In this study a general approach is introduced for the design of a robust control law for suppression of structure borne vibration. This control law is based on a passive design in the form of dynamic vibration absorbers. Passive absorbers minimize vibration at a speci c frequency, but their performance is improved by introducing adaptive tuning of the absorber. An adaptive dynamic vibration absorber is tuned to the forcing frequency, using classical methods. The tuning ratio is time varying and adapts itself to variations in the forcing frequency. However, the uniqueness of the approach in this study is that the damping parameter of the absorber is continuously varied by means of a fuzzy-logic control algorithm to provide a lower sound pressure level. The inputs of the fuzzy control law are the displacement and velocity of the main structure. The effectiveness of the control algorithm for active vibration control is demonstrated using MATLAB® simulations of a single-degree-of-freedom plant. This methodology provides superior performance in the presence of signi cant mistuning compared to a more conventional approach.
Live Audio Visual Improvisation on 11/03/10 at Herron School of Art, Indianapolis, IN. Eddy Kwon (violin), Lief Fairfield (violin), Margaret Schedel (midi cello), Valierie Opielski (guitar), Charles Woodman (images)
Live cinema audio/visual improvisation. Brief excerpts from four 2015 performances - San Francisco Cinematheque 4/15, Headlands Center for the Arts 5/15, Spazio Contemporanea, Brescia, Italy 6/15, Micro Mini Cinema, Cincinnati 8/15
Performance organized in conjunction with Passages, my one-person show at the Weston Art Gallery in Cincinnati.
Suzanna Barnes (violin)
Regan Brown (winds & autoharp)
Zach Larabee (percussion)
David McDonnell (electronics & horns)
Loraine Wible (images)
Charles Woodman (images)
I was commissioned by Andy Marko of Semantics Gallery in Cincinnati to create a live show as the concluding event for his annual Autumedia Festival. The space at Semantics was filled with other work in the show, so he approached Third Party, another artist run space down the street, to host the performance. I sent a general call out to friends at CCM looking for improvising musicians with the idea of forming a fairly large ensemble. I had a a number of responses and the musical group was ultimately made up of Regan Brown (Bass Clarinet), Dave McDonnell (Sax and Electronics), Carrie Magin (Percussion), Steve Weimer (Keyboard), and Zach Larabee (Drums). I also invited Loraine Wible, former student and previous collaborator, with Discerning Crane, to contribute a second stream of images. When we got to the space I decided to throw Loraine's images obliquely across the long wall with mine in the center.
This paper presents a prime aspect of Augmented and Virtual Reality development in the field of healthcare. We explored several recent works and articles and a comparison between generic application development and immersive technology-based application is included. The paper talks about more practical approaches that can be taken to enhance the effectiveness of the application.
The resources (infrastructure) to complete this study are provided by the University of Cincinnati’s Center for Simulation and Virtual Environment Research (UCSIM). And several experiments and projects in the field of health care are used as a reference to make conclusions.
A viscometer for liquids of low viscosity was built to be used at temperatures up to ca. 1000°C with the liquid maintained under a vacuum or inert gas atmosphere. The viscometer follows the method first suggested by Helmholz (8) and later successfully developed by Chiong and Andrade (4). In this method, the liquid is enclosed in a sphere; and the sphere is set in rotatory oscillation about a vertical axis. From measurements of the damping of the oscillations and the period and moment of inertia of the rotating pendulum, absolute values of the viscosity are calculated using the equations derived by Chiong and Andrade (4).