scholarly journals Experiments on the friction and abrasion of the surfaces of solids

1833 ◽  
Vol 2 ◽  
pp. 364-365
Keyword(s):  
Experimental Investigation ◽  
Cast Iron ◽  
17Th Century ◽  
The Body ◽  
Horizontal Surface ◽  
Rapid Review ◽  
Wide Field ◽  
Surface Time ◽  
Previous Contact ◽  
The Subject

The first part of this paper is occupied by a rapid review of the labours of mechanicians on the subject of friction, from the period of those of Amontons at the end of the 17th century, to those of Coulomb and of Vince in the years 1779 and 1784; from which the author draws the conclusion that the progress of knowledge in this department of science has been slow and unsatisfactory, and that a wide field is still left open to experimental investigation. With a view to elucidate several points not yet sufficiently ascertained by former writers, the author instituted several sets of experiments; some calculated to determine the forces required for dragging bodies of various kinds along a horizontal surface, and others for measuring the angle at which a plane was required to be inclined to the horizon in order to admit of the body sliding down it, attention being paid to the circumstances of pressure, extent of surface, time of previous contact, and velocity of motion. The following are the principal conclusions which the author deduces from his experiments. The friction of ice rubbing upon ice diminishes with an increase of weight; but without observing any regular law of increase. When dry leather is made to move along a plate of cast iron, the resistance is but little influenced by the extent of surface. With fibrous substances, such as cloth, the friction diminishes by an increase of pressure, but is greatly increased by the surfaces remaining for a certain time in contact; it is greater, cœteris paribus , with fine, than with coarse cloths; the resistance is also much increased by an increase of surface. With regard to the friction of different woods against each other, great diversity and irregularity prevail in the results obtained; in general the soft woods give more resistance than the hard woods: thus, yellow deal affords the greatest, and red teak the least friction. The friction of different metals also varies principally according to their respective hardness; the soft metals producing greater friction under similar circumstances than those which are hard. Within the limits of abrasion, however, the amount of friction is nearly the same in all the metals, and may in general be estimated at one sixth of the pressure. The power which unguents have in diminishing friction, varies according to the kind of the fluidity of the particular unguent employed, and to the pressure applied.

Metabolism in the Insane

1911 ◽  
Vol 57 (237) ◽  
pp. 327-348 ◽  
Author(s):  
R. L. Mackenzie Wallis
Keyword(s):  
Cell Metabolism ◽  
Point Of View ◽  
The Body ◽  
Wide Field ◽  
Pathological Changes ◽  
Present Communication ◽  
Physiological Chemistry ◽  
The Subject ◽  
Scanty Information ◽  
The Individual

The investigation of the problems of metabolism has now become almost exclusively the domain of the chemical physiologist. Much valuable information regarding the method of utilisation of the food-stuffs which enter the body has been ascertained by a study of the excretions. The physiological chemist has, however, passed beyond the boundaries connecting the income and output of these substances. He now seeks to trace the different transformations and combinations which take place in the body, and to connect up all the links of the chain. These changes are intimately bound up with the individual cells, and their metabolism. Unfortunately our knowledge of the cell is at present very limited, but it will be seen how important even this scanty information is to the subject under discussion. It becomes more and more evident every day that pathological changes in the tissues and cells of the body must be considered not only from a morphological point of view, but also from the purely metabolic standpoint. A disturbance in the metabolism of the cell may in time make itself evident, but it is quite conceivable that such changes are taking place without any definite anatomical signs. On the other hand, a morphological change may produce only a very slight derangement of cell metabolism, so slight as to escape recognition. The study, therefore, of pathology with physiological chemistry for its foundation, offers a wide field for further investigation. The object of the present communication is twofold, namely, to correlate the known facts with regard to metabolism in the insane, and to emphasise the importance of studying cellular metabolism in its relation to pathological disturbances.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Compulsive Bodies, Creative Bodies: Beckett'sQuadand Agency in the 21stCentury

2018 ◽  
Vol 27 (1) ◽  
pp. 5-21
Author(s):  
Amanda Dennis
Keyword(s):  
Human Action ◽  
The Body ◽  
New Materialism ◽  
Illustrative Case ◽  
Repetitive Movement ◽  
Repetitive Tasks ◽  
The Subject ◽  
Object Oriented Ontology ◽  
Geological Space ◽  
Alternative Reading

Lying in ditches, tromping through mud, wedged in urns, trash bins, buried in earth, bodies in Beckett appear anything but capable of acting meaningfully on their environments. Bodies in Beckett seem, rather, synonymous with abjection, brokenness, and passivity—as if the human were overcome by its materiality: odours, pain, foot sores, decreased mobility. To the extent that Beckett's personae act, they act vaguely (wandering) or engage in quasi-obsessive, repetitive tasks: maniacal rocking, rotating sucking stones and biscuits, uttering words evacuated of sense, ceaseless pacing. Perhaps the most vivid dramatization of bodies compelled to meaningless, repetitive movement is Quad (1981), Beckett's ‘ballet’ for television, in which four bodies in hooded robes repeat their series ad infinitum. By 1981, has all possibility for intentional action in Beckett been foreclosed? Are we doomed, as Hamm puts it, to an eternal repetition of the same? (‘Moments for nothing, now as always, time was never and time is over, reckoning closed and story ended.’)This article proposes an alternative reading of bodily abjection, passivity and compulsivity in Beckett, a reading that implies a version of agency more capacious than voluntarism. Focusing on Quad as an illustrative case, I show how, if we shift our focus from the body's diminished possibilities for movement to the imbrication of Beckett's personae in environments (a mound of earth), things, and objects, a different story emerges: rather than dramatizing the impossibility of action, Beckett's work may sketch plans for a more ecological, post-human version of agency, a more collaborative mode of ‘acting’ that eases the divide between the human, the world of inanimate objects, and the earth.Movements such as new materialism and object-oriented ontology challenge hierarchies among subjects, objects and environments, questioning the rigid distinction between animate and inanimate, and the notion of the Anthropocene emphasizes the influence of human activity on social and geological space. A major theoretical challenge that arises from such discourses (including 20th-century challenges to the idea of an autonomous, willing, subject) is to arrive at an account of agency robust enough to survive if not the ‘death of the subject’ then its imbrication in the material and social environment it acts upon. Beckett's treatment of the human body suggests a version of agency that draws strength from a body's interaction with its environment, such that meaning is formed in the nexus between body and world. Using the example of Quad, I show how representations of the body in Beckett disturb the opposition between compulsivity (when a body is driven to move or speak in the absence of intention) and creative invention. In Quad, serial repetition works to create an interface between body and world that is receptive to meanings outside the control of a human will. Paradoxically, compulsive repetition in Beckett, despite its uncomfortable closeness to addiction, harnesses a loss of individual control that proposes a more versatile and ecologically mindful understanding of human action.

Predicting the citation and impact factor of terms for scientific publications using machine learning algorithms

2020 ◽  
Author(s):  
Aleksey Klokov ◽  
Evgenii Slobodyuk ◽  
Michael Charnine
Keyword(s):  
Machine Learning ◽  
Semantic Processing ◽  
The Body ◽  
Machine Learning Algorithms ◽  
Scientific Publications ◽  
Text Data ◽  
Semantic Relationships ◽  
Subject Areas ◽  
The Subject ◽  
Scientific Environment

The object of the research when writing the work was the body of text data collected together with the scientific advisor and the algorithms for processing the natural language of analysis. The stream of hypotheses has been tested against computer science scientific publications through a series of simulation experiments described in this dissertation. The subject of the research is algorithms and the results of the algorithms, aimed at predicting promising topics and terms that appear in the course of time in the scientific environment. The result of this work is a set of machine learning models, with the help of which experiments were carried out to identify promising terms and semantic relationships in the text corpus. The resulting models can be used for semantic processing and analysis of other subject areas.

The Changing Perception of the Five Senses

2020 ◽  
pp. 103-122
Author(s):  
Sara Benninga
Keyword(s):  
Material Culture ◽  
Lived Experience ◽  
17Th Century ◽  
Scientific Instruments ◽  
Peter Paul Rubens ◽  
Courtly Culture ◽  
Southern Netherlands ◽  
The Subject ◽  
Five Senses ◽  
The Senses

This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context

Living with Barren Truths: A Tale of Triumphalism and Tribulations of a Technology

2021 ◽  
pp. 097168582110159
Author(s):  
Sital Mohanty ◽  
Subhasis Sahoo ◽  
Pranay Kumar Swain
Keyword(s):  
Gender Discrimination ◽  
New Technologies ◽  
The Body ◽  
Social Scientists ◽  
Social Fact ◽  
Science Technology ◽  
The Subject ◽  
And Gender ◽  
The Relationship

Science, technology and human values have been the subject of enquiry in the last few years for social scientists and eventually the relationship between science and gender is the subject of an ongoing debate. This is due to the event of globalization which led to the exponential growth of new technologies like assisted reproductive technology (ART). ART, one of the most iconic technological innovations of the twentieth century, has become increasingly a normal social fact of life. Since ART invades multiple human discourses—thereby transforming culture, society and politics—it is important what is sociological about ART as well as what is biological. This article argues in commendation of sociology of technology, which is alert to its democratic potential but does not concurrently conceal the historical and continuing role of technology in legitimizing gender discrimination. The article draws the empirical insights from local articulations (i.e., Odisha state in eastern India) for the understandings of motherhood, freedom and choice, reproductive right and rights over the body to which ART has contributed. Sociologically, the article has been supplemented within the broader perspectives of determinism, compatibilism alongside feminism.

scholarly journals Mechanotendography in Achillodynia shows reduced oscillation variability of pre-loaded Achilles tendon: a pilot study

2020 ◽  
Vol 30 (2) ◽  
pp. 247-257
Author(s):  
Laura Schaefer ◽  
Frank Bittmann
Keyword(s):  
Achilles Tendon ◽  
Rank Correlation ◽  
Achilles Tendinopathy ◽  
The Body ◽  
Mechanical Pressure ◽  
Mechanical Oscillations ◽  
Pressure Impact ◽  
The Subject ◽  
The Mean ◽  
Intrapersonal Variability

The present study focuses on an innovative approach in measuring the mechanical oscillations of pre-loaded Achilles tendon by using Mechanotendography (MTG) during application of a short yet powerful mechanical pressure impact. This was applied on the forefoot from the plantar side in direction of dorsiflexion, while the subject stood on the ball of the forefoot on one leg. Participants with Achilles tendinopathy (AT; n = 10) were compared to healthy controls (Con; n = 10). Five trials were performed on each side of the body. For evaluation, two intervals after the impulse began (0-100ms; 30-100ms) were cut from the MTG and pressure raw signals. The intrapersonal variability between the five trials in both intervals were evaluated using the arithmetic mean and coefficient of variation of the mean correlation (Spearman rank correlation) and the normalized averaged mean distances, respectively. The AT-group showed a significantly reduced variability in MTG compared to the Con-group (from p = 0.006 to p = 0.028 for different parameters). The 95% confidence intervals (CI) of MTG results were disjoint, whereas the 95% CIs of the pressure signals were similar (p = 0.192 to p = 0.601). We suggest from this work that the variability of mechanical tendon oscillations could be an indicative parameter of an altered Achilles tendon functionality.

Nog een suggestie voor het onderwerp van Rembrandts historiestuk te Leiden: De grootmoedigheid van Alexander

1987 ◽  
Vol 101 (2) ◽  
pp. 89-94
Author(s):  
J. Bruyn
Keyword(s):  
17Th Century ◽  
General Nature ◽  
History Painting ◽  
Emotional Words ◽  
Left Hand ◽  
Right Hand ◽  
Political Allegory ◽  
The Subject ◽  
Background Wave ◽  
The Right

AbstractOf the nine interpretations proposed for Rembraradt's history Painting of 1626 now at Leiden, none is really convincing. Il seems attractive to think of palamedes Condemned by Agamemncm as the subject because of its political significance in the year after the publication of Voredel's tragecty Palamedcs or Innocence Murdered, which denounced the execution of the Remonstrant leader Johan van Oldenbarnevelt in 1619. γet the scene depicted does not fit any episode frorn the Palamedes story. It appears rather to represent three young men appearing before a crowned figure who makes a pronouncement, probably one of magnanimity or clemency. It is conceivable that the subject was taken from Q. Curtius Rufus's Historiae Alexandri Magni Macedonis, ofwhich several editions, including translations into the vernacular, were published in Holland in the first decades of the 17th century. The episode in question was known to the young Rubens, but does not seem to have been illustrated by any other artist. At the beginning of the seventh book it is described how Alexander summoned before. him in the presence of the army two oj three brothers, who had been close friends of Philotas, a former, friend of his who had been executed for plotting against his life. The youngest brother, Poleinon, had panicked and fled but was caught and brought back at the very moment when Alexander had accused the brothers and the eldest, Amyntas, after having been released from his bonds and given a spear which he held in his left hand, had embarked on his szzccess ful defence. The appearance of Polemon infuriated the soldiers, but when he took the blame on himself and prrifessed his brothers' innocence, they were moved to tears. So too was Alexander who, prompted by their cries, absolved the brothers. This anecdote does at least explain some of the features of Rembrandt's scene. The young man standing on the right with his right hand raised as if swearing an oath would be the eloquent Amyntas with a spear in his left hand. Hidden behind him kneels the second brother, Simias, while Polemon, 'a young man just come to maturity and in the first bloom of his youth', has fallen on one knee in the foreground, underlining his emotional words with his right hand bressed to his heart. Alexander raises his sceptre in token of his absolution and some men in the background wave and shout from a socle they have climbed. Interpreted in this way, the scene coralains not a topical political allegory but, as would seem usual with history paintings, a message of a more general nature: the magnanimity of Alexander as an 'exemblum virtutis'.

Bonds of Discord: Alternative Episcopal Oversight Examined in the Light of the Nonjurring Consecrations

1995 ◽  
Vol 3 (17) ◽  
pp. 398-409
Author(s):  
Roger Turner
Keyword(s):  
Church Of England ◽  
17Th Century ◽  
The Body ◽  
Women's Ordination ◽  
Ordination Of Women ◽  
The Church

In this paper I offer some warnings regarding the scheme for alternative episcopal oversight now embodied in the Act of Synod passed by the House of Bishops and published as Appendix B to Ordination of Women to the Priesthood: Pastoral Arrangements. These arrangements provide sacramental care as well as oversight for opponents of the ordination of women to the priesthood. Furthermore, the scheme is intended to serve two purposes: first, to safeguard the position of bishops and other clergy opposed to women's ordination; secondly, to ensure a continuity of such bishops and clergy. That the scheme is flawed becomes apparent when one examines it in the light of an arrangement devised at the end of the 17th century. The arrangement had been intended to secure the episcopal oversight of the body, both clerical and lay, which separated itself from the Church of England in 1690–91. The separation stemmed from its members feeling themselves unable to take the oaths of allegiance to William and Mary; hence the term ‘Nonjurors’.

Maximizing Recall of Gruesome Images for Health Effects Advertising: An Experimental Investigation

2010 ◽  
Vol 16 (4) ◽  
pp. 112-121 ◽  
Author(s):  
Brennen W. Mills ◽  
Owen B. J. Carter ◽  
Robert J. Donovan
Keyword(s):  
Experimental Investigation ◽  
Body Part ◽  
The Body ◽  
Advertising Effectiveness ◽  
Body Parts ◽  
Online Study ◽  
Video Clips ◽  
Video Images ◽  
The Impact

The objective of this case study was to experimentally manipulate the impact on arousal and recall of two characteristics frequently occurring in gruesome depictions of body parts in smoking cessation advertisements: the presence or absence of an external physical insult to the body part depicted; whether or not the image contains a clear figure/ground demarcation. Three hundred participants (46% male, 54% female; mean age 27.3 years, SD = 11.4) participated in a two-stage online study wherein they viewed and responded to a series of gruesome 4-s video images. Seventy-two video clips were created to provide a sample of images across the two conditions: physical insult versus no insult and clear figure/ground demarcation versus merged or no clear figure/ground demarcation. In stage one, participants viewed a randomly ordered series of 36 video clips and rated how “confronting” they considered each to be. Seven days later (stage two), to test recall of each video image, participants viewed all 72 clips and were asked to identify those they had seen previously. Images containing a physical insult were consistently rated more confronting and were remembered more accurately than images with no physical insult. Images with a clear figure/ground demarcation were rated as no more confronting but were consistently recalled with greater accuracy than those with unclear figure/ground demarcation. Makers of gruesome health warning television advertisements should incorporate some form of physical insult and use a clear figure/ground demarcation to maximize image recall and subsequent potential advertising effectiveness.

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