Membrane mode enhanced cohesive zone element

PurposeIn certain cases, traction–separation laws do not reflect the behaviour sufficiently so that thin volumetric elements, Internal Thickness Extrapolation formulations, bulk material projections or various other approaches are applied. All of them have disadvantages in the formulation or practical application.Design/methodology/approachDamage within thin layers is often modelled using at cohesive zone elements (CZE). The constitutive behaviour of cohesive zone elements is usually described by traction–seperation laws (TSLs) that consider the (traction separation) relation in normal opening and tangential shearing direction. Here, the deformation (separation) as well as the reaction (traction) are vectorial quantities.FindingsIn this contribution, a CZE is presented that includes damage from membrane modes.Originality/valueMembrane mode-related damaging effects that can be seen in physical tests that could not be simulated with standard CZEs are well captured by membrane mode–enhanced cohesive zone elements.

A Morphology-Based Model to Describe the Low-Temperature Impact Behaviour of Rubber-Toughened Polypropylene

The roles of the rubber particle size, the rubber particle size distribution and the constitutive behaviour of the isotactic polypropylene matrix have been studied by combining the Lazerri–Bucknall energy criterion for cavitation with the Van der Sanden–Meier–Tervoort ligament model adapted for impact conditions. It is concluded that an optimised morphology offers great potential to achieve enhanced mechanical properties with far less rubber and hence achieve a superior stiffness/toughness/processing balance.

Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance

This article documents the processes behind our distributed musical instrument, Ambiguous Devices. The project is motivated by our mutual desire to explore disruptive forms of networked musical interactions in an attempt to challenge and extend our practices as improvisers and instrument makers. We begin by describing the early design stage of our performance ecosystem, followed by a technical description of how the system functions with examples from our public performances and installations. We then situate our work within a genealogy of human–machine improvisation, while highlighting specific values that continue to motivate our artistic approach. These practical accounts inform our discussion of tactility, proximity, effort, friction and other attributes that have shaped our strategies for designing musical interactions. The positive role of ambiguity is elaborated in relation to distributed agency. Finally, we employ the concept of ‘feedthrough’ as a way of understanding the co-constitutive behaviour of communication networks, assemblages and performers.