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Libros sobre el tema "Self-flux"

Autor: Grafiati
Publicado: 25 de mayo de 2024

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1

Price, Deborah Ann. Self-shielded flux-cored electrode arc-welding. Birmingham: University of Birmingham, 1988.

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2

Center, Lewis Research, ed. Remote heat flux using a self calibration multiwavelength pyrometer and a transparent material. [Cleveland, Ohio]: National Aeronautics and Space Administration, Lewis Research Center, 1998.

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3

Center, Lewis Research, ed. Remote heat flux using a self calibration multiwavelength pyrometer and a transparent material. [Cleveland, Ohio]: National Aeronautics and Space Administration, Lewis Research Center, 1998.

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4

1934-, Lin C. S., Van Dresar Neil T y United States. National Aeronautics and Space Administration., eds. Self-pressurization of a flightweight liquid hydrogen storage tank subjected to low heat flux. [Washington, DC]: National Aeronautics and Space Administration, 1991.

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5

1934-, Lin C. S., Van Dresar Neil T y United States. National Aeronautics and Space Administration., eds. Self-pressurization of a flightweight liquid hydrogen storage tank subjected to low heat flux. [Washington, DC]: National Aeronautics and Space Administration, 1991.

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6

Dresar, Neil T. Van. Self-pressurization of a flightweight liquid hydrogen tank: Effects of fill level at low wall heat flux. [Washington, DC]: National Aeronautics and Space Administration, 1992.

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7

1934-, Lin C. S., Hasan Mohammad M y United States. National Aeronautics and Space Administration., eds. Self-pressurization of a flightweight liquid hydrogen tank: Effects of fill level at low wall heat flux. [Washington, DC]: National Aeronautics and Space Administration, 1992.

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8

United States. National Aeronautics and Space Administration., ed. REMOTE HEAT FLUX USING A SELF CALIBRATION MULTIWAVELENGTH PYROMETER AND A TRANSPARENT MATERIAL... NASA/TM-1998-208809... MAR. 1, 1999. [S.l: s.n., 1999.

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9

P, Guo W. y United States. National Aeronautics and Space Administration., eds. A self-consistent numerical magnetohydrodynamic (MHD) model of helment streamer and flux-rope internactions: Initiation and propagation of coronal mass ejections (CMEs). [Washington, D.C: National Aeronautics and Space Administration, 1997.

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10

P, Guo W. y United States. National Aeronautics and Space Administration., eds. A self-consistent numerical magnetohydrodynamic (MHD) model of helment streamer and flux-rope internactions: Initiation and propagation of coronal mass ejections (CMEs). [Washington, D.C: National Aeronautics and Space Administration, 1997.

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11

P, Guo W. y United States. National Aeronautics and Space Administration., eds. A self-consistent numerical magnetohydrodynamic (MHD) model of helment streamer and flux-rope internactions: Initiation and propagation of coronal mass ejections (CMEs). [Washington, D.C: National Aeronautics and Space Administration, 1997.

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12

American Welding Society. Committee on Welding Qualification. y American Welding Society. Technical Activities Committee., eds. Standard welding procedure specification (WPS) self-shielded flux cored arc welding of carbon steel: (M-1/P-1/S-1, Group 1 or 2), 1/8 through 1-1/2 inch thick, E71T-8, as-welded condition. Miami, FL: American Welding Society, 1994.

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13

AWS Committee on Procedure and Performance Qualification. Standard welding procedure specification (WPS) self-shielded flux cored arc welding of carbon steel: (M-1/P-1/S-1, Group 1 or 2), 1/8 through 3/4 inch thick, E71T-11, as-welded condition. Miami, Fla: American Welding Society, 1995.

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14

Flux: Women on sex, work, kids, love, and life in a half-changed world. New York: Anchor Books, 2001.

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15

Orenstein, Peggy. Flux: Women on sex, work, kids, love and life in a half-changed world. New York: Doubleday, 2000.

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16

Office, General Accounting. Nuclear science: DOE's self-supporting isotope program is experiencing problems : fact sheet for the Chairman, Environment, Energy, and Natural Resources Subcommittee, Committee on Government Operations, House of Representatives. Washington, D.C: The Office, 1992.

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17

Raud, Rein. Being in Flux: A Post-Anthropocentric Ontology of the Self. Polity Press, 2021.

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18

Raud, Rein. Being in Flux: A Post-Anthropocentric Ontology of the Self. Polity Press, 2021.

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19

Being in Flux: A Post-Anthropocentric Ontology of the Self. Polity Press, 2021.

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20

Raud, Rein. Being in Flux: A Post-Anthropocentric Ontology of the Self. Polity Press, 2021.

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21

National Aeronautics and Space Administration (NASA) Staff. Correlation of Self-Contamination Experiments in Orbit and Scattering Return Flux Calculations. Independently Published, 2018.

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22

National Aeronautics and Space Administration (NASA) Staff. Remote Heat Flux Using a Self Calibration Multiwavelength Pyrometer and a Transparent Material. Independently Published, 2018.

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23

National Aeronautics and Space Administration (NASA) Staff. Remote Heat Flux Measurement Using a Self Calibration Multiwavelength Pyrometer and a Transparent Material. Independently Published, 2018.

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24

Self-pressurization of a flightweight liquid hydrogen storage tank subjected to low heat flux. [Washington, DC]: National Aeronautics and Space Administration, 1991.

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25

Self-pressurization of a flightweight liquid hydrogen tank: Effects of fill level at low wall heat flux. [Washington, DC]: National Aeronautics and Space Administration, 1992.

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26

A self-consistent numerical magnetohydrodynamic (MHD) model of helment streamer and flux-rope interactions: Initiation and propagation of coronal mass ejections (CMEs). [Washington, D.C: National Aeronautics and Space Administration, 1997.

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27

Wilson, Catherine. 4. Living, loving, dying. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780199688326.003.0004.

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‘Living, loving, dying’ asks what is life? It considers the origins of life, self-assembly, or epigenesis of complex organisms, generation, and renewal. According to Epicureanism, living things are composed of the same material particles that compose all substances and objects. All such entities come into existence gradually as their parts are built up, and all are dissolved in time into their constituent particles in the cosmic flux, where they become material for the generation of new living and non-living entities. Lucretius described a ‘fixed limit’ to the duration and powers of every individual thing except the atom. For the Epicurean philosopher, generation and dying are symmetrical processes.
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28

Town, Edward. Portraiture, Social Positioning, and Displays of Dignity in Early Modern London. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199385997.003.0008.

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This reflection discusses portraiture and self-fashioning in early modern London, and focuses on two unusual pictures painted by the émigré artist Marcus Gheeraerts the Younger in the 1570s. The society that Gheeraerts entered into when he fled from the Netherlands was one that was undergoing unprecedented change, as long-established structures of society and status eroded in the face of a rising and self-confident mercantile elite. Increasingly, these wealthy citizens turned to portraiture to assert their (often newfound) position within society, and the portraits that were made in this period reflect a number of the complexities inherent in a society in a state of flux. The challenge for Gheeraerts and his fellow exiles was how to negotiate this challenging environment, and this reflection explores the ways in which Gheeraerts used notions of dignity in these two paintings to that end.
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29

Ross, Stephen J. The Delta of Living into Everything. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798385.003.0002.

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This chapter examines key junctures in Ashbery’s career when he literalizes the stream-of-consciousness metaphor. For Ashbery, forms of liquid motion—waving, undulation, flux, flow, streaming—fuse into poetic matter and manner in a series of increasingly self-reflexive experiments over many decades. From the early dysraphic poem “Into the Dusk-Charged Air” and the formalist masterpiece “Clepsydra” to the prose poetry of Three Poems, the antiphonal wavering of “A Wave,” and the undifferentiated flow of Flow Chart, Ashbery seeks new ways to “dissolve” his style and “put it in solution.” The fantasy that art can become nature takes on special significance in this line of poems that encompass transparency and formal dissolution.
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30

Orenstein, Peggy. Flux: Women on Sex, Work, Love, Kids, and Life in a Half-Changed World. Anchor, 2001.

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31

Orenstein, Peggy. Flux: Women on Sex, Work, Love, Kids and Life in a Half-Changed World. Doubleday, 2000.

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32

Greyser, Naomi. Between Intimacy and Distance, a “Neutral Territory”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190460983.003.0004.

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This chapter examines masculine individualism’s push–pull relationship with sympathy, beginning in The Scarlet Letter’s Custom-House. There, Hawthorne’s narrator sympathetically presses Hester Prynne’s dusty, scarlet A against his heart, feeling a burning tingle as he places himself in her position. Sections read touch and untouchability in The Scarlet Letter, exploring what encouraged male readers to overcome what Henry Thoreau referred to as masculinity’s “gulf of feeling” to experience sentimental connection. Writing through alienation and writer’s block, Hawthorne’s tingling connection with Hester in the Custom-House propelled him to complete the novel in just five weeks, after being fired from his position as surveyor. His imagined intimacy with Prynne emerges against myths of the self-made man and the untouchable citizen-subject. Readings of tactility reveal alphabetic print and textual space as sites of flux and flow, intimacy and distance, as writers and readers sympathetically lean into and recoil from page and print.
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33

Freeman, Margaret H. The Poem as Icon. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190080419.001.0001.

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The objective in this book is to show how poetry enables us cognitively to aesthetically access, experience, and identify with the visible and invisible “being” of reality, with art as one cognitive expression of the aesthetic faculty, science another. Just as scientific knowledge of reality is achieved through physically exploring the far reaches of the visible and invisible worlds, so is poetic experience achieved through iconically simulating in semblance the “being” of reality that integrates both self and world in participatory unity. “Being” here should not be understood as the existence of material substance, but as the essence of all that is, both visible and invisible, material and immaterial, a life force in continuous flux and change. The book explores cognition as the sensory-motor-emotive-conceptual processes of “minding” and the aesthetic faculty as the processes of attention, imagination, memory, discrimination, expertise, and judgment that underlie all human cognition, including the arts and the sciences. Drawing from research such as blending and neurocognition in interdisciplinary cognitive literary studies, the book attempts to resolve long-standing questions about the function of poetry. Accepting the premise that poetry is its own artistic reason for being, it introduces the major elements—semblance, metaphor, schema, and affect—that constitute a poem as icon in motivating a poet’s intension and a respondent’s engagement. In so doing the book makes the case that a poem is a potential icon of the felt reality of being and shows that poetic iconicity provides a means for evaluating great poetry and an explanation for its endurance.
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34

Shatzkin, Mike y Robert Paris Riger. The Book Business. Oxford University Press, 2019. http://dx.doi.org/10.1093/wentk/9780190628031.001.0001.

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Many of us read books every day, either electronically or in print. We remember the books that shaped our ideas about the world as children, go back to favorite books year after year, give or lend books to loved ones and friends to share the stories we've loved especially, and discuss important books with fellow readers in book clubs and online communities. But for all the ways books influence us, teach us, challenge us, and connect us, many of us remain in the dark as to where they come from and how the mysterious world of publishing truly works. How are books created and how do they get to readers? The Book Business: What Everyone Needs to Know® introduces those outside the industry to the world of book publishing. Covering everything from the beginnings of modern book publishing early in the 20th century to the current concerns over the alleged death of print, digital reading, and the rise of Amazon, Mike Shatzkin and Robert Paris Riger provide a succinct and insightful survey of the industry in an easy-to-read question-and-answer format. The authors, veterans of "trade publishing," or the branch of the business that puts books in our hands through libraries or bookstores, answer questions from the basic to the cutting-edge, providing a guide for curious beginners and outsiders. How does book publishing actually work? What challenges is it facing today? How have social media changed the game of book marketing? What does the life cycle of a book look like in 2019? They focus on how practices are changing at a time of great flux in the industry, as digital creation and delivery are altering the commercial realities of the book business. This book will interest not only those with no experience in publishing looking to gain a foothold on the business, but also those working on the inside who crave a bird's eye view of publishing's evolving landscape. This is a moment of dizzyingly rapid change wrought by the emergence of digital publishing, data collection, e-books, audio books, and the rise of self-publishing; these forces make the inherently interesting business of publishing books all the more fascinating.
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