Academic literature on the topic 'Comfort a bordo nave'

El 18 de diciembre, 1995 a las 21:17 hrs (TL) se colocaron a bordo de la SONDA III brasileña una prueba de Langmuir yuna de Capacitancia de Alta Frecuencia. Esta sonda fue lanzada desde la estación de lanzamiento de Alcantara (2.31°S; 44.4°W) en Brasil, para realizar mediciones de las variaciones con la altura del campo eléctrico ionosférico y de la densidad electrónica. La nave alcanzó una altitud de 557 km y cubrió un rango horizontal de 589 km. Se operaron desde tierra varios equipos para monitorear las condiciones ionosféricas durante el lanzamiento de modo que la nave alcanzara la región F, donde se presentan las burbujas de plasma. La nave alcanzó la altitud de 557 km y atravesó varias burbujas de plasma de mediano tamaño principalmente en donde se encuentra un perfil downleg de densidad. La densidad electrónica en la parte upleg del perfil mostró la presencia de una muy definida base de la región F alrededor de los 300 km, mientras que el downleg mostró la presencia de un amplio espectro de campo eléctrico e irregularidades en la densidad electrónica y el upleg de la capa F. El análisis espectral de las fluctuaciones en la densidad electrónica y el campo eléctrico indican la presencia de picos espectrales muy definidos a varias alturas que en la mayoría de los casos están asociados unos con otros. Probablemente esto indica la naturaleza electrostática de las ondas eléctricas que se excitan probablemente al inicio de la inestabilidad del plasma junto con las ondas de densidad. Se presentan algunos nuevos resultados de la asociación de estas fluctuaciones con las burbujas de plasma.

En La Piscine, film dirigido en 1969 por Jacque Deray, Harry (Ulises) regresa a SaintTropez a bordo de su nave, representada por un Masseratti, y se reencuentra con Marianne (Penélope) que ahora es la pareja de Jean-Paul, un antiguo amigo de Harry. Como en La Odisea, Harry se demora en su largo viaje entreteniéndose en diversas relaciones. Inversamente a la historia original, el “pretendiente” sobrevive a Ulises. Swimming Pool, película dirigida en 2003 por François Ozon que podemos considerar una nueva versión de la eterna aventura homérica, ofrece un interesante desplazamiento de roles: En la casa-isla quien espera es una escritora. Es Penélope la que va tejiendo la propia historia que presenciamos y por lo tanto es Homero a la vez. En lugar de Ulises quien vuelve es Julia, la hija del dueño de la casa, y ella es la que acaba eliminando a uno de sus propios “pretendientes”

The most important feature of architecture at Islamic age has been regarded as strengthening the human history from plurality and unity that such architecture from the artistic dimension and world structure goes beyond the time and place. Dome has been regarded as the major element in Islamic-Iranian architecture that there is no doubt on continuity and evolution of domical buildings since Sassanid age till current age. Mosques with Arabic or column design in Umayyad dynasty have been mentioned as the early styles in Islamic architecture. These mosques follow a square or rectangular map with walled garden and roofed nave. Since 7th century, domes have been the major element in Islamic architecture. By the passage of time, dimensions of domes at mosque developed, occupied a small part of the ceiling in proximity of Mihrab to the entire ceiling above nave. According to the existing texts, the oldest dome which is referred relates to Parthian and early Sassanid era. This dome has been built in Firuzabad to the dimension of 10.16 meter and evolved at Sassanid age, after which construction of domes is exploited as a general pattern. Domical buildings in west differ from domical buildings in Iran. Interesting difference lies on transfer of dome from cylindrical buildings to square buildings in Iranian architecture. Creation of dome and formation of hollow spaces have raised creation of spiritual spaces together with sense of comfort, under which the most important phenomenon of Islamic-Iranian architecture, holy shrines and sacred places have raised. In this research, firstly we will reach to a model of construction of main dome by overview of literature at architecture of domical buildings pre Islam in Iran and formation of them with an emphasis on domical buildings especially at Firuzabad, Fars and Bishapur, then we will review the domical buildings at Islamic age especially mosques and scared places, ultimately the evolution stages of dome design is examined in Islamic-Iranian architecture.

ResumenMejorar el rendimiento térmico de los edificios mediante la adaptación del aislamiento puede reducir la pérdida innecesaria de calor y energía minimizando el impacto ambiental. El aislamiento térmico interior es a menudo el elegido en los edificios históricos para preservar sus características. Sin embargo, el aislamiento interior puede aumentar la acumulación de humedad en paredes que socavan su durabilidad. Hay una falta de conocimiento sobre la eficacia de sólidos muros históricos y el impacto del aislamiento interno en su comportamiento higrotérmico. Este artículo investiga las propiedades térmicas e hídricas de siete opciones de aislamiento internos, incluyendo la pintura térmica, aerogel (AG), corcho-cal (CL), cal-cáñamo (HL), silicato de calcio bordo (CSB), tablero de fibra de madera (TFB) y placa de polisocianurato (PIR). Sus propiedades se comparan con un enlucido de cal tradicional. El PIR y el aerogel AG muestran extraordinarias propiedades térmicas que contribuyen a la comodidad y ahorro de energía, y la CL y HL son permeables al vapor y a la capilaridad. Estos tienen aproximadamente el doble de la masa térmica de los otros aislantes. Además, la CL tiene una buena inercia térmica (segunda difusividad más baja) y, a pesar de su contenido orgánico, una adsorción de baja a alta RH.AbstractImproving the thermal performance of buildings by retrofitting insulation can reduce unnecessary heat loss and building operational energy minimising environmental impact. Internal thermal insulation is often favoured for historic buildings to preserve their features. However, internal insulation may increase moisture accumulation in walls undermining their durability. There is a lack of knowledge on the performance of historic solid walls and the impact of internal insulation in their hygrothermal behaviour. This paper investigates the thermal and hygric properties of seven internal insulation options including thermal paint, aerogel (AG), cork lime (CL), hemp lime (HL), calcium silicate board (CSB), timber fibre board (TFB) and polyisocyanurate (PIR) board. Their properties are compared with a traditional lime plaster. The PIR and aerogel AG show outstanding thermal properties that contribute towards indoor thermal comfort and energy savings and the CL and HL are vapour permeable and capillary active. They have approximately double the thermal mass of the other insulations. In addition, the CL has a good thermal inertia (2nd lowest diffusivity) and, in spite of its organic content, a low adsorption at high RH.

Nell’articolo l’autore ripercorre la sua esperienza di partecipazione alla “Nave della legalità” prima in qualità di Procuratore Nazionale Antimafia, poi come Presidente del Senato e, infine, come Senatore. Tracciandone un racconto personale, l’autore offre un affresco emotivo e civico del viaggio da Civitavecchia a Palermo, mettendo in luce l’entusiasmo e il coinvolgimento degli studenti e delle studentesse presenti.

El trabajo sintetiza las principales líneas de investigación arqueológica e interdisciplinaria desarrolladas en el proyecto HMS Swift, referido a una nave de guerra inglesa naufragada en 1770 en la ría Deseado (actual provincia de Santa Cruz, Argentina). El trabajo fue llevado a cabo por el equipo del Programa de Arqueología Subacuática (PROAS) del Instituto Nacional de Antropología y Pensamiento Latinoamericano, organismo dependiente del Ministerio de Cultura de la República Argentina.Los temas de estudio tratados comprenden aspectos constructivos del barco, la relación entre los artefactos transportados a bordo y las distintas jerarquías sociales representadas en la tripulación, enmarcado a su vez en los avances tecnológicos que caracterizaron al siglo XVIII en Europa, la vida a bordo de la nave, y los procesos de formación del sitio ocurridos desde el hundimiento del barco hasta la actualidad. También se hace referencia a una línea de investigación no prevista inicialmente, consistente en el estudio de restos humanos.Tras la presentación de los resultados surgidos de la investigación científica, se hace mención a otras facetas del proyecto Swift, consistentes en la relación entre éste y la comunidad, las posibilidades de desarrollo turístico en torno a la colección arqueológica proveniente del pecio y el grado de valoración patrimonial pública que posee este sitio.

What does the use of biblical scripture, viewed through the funeral monument’s material and spatial presence in the church building disclose about the role of the places for the dead in establishing and maintaining church practices and ritual during the formative years of the Reformation? Taking the lead from the tomb of early evangelical reformer Katherine Willoughby, Duchess of Suffolk at Spilsby in Lincolnshire, this article examines the relationship between text, space and materiality in the formulation of a protestant rhetoric of congregational equality with its epicentre in the church nave. Tracing the texts and placements of commemorative structures, and their relationship to official as well as more radical protestant texts, including the Elizabethan Injunctions (1559), as well as the writing of John Dod (1615), this preliminary investigation explores the fertile relationship between object and text in the development of Protestant identities.By applying recent archaeological scholarship into the role of ‘presencing’ mechanisms (Graves 2000, & Roffey, 2008) in the medieval and post-medieval church interior to the Willoughby monument in Spilsby’s north chancel, as well as two further examples of the tombs of protestant reformers, the notion of a protestant dismissal of the visual as a tool in devotion will be challenged. By introducing the central role of placement, the approach will destabilize the view that in the protestant church ‘the greatest visual impact came from words’ (MacCulloch, 1999, p. 159), and instead, place language into the wider architectural and spatial narratives of the church interior.

The Church of Santa Maria Della Neve (Our Lady of the Snows) on Bratislava Calvary hill was built during the World War II on the site of a chapel from the 18th century and bears the hallmarks of interwar modernism (functionalism). Since 2018 the church underwent a complete renovation of the interior under the leadership of architects Tomáš Bujna and Matúš Gibala. The works included the reconstruction of the interior of the presbytery, the nave of the church, the entrance and service areas, as well as the design and implementation of new furniture. In the church, new plaster and paint were applied to the walls and ceiling. The newly painted white interior provides a sufficient amount of light and thus gives positive and balanced impression for the people present in the church. However, the minimalist style without the use of any sound-absorbing material causes a major problem with speech intelligibility during the ceremonies. Changes in the interior, such as painting the church and removing the sound-absorbing elements on the walls and furniture are responsible for doubling of the reverberation time compared to the original state. The presented article focuses on the search for ways to reduce the reverberation time to the original values by interior elements, which could be accepted in terms of architectural appearance. From the point of view of acoustics, maintaining the diffusion of space is a big challenge here, because by reckless application of additional elements and surfaces with high sound absorption, unpleasant echoes could arise in such a large space. These would probably not impair speech intelligibility dramatically but would for sure interfere with music production. Therefore, auralization was used to find the optimal solution.

The bodies of disordered women … offer themselves as an aggressively graphic text for the interpreter—a text that insists, actually demands, that it be read as a cultural statement, a statement about gender. (Bordo, 94)Violence is transgressive in fundamental ways. It erases boundaries, and imposes agency over others, or groups of others. The assumed social stance is to disapprove, morally and ethically, as a ‘good’ and ‘moral’ female subject. My current research has made me question the simplicity of this approach, to interrogate how aggression socialises power and how resistance to structural violence might look. I analyse three cultural practices to consider the social demarcations around aggression and gender, both within overt acts of violence and in less overt protocols. This research will focus on artistic practices as they offer unique embodied ways to “challenge our systems of representation and knowledge” (Szylak 2).The three creative works reviewed: the 2009 Swedish film the Girl with the Dragon Tattoo, the work Becoming an Image by Canadian non-binary/transgender artist Cassils, and Gambit Lines, by artist Carolyn Craig, each contest gendered modes of normativity within the space of the Cultural Screen (Silverman). The character of Lisbeth Salander in Girl with the Dragon Tattoo subverts the aggressor female/femme fatale trope in Western cinema by confusing and expanding visual repertoires around aggression, while artists Cassils and Carolyn Craig re-draw how their biologically assigned female bodies perform power in the Cultural Screen by activating bodily feedback loops for the viewer’s gaze.The Aggressor ModeThe discussion of these three works will centre on the ‘female aggressor trope’, understood here as the static coda of visual practices of female power/aggression in the western gaze. This article considers how subverting such representations of aggression can trigger an “epistemic crisis that allows gender categories to change,” in particular in the way protocols of power are performed over female and trans subjectivities (Butler, Athletic 105). The tran/non-binary subject state in the work of Cassils is included in this discussion of the female aggressor trope as their work directly subverts the biological habitus of the female body, that is, the artist’s birth/biologically assigned gender (Bourdieu). The transgender state they perform – where the body is still visibly female but refusing its constraints - offers a radical framework to consider new aggressive stances for non-biologically male bodies.The Cultural Screen and Visual RepresentationsI consider that aggression, when performed through the mediated position of a creative visual practice (as a fictional site of becoming) can deconstruct the textual citations that form normative tropes in the Cultural Screen. The Screen, for this article, is considered asthe site at which the gaze is defined for a particular society, and is consequently responsible both for the way in which the inhabitants of that society experience the gaze’s effects, and for much of the seeming particularity of that society’s visual regime. (Silverman 135)The Screen functions as a suite of agreed metaphors that constitute a plane of ‘reality’ that defines how we perform the self (Goffman). It comprises bodily performance, our internal gaze (of self and other) and the visual artefacts a culture produces. Each of the three works discussed here purposely intervenes with this site of gender production within the Cultural Screen, by creating new visual artefacts that expand permissible aggressive repertoires for female assigned bodies. Deconstructing the Cultural ScreenThe history of images … can be read as a cultural history of the human body. (Belting 17)Cinematic representations play a key role in producing the visual primers that generate social ‘acts’. For this reason I examine the Swedish film Män Som Hatar Kvinnor (Men Who Hate Women, 2009), released as The Girl with the Dragon Tattoo for foreign audiences, as an example of an expanding range of female aggressor representations in film, and one of particular complexity in the way it expands on representational politics. I consider how specific scripting, dialogue and casting decisions in the lead female character of Lisbeth Salander (played by Noomi Rapace) serve to deconstruct the female aggressor trope (as criminal or sexual provocateur) to allow her character to engage in aggressive acts outside of the cliché of the deviant woman. This disrupts the fixity of assigned body protocols on the social grid to expand their gendered habitus (Bourdieu).Key semiotic relations in the film’s characterisation of Lisbeth prevent her performance of aggression from moving into the clichés of erotic or evil feminine typologies. Her character remains unfixed, moving between a continuous state of unfolding in response to necessity and desire. Here, she exhibits an agency usually denoting masculinity. This allows her violence a positive emancipatory affect, one that avoids the fixity of the representational tropes of the deviant woman or the femme fatale. Her character draws upon both tropes, but reformulates them into a postmodern hybridity, where aggression slips from its sexualised/deviant fetish state into an athletic political resistance. Signification is strategically confused as Lisbeth struts through the scaffolding of normalcy in her insurgent gender game. Her post-punk weaponised attire draws on the repertoire of super heroes, rock stars and bondage mistresses, without committing to any. The libidinal component of violence/aggression is not avoided, but acknowledged, both in its patriarchal formula and Lisbeth’s enactment of revenge as embodied pleasure.The visual representation of both lead actors is also of interest. Both Lisbeth and Mikael have visible acne scars. This small breach in aesthetic selection affects how we view and consume them as subjects and objects on the Screen. The standard social more for the appearance of male and female leads is to use faces modeled on ideas of symmetry and perfection. These tendencies draw upon the cultural legacies of physiognomy that linked moral character with attractiveness schedules and that continue to flourish in the Cultural Screen (Lavater; Principe and Langlois). This decision to feature faces with minor flaws appropriates the camera’s gaze to re-consider schedules of normalcy, in particular value and image index as they relate to gendered representations. This aesthetic erasure of the Western tradition of stereotyped representations permits transitional spaces to emerge within the binary onslaught. Technology is also appropriated in the film as a space for a performative ‘switching’ of the gender codes of fixity. In her role as undercover researcher, Lisbeth’s control of code gives her both a monetised agency and an informational agency. The way that she types takes on an almost aggressive assertion. Each stroke is active and purposeful, as she exerts control through her interface with digital space. This is made explicit early in the film when she appropriates the gaze of technology (a particularly male semiotic code) to extract agency from within the structural discourse of patriarchy itself. In this scene, she forces her guardian to watch footage of his own act of raping her. Here Lisbeth uses the apparatus of the gaze to re-inscribe it back over his body. This structural inversion of the devices of control is made even more explicit when Lisbeth then brands him with text. Here ‘writing on the body’ becomes manifest.The director also frames initial scenes of Lisbeth’s nude body in subtle ways that fracture the entrenched history of representations of women, where the female as object exists for the gaze of male desire (Berger). Initially all we see are her shoulders. They are powerful and she moves like a boxer, inhabiting space and flexing her sinew. When we do see her breasts, they are neutered from the dominant coda of the “breasted experience” (Young). Instead, they function as a necessary appendage that she acknowledges as part of the technology of her body, not as objectified male desire.These varied representational modes built within Lisbeth’s characterisation, inhabit and subvert the female aggressor trope (as deviant), to offer a more nuanced portrayal where the feminine is still worn, but as both a masquerade and an internal emancipatory dialogue. That is, the feminine is permitted to remain whilst the masculine (as aggressive code) is intertwined into non-binary relations of embodied agency. This fluidity refracts the male gaze from imposing spectatorial control via the gaze.Cassils The Canadian non-binary/transgender artist Cassils also uses the body as semiotic technology to deny submission to the dominant code of the Cultural Screen. They re-image the self with bodybuilding, diet and steroids to exit their biologically female structural discourse into a more fluid gendered state. This state remains transitive as their body is not surgically ‘reassigned ‘ back into normative codes (male or female assignations) but instead inhabits the trans pronoun of ‘they/their’. This challenges the Cultural Screen’s dependence on fixed binary states through which to allocate privilege. This visible reshaping also permits entry into more aggressive bodily protocols via the gaze (through the spectorial viewpoint of self and other).Cassils ruptures the restrictive habitus of female/trans subjectivity to enable more expansive gestures in the social sphere, and a more assertive bodily performance. This is achieved by appropriating the citational apparatus of male aggression via a visual reframing of its actions. Through daily repetitive athletic training Cassils activates the proprioceptive loops that inform their gendered schema and the presentation of self (Goffman). This training re-scripts their socially inscribed gender code with semiotically switched gender ‘acts’. This altered subjectivity is made visible for the viewer through performance to destablise the Screen of representation further via the observers’ gaze.In their work Becoming an Image (2012- current), Cassils performs against a nine hundred kilogram lump of clay for twenty minutes in complete darkness, fractured only by an intermittent camera flash that documents the action. This performance contests the social processes that formulate the subject as ‘image’. By using bodily force (aggressive power) against an inert lump of clay, Cassils enacts the frustration and affect that the disenfranchised Other feels from their own gender shaping (Bhaba). The images taken by the camera during this performance reflect a ferocious refusal, an animal intent, a state of battle. The marks and residues of their bodily ‘acts’ shape the clay in an endurance archive of resistance, where the body’s trace/print forms the material itself along with the semiotic residue of the violence against transgender and female bodies. In some ways, the body of Cassils and the body of clay confront each other through Cassils’s aggressive remolding of the material of social discourse itself.The complicity of photography in sustaining representational discourse is highlighted within Cassils’s work through the intertextual rupturing of the performance with the camera flash and through the title of the work. To Become an Image invokes the processes of the darkroom itself, where the photographer controls image development, whilst the aggressive flash reflects the snapshot of violence, where the gendered subject is ‘imaged’ (formulated and confined) without permission by the observer schedules of patriarchy. The flash also leaves a residual trace in the retinas of the viewer, a kind of image burn, perhaps chosen to mimic the fear, intrusion and coercion that normalcy’s violence impinges over Othered subjects. The artist converts these flash generated images into wallpaper that is installed into the gallery space, usually the day after the performance. Thus, Cassils’s corporeal space is re-inscribed onto the walls of the institutional archive of representations – to evoke both the domestic (wallpaper as home décor), the public domain (the white walls of institutional rhetoric) and the Cultural Screen.Carolyn Craig The work of Carolyn Craig also targets representations that substantiate the Cultural Screen. She uses performative modes in the studio to unravel her own subjective habitus, in particular targeting the codes that align female aggression with deviancy. Her work isolates the action of making a fist to re-inscribe how the aggression code is ‘read’ as embodied knowledge by women. Two key articles by Thomas Schubert that investigated how making a fist is perceived differently between genders (in terms of interiorised power) informed her research. Both studies found that when males make a fist they experience an enhanced sense of power, while women did not. In fact, in the studies, they experienced a slight decrease in their sense of comfort in the world (their embodied sense of agency). Schubert surmised this reflected gender-based protocols in relation to the permissible display of aggression, as “men are culturally less discouraged to use bodily force, which will frequently be associated with success and power gain [whilst women] are culturally discouraged from using bodily force” (Schubert 758). These studies suggest how anchored gestures of aggression are to male power schemas and their almost inaccessibility to women. When artists re-formulate such (existing) input algorithms by inserting new representations of female aggression into the Cultural Screen, they sever the display of aggression from the exclusive domain of the masculine. This circulates and incorporates a broader visual code that informs conceptual relations of power.Craig performs the fisting action in the studio to neuter this existing code using endurance, repetition and parody (fig. 1). Parody activates a Bakhtian space of Carnivalesque, a unique space in the western cultural tradition that permits transgressive inversions of gender, power and normativity (Hutcheon). By making and remaking a fist through an absurdist lens, the social scaffolding attached to the action (fear, anxiety, transgression) is diluted. Repetition and humour breaks down the existing code, and integrates new perceptual schema through the body itself. Parody becomes a space of slippage, one that is a precursor to a process of (re)constitution within the social screen, so that Craig can “produce representation” rather than be (re)presentation (Schneider 51). This transitory state of Carnivalesque produces new relational fields (both bodily and visual) that are then projected back into the Screen of normativity to further dislodge gender fixity. Figure 1: Carolyn Craig, Gambit Lines (Angles of Incidence #1), 2016. Etchings from performance on folded aluminium, 25.5 x 34 x 21cm. This nullifies the power of the static image of deviancy (the woman as specimen) and ferments leakages into broader representational fields. Craig’s fisting actions target the proprioceptive feedback loops that make women fear their own bodies’ potential of violence, that make us retreat from the citational acts of aggression. Her work tilts embodied retreat (as fear) through the distorted mimesis of parody to initiate a Deleuzian space of agentic potential (Deleuze and Guattari). This is re-inserted into the Cultural Screen as suites of etchings grounded in the representational politics, and historical genealogy of printed matter, to bring the historical conditions of formation of knowledge into review.Conclusion The aggressor trope as used within the works discussed, produces a more varied representational subject. This fosters subjectivities outside the restraints of normativity and its imposed gendered habitus. The performance of aggression by bodies not permissibly branded to script such acts forces static representations embedded through the Cultural Screen into “an unstable and troubled terrain, a crisis of knowledge, a situation of not-knowing”. This state of representational confusion leads to a “risking of gender itself … that exposes our knowledge about gender as tenuous, contested, and ungrounded in a thorough and productively disturbing sense” (Butler, Athletic 110). Tropes that define binary privilege, when dislodged in such a way, become accessible to fluidity or erasure. This allows more nuanced gender allocation to schedules of power.The Cultural Screen produces and projects the metaphors we live by and its relations to power are concrete (Johnson and Lakoff). Even small-scale incursions into masculine domains of agency (such as the visual display of aggression) have a direct correlation to the allocation of resources, both spatial, economic and subjective. The use of the visual can re-train the conceptual parameters of the cultural matrix to chip small ways forward to occupy space with our bodies and intellects, to assume more aggressive stances in public, to speak over people if I feel the need, and to be rewarded for such actions in a social context. I still feel unable to propose direct violence as a useful action but I do admit to having a small poster of Phoolan Devi in my home and my admiration for such women is deep.ReferencesBelting, Hans. An Anthropology of Images. Princeton, N.J: Princeton University Press, 2011.Berger, John. Ways of Seeing. London: Penguin, 2008.Bhaba, Homi. "The Other Question: Difference, Discrimination and the Discourse of Colonialism.” Out There: Marginalisation and Contemporary Cultures. Eds. Russell Ferguson and Trinh T. Minh-ha. Massachusetts: MIT Press, 1990. 71-89.Bordo, Susan. “The Body and the Reproduction of Femininity.” Writing on the Body: Female Embodiment and Feminist Theory. Eds. Katie Conboy et al. New York: Colombia UP, 1997. 90-110.Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.Butler, Judith. “Athletic Genders: Hyperbolic Instance and/or the Overcoming of Sexual Binarism.” Stanford Humanities Review 6 (1998): 103-111.———. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal (1988): 519–31.Cassils. Becoming an Image. ONE Archive, Los Angeles. Original performance. 2012.Craig, Carolyn. “Gambit Lines." The Deviant Woman. POP Gallery, Brisbane. 2016.Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. Minneapolis: University of Minnesota, 1987.Girl with the Dragon Tattoo [Män Som Hatar Kvinnor]. Dir. Niels Arden Oplev. Stockholm: Yellowbird, 2009.Goffman, Erving. The Presentation of Self in Everyday Life. London: Allen Lane, 1969.Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen, 1985.Johnson, Mark, and George Lakoff. Metaphors We Live By. Chicago: Chicago University Press, 1980.Lavater, John Caspar. Essays in Physiognomy Designed to Promote the Knowledge and Love of Mankind. Vol. 1. London: Murray and Highley, 1789.Principe, Connor, and Judith Langlois. "Shifting the Prototype: Experience with Faces Influences Affective and Attractiveness Preferences." Social Cognition 30.1 (2012): 109-120.Schneider, Rebecca. The Explicit Body in Performance. New York: Routledge, 1997.Schubert, Thomas W., and Sander L. Koole. “The Embodied Self: Making a Fist Enhances Men’s Power-Related Self-Conceptions.” Journal of Experimental Social Psychology 45.4 (2009): 828–834.Schubert, Thomas W. “The Power in Your Hand: Gender Differences in Bodily Feedback from Making a Fist.” Personality and Social Psychology Bulletin 30.6 (2004): 757–769.Silverman, Kaja. The Threshold of the Visible World. New York: Routledge, 1996.Szylak, Aneta. The Field Is to the Sky, Only Backwards. Brooklyn, NY: International Studio and Curatorial Program, 2013.Young, Iris Marion. “Breasted Experience: The Look and the Feeling.” On Female Body Experience. Oxford: Oxford University Press, 2005.

2013/2014
Gli alti livelli di comfort che sono richiesti oggigiorno a bordo di navi da crociera e mega-yachts, portano i progettisti a concentrare la loro attenzione sul problema del rumore strutturale. I motori diesel quattro tempi che sono installati a bordo nave come motori principali o diesel generatori, sono tra le principali sorgenti di rumore strutturale. Per questa ragione, al fine di ridurre l’energia vibrazionale generata da queste sorgenti e trasmessa, tramite le strutture nave, ai locali alloggio, i motori diesel sono sospesi mediante elementi resilienti. Tali elementi resilienti disaccoppiano la sorgente di rumore e vibrazioni (motore diesel) dal mezzo di propagazione (le strutture nave) e isolano dunque la sorgente dalle strutture riceventi. I livelli di rumore strutturale misurati alle fondazioni del motore diesel dipendono dai livelli di velocità misurati sulla sorgente (cioè ai piedi del motore diesel), dai livelli di impedenza meccanica degli elementi resilienti e dai livelli di mobilità meccanica delle fondazioni del motore diesel. Il single-point approach è un approccio semplificato per la previsione dei livelli di rumore strutturale che trascura l’interazione tra elementi resilienti. Secondo tale teoria, al fine di ridurre il rumore strutturale trasmesso attraverso gli elementi resilienti alle strutture nave, si deve ridurre l’impedenza meccanica degli elementi resilienti così come la mobilità meccanica delle fondazioni del motore diesel. In altre parole, si devono aumentare la rigidezza dinamica degli elementi resilienti così come l’impedenza meccanica delle fondazioni del motore diesel. Ad oggi, l’impedenza meccanica degli elementi resilienti può essere ricavata solo mediante prove sperimentali in laboratorio, mentre la mobilità meccanica del motore diesel è solitamente misurata quando la nave è in costruzione. Dunque non vi è la possibilità di predire, in fase progettuale, il rumore strutturale dovuto ai motori diesel. In questa tesi, viene presentata una procedura per la simulazione del rumore strutturale dovuto a motori diesel marini. La procedura si basa su test sperimentali e simulazioni numeriche. Nella prima parte della tesi sono richiamate le basi teoriche necessarie per l’esecuzione delle procedure numeriche e delle prove sperimentali. Sono dunque presentati i risultati delle analisi numeriche per simulare la mobilità delle fondazioni dei motori diesel marini. I risultati delle analisi FEM sono stati validati mediante confronto dei risultati delle analisi numeriche con i dati ottenuti da una campagna di misure eseguite a bordo nave. Successivamente sono presentati i risultati di una serie di prove eseguite per collaudare una nuova macchina sperimentale per misurare l’impedenza meccanica degli elementi resilienti. Lo scopo del collaudo era definire una procedura per l’utilizzo della macchina e per l’esecuzione di prove sperimentali in accordo alla ISO 10846, che è considerata normativa di riferimento per questo tipo di prove. Si è dunque proceduto con l’esecuzione di prove sperimentali eseguite su un elemento resiliente per motori diesel marini. Le prove sono state eseguite a differenti carichi statici. I risultati di queste prove sperimentali sono stati utilizzati per settare un modello numerico che simuli il comportamento non-lineare del componente in gomma del resiliente. I risultati ottenuti sia dalle prove sperimentali sia dalle simulazioni numeriche sono stati utilizzati per predire il rumore strutturale generato dai motori diesel, in accordo al single-point approach. I risultati ottenuti dall’applicazione del metodo sono stati confrontati con misure eseguite a bordo e sono stati discussi per evidenziare vantaggi e svantaggi dell’applicazione del metodo. Le procedure numeriche per la simulazione del comportamento dinamico del resiliente e della fondazione costituiscono un primo passo per l’ottimizzazione del sistema di isolazione del motore diesel marino.
The high level of comfort that is required today on board cruise vessels and mega-yachts, leads the designers to focus their attention on structure-borne noise issues. Four-stroke diesel engines that are installed on board as main diesel engines for the propulsion system and as gen-sets, are usually the main sources of structure-borne noise. For this reason, the diesel engines are usually resiliently mounted in order to reduce the vibration energy generated by these sources and transmitted through the ship structures to the accommodation areas. These mounts decouple the noise and vibration source (diesel engine) from the means of wave propagation (ship structures) and so, they isolate the source from the receiving structures. The structure-borne noise levels measured at the diesel engine foundation depend on the velocity levels measured at the source (diesel engine feet), on the mechanical impedance levels of the resilient mounts and on the mechanical mobility levels of the diesel engine foundation. The simplified theory of the single-point approach neglects the interaction among the resilient mounts. According to this theory, to decrease the structure-borne noise transmitted through the resilient mounts towards the ship structures, the mechanical impedance of the resilient mounts as well as the mechanical mobility of the diesel engine foundation are to be lowered. In other words the dynamic stiffness of the resilient mounts has to be decreased and the mechanical impedance of the diesel engine foundation has to be increased. To date, the mechanical impedance of real resilient mounts can only be obtained by laboratory tests and the mechanical mobility of the diesel engine foundation is usually measured when the ship is under construction, so it is not available for predictive analyses. In the thesis, a procedure for simulating the structure-borne noise generated by marine diesel engine is discussed. The procedure is based on both experimental tests and numerical simulations. In the first part of the thesis, some notes on the theoretical background are presented. Then, the results of FE analyses for simulating the mechanical mobility of a diesel engine foundation are shown. The FE models have been validated by the results of a measurement campaign carried out on board a ship. Then, the results of a series of tests performed to tune a new test rig, designed and built up at the University of Trieste for measuring the mechanical impedance of resilient mounts, are discussed. The campaign for tuning the test rig has been carried out in order to set an experimental procedure that allows achieving results in compliance with the ISO 10846 Standard, which is a sound reference for this kind of tests. As a case study, a large resilient mount for marine diesel engines has been tested to achieve its mechanical impedance curve at different static pre-loads. The outcomes of the experimental tests have been used for tuning the best numerical model of the resilient mount that properly takes into account the nonlinear behaviour of the rubber core. The data of the experimental tests carried out on board ships as well as in laboratory and the outcomes of numerical simulations have been used to predict the structure-borne noise according to the single-point approach. The outcomes achieved by the application of the method have been compared with on board measurements and pros and cons of the method are widely discussed. Moreover, the numerical procedures for the simulation of the dynamic behaviour of the resilient mount and the diesel engine foundation, pave the way for the optimization of the decoupling system of marine diesel engines.
XXVII Ciclo
1982

In questo elaborato cercheremo di ricostruire la cucina e l'alimentazione di bordo di un brigantino di età napoleonica attraverso lo studio e le analisi di alcuni materiali rinvenuti durante le campagne di scavi subacquee sul relitto del Mercurio

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Universidade Federal de Minas Gerais
The growth of passengers air transport as well as the competitiveness of the aviation industry have made the comfort a noticeable item to be taken into account, which is characterized as a key variable for the cabin project and also for the differentiation in the market, once it is related to the passengers satisfaction and acceptance when it comes to this transportation modality. In this context, the in-flight entertainment has been considered one of the most relevant requisite in order to improve the comfort while in the cabin in a way that it enhances values of the airline companies, contributing for a more pleasant and also a rather positive air travel experience. Thereby the aim of this study is to understand the aspects of either comfort or discomfort in airplane cabins, exchanging views on the importance of entertainment activities on board as well as their influence on comfort and discomfort in the cabin. Firstly, based on the literature review it made possible to clearly understand the concepts of comfort and discomfort including the current possibilities of in-flight entertainment. Considering comfort as an outstanding and suitable point to be applied in the cabin, this study is grounded in the approach of the analysis of the activity. As such, the data collection was implemented in two contexts: survey of Brazilian commercial aviation (airports and domestic flights) and interviews with companies connected with the entertainment industry and air transport sector. The procedures adopted have permitted to identify the active travellers preferences and expectations when it comes to in-flight entertainment, what is more, the constraints during the activities occurred in the cabin and tendency of the industry in question. Some recommendations for the project were made, highlighting, mainly, the importance of the amenities in the aircraft cabin for the travelers to use their own devices during the flight.
O crescimento do transporte aéreo de passageiros, bem como da competitividade no setor, tem atraído a atenção da indústria para a questão do conforto, o qual se caracteriza como uma variável chave para projeto de cabines e para a diferenciação no mercado, uma vez que se relaciona a satisfação e aceitabilidade dos passageiros quanto esta modalidade de transporte. Neste contexto, o entretenimento a bordo tem sido visto pela indústria como um dos elementos mais importantes para melhoria do conforto na cabine, de modo que este é percebido enquanto uma solução que agrega valor à companhia aérea, garante vantagens na competitividade do mercado e amplia as possibilidades de ação durante a viagem tornando a experiência de voo mais positiva e agradável. Deste modo, o objetivo deste estudo é compreender os aspectos de conforto e desconforto em cabines de aeronaves, discutindo a importância das atividades de entretenimento a bordo e a influência destas nas questões de conforto e desconforto na cabine. Primeiramente foi realizada a revisão da literatura para entendimento dos conceitos de conforto e desconforto, bem como das possibilidades atuais de entretenimento a bordo. Tendo em vista a relevância da possibilidade de agir para o conforto na cabine, este estudo fundamenta-se na abordagem da análise da atividade. Assim sendo, a coleta de dados foi aplicada em dois contextos: survey na aviação comercial brasileira (aeroportos e voos domésticos) e entrevistas com empresas ligadas à indústria de entretenimento e ao setor aéreo. Os procedimentos adotados permitiram a identificação da importância e das expectativas dos passageiros participantes quanto ao entretenimento a bordo, bem como dos constrangimentos durante a realização de atividades na cabine e as tendências de tal indústria. Foram elaboradas algumas recomendações para projeto, destacando, principalmente, a relevância das facilidades na cabine para que os passageiros possam utilizar seus próprios dispositivos eletrônicos durante o voo.

Este trabalho se propõe a analisar as formas de utilização da iluminação natural em edificações religiosas contemporâneas, com enfoque especial àquelas localizadas na região metropolitana de São Paulo. Com base numa seleção de sete obras que se destacam por sua preocupação com a iluminação natural desde o esboço inicial, o que resultou em espaços com qualidade cênica de luz e expressivo conforto visual, são reconhecidas estratégias de iluminação natural aplicadas a esta tipologia de projeto. Esta análise de referências é feita através de visitas de campo e estudos com base na bibliografia de referência. Três das estratégias identificadas são selecionadas para estudos analíticos mais aprofundados, onde possa-se ter maior compreensão sobre seu funcionamento. Tais estudos são feitos sobre modelagem e simulação computacional, inserindo sempre os estudos no clima da cidade de São Paulo. Após a análise com base em estudos analíticos, é feita a caracterização de funcionamento de cada um dos três sistemas estudados, possibilitando sua aplicação consciente em futuros projetos, considerando tanto o efeito plástico quanto o conforto visual. O Monitor de Cobertura concentra o foco de brilho nas paredes laterais da nave. O Clerestório, por sua vez, o concentra no eixo central da nave. Enquanto isso, as janelas altas laterais produzem uma mancha de brilho que se desloca mais claramente pela nave ao passar das horas. O dimensionamento das aberturas deve ser feito de forma a possibilitar o conforto visual pelo maior número de horas possível ao longo do ano. O resultado será uma igreja onde a luz toma o papel principal destacando a arquitetura e, ao mesmo tempo, permite que as atividades litúrgicas transcorram sem dificuldades visuais.
This research intends to analise the use of daylighting in contemporary religious buildings, with special concern to those at the metropolitan region of São Paulo. Based on a selection of seven buildings that stand out for their concern with natural lighting since the initial sketch, which resulted in spaces with scenic quality of light and expressive visual comfort, are recognized natural lighting strategies that were applied to this design typology. This analysis of references is made through field visits and studies based on the reference bibliography. Three of the identified strategies are selected for further analytical studies, where one can gain a better understanding of their functioning. Such studies are done on modeling and computational simulation, always inserting studies in the of the city of São Paulo\'s climate. After analysis based on analytical studies, each of the three systems studied has is functioning characterized, allowing its conscious application in future projects, considering both the plastic effect and the visual comfort. The Roof Monitor focuses the brightness on the side walls of the church. The Clerestory, in turn, concentrates it in the central axis of the church. Meanwhile, the high side windows produce a bright zone that shifts more clearly through the nave as the hours pass. The openings dimensioning should be done in a way that allows visual comfort for as many hours as possible during the year. The result will be a church where light plays the leading role in highlighting architecture and, at the same time, allows liturgical activities to develop without visual difficulties.