1,402 research outputs found
Material plastic properties characterization by coupling experimental and numerical analysis of small punch beam tests
No full textA novel small punch beam testing (SPBT) system consisting of a top die, a bottom die and a flat punch with semi-circular cross-section head has been designed and tested. The specimen is a small beam with rectangular cross-section. This SPBT method has the advantage over conventional tensile testing for much less material required for testing and also over the traditional small punch testing because not only less material required but also high accuracy to make the punch head. Through coupling the numerical modelling and experimental results, genetic algorithm has been employed to successfully characterize the material plastic properties
Clipped colored drawings from Punch Magazine (undated)
No full textClipped printed color drawing of men working in a garden [Norman Thelwell, Punch Magazine 1954 May 31]; Clipped printed color drawing of two people in a lake near a sign reading, Echo Lake, by Michael Ffolkes.https://egrove.olemiss.edu/creekmore/1889/thumbnail.jp
The role of visual appearance in Punch’s early-Victorian satires on religion
No full textSatires on various aspects of contemporary religion can frequently be found in the early Victorian editions of Punch. The more strident forms of Protestant evangelicalism, in the earlier 1840s, and Roman Catholic revivalism, around 1850, came in for particular attack. This pattern was partly the result of a drift in the editorial policy of the publication towards a less radical social and political position. However, Catholicism, in both its Roman and Anglican varieties, was particularly vulnerable to the combination of visual and verbal parody employed by Punch because of that denomination’s stress on visual aspects of worship. Evangelicals, by contrast, employed modes of dress and architecture that were similar to those of the secular world of their time and were, thereby, harder to depict as strange and peculiar. The pages of Punch can, therefore, tell us not only about how various Christian groups were viewed in early Victorian England but also about the ways in which they attempted, with varying success, to parry and pre-empt critique in the print media
Science in Mid-Victorian Punch
No full textThis article examines the scientific content of the most famous comic journal of the Victorian period: Punch. Concentrating on the first three decades of the periodical (1841–1871), I show that Punch usually engaged with science that was highly topical, of consequence to the lives of its bourgeois readers, and suitable for comic interpretation. But Punch's satire of scientific topics was highly complex. It often contained allusions to non-scientific topics, and its engagement with science ranged from the utterly comic to the sharply critical. Punch prompted readers to think as well as laugh about science, and probably shaped their scientific education more than we think.Leverhulme Trus
"Hot Stuff!" the "Devil's Punch Bowl," Yellowstone Park, U.S.A.
No full text"Hot Stuff!" the "Devil's Punch Bowl," Yellowstone Park, U.S.A
"Punch Bowl," Upper Geyser Basin, Yellowstone National Park.
No full text"Punch Bowl," Upper Geyser Basin, Yellowstone National Park
Frictional contact of a rigid punch on an arbitrarily oriented gradient half-plane
No full textFrictional contact of a rigid punch on a half-plane with shear modulus varying according to an exponential gradient in an arbitrary direction is investigated in this paper. Fourier integral transform method is employed to reduce the current sliding contact problem to a Cauchy-type singular integral equation of the second kind. The contact pressure and the in-plane stress, as well as the stress singularity and the stress intensity factor near both contact edges are obtained, which are further analyzed for different friction coefficients, non-homogeneity parameters and gradient orientation angles. The moment in order to keep the punch moving perpendicularly to the contact surface is also evaluated. All the present results should be helpful for the design of surfaces with strong wear resistance and understanding the mechanical mechanism of graded materials in nature
Sparrows can't sing : East End kith and kinship in the 1960s
No full textSparrows Can’t Sing (1963) was the only feature film directed by
the late and much lamented Joan Littlewood. Set and filmed in
the East End, where she worked for many years, the film deserves
more attention than it has hitherto received. Littlewood’s career
spanned documentary (radio recordings made with Ewan MacColl
in the North of England in the 1930s) to directing for the stage
and the running of the Theatre Royal in London’s Stratford East,
often selecting material which aroused memories in local audiences
(Leach 2006: 142). Many of the actors trained in her Theatre
Workshop subsequently became better known for their appearances
on film and television. Littlewood herself directed hardly any material
for the screen: Sparrows Can’t Sing and a 1964 series of television
commercials for the British Egg Marketing Board, starring Theatre
Workshop’s Avis Bunnage, were rare excursions into an area of practice
which she found constraining and unamenable (Gable 1980: 32).
The hybridity and singularity of Littlewood’s feature may answer,
in some degree, for its subsequent neglect. However, Sparrows Can’t
Sing makes a significant contribution to a group of films made in
Britain in the 1960s which comment generally on changes in the
urban and social fabric. It is especially worthy of consideration,
I shall argue, for the use which Littlewood made of a particular
community’s attitudes – sentimental and critical – to such changes and
for its amalgamation of an attachment to documentary techniques
(recording an aural landscape on location) with a preference for nonnaturalistic
delivery in performance
Audio Dynamics - Towards a Perceptual Model of Punch
No full textThis thesis discusses research conducted towards the development of an objective model that predicts punch in musical signals. Punch is a term often used by engineers and producers when describing a particular perceptual sensation found in produced music. Music is often characterised by listeners as being punchier yet the term is subjective, in terms of its meaning and the subsequent auditory effect on the listener. An objective model of punch would therefore prove useful for both music classification purposes and as a possible further metric that could be employed in music production and mastering metering tools.
The literature reviewed within this body of work encompasses both subjective and objective
audio evaluation methods in addition to low-level signal extraction and measurement techniques. The review concludes that whilst there has been a great deal of work in the area of semantic description and audio quality measurement, low-level analysis with respect to the perception of punch remains largely unexplored.
The project was completed in a number of phases each designed to investigate the perceptual
effects resulting from manipulation of test stimuli. The rationale behind this testing was to establish the key low-level descriptors relating to the punch attribute with the aim of producing a final objective and perceptually based model. The listening tests in each phase were conducted according to the ITU-R BS 1534-1 recommendation.
In producing an objective model for the prediction of punch, listener perception to the attribute shows a strong correlation to the signal onset times, octave frequency band, signal duration and dynamic range. The punch measure obtained using the model is named PM95, where 95 indicates the upper percentile used in the measurement.
Secondary measures were also obtained as a result of the iterative approach adopted. These are Inter-Band-Ratio (IBR), Transient to Steady-state Ratio (TSR) and Transient to Steady-state Ratio+Residual (TSR+R). These measures are useful in quantifying overall audio quality with respect to its dynamic range across frequency bands in addition to being a more reliable metric for defining the overall compression being applied to a piece of music. In addition, the latter two measures proposed may be useful in highlighting perceptual masking artefacts.
The completed perceptual punch model was validated using the scores obtained from a large scale and independently conducted forced pairwise comparison test using expert listeners and a wide range of musical stimuli. From the results obtained, the PM95 measure showed a ‘very strong’ positive correlation with listener punch perception. Both r and rho coefficients (0.849 and 0.833) being significant at the 0.01 level (2-tailed). The PM95M measure, which is the PM95 measure divided by the mean value of punch frames also correlated very well with the perceptual punch scale having both r and rho coefficients (0.707 and -0.750) being significant at the 0.05 level (2-tailed).
A real-time implementation of the punch model (and other measures proposed in this thesis)
could be utilised as extensions to the metrics currently being used in Music Information
Retrieval
- …
