Mesoscopic scale simulation and wear investigation of self-lubricating fabric liner based on representative volume element

As the self-lubricating layer of self-lubricating spherical plain bearings, fabric liner shows obvious heterogeneous anisotropic characteristics, so it is a technical difficulty to predict its wear properties. In this paper, the continuous wear of self-lubricating fabric liner was simulated based on the mesoscopic scale wear model. The macroscopic wear properties of the fabric liner were characterized by establishing a representative volume element (RVE), and subsequently imposing periodic boundary restrictions (PBCs) on periodic surfaces. In order to avoid excessive mesh distortion, voxel grids meshing method was used, and then continuous wear of the heterogeneous material was realized by adjusting node coordinates and combining nodes. Detailed comparison between simulation prediction results and wear test data of fabric liner was made. The good correlation of the results confirmed that the mesoscopic scale wear model could be used in accurately predict the tribological performance of fabric composite.

The Prelimit Generator Comparison Approach of Stein’s Method

This paper uses the generator comparison approach of Stein’s method to analyze the gap between steady-state distributions of Markov chains and diffusion processes. The “standard” generator comparison approach starts with the Poisson equation for the diffusion, and the main technical difficulty is to obtain bounds on the derivatives of the solution to the Poisson equation, also known as Stein factor bounds. In this paper we propose starting with the Poisson equation of the Markov chain; we term this the prelimit approach. Although one still needs Stein factor bounds, they now correspond to finite differences of the Markov chain Poisson equation solution rather than the derivatives of the solution to the diffusion Poisson equation. In certain cases, the former are easier to obtain. We use the [Formula: see text] model as a simple working example to illustrate our approach.

Endoscopic Submucosal Resection (ESR) - a technique using novel devices for incision and resection of neoplastic lesions

Background and study aims: Endoscopic mucosal resection (EMR) and endoscopic submucosal dissection (ESD) are established techniques for the treatment of superficial gastrointestinal neoplasia. Limitations of EMR are the low en bloc resection rates for larger lesions resulting in frequent recurrences. Major disadvantages of ESD are technical difficulty and long procedure times. Here, we evaluated technical feasibility and safety of newly designed devices to perform en bloc resection of lesions sized between ca. 20-40 mm. The method will be referred to as Endoscopic Submucosal Resection (ESR). Patients and methods: This case series included 93 lesions from different localizations (11x stomach, 25x colon, 57x rectum) with a median size of 29 (10-70) mm. ESR was carried out with two novel instruments for circumferential mucosal incision and for deep submucosal resection. Results: Resection by ESR was feasible in all cases. En bloc and R0 rates were insufficient when ESR was attempted without prior circumferential mucosal incision. However, en bloc and R0 resection rates were 70% and 63%, respectively when mucosal incision was done before application of the device for submucosal resection. We observed 3 complications (2 delayed bleedings, one microperforation) but no case of emergency surgery and no 30-day mortality. Conclusions: The series demonstrates feasibility and excellent safety of ESR using two novel devices for en bloc resection of early gastrointestinal neoplasia. The technique holds the promise of relative technical ease combined with high efficacy.

P-P49 Predicting Future Pathological and Operative Complexity in Pancreatoduodenectomy: 30 Years of Experience

Background Patient selection for pancreatoduodenectomy (PD) is largely based upon local experience and established practice. This study sought to observe changes in complexity and patient cohort over time with the aim of predicting future cohort characteristic of patients undergoing PD. Methods All PDs at our institution between 1988 and 2020 were reviewed (n = 1,878) to observe changing trends in patient demographic, pathological diagnosis, operative factors and postoperative outcomes. Coefficients from regression models were reported as gradients per decade, to quantify the rate of change over time. The resulting models were then plotted to illustrate the trend across the study period, as well as forecasts for subsequent years. Results The annual volume (7 to 128) and proportion of pancreatic ductal adenocarcinoma (PDAC) (28 to 53%) increased at a linear rate. The proportion of associated vein resection (3 to 25%) and technical difficulty (type 2-4; 5 to 28%) increased in a nonlinear way, increasing more rapidly in later times. The average age (48 to 67) increased in a log linear trend. Length of stay reduced by 9.3%, whilst mortality reduced with an odds ratio of 0.69, per decade. Furthermore, When performance at our institution was compared to recently established benchmarks, it was shown that our institution regularly performed within these standards with few exceptions. By 2030 our predictions indicate that the average age will increase to 69, PDAC will comprise 62% of pathology, 40% will have an associated venous resection and 43% will be graded 2-4 in technical difficulty. Length of stay will have reduced to 9.6 days and mortality to 2%. Conclusions Despite increasing complexity of surgery and patient age, length of stay and mortality after PD are reducing. Understanding changes over time permits an estimation of a future surgical cohort where complexity will increase. It is important that surgeons continue to push boundaries. Patient selection, based upon prior experience may inhibit progression and development of services.

3D Visualization of Dynamic Cellular Reaction of Pulpal CD11c+ Dendritic Cells against Pulpitis in Whole Murine Tooth

In dental pulp, diverse types of cells mediate the dental pulp immunity in a highly complex and dynamic manner. Yet, 3D spatiotemporal changes of various pulpal immune cells dynamically reacting against foreign pathogens during immune response have not been well characterized. It is partly due to the technical difficulty in detailed 3D comprehensive cellular-level observation of dental pulp in whole intact tooth beyond the conventional histological analysis using thin tooth slices. In this work, we validated the optical clearing technique based on modified Murray’s clear as a valuable tool for a comprehensive cellular-level analysis of dental pulp. Utilizing the optical clearing, we successfully achieved a 3D visualization of CD11c+ dendritic cells in the dentin-pulp complex of a whole intact murine tooth. Notably, a small population of unique CD11c+ dendritic cells extending long cytoplasmic processes into the dentinal tubule while located at the dentin-pulp interface like odontoblasts were clearly visualized. 3D visualization of whole murine tooth enabled a reliable observation of these rarely existing cells with a total number less than a couple of tens in one tooth. These CD11c+ dendritic cells with processes in the dentinal tubule were significantly increased in the dental pulpitis model induced by mechanical and chemical irritation. Additionally, the 3D visualization revealed a distinct spatial 3D arrangement of pulpal CD11c+ cells in the pulp into a front-line barrier-like formation in the pulp within 12 h after the irritation. Collectively, these observations demonstrated the unique capability of optical clearing-based comprehensive 3D cellular-level visualization of the whole tooth as an efficient method to analyze 3D spatiotemporal changes of various pulpal cells in normal and pathological conditions.

Beethoven's 'Kreutzer' Sonata: Nineteenth-century Art of Arrangement - One Piece, Three Ways

<p>Beethoven’s ‘Kreutzer’ Sonata transgressed the expectations – and likely captivated the minds – of early nineteenth-century musicians and audiences alike. The ‘Kreutzer’ is stylistically removed from his Op. 10 No. 1 composed less than six years earlier; it demands virtuosic technical proficiency from both performers. Through the combination of harmonic evasion playing on audience expectations in the first movement and the conversational interplay between the personalities of both performers and instrumental parts alike, this audacious work has fascinated the minds of both listener and critic from the 1803 premiere through to the modern day. In 1805 an Allgemeine musikalische Zeitung review suggested that it would require two virtuosi to study the work in order to communicate the ‘Groteskeste’ work to an audience – this is indicative of not just technical difficulty but also the importance of the dynamic relationship between the two partners of the duo to the ‘Kreutzer’. This highly charged relationship inspired Tolstoy and Prinet (and by extension Janacek and many twentieth-century film and multimedia artists) to create adaptations of ‘Kreutzer’. High-quality musical arrangements of ‘Kreutzer’ appeared as early as 1827, when Carl Czerny completed a four-hand version of ‘Kreutzer’. This was closely followed by an anonymous string quintet arrangement released by the Simrock publishing house in 1832. These arrangements translated the virtuosic sonata into different mediums for wider dissemination, making it more readily available to both musicians active in the chamber music scene, and domestic students and dilettantes proficient at the piano. Both arrangements manage to transform the ‘Kreutzer’ into a different format while retaining aspects of both the conversational relationship between musicians as well as the technical demands of Beethoven’s original sonata. The string quintet arrangement tends to fragment melodic ideas between parts, rather than transplanting entire phrases or providing a direct transcription – exceptions generally occurring at important transitions or particularly special moments. This generates a highly differentiated conversational landscape to that the original, which manifests also in the visual shift to five performers. While the arranger also reworks some of the piano writing into more idiomatic string writing, it still demands a high level of technical proficiency from all five players. The four-hand arrangement reworks the same dialogue and thematic ideas into a more intimate setting, taking an almost entirely opposite approach to the quintet. As the two instrumental parts are combined for one instrument, the difficulties from Beethoven’s piano part are divided quite literally between primo and secondo. In a similar manner, the conversational and thematic interplay resemble Beethoven’s original in a far more direct manner than the quintet. Although the four-hands medium is recognised more for study and wider transmission of concert pieces, it is difficult enough that the virtuosic essence of Beethoven’s ‘Kreutzer’ is maintained. This dissertation closely examines the relationship between the two instruments within Beethoven’s ‘Kreutzer’ Sonata, and the manner in which both the contemporary arrangements above maintain and alter that relationship through the transformation into another format. In addition, it explores why the textural and idiomatic changes in both arrangements – fundamental and ornamental – remove none of the virtuosic and captivating essence of Beethoven’s ‘Kreutzer’, while simultaneously allowing them to bridge the divide between the emergent nineteenth-century concert hall scene, close study of the score, and domestic music-making.</p>

Beethoven's 'Kreutzer' Sonata: Nineteenth-century Art of Arrangement - One Piece, Three Ways

<p>Beethoven’s ‘Kreutzer’ Sonata transgressed the expectations – and likely captivated the minds – of early nineteenth-century musicians and audiences alike. The ‘Kreutzer’ is stylistically removed from his Op. 10 No. 1 composed less than six years earlier; it demands virtuosic technical proficiency from both performers. Through the combination of harmonic evasion playing on audience expectations in the first movement and the conversational interplay between the personalities of both performers and instrumental parts alike, this audacious work has fascinated the minds of both listener and critic from the 1803 premiere through to the modern day. In 1805 an Allgemeine musikalische Zeitung review suggested that it would require two virtuosi to study the work in order to communicate the ‘Groteskeste’ work to an audience – this is indicative of not just technical difficulty but also the importance of the dynamic relationship between the two partners of the duo to the ‘Kreutzer’. This highly charged relationship inspired Tolstoy and Prinet (and by extension Janacek and many twentieth-century film and multimedia artists) to create adaptations of ‘Kreutzer’. High-quality musical arrangements of ‘Kreutzer’ appeared as early as 1827, when Carl Czerny completed a four-hand version of ‘Kreutzer’. This was closely followed by an anonymous string quintet arrangement released by the Simrock publishing house in 1832. These arrangements translated the virtuosic sonata into different mediums for wider dissemination, making it more readily available to both musicians active in the chamber music scene, and domestic students and dilettantes proficient at the piano. Both arrangements manage to transform the ‘Kreutzer’ into a different format while retaining aspects of both the conversational relationship between musicians as well as the technical demands of Beethoven’s original sonata. The string quintet arrangement tends to fragment melodic ideas between parts, rather than transplanting entire phrases or providing a direct transcription – exceptions generally occurring at important transitions or particularly special moments. This generates a highly differentiated conversational landscape to that the original, which manifests also in the visual shift to five performers. While the arranger also reworks some of the piano writing into more idiomatic string writing, it still demands a high level of technical proficiency from all five players. The four-hand arrangement reworks the same dialogue and thematic ideas into a more intimate setting, taking an almost entirely opposite approach to the quintet. As the two instrumental parts are combined for one instrument, the difficulties from Beethoven’s piano part are divided quite literally between primo and secondo. In a similar manner, the conversational and thematic interplay resemble Beethoven’s original in a far more direct manner than the quintet. Although the four-hands medium is recognised more for study and wider transmission of concert pieces, it is difficult enough that the virtuosic essence of Beethoven’s ‘Kreutzer’ is maintained. This dissertation closely examines the relationship between the two instruments within Beethoven’s ‘Kreutzer’ Sonata, and the manner in which both the contemporary arrangements above maintain and alter that relationship through the transformation into another format. In addition, it explores why the textural and idiomatic changes in both arrangements – fundamental and ornamental – remove none of the virtuosic and captivating essence of Beethoven’s ‘Kreutzer’, while simultaneously allowing them to bridge the divide between the emergent nineteenth-century concert hall scene, close study of the score, and domestic music-making.</p>

Design of entertainment drone with rotating LED display technology

The drone light show is a popular form of performance. This paper designs a new type of entertainment drone with rotating LED display technology. This drone is equipped with a rotating LED display, a single drone can display a complete picture, and has a good display effect. The application of the new entertainment drone can reduce the cost and technical difficulty of the drone light show, and expand the applicable scenarios of the drone light show.

Preface

The Conference took place virtually due to covid-19 outbreak and travel restrictions. The organisers were from different cities in Iraq but most of them from Basrah. There were five plenary speakers and these speakers were from UK, Australia, South Africa, Jordan and Iraq. Each speaker took approximately an hour with Q&A session. In overall, there were 11 sessions that were delivered by 82 speakers, who were from different countries, each speaker spent 15 min to deliver their talks. All the discussions and Q&A time were live through Zoom rooms and FCC. The overall attendance number was more than 500 people during 5 days. Laptops, phones, Zoom and free conference call were needed to deliver the meeting successfully. The only technical difficulty that we faced sometimes is the weak WiFi signals. The drawbacks in the delivery of the conference virtually, was we couldn’t welcome people in person and couldn’t have Gala dinner. Other than that everything went very well. The idea of the conference is for the chemist, scientists, scholars, engineers, and students from Iraq and all around the world and the industry to present ongoing research activities, and hence to foster research relations between the Universities and the industry. We think it an ideal platform for people to share views and experiences in different aspects of chemistry and its relation with other sciences. The conference program consists of invited sessions and technical workshops and discussions with eminent speakers covering a wide range of topics in chemistry. This rich program provides all attendees with the opportunities to meet online and interact with one another. We hope your experience with the 3rd VICC is a fruitful and long-lasting one. We would like to thank the organization staff, the members of the program committees, and reviewers. They have worked very hard in reviewing papers and making valuable suggestions for the authors to improve their work. We also would like to express our gratitude to the external reviewers, for providing extra help in the review process, and the authors for contributing their research results to the conference. Special thanks go to IOP Publishing-Journal of Physics Conference Series for their generous assistance and cooperation. List of Organizing Committee, Scientific Committee, Technical committee are available in this pdf.