Seismic reliability assessment of external stability of reinforced soil walls using pseudo-dynamic method

The paper presents a method for the evaluation of external stability of reinforced soil walls subjected to earthquakes in the framework of the pseudo-dynamic method. The seismic reliability of the wall is evaluated by considering the different possible failure modes such as sliding along the base, overturning about the toe point of the wall, bearing capacity and the eccentricity of the resultant force. The analysis is performed considering properties of the reinforced backfill, foundation soil below the base of the wall, length of the geosynthetic reinforcement and characteristics of earthquake ground motions such as shear wave and primary wave velocity as random variables. The optimum length of reinforcement needed to maintain stability against four modes of failure by targeting various component reliability indices is obtained. Differences between pseudo-static and pseudo-dynamic methods are clearly highlighted in the paper. A complete analysis of pseudo-static and pseudo-dynamic methodologies shows that the pseudodynamic method results in realistic design values for the length of geosynthetic reinforcement under earthquake conditions.

A New PWM Control Method for Three-Phase Autosequentially Commutated Current Source Inverters

A new current pulsewidth modulation (PWM) method is presented which uses the principle of creating zero three-phase currents at selected instants of time, through which the load current harmonic content can be controlled along with the magnitude of its fundamental content. This gives rise to reduction of motor torque ripples through the selection of suitable PWM patterns and a fast current control in the inverter by varying the pulsewidths of the PWM pattern. Under this new PWM mode of operation, the autosequentially commutated inverter (ASCI) circuit can be modified easily so that a higher number of pulses can be accomodated within a half-cycle, compared to the normal ASCI circuit. The experimental oscillograms verify the effectiveness of the new PWM method.

A sensitive immunochemical method for detecting 5mC in DNA fragments

Abstract is not available.

Bi-criteria single machine scheduling problem with a learning effect: Aneja-Nair method to obtain the set of optimal sequences

In this paper, we consider the bi-criteria single machine scheduling problem of n jobs with a learning effect. The two objectives considered are the total completion time (TC) and total absolute differences in completion times (TADC). The objective is to find a sequence that performs well with respect to both the objectives: the total completion time and the total absolute differences in completion times. In an earlier study, a method of solving bi-criteria transportation problem is presented. In this paper, we use the methodology of solvin bi-criteria transportation problem, to our bi-criteria single machine scheduling problem with a learning effect, and obtain the set of optimal sequences,. Numerical examples are presented for illustrating the applicability and ease of understanding.

Constructing skilled images

When experts construct mental images, they do not rely only on perceptual features; they also access domain-specific knowledge and skills in long-term memory, which enables them to exceed the capacity limitations of the short-term working memory system. The central question of the present dissertation was whether the facilitating effect of long-term memory knowledge on working memory imagery tasks is primarily based on perceptual chunking or whether it relies on higher-level conceptual knowledge. Three domains of expertise were studied: chess, music, and taxi driving. The effects of skill level, stimulus surface features, and the stimulus structure on incremental construction of mental images were investigated. A method was developed to capture the chunking mechanisms that experts use in constructing images: chess pieces, street names, and visual notes were presented in a piecemeal fashion for later recall. Over 150 experts and non-experts participated in a total of 13 experiments, as reported in five publications. The results showed skill effects in all of the studied domains when experts performed memory and problem solving tasks that required mental imagery. Furthermore, only experts' construction of mental images benefited from meaningful stimuli. Manipulation of the stimulus surface features, such as replacing chess pieces with dots, did not significantly affect experts' performance in the imagery tasks. In contrast, the structure of the stimuli had a significant effect on experts' performance in every task domain. For example, taxi drivers recalled more street names from lists that formed a spatially continuous route than from alphabetically organised lists. The results suggest that the mechanisms of conceptual chunking rather than automatic perceptual pattern matching underlie expert performance, even though the tasks of the present studies required perception-like mental representations. The results show that experts are able to construct skilled images that surpass working memory capacity, and that their images are conceptually organised and interpreted rather than merely depictive.

Luova mieli : lähikuvassa muusikoiden luomisprosessit

This work studied the creative process of musicians. The subject was chosen partly due to the attention given to creativity in social discussion. The approach was material-based, because during the work it became clear that the theoretical models describing the creative process in general did not provide adequate tools for the examination of musical creation. In this study, the creative process was defined as a process, which generated a work found by the musician novel to him or her. There were two principal research questions: 1) How does the creative process of musicians progress? 2) What makes a process creative? The main emphasis was on the first question, because the study aimed at modeling the creative process of musicians. The material for this study was collected by interviewing five professional musicians, each qualified by an expert of music to be creative. The interviews were thematically linked with each musician’s recently implemented creative process. The work generated in the process was used as a stimulant in the interview. The main themes of the interview dealt with the musician’s concrete action, cognitive functioning and affective experience during the process. Secondary themes included his or her goals as well as the factors that enhanced or inhibited the process. A material-based analysis was made of the interviews. The conceptualization and modelling of the creative process was founded on a phenomenological-hermeneutic interpretation. In addition to the primary interviews, also supplementary interviews were made in order to ensure that the description of the musician was understood correctly. Further supplementary interviews were made when the material was analyzed and results were deduced. This aimed at increasing the reliability of interpretations and conclusions. The study resulted in a four-level model representing the progress of a creative process. The levels were defined by means of the conception of state. The levels used in defining the process were 1) the state determining the potential of the process, 2) the state delimiting the process, 3) the state orienting the process, and 4) the state determined by the process. The progress of the process was described as changes taking place in the state. It was discovered that the factors having an effect on the creativity of the process were the dynamism of the process, the musician’s work in relation to his or her inner standard and the impulses that caused variation in the musician’s thinking. The interview method used in this study proved to be a very suitable tool in an examination of a creative process. Thus it may well be applicable in other research contexts associated with creative processes. The outcome of this study, the model of the progress of a creative process, should also provide a feasible basis for the examination of different kinds of creative processes. It enables a comprehensive examination of a creative process, simultaneously justifying the dynamic nature of the process.

Estimation of gear tooth deflection by the finite element method

The finite element method (FEM) is used to determine for pitch-point, mid-point and tip loading, the deflection curve of a Image 1 diamentral pitch (DP) standard spur gear tooth corresponding to number of teeth of 14, 21, 26 and 34. In all these cases the deflection of the gear tooth at the point of loading obtained by FEM is in good agreement with the experimental value. The contraflexure in the deflection curve at the point of loading observed experimentally in the cases of pitch-point and mid-point loading, is predicted correctly by the FEM analysis.

Comment: Eigenvalue sensitivity method for optimal stabilisation of linear systems

In a letter RauA proposed a new method for designing statefeedback controllers using eigenvalue sensitivity matrices. However, there appears to be a conceptual mistake in the procedure, or else it is unduly restricted in its applicability. In particular the equation — BR~lBTK = A/.I, in which K is a positive-definite symmetric matrix.

A new culture method for lesser mealworm, Alphitobius diaperinus

A new culture method for lesser mealworm, Alphitobius diaperinus (Panzer), was developed to provide large numbers of adult lesser mealworms of approximately the same age for insecticide resistance testing. Culturing entailed allowing 100 adults to reproduce for 4 days in a wheat-based culture medium contained inside a plastic culture box, removing the adults from the medium, and then rearing their progeny to adulthood therein, in approximately 56 days at 32 degrees C and 55% RH. During their development, progeny were supplied water via apple slices at 0, 21 and 35 days, and a foam substrate in which to pupate, also at 35 days. During 2004-2005, adult lesser mealworms were collected from six broiler-house populations and then cultured with this method. Each population produced 4500 adults required to complete resistance testing with one insecticide within ten culture boxes, at an average of 798 adults per culture box.

A method for mapping the distribution and density of rabbits and other vertebrate pests in Australia

The European wild rabbit has been considered Australia’s worst vertebrate pest and yet little effort appears to have gone into producing maps of rabbit distribution and density. Mapping the distribution and density of pests is an important step in effective management. A map is essential for estimating the extent of damage caused and for efficiently planning and monitoring the success of pest control operations. This paper describes the use of soil type and point data to prepare a map showing the distribution and density of rabbits in Australia. The potential for the method to be used for mapping other vertebrate pests is explored. The approach used to prepare the map is based on that used for rabbits in Queensland (Berman et al. 1998). An index of rabbit density was determined using the number of Spanish rabbit fleas released per square kilometre for each Soil Map Unit (Atlas of Australian Soils). Spanish rabbit fleas were released into active rabbit warrens at 1606 sites in the early 1990s as an additional vector for myxoma virus and the locations of the releases were recorded using a Global Positioning System (GPS). Releases were predominantly in arid areas but some fleas were released in south east Queensland and the New England Tablelands of New South Wales. The map produced appears to reflect well the distribution and density of rabbits, at least in the areas where Spanish fleas were released. Rabbit pellet counts conducted in 2007 at 54 sites across an area of south east South Australia, south eastern Queensland, and parts of New South Wales (New England Tablelands and south west) in soil Map Units where Spanish fleas were released, provided a preliminary means to ground truth the map. There was a good relationship between mean pellet count score and the index of abundance for soil Map Units. Rabbit pellet counts may allow extension of the map into other parts of Australia where there were no Spanish rabbit fleas released and where there may be no other consistent information on rabbit location and density. The recent Equine Influenza outbreak provided a further test of the value of this mapping method. The distribution and density of domestic horses were mapped to provide estimates of the number of horses in various regions. These estimates were close to the actual numbers of horses subsequently determined from vaccination records and registrations. The soil Map Units are not simply soil types they contain information on landuse and vegetation and the soil classification is relatively localised. These properties make this mapping method useful, not only for rabbits, but also for other species that are not so dependent on soil type for survival.

Preparation of CaTiO3 fine powders by the hydrothermal method

Fine powders consisting of 0.1–0.5 μm size crystallites of CaTiO3 are prepared at 150–200°C by the hydrothermal method starting from hydrated titania gel and reactive calcium oxide suspended as an aqueous slurry in an autoclave. The resulting high-purity CaTiO3 is characterised by TEM, X-ray powder diffraction, chemical analyses and sintering characteristics. The hydrothermally prepared CaTiO3 powders are sinterable to high-density ceramics below 1400°C. The dc conductivity behaviour of the chemically reduced ceramics is presented.

Feeling Better, Performing Better? Holistically-Oriented Top Performance and Well-Being (HOPE) : Performance Enhancement and Its Perceived Impacts on Musicians

Most musicians choose a career in music based on their love of the art and a desire to share it with others. However, being a performing musician is highly demanding. Despite considerable evidence of the great frequency of performance-related problems (e.g. debilitating performance anxiety) among professional musicians or aspiring musicians in the current Western classical music tradition these problems are seldom discussed openly. The existing system offers musicians very little help in learning how to build sustainable performance success into their musical career. This study it is first of its kind in Finland which addresses the issue on larger scale in a systematic way. I devised the HOPE intervention (Holistically-Oriented Top Performance and Well-Being Enhancement), in order to learn how to integrate professional peak performance and a sense of personal well-being into the lives and careers of musicians. Unlike most interventions in previous research, the HOPE intervention is explicitly holistic and aims at enhancing the whole musician, not just alleviating performance anxiety. Earlier research has not in principle focused on musicians´ psychological well-being or on their subjective perceptions. The main purpose of the study is to understand the perceived impacts of the specially devised HOPE intervention on the participants and particularly in four key areas: performing, playing or singing well-being, and overall (performing, playing or singing and well-being combined). Furthermore, it is hoped that a deeper understanding of performers´ development will be gained. The research method is interdisciplinary and mainly qualitative. The primary data consist of a series of linked questionnaires (before and after the intervention) and semi-structured follow-up interviews collected during action research-oriented HOPE intervention courses for music majors in the Sibelius Academy. With the longitudinal group called Hope 1, the core data were collected during a nine month HOPE intervention course and from follow-up interviews conducted six months later in 2003-2004. The core data of Hope 1 (nine participants) are compared with the perceived impacts on fifty-three other participants in the HOPE courses during the period since their inception, 2001-2006. The focus is particularly on participants´ subjective perceptions. Results of the study suggest that the HOPE intervention is beneficial in enhancing overall performance capacity, including music performance, and a personal sense of well-being in a music university setting. The findings indicate that within all key areas significant positive changes take place between the beginning and the end of a HOPE intervention course. The longitudinal data imply that the perceived positive changes are still ongoing six months after the HOPE intervention course is finished. The biggest change takes place within the area of performing and the smallest, in participants´ perception of their playing or singing. The main impacts include reduced feelings of stress and anxiety (an enhanced sense of well-being) as well as increased sense of direction and control in one's life. Since the results of the present research gave no other reason to believe otherwise, it is to be expected that the HOPE intervention and the results of the study can be exploited in other areas of human activity as well, especially where continuous professional top performance is a prerequisite such as in business or sports. Keywords: performance enhancement, professional top performance, subjective well-being, subjective perceptions, holism, coaching, music performance anxiety, studying music, music.

Koko talo soi : Klemetti-Opisto suomalaisen musiikkikulttuurin kehittäjänä 1953-1968

This study aims to examine the operations and significance of the Klemetti Institute (Klemetti-Opisto) as a developer of Finnish music culture from 1953 to 1968 during the term of office of the Institute s founder and first director, Arvo Vainio. The Klemetti Institute was originally established as a choir institute, but soon expanded to offer a wide range of music courses. In addition to providing courses for choir leaders and singers, the Institute began its orchestral activities as early as the mid-1950s. Other courses included ear training seminars as well as courses for young people s music instructors and in playing the kantele (a Finnish string instrument) and solo singing. More than 20 types of courses were offered over the 16-year period. The Klemetti Institute s courses were incorporated into the folk high school courses offered by the Orivesi Institute (Oriveden Opisto) and were organised during the summer months of June and July. In addition to funding based on the Folk High School Act, financial assistance was obtained from various foundations and funds, such as the Wihuri Foundation. This study is linked to the context of historical research. I examine the Klemetti Institute s operations chronologically, classifying instruction into different course types, and analyse concert activities primarily in the section on the Institute s student union. The source material includes the Klemetti Institute archives, which consist of Arvo Vainio s correspondence, student applications, register books and cards, journals and student lists, course albums and nearly all issues of the Klemettiläinen bulletin. In addition, I have used focused interviews and essays to obtain extensive data from students and teachers. I concentrate on primary school teachers, who accounted for the majority of course participants. A total of more than 2,300 people participated in the courses, nearly half of whom took courses during at least two summers. Primary school teachers accounted for 50% to 70% of the participants in most courses and constituted an even larger share of participants in some courses, such as the music instructor course. The Klemetti Institute contributed to the expansion throughout Finland of a new ideal for choral tone. This involved delicate singing which strives for tonal purity and expressiveness. Chamber choirs had been virtually unheard of in Finland, but the Klemetti Institute Chamber Choir popularised them. Chamber choirs are characterised by an extensive singing repertoire ranging from the Middle Ages to the present. As the name suggests, chamber choirs were originally rather small mixed choirs. Delicate singing meant the avoidance of extensive vibrato techniques and strong, heavy forte sounds, which had previously been typical of Finnish choirs. Those opposing and shunning this new manner of singing called it ghost singing . The Klemetti Institute s teachers included Finland s most prominent pedagogues and artists. As the focused essays, or reminiscences as I call them, show, their significance for the students was central. I examine extensively the Klemetti Institute s enthusiastic atmosphere, which during the early years was characterised by what some writers described as a hunger for music . In addition to distributing a new tonal ideal and choir repertoire, the Klemetti Institute also distributed new methods of music education, thus affecting the music teaching of Finnish primary schools, in particular. The Orff approach, which included various instruments, became well known, although some of Orff s ideas, such as improvisation and physical exercise, were initially unfamiliar. More important than the Orff approach was the in-depth teaching at the Klemetti Institute of the Hungarian ear training method known as the Kodály method. Many course participants were among those launching specialist music classes in schools, and the method became the foundation for music teaching in many such schools. The Klemetti Institute was also a pioneer in organising orchestra camps for young people. The Klemetti Institute promoted Finnish music culture and played an important role in the continuing music education of primary school teachers. Keywords: adult education, Grundtvigian philosophy, popular enlightenment, Klemetti Institute, Kodály method, choir singing, choir conducting, music history, music education, music culture, music camp, Orff approach, Orff-Schulwerk, Orivesi Institute, instrument teaching, free popular education, communality, solo singing, voice production

Non-linear dynamic analysis of rotors by finite element method

Non-linear natural vibration characteristics and the dynamic response of hingeless and fully articulated rotors of rectangular cross-section are studied by using the finite element method. In the formulation of response problems, the global variables are augmented with appropriate additional variables, facilitating direct determination of sub-harmonic response. Numerical results are given showing the effect of the geometric non-linearity on the first three natural frequencies. Response analysis of typical rotors indicates a possibility of substantial sub-harmonic response especially in the fully articulated rotors widely adopted in helicopters.