IN metal aeroplane construction the advantages of spot welding compared with riveting are very marked: production costs are reduced, components are lighter, and the skin can bo…
Abstract
IN metal aeroplane construction the advantages of spot welding compared with riveting are very marked: production costs are reduced, components are lighter, and the skin can bo made smoother. In the production of aeroplanes of the Junkers Works at Dessau these advantages were recognized at an early date; as long ago as 1915, electrical contact resistance welding was used to a large extent in one of the earliest types, the steel J.2. In the subsequent change over from steel to light alloys, electrical contact resistance welding could not be continued; obstacles were presented by the good electrical conductivity of light alloys and their great sensitivity to the effects of short exposure to high temperature, also by their strong tendency to stick to the copper electrodes.
In a mechanism for synchronizing multiple prime movers, a liquid pump, a plurality of hydraulic motors in series therewith, there being a hydraulic motor for each prime mover…
Abstract
In a mechanism for synchronizing multiple prime movers, a liquid pump, a plurality of hydraulic motors in series therewith, there being a hydraulic motor for each prime mover, differential means associated with each of said prime movers and operable by the difference in relative speeds of said prime movers and said hydraulic motors, and mechanical connecting means positively connecting a speed control member of each of said prime movers with the respective differential means for governing the speed of each of said prime movers.
Scott deLahunta and Jordan Beth Vincent
This article aims to bring together and demonstrate overlaps in three different areas of reflexive research concerned variously with audiences for contemporary dance. These are…
Abstract
Purpose
This article aims to bring together and demonstrate overlaps in three different areas of reflexive research concerned variously with audiences for contemporary dance. These are: 1) artists reflecting on their own creative process and engaging other researchers in doing so, generating new insights and language as a result; 2) humanities-based dance studies and a small number of dance scholars reflecting on this “process turn” in dance; and 3) the field of empirical audience studies, drawing on a single study specifically interested in access to creative process. The goal is to propose how these areas might coexist and mutually inform each other.
Design/methodology/approach
The approach develops a three-fold framework where the multiple definitions and examples of reflexive research in dance-making processes coexist. It draws systematically on a detailed example of one self-reflective study conducted by a dance company into creative process, on new scholarly writing on the “process turn” in dance research and written analysis of a unique audience research project as well as related literature.
Findings
In conclusion, the article suggests that in whatever combination of different research approaches, empirical evidence is increasingly important. This risks tipping the balance towards a more utilitarian understanding, particularly in the area of audience studies. It is possible to counterbalance this with approaches from artists and scholars interested in understanding arrived at through reflexive study of creative practice.
Originality/value
The original contribution is to bring these three areas together for the first time to expose difference and overlaps and suggest that challenges of understanding (in a non-utilitarian form) could be mitigated through more systematic dialogue between them, such as presented here.