Estudo de um sistema de frenagem eletromagnética empregando correntes parasitas

This work deals with the analytical, computational and experimental study of phenomena related to the Eddy current induction in low permeability means for embedded electromagnetic braking systems applications. The phenomena of forces generation in opposing to the variation of stationary magnetic flux produced by DC power supplies, set in motion by the application of an external propulsive force are addressed. The study is motivated by search for solving the problem of speed control of PIGs used to verifying and maintaining pipelines, and is led based on the analytical models synthesis, validated by means of computer simulations in Finite Elements environment, provided by engineering support software; and with experimental tests conducted under controlled laboratory conditions. Finally, a damping systems design methodology based on analyzes results conducted throughout the study is presented

Corpos da Ciranda: narrativas poéticas, artístico/estética da ciranda de Lia de Itamaracá

This research is a study that deals with the language of the players bodies of Ciranda (a typical dance in circle in Brazil) – more specifically the one of Lia from Itamaracá. Our interest is to observe how this body dances, communicates, writes on time and space, establishing relations that complement and help to remain in construction. Thus, in a circular way and in an energy that is transmitted with the contact of the touch of the hands, in the power of song, in a circle that can be seen from many places, but by different angles, holding on that the particularities of its subjects players/dancers/observers, and that we propose ourselves to think: who are those players bodies and how do they build the circles of Ciranda? Therefore, during the pathway of the research, we were conducted by the phenomenological method and, from this, used the concepts of lived and sensible world. Our interest in this manifestation is, also, the body that dances and insert itself in the artistic expression, meaning and opening itself to the knowledge by the experience. Therefore, we assume a conception of the body that refers itself in the merleaupontyana fenomenologic approach, in this way, in its criativity in relation to the body as a fragmented being, as it is pointed by the Cartesiana theory. In this perspective, we understand the body in its relations with the culturals, sociais, economics and artistics issues that integrates it, in others words, in the relations that helped us to better understand the body as it is. This way, this research has as main objective to present the refletions about the players body, mainly, of Lia from Itamaracá and with this body to dance, to communicate, to write itself on time and space, estabilishing relations that complement and help to stay in construction. Such a statement leads us in this work, to inquire, for example: what mobilizes those subjects on this dance? We understand that elements as the place that is always in modification, the costumes, the musicality and the change in the movimentation of the players body in each new circle, those elements are factors that activate a permanente reconfiguration that are happening in the Ciranda dance nowadays. Finally, we assert that this investigation comes in reason to the big dimension that the Ciranda has achivied in Brazil, especially in the Northeast, as the existence of few references and registers of the reseach manifestation in the academic areas. It is possible to verify, in this research, that, in reason to this spreading, the nuances of the players bodies is even more diversified and that the missing of experiences on Itamaracá island - PE, its origin has putting away the original and community, becames, more and more, a dance of others stages and squares.

PRODUÇÃO DE SENTIDOS NA INFÂNCIA: MEDIAÇÕES NA RECEPÇÃO DA SÉRIE DE ANIMAÇÃO DOUG FUNNIE

Esta pesquisa propõe uma reflexão a respeito dos processos de recepção de produtos culturais por parte do telespectador infantil. A problematização está em investigar, valendo-se dos referenciais teóricos das mediações comunicativas da cultura e do enfoque integral da audiência, como as crianças com idade entre 7 e 12 anos interagem com as narrativas audiovisuais, especialmente com a série de animação televisiva, para desta perspectiva compreender como se dão a apropriação e a produção de sentidos no cotidiano, tomando-se por base a interpretação do desenho animado Doug Funnie. O estudo emprega como metodologia a revisão de literatura combinada ao grupo de discussão norteado pelo modelo teórico-metodológico da mediação múltipla formulado por Guillermo Orozco Gómez, com base no paradigma das mediações de Jesús Martín-Barbero. A pesquisa de recepção, realizada em ambiente escolar, constatou que a comunicação midiática é de natureza dialógica e implica em reconhecimento e projeção do interlocutor no universo da ficção, assim, a produção de sentidos em relação ao desenho animado não está contida no audiovisual, mas no contexto sociocultural no qual interlocutores relacionam-se entre si e com os meios. E desta interação emergem a compreensão e a recriação dos produtos culturais, sinalizando que as interpretações do telespectador infantil revelam a sua maneira de ver o mundo.

Spic'ing into Existence: Epitaph, Epithet, and the Ethnopoetic Imagination

Quién Es, Quién Somos? Spic’ing into Existence claims a four-fold close-reading: first, analysis of texts: from theoretical meditations to (prison) memoir and film. Second, a half dozen central figures appear, largely Latinx and black American. They cut across a score of registers, socio-economics, ideological reservations, but all are, as Carl Carlton sang, poetry in motion. Writers, poets, theologians, pathologists, artists, comedians, actors, students whose vocation is invocation, the inner surge of their calling. Third, the manuscript draws from a series of historical moments—from radical liberation of the late 60s, to contemporary student activism. Finally, this body of work is movement, in all its social, gestural, and kinesthetic viscera. From this last heading, we peel away layers of what I call the ethnopoet, the fascia undoing that reveals its bio-political anatomy, dressing its bare life with kinship speech. First, the social revolutions of the Civil Rights, Black Power, abolitionism, the Black Panthers and Young Lords, boycotts and jarring artistic performances. These events are superficial not in vain sense, but key epicenters of underground murmurings, the workings of a cunning assailant. She robs not lavish estates, but another day to breathe. Gesturally, as perhaps the interlocutor, lies this author, interspersing his own diatribes to conjure her presence. The final branch is admittedly the most intangible. Kinesthetically, we map the nimbleness, footwork lígera of what I call the ethnopoet. Ethnopoet is no mere aggregate of ethnicity and poetry, but like chemical reaction, the descriptor for its behavior under certain pressures, temperatures, and elements. Elusive and resisting confinement, and therefore definition, the ethnopoet is a shapeshifting figure of how racialized bodies [people of color] respond to hegemonic powers. She is, at bottom, however, a native translator, the plural-lensed subject whose loyalty is only to the imagination of a different world, one whose survival is not contingent upon her exploitation. The native translator’s constant re-calibrations of oppressive power apparatuses seem taxing at best, and near-impossible, at worst. To effectively navigate through these polarized loci, she must identify ideologies that in turn seek “affective liberatory sances” in relation to the dominant social order (43). In a kind of performative contradiction, she must marshall the knowledge necessary to “break with ideology” while speaking within it. Chicana Studies scholar, Chela Sandoval, describes this dual movement as “meta-ideologizing”: the appropriation of hegemonic ideological forms in order to transform them (82). Nuestros padres se subieron encima de La Bestia, y por eso somos pasageros a ese tren. Y ya, dentro su pansa, tenemos que ser vigilantes cuando plantamos las bombas. In Methodology of the Oppressed, Sandoval schematizes this oppositional consciousness around five principle categories: “equal rights,” “revolutionary,” “supremacist,” “separatist,” and “differential.” Taken by themselves, the first four modes appear mutually exclusive, incapable of occupying the same plane, until a fifth pillar emerges. Cinematographic in nature, differential consciousness, as Sandoval defines it, is “a kinetic motion that maneuvers, poetically transfigures, and orchestrates while demanding alienation, perversion, and reformation in both spectators and practitioners” (44). For Sandoval, then, differential consciousness is a methodology that privileges an incredible sense mobility, one reaching artistic sensibilities. Our fourth and final analytic of movement serves an apt example of this dual meaning. Lexically speaking, ‘movement’ may be regarded as a political mobilization of aggrieved populations (through sustained efforts), or the process of moving objects (people or otherwise) from one location to another. Praxis-wise, it is both action and ideal, content and form. Thus, an ethnic poetics must be regarded less as a series of stanzas, shortened lyric, or even arrangement of language, but as a lens through which peripheralized peoples kaleidecope ideological positions in an “original, eccentric, and queer sight” (43). Taking note of the advantages of postponing identifications, the thesis stands its ground on the term ethnopoet. Its abstraction is not dewey-eyed philosophy, but an anticipation of poetic justice, of what’s to come from callused hands. This thesis is divided into 7.5 chapters. The first maps out the ethnopoet’s cartographies of struggle. By revisiting that alleged Tío Tomas, Richard Rodriguez, we unearth the tensions that negatively, deny citizenship to one silo, but on the flipside, engender manifold ways of seeing, hearing, and moving . The second, through George Jackson’s prison memoirs, pans out from this ethnography of power, groping for an apparatus that feigns an impervious prestige: ‘the aesthetic regime of coercion.’ In half-way cut, the thesis sidesteps to spic into existence, formally announcing, through Aime Cesaire, myself, and Pedro Pietri, the poeticization of trauma. Such uplift denies New Age transcendence of self, but a rehearsal of our entrapment in these mortal envelopes. Thirdly, conscious of the bleeding ethnic body, we cut open the incipient corpse to observe her pathologist. Her native autopsies offer the ethnic body’s posthumous recognition, the ethnopoetics ability to speak for and through the dead. Chapter five examines prolific black artists—Beyonce and Kendrick Lamar—to elide the circumvention of their consumption via invoking radical black hi/her-stories, ones fragmenting the black body. Sixth, the paper compares the Black Power Salute of the 1968 Mexico City Olympics to Duke’s Mi Gente Boycott of their Latino Student Recruitment Weekend. Both wielded “silent gestures,” that shrewdly interfered with white noise of numbed negligence. Finally, ‘taking the mask off’ that are her functionalities, the CODA expounds on ethnopoet’s interiority, particularly after the rapid re-calibration of her politics. Through a rerun of El Chavo del Ocho, one of Mexican television’s most cherished shows, we tune into the heart-breaking indigence of barrio residents, only to marvel at the power of humor to, as Friday’s John Witherspoon put it, “fight another day.” This thesis is the tip of my tongue. Y por una vez, déjala que cante.

Field Testing and Development of Novel SHM systems at Queen’s University Belfast

Ageing and deterioration of infrastructure is a challenge facing transport authorities. In
particular, there is a need for increased bridge monitoring in order to provide adequate
maintenance and to guarantee acceptable levels of transport safety. The Intelligent
Infrastructure group at Queens University Belfast (QUB) are working on a number of aspects
of infrastructure monitoring and this paper presents summarised results from three distinct
monitoring projects carried out by this group. Firstly the findings from a project on next
generation Bridge Weight in Motion (B-WIM) are reported, this includes full scale field testing
using fibre optic strain sensors. Secondly, results from early phase testing of a computer
vision system for bridge deflection monitoring are reported on. This research seeks to exploit
recent advances in image processing technology with a view to developing contactless
bridge monitoring approaches. Considering the logistical difficulty of installing sensors on a
‘live’ bridge, contactless monitoring has some inherent advantages over conventional
contact based sensing systems. Finally the last section of the paper presents some recent
findings on drive by bridge monitoring. In practice a drive-by monitoring system will likely
require GPS to allow the response of a given bridge to be identified; this study looks at the
feasibility of using low-cost GPS sensors for this purpose, via field trials. The three topics
outlined above cover a spectrum of SHM approaches namely, wired monitoring, contactless
monitoring and drive by monitoring

Choreographies of Irish Modernity

Although movement is often viewed as forming the ‘kinetic basis’ of the modern age, the analysis of movement practices such as dance is often neglected in theories of modernity. Dance theorists such as André Lepecki (2006) and Randy Martin (1998) have argued for an awareness of how the kinaesthetic politics of modernity perform a colonization of space and bodies in their constant drive toward movement and mobility. This chapter examines how an analysis of two dance works by Irish artists, one from the early twentieth century and one from the early twenty-first century, can contribute to these discussions of modernity and dance, and how the works might illuminate connections between dance and politics in Ireland in their alternative approaches to these modernist kinaesthetic politics. Taking a brief, contextualizing look at an early dance play by William Butler Yeats, the chapter then focuses on what echoes, or afterlives, can be found from this early modernist work in a piece by contemporary dance theatre choreographer Fearghus Ó’Conchúir. In both works we see the ability of dance to create an alternative space within the pervading discourses (or movements) of a sociopolitical and cultural landscape that allows the spectator – through a visceral connection with a dancer – to experience a different perspective on the ‘idea of a nation’.

The PVC Beret

Dip moulded plastic beret. One of a series starting from Jelly Beret 1997.This was made with a UK with the design company Inflate. This 2009 iteration of the PVC beret chosen for Stephen Jones Hat Anthology V&A, the first millinery exhibition of millinery design held at V&A. Whereas traditional millinery is known for its rather staid and bourgeois Stephen Jones selected chose this hat for its edgy sub cultural capital.This is reflected in the choices of materials and beret style with a reference to the Bohemien Parisienne avant garde revisited in 1960s London and made new for 21st century NY "Jelly Beret" the very first prototype of a plastic millinery Reviewed in Vogue UK, this travelling exhibition went from London, New York, Sydney to add exists at the V&A as a touring show. An accompanying catalogue by Oriole Cullen and Stephen Jones discusses the significance of innovative and original millinery design international design culture today.

La Dolce Morta: Space, Modernity and the Giallo

Mikel J Koven argues for the Italian giallo tradition as a "cinema of ambivalence; specifically, ambivalence towards modernity." His discussion highlights the giallo's fluctuating, often contradictory takes on language, on modernity's creature comforts, on its breaking down of geographic boundaries and on "modernity's pluralism and the changing social and cultural mores."

Blaxploitation! A Video Essay

Video essay on the history of Blaxploitation, included as an extra on the Blu-ray "Coffy", produced for Arrow Films

All About the Girl: Remembering the Girl Who Knew Too Much

Feature length documentary by Calum Waddell, including new interviews with filmmakers Luigi Cozzi and Richard Stanley, alongside Alan Jones and Mikel J. Koven.

Deep Red: The Quintessential Giallo

Essay exploring the giallo genre using Dario Argento's Profondo Rosso/Deep Red as example. Produced for Arrow Video's Blu-ray of Deep Red, and included as part of the full colour booklet.

A interdisciplinaridade entre a Expressão Criativa e a Matemática no 2º ciclo da Escola de Dança Ana Luísa Mendonça

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

Multi-physics modelling - A vital component of virtual manufacturing

One of the core tasks of the virtual-manufacturing environment is to characterise the transformation of the state of material during each of the unit processes. This transformation in shape, material properties, etc. can only be reliably achieved through the use of models in a simulation context. Unfortunately, many manufacturing processes involve the material being treated in both the liquid and solid state, the trans-formation of which may be achieved by heat transfer and/or electro-magnetic fields. The computational modelling of such processes, involving the interactions amongst various interacting phenomena, is a consider-able challenge. However, it must be addressed effectively if Virtual Manufacturing Environments are to become a reality! This contribution focuses upon one attempt to develop such a multi-physics computational toolkit. The approach uses a single discretisation procedure and provides for direct interaction amongst the component phenomena. The need to exploit parallel high performance hardware is addressed so that simulation elapsed times can be brought within the realms of practicality. Examples of Multiphysics modelling in relation to shape casting, and solder joint formation reinforce the motivation for this work.