Search results for: Cristina-Maria Păcurar

Authors: Băilă Diana Irinel, Păcurar Răzvan, Păcurar Ancuța

Abstract:

Although the volumes of fibre reinforced polymer composites (FRPs) used for aircraft applications is a relatively small percentage of total use, the materials often find their most sophisticated applications in this industry. In aerospace, the performance criteria placed upon materials can be far greater than in other areas – key aspects are light-weight, high-strength, high-stiffness, and good fatigue resistance. Composites were first used by the military before the technology was applied to commercial planes. Nowadays, composites are widely used, and this has been the result of a gradual direct substitution of metal components followed by the development of integrated composite designs as confidence in FRPs has increased. The airplane uses a range of components made from composites, including the fin and tailplane. In the last years, composite materials are increasingly used in automotive applications due to the improvement of material properties. In the aerospace and automotive sector, the fuel consumption is proportional to the weight of the body of the vehicle. A minimum of 20% of the cost can be saved if it used polymer composites in place of the metal structures and the operating and maintenance costs are alco very low. Glass fiber-epoxy composites are widely used in the making of aircraft and automobile body parts and are not only limited to these fields but also used in ship building, structural applications in civil engineering, pipes for the transport of liquids, electrical insulators in reactors. This article was establish the high-performance of composite material, a type glass-epoxy used in automotive and aeronautic domains, concerning the tensile and flexural tests and SEM analyzes.

Keywords: glass-epoxy composite, traction and flexion tests, SEM analysis, acoustic emission (AE) signals

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Authors: Băilă Diana Irinel, Păcurar Răzvan, Păcurar Ancuța

Abstract:

In the last years, composite materials are increasingly used in automotive, aeronautic, aerospace, construction applications. Composite materials have been used in aerospace in applications such as engine blades, brackets, interiors, nacelles, propellers/rotors, single aisle wings, wide body wings. The fields of use of composite materials have multiplied with the improvement of material properties, such as stability and adaptation to the environment, mechanical tests, wear resistance, moisture resistance, etc. The composite materials are classified concerning type of matrix materials, as metallic, polymeric and ceramic based composites and are grouped according to the reinforcement type as fibre, obtaining particulate and laminate composites. Production of a better material is made more likely by combining two or more materials with complementary properties. The best combination of strength and ductility may be accomplished in solids that consist of fibres embedded in a host material. Polyester is a suitable component for composite materials, as it adheres so readily to the particles, sheets, or fibres of the other components. The important properties of the reinforcing fibres are their high strength and high modulus of elasticity. For applications, as in automotive or in aeronautical domain, in which a high strength-to-weight ratio is important, non-metallic fibres such as fiberglass have a distinct advantage because of their low density. In general, the glass fibres content varied between 9 to 33% wt. in the composites. In this article, high-performance types of composite materials glass-epoxy and glass-polyester used in automotive domain will be analyzed, performing tensile and flexural tests and SEM analyzes.

Keywords: glass-polyester composite, glass fibre, traction and flexion tests, SEM analyzes

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Authors: Cristina-Maria Păcurar

Abstract:

The paper presents an original Python-based application that outlines the advantages of combining some elementary notions of mathematics with the study of a programming language. The application support refers to some of the first lessons of analytic geometry, meaning conics and quadrics and their reduction to a standard form, as well as some related notions. The chosen programming language is Python, not only for its closer to an everyday language syntax – and therefore, enhanced readability – but also for its highly reusable code, which is of utmost importance for a mathematician that is accustomed to exploit already known and used problems to solve new ones. The purpose of this paper is, on one hand, to support the idea that one of the most appropriate means to initiate one into programming is throughout mathematics, and reciprocal, one of the most facile and handy ways to assimilate some basic knowledge in the study of mathematics is to apply them in a personal project. On the other hand, besides being a mean of learning both programming and analytic geometry, the application subject to this paper is itself a useful tool for it can be seen as an independent original Python package for analytic geometry.

Keywords: analytic geometry, conics, python, quadrics

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Authors: Păcurar Diana Istina

Abstract:

The indissoluble link between aesthetics and semiotics, the harmonization and semiotic understanding of the interactions between the viewer and the object being looked at, are the basis of the practical demonstration of the importance of aesthetic perception within the theater performance. The design of a theater performance includes several structures, some considered from the beginning, art forms (i.e., the text), others being represented by simple, common objects (e.g., scenographic elements), which, if reunited, can trigger a certain aesthetic perception. The audience is delivered, by the team involved in the performance, a series of auditory and visual signs with which they interact. It is necessary to explain some notions about the physiological support of the transformation of different types of stimuli at the level of the cerebral hemispheres. The cortex considered the superior integration center of extransecal and entanged stimuli, permanently processes the information received, but even if it is delivered at a constant rate, the generated response is individualized and is conditioned by a number of factors. Each changing situation represents a new opportunity for the viewer to cope with, developing feelings of different intensities that influence the generation of meanings and, therefore, the management of interactions. In this sense, aesthetic perception depends on the detection of the “correctness” of signs, the forms of which are associated with an aesthetic property. Fairness and aesthetic properties can have positive or negative values. Evaluating the emotions that generate judgment and implicitly aesthetic perception, whether we refer to visual emotions or auditory emotions, involves the integration of three areas of interest: Valence, arousal and context control. In this context, superior human cognitive processes, memory, interpretation, learning, attribution of meanings, etc., help trigger the mechanism of anticipation and, no less important, the identification of error. This ability to locate a short circuit produced in a series of successive events is fundamental in the process of forming an aesthetic perception. Our main purpose in this research is to investigate the possible conditions under which aesthetic perception and its minimum content are generated by all these structures and, in particular, by interactions with forms that are not commonly considered aesthetic forms. In order to demonstrate the quantitative and qualitative importance of the categories of signs used to construct a code for reading a certain message, but also to emphasize the importance of the order of using these indices, we have structured a mathematical analysis that has at its core the analysis of the percentage of signs used in a theater performance.

Keywords: semiology, aesthetics, theatre semiotics, theatre performance, structure, aesthetic perception

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Authors: Păcurar Diana Istina

Abstract:

Structured in three chapters, the article attempts an X-ray of the theatrical aesthetics, correctly understood through the emotions generated in the intimate structure of the spectator that precedes the triggering of the viewer’s perception and not through the superposition, unfortunately common, of the notion of aesthetics with the style in which a theater show is built. The first chapter contains a brief history of the appearance of the word aesthetic, the formulation of definitions for this new term, as well as its connections with the notions of semiotics, in particular with the perception of the message transmitted. Starting with Aristotle and Plato, and reaching Magritte, their interventions should not be interpreted in the sense that the two scientific concepts can merge into one discipline. The perception that is the object of everyone’s analysis, the understanding of meaning, the decoding of the messages sent, and the triggering of feelings that culminate in pleasure, shaping the aesthetic vision, are some elements that keep semiotics and aesthetics distinct, even though they share many methods of analysis. The compositional processes of aesthetic representation and symbolic formation are analyzed in the second part of the paper from perspectives that include or do not include historical, cultural, social, and political processes. Aesthetics and the organization of its symbolic process are treated, taking into account expressive activity. The last part of the article explores the notion of aesthetics in applied theater, more specifically in the theater show. Taking the postmodern approach that aesthetics applies to the creation of an artifact and the reception of that artifact, the intervention of these elements in the theatrical system must be emphasized –that is, the analysis of the problems arising in the stages of the creation, presentation, and reception, by the public, of the theater performance. The aesthetic process is triggered involuntarily, simultaneously, or before the moment when people perceive the meaning of the messages transmitted by the work of art. The finding of this fact makes the mental process of aesthetics similar or related to that of semiotics. No matter how perceived individually, beauty, the mechanism of production can be reduced to two. The first step presents similarities to Peirce’s model, but the process between signified and signified additionally stimulates the related memory of the evaluation of beauty, adding to the meanings related to the signification itself. Then, the second step, a process of comparison, is followed, in which one examines whether the object being looked at matches the accumulated memory of beauty. Therefore, even though aesthetics is derived from the conceptual part, the judgment of beauty and, more than that, moral judgment come to be so important to the social activities of human beings that it evolves as a visible process independent of other conceptual contents.

Keywords: aesthetics, semiotics, symbolic composition, subjective joints, signifying, signified

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