Academic literature on the topic 'Artificial islands Joints'

Within the framework of Space@Sea project, an articulated modular floating structure was developed to serve as building blocks for artificial islands. The modularity was one of the key elements, intended to provide the desired flexibility of additional deck space at sea. Consequently, the layout of a modular floating concept may change, depending on its functionality and environmental condition. Employing a potential-flow-based numerical model (i.e., weakly nonlinear Green function solver AQWA), this paper studied the hydrodynamic sensitivity of such multibody structures to the number of modules, to the arrangement of these modules, and to the incident wave angle. Results showed that for most wave frequencies, their hydrodynamic characteristics were similar although the floating platforms consisted of a different number of modules. Only translational horizontal motions, i.e., surge and sway, were sensitive to the incident wave angle. The most critical phenomenon occurred at head seas, where waves traveled perpendicularly to the rotation axes of hinged joints, and the hinge forces were largest. Hydrodynamic characteristics of modules attached behind the forth module hardly changed. The highest mooring line tensions arose at low wave frequencies, and they were caused by second-order mean drift forces. First-order forces acting on the mooring lines were relatively small. Apart from the motion responses and mooring tensions, forces acting on the hinge joints governed the system’s design. The associated results contribute to design of optimal configurations of moored and articulated multibody floating islands.

Background:Telemedicine can be performed using a conventional videophone or web conferencing system. Then, joint lesions can only be observed and inferred from two-dimensional images, and it is difficult to perform accurate joint assessments, which is essential for the management of rheumatoid arthritis (RA).Objectives:To develop the next-generation online telemedicine system utilizing mixed reality for RA.Methods:We have developed a system that can assess joints accurately in three-dimensions images in real-time, using Azure Kinect DK (depth sensor)/ HoloLens 2 (headset), which are mixed reality technologies, and Teams (online interview/chat) provided by Microsoft. Furthermore, by applying artificial intelligence (AI), we plan to implement additionally to this system 1) a function to quickly catch and automatically evaluate the patient’s anxiety and changes in facial expressions at the time of examination, 2) a function to record dialogue with the patient in chronological order, 3) a function to support the detection of swollen joints, and 4) function to automatically analyze the questionnaire.Results:This system remotely connects a rheumatologist in the Nagasaki University Hospital (Nagasaki City, urban area) and a patient with RA and a non- rheumatologist in the Goto Central Hospital (Goto Island, rural area). A three-dimensional hologram of the patient’s hand projected in front of a rheumatologist. Using this system, we are able to evaluate joints more accurately than using a conventional videophone or web conferencing system.Conclusion:It is expected that this system will enable remote medical care specializing in rheumatology, which is standardized at a high level even in areas without rheumatologists such as remote islands and remote areas. This system remotely connects Nagasaki City and Goto Island, but due to the performance of the system, it is not limited to these areas and it is possible to connect rheumatologists to any area that can be connected to the network. It is also effective for the purpose of avoiding the risk of infection during long-distance hospital visits under the epidemic of COVID-19 infection.References:[1]Mov Disord. 2020;35:1719-1720.Disclosure of Interests:Shin-ya Kawashiri Speakers bureau: Speaker fees from AbbVie, Asahi Kasei, Astellas, Chugai, Eisai, Eli Lilly, Mitsubishi Tanabe, Novartis, and ONO., Grant/research support from: Research grants from Pfizer., Fumiaki Nonaka: None declared, Shinji Chiba: None declared, Tomoyuki Honda: None declared, Tomohiko Nakajima: None declared, Tomoyuki Ishikawa: None declared, Atsushi Kawakami Speakers bureau: Speaker fees from AbbVie, Actelion, Asahi Kasei, Astellas, Boehringer Ingelheim, Celltrion, Chugai, Daiichi Sankyo, Eisai, Eli Lilly, GSK, Janssen, Kowa, MedPeer, Mitsubishi Tanabe, Novartis, ONO, Pfizer, Taisho, and Takeda., Grant/research support from: Grants and research support from AbbVie, Actelion, Asahi Kasei, Astellas, AYUMI, Boehringer Ingelheim, Bristol-Myers Squibb, Celltrion, Chugai, Daiichi Sankyo, Eisai, Eli Lilly, Kyowa Hakko Kirin, MSD, Neopharma, Novartis, ONO, Sanofi, Taisho, Takeda Science Foundation, and Teijin

Shrimps are islands of periodicity within a chaotic sea in phase and parameter spaces of dimensions larger than one. Islands of different periodicities have recently been shown to be connected by spirals that emanate from a joint focal point, paving ways to wander around in parameter space without ever crossing the chaotic sea. We discuss the shrimp building and scaling principles as well as the influence of individual system properties. While the emergence of shrimps has abundantly been demonstrated for artificial systems, we discuss here in detail evidence of rich hierarchies of shrimps in experimental systems. We finally pinpoint the importance of shrimps in the field of bioinformatics.

AbstractMonozygotic (MZ) twins switched at birth represent a rare class of twins who are reared apart and reunited (MZA). Background data and descriptive findings from a case study of such a pair, born thirty-six years ago in the Canary Islands, are presented. The next section reviews a twin study of materialism and an essay addressing relations between MZ twinning and human reproductive cloning. This article concludes with summaries of several newsworthy, twin-related items. They include the multiple birth consequences of artificial reproductive technology, the friendly rivalry between identical twin college presidents, a joint venture in real estate and a tribute to a deceased twin.

Distributed PV power generation necessitates both intra-hour and day-ahead forecasting of solar irradiance. The UTSA SkyImager is an inexpensive all-sky imaging system built using a Raspberry Pi computer with camera. Reconfigurable for different operational environments, it has been deployed at the National Renewable Energy Laboratory (NREL), Joint Base San Antonio, and two locations in the Canary Islands. The original design used optical flow to extrapolate cloud positions, followed by ray-tracing to predict shadow locations on solar panels. The latter problem is mathematically ill-posed. This paper details an alternative strategy that uses artificial intelligence (AI) to forecast irradiance directly from an extracted subimage surrounding the sun. Several different AI models are compared including Deep Learning and Gradient Boosted Trees. Results and error metrics are presented for a total of 147 days of NREL data collected during the period from October 2015 to May 2016.

2024 SPE President Terry Palisch is the vice president of technology and engineering at CARBO Ceramics in Richardson, Texas. He began his career with ARCO, during which he served 4 years in Algeria and 10 years as a senior petroleum engineer in Alaska. Palisch joined CARBO in 2004 and in his current position leads a team of technologists developing and championing new products and services and advising clients on completion and fracture optimization. Palisch has been an active SPE member serving in various roles, including past chairman of the SPE Dallas Section, past chair of the SPE Annual Technical Conference and Exhibition (ATCE) technical program and former SPE Completions Technical Director. He is an SPE Distinguished Member and received the award for Distinguished Service, as well as the SPE Mid‑Continent Regional Completions Optimization and Technology Award and the Regional Service Award. In 2013, he was named one of the Top 15 Best Engineers by the Texas Independent Producers and Royalty Owners Association, and in 2015 he was named the SPE Dallas Section Engineer of the Year. He has authored more than 50 SPE technical papers and holds several patents. Palisch holds a bachelor’s degree in petroleum engineering from University of Missouri‑Rolla (now Missouri University of Science and Technology) and was recently recognized as a Distinguished Alumnus. North America Regional Director Robert C. Martinez is president and CEO of Titan Rock Exploration & Production and president of Alpine Gas. He has more than 23 years of experience developing and optimizing oil and gas assets throughout the US, including conventional assets, unconventional horizontal development programs, and enhanced oil recovery projects. Middle East and North Africa Regional Director Mohamed Al Marzouqi is senior vice president of development at ADNOC Upstream Directorate. He has been with ADNOC since 2005. He joined ZADCO (ADNOC Offshore) as a petroleum engineer in field development to head the maximum-reservoir- contact (MRC) well-design team during which first production began through MRC wells from an artificial island. As a senior manager for reservoir development at ZADCO, he developed reservoir management strategy to redevelop a multibillion-dollar project in the Upper Zakum field through artificial islands. He led the team in the development of integrated reservoir management for ADNOC Group. Drilling Technical Director Robin Macmillan is the chief sales officer at Data Gumbo. He was previously senior vice president for business development at NOV, manager of Schlumberger drilling and measurements in Canada, and president at drill-bit company ReedHycalog. In his early career he worked in offshore and onshore drilling operations in several countries across North and Latin America, Africa, the Middle East, and Europe. He is the current vice president of drilling services and a member of the Executive Committee at the International Association of Drilling Contractors, where he is also Chair Emeritus of the Advanced Rig Technology Committee and a member of the Drilling Engineering Committee. Health, Safety, Environment, and Sustainability Technical Director Susan (Sue) Staley is the sustainability director for vPSI Group LLC where she leads the company’s sustainability practice. Prior to joining vPSI, she was the general manager of soil and groundwater technology at Shell and held various positions there during her 18-year tenure. Prior to Shell, she worked as a consultant at ERM. Staley has been an environmental and safety engineer for 30 years.

As a valuable resource in coastal areas, coastlines are not only vulnerable to natural processes such as erosion, siltation, and disasters, but are also subjected to strong pressures from human processes such as urban growth, resource development, and pollution discharge. This is especially true for reef nations with rich coastline resources and a large population, like Indonesia. The technical joint of remote sensing (RS) and geographic information system (GIS) has significant advantages for monitoring coastline changes on a large scale and for quantitatively analyzing their change mechanisms. Indonesia was taken as an example in this study because of its abundant coastline resources and large population. First, Landsat images from 1990 to 2018 were used to obtain coastline information. Then, the index of coastline utilization degree (ICUD) method, the changes in land and sea patterns method, and the ICUD at different scales method were used to reveal the spatiotemporal change pattern for the coastline. The results found that: (1) Indonesia’s total coastline length has increased by 777.40 km in the past 28 years, of which the natural coastline decreased by 5995.52 km and the artificial coastline increased by 6771.92 km. (2) From the analysis of the island scale, it was known that the island with the largest increase in ICUD was Kalimantan, at the expense of the mangrove coastline. (3) On the provincial scale, the province with the largest change of ICUD was Sumatera Selatan Province, which increased from 100 in 1900 to 266.43 in 2018. (4) The change trend of the land and sea pattern for the Indonesian coastline was mainly expanded to the sea. The part that eroded to the land was relatively small; among which, Riau Province had the most significant expansion of land area, about 177.73 km2, accounting for 23.08% of the increased national land area. The worst seawater erosion was in the Jawa Barat Province. Based on the analysis of population and economic data during the same period, it was found that the main driving mechanism behind Indonesia’s coastline change was population growth, which outweighed the impact of economic development. However, the main constraint on the Indonesian coastline was the topographic factor. The RS and GIS scheme used in this study can not only provide support for coastline resource development and policy formulation in Indonesia, but also provide a valuable reference for the evolution of coastline resources and environments in other regions around the world.

Abstract Most phenotypic traits in nature involve the collective action of many genes. Traits that evolve repeatedly are particularly useful for understanding how selection may act on changing trait values. In mice, large body size has evolved repeatedly on islands and under artificial selection in the laboratory. Identifying the loci and genes involved in this process may shed light on the evolution of complex, polygenic traits. Here, we have mapped the genetic basis of body size variation by making a genetic cross between mice from the Faroe Islands, which are among the largest and most distinctive natural populations of mice in the world, and a laboratory mouse strain selected for small body size, SM/J. Using this F2 intercross of 841 animals, we have identified 111 loci controlling various aspects of body size, weight and growth hormone levels. By comparing against other studies, including the use of a joint meta-analysis, we found that the loci involved in the evolution of large size in the Faroese mice were largely independent from those of a different island population or other laboratory strains. We hypothesize that colonization bottleneck, historical hybridization, or the redundancy between multiple loci have resulted in the Faroese mice achieving an outwardly similar phenotype through a distinct evolutionary path.

In the context of the long, complex disputes in Bien Dong (South China Sea) and the emergence of the use of force risks therefor, a long term solution based on a system of approaches and measures on deferent diplomatic, economic, and legal levels must be available. On the legal level, the Article analyzes the main contents of the Arbitration Award in the Philippines v. China Case regarding the status of islands and other features and the China's unreasonable claim on the nine-dash line and its actions in the South China Sea. Since then, the Article suggests the comments on the effects and consequences of the Award in light of the general perception that this Award is an important victory of international law in general and of the Law of the Sea in particular, this also is the victory of the countries, including Vietnam against China's unjustified unilateral claims and acts in the South China Sea. Keywords: South China sea; the arbitration award on South China sea, legal status of islands, the nine-dash line. References: [1] PCA Case Nº 2013-19, The South China Sea Arbitration, Award of 12 July 2016,https://pcacases.com/web/sendAttach/2086. [2] Nikos Papadakis, The International Legal Regime of Artificial Islands, Sijthoff - Leyden, 1977. [3] Convention on the Territorial Sea and the Contiguous Zone, Geneva 29 April 1958, United Nations, Treaty Series , vol. 516, p. 205.[4] Convention on the Continental Shelf, Geneva, 29 April 1958, United Nations, Treaty Series , vol. 499, p. 311.[5] United Nations Convention on the Law of the Sea, Montego Bay 10 December 1982.[6] Van Dyke, M. Jon and Bennett, Dale (1993), Islands and the Delimitation of Ocean Space in the South China Sea, 10 Ocean Yearbook.[7] Jonathan I. Charney (1999), Rocks That Cannot Sustain Human Habitation, American Journal of International Law, 93 A.J.I.L. 863.[8] Continental Shelf Area between Jan Mayen and Iceland (Jan Mayen Continental Shelf), Report and Recommendations to the Government of Iceland and Norway of the Conciliation Commission of 19-20 May 1981 in 62 International Law Reports (1981), p. 108.[9] D.W. Bowett (1979), The Legal Regime of Islands in International Law; E.D. Brown (1978), Rockall and the Limits of National Jurisdiction of the UK: Part 1, Marine Policy Vol. 2, p. 181 at pp. 206-207; J.M. Van Dyke & R.A. Brooks (1983), Uninhabited Islands: Their Impact on the Ownership of the Oceans’ Resources, Ocean Development and International Law, Vol. 12, , Nos. 3-4, p. 265; R. Kolb (1994), The Interpretation of Article 121, Paragraph 3 of the United Nations Convention on the Law of the Sea: Rocks Which Cannot Sustain Human Habitation or Economic Life of Their Own, French Yearbook of International Law, Vol. 40, 1994, p. 899; D. Anderson (2002), Islands and Rocks in the Modern Law of the Sea, in United Nations Convention on the Law of the Sea 1982: A Commentary, Vol. VI, pp. 307-21; J.L. Jesus, Rocks (2003), New-born Islands, Sea Level Rise, and Maritime Space, in J. Frowein, et al., eds., Negotiating for Peace, p. 579.[10] North Sea Continental Shelf Cases, Para 57.[11] Tunisia Libya Case, Para. 128.[12] Case Concerning Delimitation of the Maritime Boundary in the Gulf of Maine Area, (U.S. v. Canada), I.C.J. Reports 1984, p. 222.[13] PCA Case Nº 2013-19, The South China Sea Arbitration, Award of 12 July 2016. Truy cập tại đường link:https://pcacases.com/web/sendAttach/2086.[14] Note Verbal No. CML/8/2011 (14 April 2011) from the Permanent Mission of the People’s Republic of China to the UN Secretary-General with regard to the joint submission made by Malaysia and Viet Nam to the Commssion on the Limites of Continental Shefl, Annex I, Doc. A23; Foreign Ministry Spokesperson Hua Chunying's Remarks on Relevant Issue about Taiping Dao, 06/03/2016: www.fmprc.gov.cn/mfa_eng/xwfw_665399/s2510665401/t1369189.shtml.[15] Daniel Schaerffer, The Legacy of the Nine -Dashed Line: Past, Present and Future in International Workshop Paracel and Spratly Archipelagos History Truth, Danang, 19-21/4/2014: http://pdu.edu.vn/a/index.php?dept=20&disd=&tid=4921.[16] Note Verbal No. CML/17/2009 (7 May 2009) from the Permanent Mission of the People’s Republic of China to the UN Secretary-General with regard to the joint submission made by Malaysia and Viet Nam to the Commssion on the Limites of Continental Shefl: https://www.un.org/Depts/los/clcs_new/submissionsfiles/mysvnm33_09/chn_2009re_mys_vnm_e.pdf.[17] Commission on the Limits of the Continental Shelf (CLCS) Outer limits of the continental shelf beyond 200 nautical miles from the baselines: Submissions to the Commission: Joint submission by Malaysia and the Socialist Republic of Vietnam.[18] http://www.un.org/Depts/los/clcs_new/submissiosfiles/submission_mysvnm_33_2009.htm.

IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas and their like” (McGillivray 134–35) transforming natural vistas into theatrical scenes. Such a transformation was made possible by a habit of spectating that was informed by the theatrical metaphor or theatrum mundi, one version of which emphasised the relationship between spectator and the thing seen. The idea of the natural world as an aesthetic object first developed in poetry and painting and then through English landscape garden style was wrought in three dimensions on the land itself. From representations of place a theatrical transformation occurred so that gardens became a places of representation.“The Genius of the Place in All”The eighteenth century inherited theatrum mundi from the Renaissance, although the genealogy of its key features date back to ancient times. Broadly speaking, theatrum mundi was a metaphorical expression of the world and humanity in two ways: dramaturgically and formally. During the Renaissance the dramaturgical metaphor was a moral emblem concerned with the contingency of human life; as Shakespeare famously wrote, “men and women [were] merely players” whose lives consisted of “seven ages” or “acts” (2.7.139–65). In contrast to the dramaturgical metaphor with its emphasis on role-playing humanity, the formalist version highlighted a relationship between spectator, theatre-space and spectacle. Rooted in Renaissance neo-Platonism, the formalist metaphor configured the world as a spectacle and “Man” its spectator. If the dramaturgical metaphor was inflected with medieval moral pessimism, the formalist metaphor was more optimistic.The neo-Platonist spectator searched in the world for a divine plan or grand design and spectatorship became an epistemological challenge. As a seer and a knower on the world stage, the human being became the one who thought about the world not just as a theatre but also through theatre. This is apparent in the etymology of “theatre” from the Greek theatron, or “seeing place,” but the word also shares a stem with “theory”: theaomai or “to look at.” In a graceful compression of both roots, Martin Heidegger suggests a “theatre” might be any “seeing place” in which any thing being beheld offers itself to careful scrutiny by the beholder (163–65). By the eighteenth century, the ancient idea of a seeing-knowing place coalesced with the new empirical method and aesthetic sensibility: the world was out there, so to speak, to provide pleasure and instruction.Joseph Addison, among others, in the first half of the century reconsidered the utilitarian appeal of the natural world and proposed it as the model for artistic inspiration and appreciation. In “Pleasures of the Imagination,” a series of essays in The Spectator published in 1712, Addison claimed that “there is something more bold and masterly in the rough careless strokes of nature, than in the nice touches and embellishments of art,” and compared to the beauty of an ordered garden, “the sight wanders up and down without confinement” the “wide fields of nature” and is “fed with an infinite variety of images, without any certain stint or number” (67).Yet art still had a role because, Addison argues, although “wild scenes [. . .] are more delightful than any artificial shows” the pleasure of nature increases the more it begins to resemble art; the mind experiences the “double” pleasure of comparing nature’s original beauty with its copy (68). This is why “we take delight in a prospect which is well laid out, and diversified, with fields and meadows, woods and rivers” (68); a carefully designed estate can be both profitable and beautiful and “a man might make a pretty landskip of his own possessions” (69). Although nature should always be one’s guide, nonetheless, with some small “improvements” it was possible to transform an estate into a landscape picture. Nearly twenty years later in response to the neo-Palladian architectural ambitions of Richard Boyle, the third Earl of Burlington, and with a similarly pictorial eye to nature, Alexander Pope advised:To build, to plant, whatever you intend,To rear the Column, or the Arch to bend,To swell the Terras, or to sink the Grot;In all, let Nature never be forgot.But treat the Goddess like a modest fair,Nor over-dress, nor leave her wholly bare;Let not each beauty ev’ry where be spy’d,Where half the skill is decently to hide.He gains all points, who pleasingly confounds,Surprizes, varies, and conceals the Bounds.Consult the Genius of the Place in all;That tells the Waters or to rise, or fall,Or helps th’ ambitious Hill the heav’ns to scale,Or scoops in circling theatres the Vale,Calls in the Country, catches opening glades, Joins willing woods, and varies shades from shades,Now breaks or now directs, th’ intending Lines;Paints as you plant, and, as you work, designs. (Epistle IV, ll 47–64) Whereas Addison still gestured towards estate management, Pope explicitly advocated a painterly approach to garden design. His epistle articulated some key principles that he enacted in his own garden at Twickenham and which would inform later garden design. No matter what one added to a landscape, one needed to be guided by nature; one should be moderate in one’s designs and neither plant too much nor too little; one must be aware of the spectator’s journey through the garden and take care to provide variety by creating “surprises” that would be revealed at different points. Finally, one had to find the “spirit” of the place that gave it its distinct character and use this to create the cohesion in diversity that was aspired to in a garden. Nature’s aestheticisation had begun with poetry, developed into painting, and was now enacted on actual natural environments with the emergence of English landscape style. This painterly approach to gardening demanded an imaginative, emotional, and intellectual engagement with place and it stylistically rejected the neo-classical geometry and regularity of the baroque garden (exemplified by Le Nôtre’s gardens at Versailles). Experiencing landscape now took on a third dimension as wealthy landowners and their friends put themselves within the picture frame and into the scene. Although landscape style changed during the century, a number of principles remained more or less consistent: the garden should be modelled on nature but “improved,” any improvements should not be obvious, pictorial composition should be observed, the garden should be concerned with the spectator’s experience and should aim to provoke an imaginative or emotional engagement with it. During the seventeenth century, developments in theatrical technology, particularly the emergence of the proscenium arch theatre with moveable scenery, showed that poetry and painting could be spectacularly combined on the stage. Later in the eighteenth century the artist and stage designer Philippe Jacques de Loutherbourg combined picturesque painting aesthetics with theatrical design in works such as The Wonders of Derbyshire in 1779 (McGillivray 136). It was a short step to shift the onstage scene outside. Theatricality was invoked when pictorial principles were applied three dimensionally; gardens became sites for pastoral genre scenes that ambiguously positioned their visitors both as spectators and actors. Theatrical SceneryGardens and theatres were explicitly connected. Like “theatre,” the word “garden” was sometimes used to describe a collection, in book form, which promised “a whole world of items” which was not always “redeemable” in “straightforward ways” (Hunt, Gardens 54–55). Theatrum mundi could be emblematically expressed in a garden through statues and architectural fabriques which drew spectators into complex chains of associations involving literature, art, and society, as they progressed through it.In the previous century, writes John Dixon Hunt, “the expectation of a fine garden [. . .] was that it work upon its visitor, involving him [sic] often insidiously as a participant in its dramas, which were presented to him as he explored its spaces by a variety of statues, inscriptions and [. . .] hydraulically controlled automata” (Gardens 54). Such devices, which featured heavily in the Italian baroque garden, were by the mid eighteenth century seen by English and French garden theorists to be overly contrived. Nonetheless, as David Marshall argues, “eighteenth-century garden design is famous for its excesses [. . .] the picturesque garden may have aimed to be less theatrical, but it aimed no less to be theater” (38). Such gardens still required their visitors’ participation and were designed to deliver an experience that stimulated the spectators’ imaginations and emotions as they moved through them. Theatrum mundi is implicit in eighteenth-century gardens through a common idea of the world reimagined into four geographical quadrants emblematically represented by fabriques in the garden. The model here is Alexander Pope’s influential poem, “The Temple of Fame” (1715), which depicted the eponymous temple with four different geographic faces: its western face was represented by western classical architecture, its east face by Chinese, Persian, and Assyrian, its north was Gothic and Celtic, and its south, Egyptian. These tropes make their appearance in eighteenth-century landscape gardens. In Désert de Retz, a garden created between 1774 and 1789 by François Racine de Monville, about twenty kilometres west of Paris, one can still see amongst its remaining fabriques: a ruined “gothic” church, a “Tartar” tent (it used to have a Chinese maison, now lost), a pyramid, and the classically inspired Temple of Pan. Similar principles underpin the design of Jardin (now Parc) Monceau that I discuss below. Retz: Figure 1. Tartar tent.Figure 2. Temple of PanStowe Gardens in Buckinghamshire has a similar array of structures (although the classical predominates) including its original Chinese pavillion. It, too, once featured a pyramid designed by the architect and playwright John Vanbrugh, and erected as a memorial to him after his death in 1726. On it was carved a quote from Horace that explicitly referenced the dramaturgical version of theatrum mundi: You have played, eaten enough and drunk enough,Now is time to leave the stage for younger men. (Garnett 19) Stowe’s Elysian Fields, designed by William Kent in the 1730s according to picturesque principles, offered its visitor two narrative choices, to take the Path of Virtue or the Path of Vice, just like a re-imagined morality play. As visitors progressed along their chosen paths they would encounter various fabriques and statues, some carved with inscriptions in either Latin or English, like the Vanbrugh pyramid, that would encourage associations between the ancient world and the contemporary world of the garden’s owner Richard Temple, Lord Cobham, and his circle. Stowe: Figure 3. Chinese Pavillion.Figure 4. Temple of VirtueKent’s background was as a painter and scene designer and he brought a theatrical sensibility to his designs; as Hunt writes, Kent particularly enjoyed designing “recessions into woodland space where ‘wings’ [were] created” (Picturesque 29). Importantly, Kent’s garden drawings reveal his awareness of gardens as “theatrical scenes for human action and interaction, where the premium is upon more personal experiences” and it this spatial dimension that was opened up at Stowe (Picturesque 30).Picturesque garden design emphasised pictorial composition that was similar to stage design and because a garden, like a stage, was a three-dimensional place for human action, it could also function as a set for that action. Unlike a painting, a garden was experiential and time-based and a visitor to it had an experience not unlike, to cautiously use an anachronism, a contemporary promenade performance. The habit of imaginatively wandering through a theatre in book-form, moving associatively from one item to the next, trying to discern the author’s pattern or structure, was one educated Europeans were used to, and a garden provided an embodied dimension to this activity. We can see how this might have been by visiting Parc Monceau in Paris which still contains remnants of the garden designed by Louis Carrogis (known as Carmontelle) for the Duc de Chartres in the 1770s. Carmontelle, like Kent, had a theatrical background and his primary role was as head of entertainments for the Orléans family; as such he was responsible for designing and writing plays for the family’s private theatricals (Hays 449). According to Hunt, Carmontelle intended visitors to Jardin de Monceau to take a specific itinerary through its “quantity of curious things”:Visitors entered by a Chinese gateway, next door to a gothic building that served as a chemical laboratory, and passed through greenhouses and coloured pavilions. Upon pressing a button, a mirrored wall opened into a winter garden painted with trompe-l’œil trees, floored with red sand, filled with exotic plants, and containing at its far end a grotto in which supper parties were held while music was played in the chamber above. Outside was a farm. Then there followed a series of exotic “locations”: a Temple of Mars, a winding river with an island of rocks and a Dutch mill, a dairy, two flower gardens, a Turkish tent poised, minaret-like, above an icehouse, a grove of tombs [. . .], and an Italian vineyard with a classical Bacchus at its center, regularly laid out to contrast with an irregular wood that succeeded it. The final stretches of the itinerary included a Naumachia or Roman water-theatre [. . .], more Turkish and Chinese effects, a ruined castle, yet another water-mill, and an island on which sheep grazed. (Picturesque 121) Monceau: Figure 5. Naumachia.Figure 6. PyramidIn its presentation of a multitude of different times and different places one can trace a line of descent from Jardin de Monceau to the great nineteenth-century World Expos and on to Disneyland. This lineage is not as trite as it seems once we realise that Carmontelle himself intended the garden to represent “all times and all places” and Pope’s four quadrants of the world were represented by fabriques at Monceau (Picturesque 121). As Jardin de Monceau reveals, gardens were also sites for smaller performative interventions such as the popular fêtes champêtres, garden parties in which the participants ate, drank, danced, played music, and acted in comedies. Role playing and masquerade were an important part of the fêtes as we see, for example, in Jean-Antoine Watteau’s Fêtes Vénitiennes (1718–19) where a “Moorishly” attired man addresses (or is dancing with) a young woman before an audience of young men and women, lolling around a fabrique (Watteau). Scenic design in the theatre inspired garden designs and gardens “featured prominently as dramatic locations in intermezzi, operas, and plays”, an exchange that encouraged visitors to gardens to see themselves as performers as much as spectators (Hunt, Gardens 64). A garden, particularly within the liminal aegis of a fête was a site for deceptions, tricks, ruses and revelations, assignations and seductions, all activities which were inherently theatrical; in such a garden visitors could find themselves acting in or watching a comedy or drama of their own devising. Marie-Antoinette built English gardens and a rural “hamlet” at Versailles. She and her intimate circle would retire to rustic cottages, which belied the opulence of their interiors, and dressed in white muslin dresses and straw hats, would play at being dairy maids, milking cows (pre-cleaned by the servants) into fine porcelain buckets (Martin 3). Just as the queen acted in pastoral operas in her theatre in the grounds of the Petit Trianon, her hamlet provided an opportunity for her to “live” a pastoral fantasy. Similarly, François Racine de Monville, who commissioned Désert de Retz, was a talented harpist and flautist and his Temple of Pan was, appropriately, a music room.Versailles: Figure 7. Hamlet ConclusionRichard Steele, Addison’s friend and co-founder of The Spectator, casually invoked theatrum mundi when he wrote in 1720: “the World and the Stage [. . .] have been ten thousand times observed to be the Pictures of one another” (51). Steele’s reiteration of a Renaissance commonplace revealed a different emphasis, an emphasis on the metaphor’s spatial and spectacular elements. Although Steele reasserts the idea that the world and stage resemble each other, he does so through a third level of abstraction: it is as pictures that they have an affinity. World and stage are both positioned for the observer within complementary picture frames and it is as pictures that he or she is invited to make sense of them. The formalist version of theatrum mundi invokes a spectator beholding the world for his (usually!) pleasure and in the process nature itself is transformed. No longer were natural landscapes wildernesses to be tamed and economically exploited, but could become gardens rendered into scenes for their aristocratic owners’ pleasure. Désert de Retz, as its name suggests, was an artfully composed wilderness, a version of the natural world sculpted into scenery. Theatrum mundi, through the aesthetic category of the picturesque, emerged in English landscape style and effected a theatricalised transformation of nature that was enacted in the aristocratic gardens of Europe.ReferencesAddison, Joseph. The Spectator. No. 414 (25 June 1712): 67–70. Eighteenth Century Collections Online.Garnett, Oliver. Stowe. Buckinghamshire. The National Trust, 2011.Hays, David. “Carmontelle's Design for the Jardin de Monceau: A Freemasonic Garden in Late-Eighteenth-Century France.” Eighteenth-Century Studies 32.4 (1999): 447–62.Heidegger, Martin. The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Harper and Row, 1977.Hunt, John Dixon. Gardens and the Picturesque: Studies in the History of Landscape Architecture. Cambridge, Massachusetts: MIT Press, 1992.———. The Picturesque Garden in Europe. London: Thames and Hudson, 2002.Marshall, David. The Frame of Art. Fictions of Aesthetic Experience, 1750–1815. Baltimore: Johns Hopkins UP, 2005.Martin, Meredith S. Dairy Queens: The Politics of Pastoral Architecture from Catherine de' Medici to Marie-Antoinette. Harvard: Harvard UP, 2011.McGillivray, Glen. "The Picturesque World Stage." Performance Research 13.4 (2008): 127–39.Pope, Alexander. “Epistle IV. To Richard Boyle, Earl of Burlington.” Epistles to Several Persons. London, 1744. Eighteenth Century Collections Online.———. The Temple of Fame: A Vision. By Mr. Pope. 2nd ed. London, 1715. Eighteenth Century Collections Online. Shakespeare, William. As You Like It. Ed. Agnes Latham. London: Routledge, 1991.Steele, Richard. The Theatre. No. 7 (23 January 1720).

Abstract Within the framework of the Space@Sea project, a modular floating structure (MFS) was developed to serve as building blocks for artificial islands. The modularity was one of the key elements, intended to provide the desired flexibility of additional deck space at sea. Depending on the purpose of a modular floating concept, various articulation techniques, such as hinge, prismatic, cylindrical and screw joints can be applied to connect MFSs. This paper presents numerical simulations of moored and articulated multibody offshore structures in waves, via a coupled mooring-joint-viscous flow solver accounting for mooring dynamics, joint restrictions, nonlinear rigid body motions, and viscous flow effects. The considered concepts consisted of two MFSs connected by two kinds of connections, namely a rigid joint and a flexible joint, and positioned by four symmetrical catenary mooring lines. The analyzed responses comprised multibody motions as well as associated forces acting in the hinged joints and the mooring lines. Results indicated that surge motions of the articulated bodies were almost identical to each other, whereas the effects of the joint on heave motions were not pronounced. However, highly dynamic pitch motions between two hinged MFSs were observed. Apart from motion responses, forces acting on the hinge joint and the mooring lines were considered. The coupled mooring-joint-viscous flow solver demonstrated its ability to predict responses of moored and articulated offshore structures in waves.

Coalition structure generation is considered in a setting where feasible coalition structures must satisfy constraints of two different kinds modeled in terms of a valuation structure, which consists of a set of pivotal agents that are pairwise incompatible, plus an interaction graph prescribing that a coalition C can form only if the subgraph induced over the nodes/agents in C is connected. It is shown that valuation structures can be used to model a number of relevant problems in real-world applications. Moreover, complexity issues arising with them are studied, by focusing in particular on identifying islands of tractability based on topological properties of the underlying interaction graph. Stability issues on valuation structures are studied too.

Data-driven techniques for interactive narrative generation are the subject of growing interest. Reinforcement learning (RL) offers significant potential for devising data-driven interactive narrative generators that tailor players’ story experiences by inducing policies from player interaction logs. A key open question in RL-based interactive narrative generation is how to model complex player interaction patterns to learn effective policies. In this paper we present a deep RL-based interactive narrative generation framework that leverages synthetic data produced by a bipartite simulated player model. Specifically, the framework involves training a set of Q-networks to control adaptable narrative event sequences with long short-term memory network-based simulated players. We investigate the deep RL framework’s performance with an educational interactive narrative, Crystal Island. Results suggest that the deep RL-based narrative generation framework yields effective personalized interactive narratives.

Recently, there were lots of researches about enormous CHF enhancement with the nanofluid in pool boiling and flow boiling. It is supposed the deposition of nanoparticles on the heated surface is one of main reasons. In a real application, nanofluid has a lot of problems to be used as the working fluid because of sedimentation and aggregation. The artificial surfaces on silicon and metal were developed to have the similar effect with nanoparticles deposited on the surface. The modified surface showed the enormous ability to increase CHF in pool boiling. Furthermore, under flow boiling, it had also good results to increase CHF. In these studies, we concluded that wetting ability of surface; e.g. wettability and liquid spreading ability (hydrophilic property of surface) was a key parameter to increase CHF under both pool and flow boiling. In addition, using wettability difference of surface; e.g. hydrophilic and hydrophobic, we conducted some tests of BHT (boiling heat transfer) enhancement using the oxide silicon which have micro-sized hydrophobic islands on hydrophilic surface. By using both of these techniques, we propose an optimized surface to increase both CHF and BHT. Also, the fuel surface of nuclear power plants is modified to have same effect and the results shows a good enhancement of CHF, too.

Abstract To meet and sustain the increasing energy needs of a growing world economy, exploration for oil and gas will be directed to increasingly extended reaches, complex profiles and hostile environments. Progress in harnessing high-pressure high-temperature (HPHT) sour fields (environments containing hydrogen sulphide gas or H2S) and reducing the cost of extracting and refining will be highly leveraged by political and macroeconomic considerations. Motivated to harness the complex tight carbonate reservoirs in offshore Arabian Gulf, a major National Oil Company (NOC) in UAE and its partners embarked on an extensive and ambitious project to produce oil and gas from offshore artificial islands. To capture the full economic benefits of this project, operators are expected to drill farther and farther into one of the world's longest deep-water reservoirs (wells with laterals lengths beyond 40,000 feet). It has also taken them a decade of innovative technology development to be able to successfully harness these challenging deep-water assets. Among the technologies developed, one of the essential tools, a dissolvable plugged nozzle assembly (DPNA) with its ability to withstand higher pressures encountered at larger depths, while maintaining its mechanical integrity for extended times in heavy brines, enabling longer sweeps, thus service deeper wells was needed by operators. Recognizing this grand challenge, we designed and developed a pressure balanced HPHT DPN (PB-HPHT DPN) with erosion resistant Ni alloy jointly developed with a major Japanese steel and Ni alloy producer and anion-insensitive nano-BMGC plug developed by us. The PB-HPHT DPN has the following groundbreaking properties: (i) It can sustain pressures of up to 5,500 psi differential pressure (ΔP) for 48 hours when pressurized from inner diameter (ID) to outer diameter (OD), and can subsequently breakthrough on 500 psi DP pressure reversal (OD to ID) within 14 days from the start of the operations; (ii) It can be deployed in environments encompassing up-to 43% Bromide or up-to 21% Chloride brines and reaching temperatures as high as 250° F. Additionally, verification and validation (V&V) is supported by flow testing combined with Computational Fluid Dynamics (CFD). The design of the PB HPHT-DPN allows a fluid flow of up-to 0.6 bpm across the nozzle without experiencing a differential pressure increase of >2400 psi in a 4 mm DPN. In summary, the PB-HPHT DPN is a revolutionary device that will allow operators to efficiently produce oil and gas in extremely hostile environments.