it is proposed that this may be perpetuated in architectural education not merely by the act of drawing itself and what the drawing is, but how the student/tutor exchange contributes to the consciousness of what is portrayed.

Football's world cup and its fans - reflections on national styles : a photo essay on Germany 2006

The football World Cup is the greatest multicultural sporting extravaganza of modern times. The notion of post-fandom tries to capture the ways in which fans now participate in and engage in self-aware and reflexive strategies to obtain their desired outcomes from attendance at or viewing such major events. This illustrated photo-essay on the World Cup looks at the experiences and behaviour of fans in three countries, Scotland, Germany and Australia, during the tournament with a view to extending our understanding of the relationships between fans and others temporarily interested in the World Cup and the promoters of such mega-events. It argues that the participants brought a wide range of expectations to the tournament and engaged in highly flexible and innovative approaches to ensure that they gained the maximum benefit, individually and collectively, from the experience.

The Human Figure in Drawing and Sculpture

My project as a Senior Scholar has been the study of the human figure through drawing and sculpture. I have worked directly from the model in order to understand the form and structure of the human body. The result of this concentrated study has been a sharpened sense of vision and an increased confidence in the use of materials for both two and three-dimensional representation.