Acoustics of impacts as a factor of ensuring mutational and evolutionary transformations of the environment

Akustika ◽  
2021 ◽  
pp. 70-75
Author(s):  
Vladimir Pinchuk ◽  
Anton Pinchuk

Within the framework of the conceptual approach, taking into account the previously unknown, first identified by the authors features of the conditions of the internal energy equilibrium of material media (between their different physical nature energy states), the real contribution of acoustic disturbances experienced by media in the conditions of existence into ensuring of their and of the material world as a whole mutational and evolutionary transformations is taken into account and confirmed.

2021 ◽  
Author(s):  
Ofek Peretz ◽  
Ezra Ben Abu ◽  
Anna Zigelman ◽  
Sefi Givli ◽  
Amir Gat

Abstract The efficiency, operation range, and environmental safety of energy and refrigeration cycles are determined by the thermodynamic properties of available fluids. We here suggest combining gas, liquid and multistable elastic capsules to create an artificial fluid with a multitude of stable states. We study, theoretically and experimentally, the suspension’s internal energy, equilibrium pressure-density relations and their stability for both adiabatic and isothermal processes. We show that the elastic multistability of the capsules endows the fluid with multistable thermodynamic properties, including the ability of capturing and storing energy at standard atmospheric conditions, not found in naturally available fluids.


2020 ◽  
Vol 19 (1) ◽  
pp. 112-136
Author(s):  
Brooke Belisle

Google Earth VR (GEVR), released in 2017, claims to put the whole world within reach using virtual reality (VR). Relying on sensors that track a user’s position and gestures in actual space, GEVR suggests that users can experience its virtual Earth in the same way that they experience the real one: as a world they actively embody rather than a representation they examine from the outside. While GEVR conjures a dematerialized world, it also interrogates how what counts as a material world may always be suspended between embodied, technical, and aesthetic mediations. If ‘the whole world’ – which exceeds individual perception – can only be conceived through aesthetic logics, what do the particular aesthetics of GEVR tell us about the way our world is imaged and imagined today? What are the implications of the way it stages ‘worlding’ as a provisional, dimensional coordination? What does the disorienting experience it offers suggest about contemporary entanglements of perception and representation, body and world, the individual here-and-now and a global everywhere-at-once?


2017 ◽  
Vol 8 (1) ◽  
Author(s):  
G. Rosi ◽  
G. D’Amico ◽  
L. Cacciapuoti ◽  
F. Sorrentino ◽  
M. Prevedelli ◽  
...  

AIAA Journal ◽  
1996 ◽  
Vol 34 (10) ◽  
pp. 2071-2081 ◽  
Author(s):  
J. Y. Yang ◽  
J. C. Huang ◽  
C. S. Wang

2020 ◽  
pp. 7-10
Author(s):  
A.F. Dorohov ◽  
P.A. Dorohov

The discrepancy between the classical interpretation of the first law of thermodynamics and the real working process in piston ICEs is considered. A new representation of the law and its graphic interpretation are proposed. Keywords thermodynamics, first principle, internal energy, heat, work against external forces. [email protected]


2020 ◽  
Vol 74 (4) ◽  
pp. 265-270
Author(s):  
E. Lomova ◽  
◽  
М. Khavaydarova ◽  

The correlation of Russian and French spaces acquired In the artistic of Pushkin works the internal energy and significance. A.S. Pushkin, a historian and writer, was experienced a complex process of coordinates « native» reality and "stranger" reality. The historical and cultural perspective was represented in Pushkin artistic narrative features and trends of his historical period. According this approach the French and Russian artistic worlds retained not only clearly defined boundaries in Pushkin works, but also interpenetrated into each other. The image of France, for objective reasons, was not supported by the real life experience and impression of the author, but the artistic story does not require absolute historical objectivity and exhaustive documentality in its genre. The artist's skill involves recreation a living picture reality and convey the reader its color, atmosphere and national shades.


Author(s):  
Desyanti Suka Asih K.Tus

Requirement of originality is determined by Article 1 paragraph (3) Act Number 19 of 2002 on Copyright can be easily applied to new creations, but when it comes to creations such as traditional folktale takes more search to determine their originality. Folktale began to transferred into another form that is more interesting, but reduce the element of originality to the story so the younger generation may not know the real form of the folktale. Based on that background, this study discussed problem about originality concept on copyright in a work, Act Number 19 of 2002 on Copyright and the Berne Convention and the legal protection on originality of folktale. This study is a normative legal research, using the statute approach and the conceptual approach. The outcome of this study show that the provisions of the originality of an inventions as set forth in Article 1 paragraph (3) of Act Number 19 of 2002 on Copyright defined creativity as the basis for determining the originality of a work. Protection for the originality of folktale can be done with the passage and implementation of documentation Article 15 and Article 35 of Act Number 19 of 2002 on Copyright.


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