Generic Vibration Criteria for Vibration-Sensitive Equipment

Description

• revision - matière potentielle : to the shape of the generalized vc curve
• expression écrite

Generic Vibration Criteria for Vibration-Sensitive Equipment Colin G. Gordon Colin Gordon & Associates, 411 Borel Avenue Suite 425, San Mateo, CA 94402 USA ABSTRACT The vibration criterion (VC) curves, commonly used in the design of facilities which house vibration-sensitive instruments and tools, were developed by the author and his colleagues, in the early 80's, published by SPIE in 1991 and by IEST in 1993. Each of the criterion curves A through E is associated with a “line width” or “detail size” which was an attempt by the authors to describe the capabilities of the tools with which each curve might be associated

• many data reports
• steel design guide series
• sensitive equipment
• velocity of image movement
• vc
• vibration
• curve
• tool
• frequency
• time

Sujets

• Institute of Environmental Sciences
• Murray
• Gordon
• Northern Region
• Vibration
• Design
• Tool

Informations

• Publié par: seyn
• Nombre de lectures: 47
• Langue: English

Extrait

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DepartmentofCultural&ReligiousStudies SpringSemester2012 CULS5401:ContemporaryArts&CulturalInteractivity

JanFabre,Installation,VerbekeFoundation,Belgium Venue:ELB308 Mondays,6.45Ǧ9.30pm, ProfKatrienJacobs [e-mail] Room414,4thFloor, HuiYeungShingBuilding,

CULS5401:ContemporaryArt&CulturalInteractivity This course will study contemporary art systems and institutions as cultural forms within the broader ‘cultural ecology’ of the modern city. It will consider the development of cultural precincts and the ‘architecture’ of contemporary art as a network. The aim of the course is to introduce students to the general framework of global cultural circuits, exchange and interactivity within a study of the dynamic processes of cultural change and exchange. Comparisons between institutional structures of cultural administration (and administrative culture) on the one hand and more dynamic networks of cultural flows on the other, will be explored via close attention to the rhetoric of policy formation and the emergence of cultural centres, precincts and institutions globally. CreditUnits:3 CourseDuration:onesemester MediumofInstruction:English Teaching/learningactivities: Lectures,tutorials,fieldtrips&onlineactivities AssessmentDetails: 1.Class participation, attendance and in‐class discussion. This includes short responses to weekly readings, postedbeforeeachclasson the Moodle news forum. Responses are revised and compiled at end of semester30%(IndividualAssignment) 2.In class presentation and photography essays about fieldtrip A and fieldtrip B40%(GroupPresentation.IndividualEssay) 3.Final Project and Presentations: My Favorite Artist in Residency 30%(Groupproject—4studentsineachgroup) 2

LearningOutcomes: On successful completion of the course, you will be able to: 1. Explain the network structure of contemporary art locally and globally. 2. Identify key characteristics of the contemporary art event as a cultural form. 3. Discuss particular artists and artworks, using the discourses of art and cultural criticism. 4. Describe recent developments in contemporary art and the art market. SessionOutlineandReadings Week1.Jan9Introduction This session introduces the themes of the course. It also introduces a theory of cultural interactivity and gives an overview of general art institutions and opportunities for cultural exchange in Hong Kong. Reading (to be used for first photography essay) Carol Duncan,CivilizingRituals,InsidePublicArtMuseums.(NewYork, Routledge,1995) Fieldtrip1:ShatinHeritageMuseumandFontanianOpenStudios SundayJanuary15,20122pmǦ6pm(PresentationsandphotoǦ essaysdueinweekFour) Week2.Jan16.ContemporaryArtSpacesandCultural Interactivity:GeneralThemesandModels. Case Studies Verbeke Foundation, Belgium 3

http://www.verbekefoundation.com/verbeke‐foundation‐en.html Superdollfie Doll Museum, Kyoto http://www.volks.co.jp/en/volks/tenshinosato/index.aspx Respond to Olav Velthuis Reading (before class) Olav Velthuis,TalkingPrices:SymbolicMeaningsofPricesontheMarket forContemporaryArt(PrincetonUniversityPress,2005) Week3.Jan23.LunarNewYearHoliday Week4.Jan30.ArtandCommodityCultureinChina Respond to Lisa Rofel Reading (before class) Lisa Rofel,DesiringChina,ExperimentsinSexuality,Neoliberalism,and PublicCulture, Chapter four, “From Sacrifice to Desire. Cosmopolitanism with Chinese Characteristics.” PresentationsFieldtripA Week5.Feb6.ScreeninganddiscussionofBanksydocumentary, ExitThroughtheGiftShop PhotographyEssaysFieldtripADue Week6.Feb13.CuratingTimeǦBasedArtForms.PerformanceArt andNewMedia. Case Studies: Joseph Beuys,IlikeAmericaandAmericaLikesMe, 1974 Carolee Schneemann,InteriorScroll,UpToandIncludingHerLimits, 1978 Respond to Berghuis Reading (before class) 4

Thomas j. Berghuis, Performance Art in China, ch.3 Performance Art and the Role of the Body in Behavioral Action in China, 1986‐1989. Week7.Feb20.TheBodyandSexualityinContemporaryArt Respond to Amelia Jones Reading (before class): Amelia Jones, Body Art. Performing the Subject, ch1 “Postmodernism, Subjectivity, and Body Art: A Trajectory.” Week8.Feb27.GuestlectureMelissaFitch “GlobalTango:Art,ActivismandSocialJusticefromBuenosAires toJerusalem”. In the summer of 2010, a young Palestinian man from East Jerusalem made a discovery. A friend had sent him a You Tube clip of a couple dancing Argentine tango. He spent hours watching it before searching for more. Much like the Irish boy in the film and musicalBillyElliot, he became consumed with the desire to dance. But what was he to do— there are no tango teachers in Muslim East Jerusalem. He didn’t even feel safe or comfortable discussing his growing obsession with his friends or family, though he did mention it to his mother. His only option, against her well‐founded fears, would be to make the complicated journey across the city on bus and on foot to go to a tango class offered in Jewish West Jerusalem. This presentation discusses his journey, using it as just one example of how social media is serving as a force to unite tango dancers, activists, musicians and artists around the world, sometimes in large‐scale mass movements meant to call attention to social injustices, or to raise awareness about specific issues (such as the way in which surveillance has become ubiquitous in public spaces), other times in an effort to raise funds for communities suffering from natural disasters. And finally, on a scale that manages to be both much larger and much smaller than those listed above, social media has enabled individuals from radically different backgrounds to establish

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unlikely alliances, in a quiet form of activism that begins with a simple embrace. Week9.March5.Fieldtrip2.WelcometotheDollZone(MongKok). Observingculturalritualsandinterviewingownersandtradersof ballǦjointeddolls. Week10.March12. InǦclassPresentationsFieldtripTwo Week11.March19.ABorderlessWorld:Colonialism, TransnationalismandArtExchange Case Studies: West Africa Museum Tervuren, Belgium RespondtoMasaoMiysohiReading (beforeclass): Miyoshi, Masao: A Borderless World? From Colonialism to Transnationalism and the Decline of the Nation‐State (Critical Inquiry, 19, Summer 1993. Reprinted in Rob Wilson, and Wimal Dissanayake eds. Global/Local: Cultural production and the transnational imaginary PhotographyEssaysFieldtripBdue. Week12.March26.TheAestheticsandPoliticsof“Sampling” Guest lecture Andrew Guthrie Week13.April2.ArtintheFutureNetwork,DigitalNetworks Respond to Brina Holmes Reading (before class) Brian Holmes, Affectivist Manifesto

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http://brianholmes.wordpress.com/2008/11/16/the‐affectivist‐ manifesto/ InclassWorkshop:ArtistǦinǦResidencies Week14.April9.NoClassEasterHoliday Week15.April16.ArtistǦinǦResidency StudentPresentations“MyFavoriteArtistǦinǦResidency.” HonestyinAcademicWork:AGuideForStudentsandTeachers The Chinese University of Hong Kong places very high importance on honesty in academic work submitted by students, and adopts a policy of zerotoleranceon cheating and plagiarism. Any related offence will lead to disciplinary action including termination of studies at the University. Students must submit their assignments via the Webpage of the Chinese University Plagiarism Identification Engine (CUPIDE) http://cupide.cse.cuhk.edu.hk/student. Although cases of cheating or plagiarism are rare at the University, everyone should make himself/herself familiar with the content of this website and thereby help avoid any practice that would not be acceptable. Section1Whatisplagiarism[ http://www.cuhk.edu.hk/policy/academichonesty/p01.htm Section2Properuseofsourcematerial [http://www.cuhk.edu.hk/policy/academichonesty/p02.htm] Section3Citationstyles [ http://www.cuhk.edu.hk/policy/academichonesty/p03.htm] Section4Plagiarismandcopyrightviolation [ http://www.cuhk.edu.hk/policy/academichonesty/p04.htm] Section5CUHKregulationsonhonestyinacademicwork [ http://www.cuhk.edu.hk/policy/academichonesty/p05.htm] Section6CUHKdisciplinaryguidelinesandprocedures [ http://www.cuhk.edu.hk/policy/academichonesty/p06.htm] 7

Section7Guideforteachersanddepartments [ http://www.cuhk.edu.hk/policy/academichonesty/p07.htm] Section8Recommendedmaterialtobeincludedincourseoutlines [ http://www.cuhk.edu.hk/policy/academichonesty/p08.htm] Section9Recommendeddeclarationtobeincludedinevery assignmenthandedin [ http://www.cuhk.edu.hk/policy/academichonesty/p09.htm] Section10Electronicsubmissionoftermpapers [ http://www.cuhk.edu.hk/policy/academichonesty/p10.htm]

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