Search results for: George Wilson

Authors: Panagiotis Lemonakis, Theodoros Αlimonakis, George Kaliabetsos, Nikos Eliou

Abstract:

It is very well known that certain vertical and longitudinal slopes have to be assured in order to achieve adequate rainwater runoff from the pavement. The selection of longitudinal slopes, between the turning points of the vertical curves that meet the afore-mentioned requirement does not ensure adequate drainage because the same condition must also be applied at the transition curves. In this way none of the pavement edges’ slopes (as well as any other spot that lie on the pavement) will be opposite to the longitudinal slope of the rotation axis. Horizontal and vertical alignment must be properly combined in order to form a road which resultant slope does not take small values and hence, checks must be performed in every cross section and every chainage of the road. The present research investigates the rain water runoff from the road surface in order to identify the conditions under which, areas of inadequate drainage are being created, to analyze the rainwater behavior in such areas, to provide design examples of good and bad drainage zones and to track down certain motorcycle types which might encounter hazardous situations due to the presence of water film between the pavement and both of their tires resulting loss of traction. Moreover, it investigates the combination of longitudinal and cross slope values in critical pavement areas. It should be pointed out that the drainage gradient is analytically calculated for the whole road width and not just for an oblique slope per chainage (combination of longitudinal grade and cross slope). Lastly, various combinations of horizontal and vertical design are presented, indicating the crucial zones of bad pavement drainage. The key conclusion of the study is that any type of motorcycle will travel for some time inside the area of improper runoff for a certain time frame which depends on the speed and the trajectory that the rider chooses along the transition curve. Taking into account that on this section the rider will have to lean his motorcycle and hence reduce the contact area of his tire with the pavement it is apparent that any variations on the friction value due to the presence of a water film may lead to serious problems regarding his safety. The water runoff from the road pavement is improved when between reverse longitudinal slopes, crest instead of sag curve is chosen and particularly when its edges coincide with the edges of the horizontal curve. Lastly, the results of the investigation have shown that the variation of the longitudinal slope involves the vertical shift of the center of the poor water runoff area. The magnitude of this area increases as the length of the transition curve increases.

Keywords: Drainage, motorcycle safety, superelevation, transition curves, vertical grade.

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Authors: Luminiţa Duţică, Gheorghe Duţică

Abstract:

One of the most powerful language innovation in the twentieth century music was the heterophony–hypostasis of the vertical syntax entered into the sphere of interest of many composers, such as George Enescu, Pierre Boulez, Mauricio Kagel, György Ligeti and others. The heterophonic syntax has a history of its growth, which means a succession of different concepts and writing techniques. The trajectory of settling this phenomenon does not necessarily take into account the chronology: there are highly complex primary stages and advanced stages of returning to the simple forms of writing. In folklore, the plurimelodic simultaneities are free or random and originate from the (unintentional) differences/‘deviations’ from the state of unison, through a variety of ornaments, melismas, imitations, elongations and abbreviations, all in a flexible rhythmic and non-periodic/immeasurable framework, proper to the parlando-rubato rhythmics. Within the general framework of the multivocal organization, the heterophonic syntax in elaborate (academic) version has imposed itself relatively late compared with polyphony and homophony. Of course, the explanation is simple, if we consider the causal relationship between the sound vocabulary elements – in this case, the modalism – and the typologies of vertical organization appropriate for it. Therefore, adding up the ‘classic’ pathway of the writing typologies (monody – polyphony – homophony), heterophony - applied equally to the structures of modal, serial or synthesis vocabulary – reclaims necessarily an own macrotemporal form, in the sense of the analogies enshrined by the evolution of the musical styles and languages: polyphony→fugue, homophony→sonata. Concerned about the prospect of edifying a new musical ontology, the composer Ştefan Niculescu experienced – along with the mathematical organization of heterophony according to his own original methods – the possibility of extrapolation of this phenomenon in macrostructural plan, reaching this way to the unique form of ‘synchrony’. Founded on coincidentia oppositorum principle (involving the ‘one-multiple’ binom), the sound architecture imagined by Ştefan Niculescu consists in one (temporal) model / algorithm of articulation of two sound states: 1. monovocality state (principle of identity) and 2. multivocality state (principle of difference). In this context, the heterophony becomes an (auto)generative mechanism, with macrotemporal amplitude, strategy that will be grown by the composer, practically throughout his creation (see the works: Ison I, Ison II, Unisonos I, Unisonos II, Duplum, Triplum, Psalmus, Héterophonies pour Montreux (Homages to Enescu and Bartók etc.). For the present demonstration, we selected one of the most edifying works of Ştefan Niculescu – Simphony II, Opus dacicum – where the form of (heterophony-)synchrony acquires monumental-symphonic features, representing an emblematic case for the complexity level achieved by this type of vertical syntax in the twentieth century music.

Keywords: Heterophony, modalism, serialism, synchrony, syntax.

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