In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn't the message-what really matters is the degree to which the viewer can sense a creative hand in the art.
Fibre reinforced polymer (FRP) composites are used in almost every type of advanced engineering structure, with their usage ranging from aircraft, helicopters and spacecraft through to boats, ships and offshore platforms and to automobiles, sports goods, chemical processing equipment and civil infrastructure such as bridges and buildlings. The usage of FRP composites continues to grow at an impessive rate as these materials are used more in their existing markets and become established in relatively new markets such as biomedical devices and civil structures. A key factor driving the increased applications of composites over the recent years is the development of new advanced forms of FRP materials. This includes developments in high performance resin systems and new styles of reinforcement, such as carbon nanotubes and nanoparticles. This book provides an up-to-date account of the fabrication, mechanical properties, delamination resistance, impact tolerance and applications of 3D FRP composites. The book focuses on 3D composites made using the textile technologies of weaving, braiding, knitting and stiching as well as by z-pinning.
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