Kinematic Design of a 6-DOF Parallel Manipulator with Decoupled Translation and Rotation

A new three-limb, six-degree-of-freedom (DOF) parallel manipulator (PM), termed a selectively actuated PM (SA-PM), is proposed. The end-effector of the manipulator can produce 3-DOF spherical motion, 3-DOF translation, 3-DOF hybrid motion, or complete 6-DOF spatial motion, depending on the types of the actuation (rotary or linear) chosen for the actuators. The manipulator architecture completely decouples translation and rotation of the end-effector for individual control. The structure synthesis of SA-PM is achieved using the line geometry. Singularity analysis shows that the SA-PM is an isotropic translation PM when all the actuators are in linear mode. Because of the decoupled motion structure, a decomposition method is applied for both the displacement analysis and dimension optimization. With the index of maximal workspace satisfying given global conditioning requirements, the geometrical parameters are optimized. As a result, the translational workspace is a cube, and the orientation workspace is nearly unlimited.

Polish metaphorical perceptions of the translator and translation

The paper offers a comprehensive overview of the Polish metaphorics of translation. It starts by examining the Polish linguistic image of translating, followed by a survey of metaphorical descriptions of the translator and translation from the 18th century, representing the pre-scientific era in reflection on translation. Most attention is devoted to metaphors found in contemporary Polish discourse on translation, centered around: (1) the nature of translation; (2) the relationship between the source and target text, and between the author and translator; and (3) the role of the translator. It is demonstrated that the Polish context offers a rich repertoire of metaphorical depictions of translating, which reflects its distinctive historical and cultural setup.

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.