Relevant bibliographies by topics / Art forger

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art forger'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Art forger"

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De Giovanni, Cosimo. "Le palimpseste collocationnel : mécanismes productifs de formation des collocations métaphoriques V + N." NEO 32 (December 23, 2020): 210–32. http://dx.doi.org/10.31261/neo.2020.32.12.

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In this article we argue in favor of a useful model to explain the productive mechanisms of formation of verb + noun metaphorical collocations. We postulate that verbo-nominal collocations, relating to human activities and relating to the fields of techniques, crafts, art and manufactures constitute a model for the metaphorical collocations. We will apply our model to metaphorical collocations with the French verb forger. For the application of our model, a corpus analysis will be necessary.
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Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, Nadim C. Scherrer, Stefan Zumbühl, Gregory D. Smith, Caroline Welte, Lukas Wacker, Hans-Arno Synal, and Detlef Günther. "Uncovering modern paint forgeries by radiocarbon dating." Proceedings of the National Academy of Sciences 116, no. 27 (June 3, 2019): 13210–14. http://dx.doi.org/10.1073/pnas.1901540116.

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Art forgeries have existed since antiquity, but with the recent rapidly expanding commercialization of art, the approach to art authentication has demanded increasingly sophisticated detection schemes. So far, the most conclusive criterion in the field of counterfeit detection is the scientific proof of material anachronisms. The establishment of the earliest possible date of realization of a painting, called the terminus post quem, is based on the comparison of materials present in an artwork with information on their earliest date of discovery or production. This approach provides relative age information only and thus may fail in proving a forgery. Radiocarbon (14C) dating is an attractive alternative, as it delivers absolute ages with a definite time frame for the materials used. The method, however, is invasive and in its early days required sampling tens of grams of material. With the advent of accelerator mass spectrometry (AMS) and further development of gas ion sources (GIS), a reduction of sample size down to microgram amounts of carbon became possible, opening the possibility to date individual paint layers in artworks. Here we discuss two microsamples taken from an artwork carrying the date of 1866: a canvas fiber and a paint chip (<200 µg), each delivering a different radiocarbon response. This discrepancy uncovers the specific strategy of the forger: Dating of the organic binder delivers clear evidence of a post-1950 creation on reused canvas. This microscale 14C analysis technique is a powerful method to reveal technically complex forgery cases with hard facts at a minimal sampling impact.
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HYDE, S., and G. SMITH. "The Art of the Forger; Don't Trust the Label: an exhibition of fakes, imitations and the real thing." Oxford Art Journal 10, no. 2 (January 1, 1987): 107–11. http://dx.doi.org/10.1093/oxartj/10.2.107.

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Malik, Muhammad Imran, Marcus Liwicki, Andreas Dengel, and Bryan Found. "Man vs. Machine." Journal of Forensic Document Examination 24 (December 31, 2014): 21–35. http://dx.doi.org/10.31974/jfde24-21-35.

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Signatures have been used as a means to authenticate documents for centuries. From the outset, the focus of forensic examinations was to both objectively and subjectively establish whether they were genuine (written by the specimen author) or simulated (written by an imposter/forger). With the emergence of new computing technologies, additional objective examination techniques designed to determine the authenticity of questioned signatures became available. Although the opinions of Forensic Handwriting Examiners (FHEs) remain the most popular method of signature authenticity determinations, computer based techniques are attracting increasing interest within the forensic community. The question here is; which is better: man or machine? To address this question we focus on empirically comparing the performance of the two, on the same or similar material. The novelty of this work is that we have applied various state-of-the-art signature verification systems to questioned signature problems which had already been worked by FHEs and then performed a comparative analysis of the two. Purchase article for $10.
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Becker-Leckrone, Megan. "Wilde and Pater's Strange Appreciations." Victoriographies 1, no. 1 (May 2011): 96–123. http://dx.doi.org/10.3366/vic.2011.0009.

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This essay explores the intertextuality of Oscar Wilde's ‘Pen, Pencil and Poison’, one of four essays collected in Wilde's 1891 Intentions. It argues that, while its obvious provocation is its subject – notorious nineteenth-century murder, forger, and aesthete, Thomas Griffiths Wainewright, especially the seemingly sympathetic treatment Wilde gives that subject, the essay is also doing other significant things. It does not merely set out to shock its audience with a hyperbolic example of ‘art for art's sake’ (or, as he puts it here, ‘a man's being a murderer is nothing against his prose’) but also engages seriously with the principles of aestheticism. The essay, styled as an ‘appreciation’, models itself on (among other things) Walter Pater's Appreciations, a book Wilde reviewed with keen, high praise just months before publishing ‘Pen, Pencil and Poison’. Pater's essay on William Wordsworth (‘Wordsworth’) in that volume seems to hold a particularly suggestive influence over Wilde's study of Wainewright, with enough textual similarities between the two ‘appreciations’ to suggest that Wilde had not just his minor aesthetic contributions (e.g. journalism, Wilde admits, is largely neither original nor terribly good) but also more serious aestheticist writing and ideas.
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Brethes, M. O. "De l’art comme catharsis à l’épanouissement par la créativité : accompagnement par l’art-thérapie évolutive dans un cas de trouble bipolaire." European Psychiatry 29, S3 (November 2014): 674. http://dx.doi.org/10.1016/j.eurpsy.2014.09.081.

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L’exposé présente le suivi par l’art-thérapie évolutive d’une patiente atteinte de trouble bipolaire. Au début du suivi, la patiente était très affaiblie, en phase dépressive, en arrêt de travail prolongé. Son traitement associait du lithium, un neuroleptique, un antidépresseur et un anxiolytique. Ses productions artistiques (poèmes, nouvelles, journal, dessins) lui servaient de catharsis uniquement, ce qui renforçait son identification à la souffrance ressentie et à la pathologie. Une tentative de suicide a nécessité un sevrage momentané du traitement.L’accompagnement par l’art-thérapie évolutive, en apprenant à l’artiste comment utiliser consciemment sa créativité pour agir sur son humeur, a permis à la patiente de se forger une vision du monde plus optimiste, qui donne du sens à son questionnement existentiel. Guidée par l’art-thérapeute, elle a intentionnellement réorienté ses créations pour refléter une joie sereine et davantage de confiance en la vie. Elle utilise maintenant en autonomie des outils créatifs concrets pour gérer ses émotions sans s’y identifier. Cette rééducation créative, riche en prises de conscience, incite l’artiste à choisir désormais avec soin les émotions qu’elle vitalise par son art ou au travers des œuvres, films et livres dont elle s’inspire.Après deux ans de suivi art-thérapeutique, en association avec le suivi psychiatrique en place, la patiente a pu reprendre son activité professionnelle initiale à plein temps. Son humeur est stabilisée par une dose deux fois moindre de thymorégulateur et de neuroleptique, sans antidépresseur et sans anxiolytique. Cet allègement du traitement a permis à cette personne obèse de retrouver de l’énergie, de reprendre une activité physique normale et d’amorcer une perte de poids régulière. Grâce à cette nouvelle manière de vivre sa créativité, elle se sent véritablement épanouie et actrice de sa transformation.L’exposé s’appuiera sur un diaporama présentant quelques supports artistiques de cette évolution, tel le tableau « L’envol ».
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Steenberg, Elisa. "Can art be forged?" Konsthistorisk Tidskrift/Journal of Art History 58, no. 1 (January 1989): 44–45. http://dx.doi.org/10.1080/00233608908604219.

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Hick, Darren Hudson. "Forgery and Appropriation in Art." Philosophy Compass 5, no. 12 (December 2010): 1047–56. http://dx.doi.org/10.1111/j.1747-9991.2010.00353.x.

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Cebik, L. B. "FORGING ISSUES FROM FORGED ART." Southern Journal of Philosophy 27, no. 3 (September 1989): 331–46. http://dx.doi.org/10.1111/j.2041-6962.1989.tb00493.x.

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Holsinger, Bruce. "Of Pigs and Parchment: Medieval Studies and the Coming of the Animal." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 616–23. http://dx.doi.org/10.1632/pmla.2009.124.2.616.

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For Jorge Luis Borges, local color was overrated. In “the argentine writer and tradition” (1951), borges responded to the charges of critics who valued indigenous traditions and themes above all else; for Borges, just as Shakespeare could draw on Scandinavian history and Racine from the memories of the ancient world, so the Argentine writer should be permitted to mine the veins of the Western European tradition for the rich ore of literary art (Frisch 43). When the national writer does wish to produce a “truly native” text, he suggests, this should be accomplished with great subtlety, even to the extent of obscuring altogether the indigenous hues of local color in favor of an unspoken affiliation with the authorial homeland. A prime example of this technique, he avows, can be found in the Koran:A few days ago, I discovered a curious confirmation of the way in which what is truly native can and often does dispense with local color; I found this confirmation in Gibbon's Decline and Fall of the Roman Empire. Gibbon observes that in the Arab book par excellence, the Koran, there are no camels; I believe that if there ever were any doubt as to the authenticity of the Koran, this lack of camels would suffice to prove that it is Arab. It was written by Mohammed, and Mohammed, as an Arab, had no reason to know that camels were particularly Arab; they were, for him, a part of reality, and he had no reason to single them out, while the first thing a forger, a tourist, or an Arab nationalist would do is bring on the camels, whole caravans of camels on every page; but Mohammed, as an Arab, was unconcerned; he knew he could be Arab without camels. I believe that we Argentines can be like Mohammed; we can believe in the possibility of being Argentine without abounding in local color. (181)
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Dissertations / Theses on the topic "Art forger"

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Norling, Per. "Förfalskningens lockelse : Analys av två svenska brottsmål om bedrägeri och signaturförfalskning." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-310205.

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The purpose of the paper is to present work patterns from two perspectives, the art expert´s and art forger´s, as the patterns can be retrieved from two Swedish criminal cases of fraud, the case "T" and the case "M". A minor purpose is to create a knowledge base extracted from literature regarding more general work patterns used by art experts when they work with attribution.   The method used can best be named descriptive. Forged artwork from nine artists are described and comments on the fake procedures are provided from buyers, forgers/sellers, middlemen (auction houses), police, prosecutors, experts, lawyers and the Stockholm District Court. The result in the paper can be summarized as follows: 1/ General work patterns with attribution: The track-paradigm is governing the expert´s work. As a start we have a time-setting, by identifying general style patterns in the artwork. Then there is a search for a possible geographical area where the work could have been created, and also a search for art schools and artist groups in that area. If a possible attribution of the work to an artist can be done, a search starts for that artist´s characteristics when it comes to motive, color selection, composition, figures, brush movements etc. Different types of physical measurements and tests can provide a complement to the qualitative analysis. The signature, if there is one, is examined and the provenance for the work is searched for. Information about the work in different archives can strengthen the results. 2/ “T” & “M” - the art expert´s patterns: All experts go directly to the alleged artist for a critical analysis of the specific work. First an overall evaluation is done, and that is often sufficient to reject the work. If necessary, details in the work are examined. If a signature is present, it is examined and compared with genuine ones. In some cases, technical studies are used to reach a definitive verdict. The police focus is to identify inaccuracies and fakes in the sales information, and to show efforts to hide information.    3/ “T” & “M” - the forger’s patterns: Art works from recent years are used as models for the creation of pastiches. Craftsmanship is toned down. Pitfalls are being circumvented by selection of genuine material ingredients and selection of secure image content related to the chosen artist. There is a thorough work with information creation to ensure the prospective buyer's desire for proof of authenticity. In parallel there is a work with cover up, and to secure information gaps.
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Maclean, Ewan. "False images : a social history of art forgery." Thesis, University of Edinburgh, 1990. http://hdl.handle.net/1842/19082.

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This thesis considers the history of art forgery in the Western world and the social conditions which produce the practice. The main concentration is on paintings and sculpture, but other areas, including 'antiques', are included where appropriate. The thesis is divided into three parts. The first part outlines the history of art forgery from its origins during the Roman Empire to the present day. The primary concern is with uncovering the development, extent and location of art forgery, rather than a detailed consideration of particular cases. It is shown that art forgery is not a universal practice, but is historically and culturally limited to the hellenistic and Roman world and, until recently, Europe since the Renaissance. The second part of the thesis explains the immediate conditions and circumstances which are necessary before art forgery will occur. These are shown to be the valuing of works of art as coming from a particular historical moment, culture or artist; positive distinction being made in favour of 'original' works over copies; and an adequate system of appropriation (found in collecting). The developments of these conditions are considered in turn. The third and last part takes the analysis a stage further, and looks at the economic and social structures on which the immediate conditions set out in the second part arc based. Here individualisalion and commodificalion, central to ihc structure of capitalism, arc shown to have been influential in changing the position of the artist and nature of art in society. Also of importance, it is argued, was the "crisis of status" which followed the dismantling of feudal hierarchy. This is related, utilising Bourdicu's work on 'distinction', to the need for groups in the more fluid social relations of modern society to distinguish and distance themselves from others, and to define and protect their status. It is shown that art has a central role to play here, and that forgery partly occurs as a consequence of this.
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Clark, Lenore. "Forbes Watson : independent revolutionary /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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Ross, Marina. "My pleasure (forever yours)." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6261.

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My practice consists of painting, ceramic sculptures, and performance to consider the construction of self-identity and the role of agency and labor in this construction. Mining my life experiences as a point of departure, I question how visual images, sculptural abstractions, and physical movement create a multi-dimensional representation of the self and how the body is a vehicle for the expression and formation of the self. I source images from family photos and film stills to question how I have embodied qualities from the women in these images. I will discuss my thesis exhibition My Pleasure (Forever Yours) to unpack particular decisions made within the works and how they relate to the larger narrative that I construct.
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Iacovone, Michael Dax. "Memories We Forget." VCU Scholars Compass, 2005. http://hdl.handle.net/10156/1875.

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Tajti, Norbert. "Enhancing Hungarian Special Forces through transformation--the shift to Special Operations Forces." Thesis, Monterey, California : Naval Postgraduate School, 2010. http://edocs.nps.edu/npspubs/scholarly/theses/2010/Jun/10Jun%5FTajti.pdf.

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Thesis (M.S. in Defense Analysis)--Naval Postgraduate School, June 2010.
Thesis Advisor(s): Lee. Doowan ; Second Reader: Greenshields, Brian H. ; Third Reader: Porkolab, Imre. "June 2010." Description based on title screen as viewed on July 14, 2010. Author(s) subject terms: Special Forces, Special Operations Forces, Hungary, organizational design, special operations, NATO. Includes bibliographical references (p. 103-108). Also available in print.
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Lundström, Anna. "Former av politik : Tre utställningssituationer på Moderna Museet 1998-2008." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-116052.

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This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution. The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern. This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.
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Hedtke, Travis. "Don't forget about teen fathers what programs are available? /." Menomonie, WI : University of Wisconsin--Stout, 2004. http://www.uwstout.edu/lib/thesis/2004/2004hedtket.pdf.

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Garvin, Kaitlyn. "A Genuine Dilemma: The Piombino Apollo and Fraud in the First and Second Century Greco-Roman Art Market." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20470.

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In 1832, fishermen pulled a full-body bronze sculpture of a youth, now called the Piombino Apollo, from the sea near ancient Populonia. Under life-size, the piece resembles an Archaic kouros, though it has some notable unusual features including an inscription dedicating the supposed image of Apollo to Athena and the signatures of two artists found on a lead tablet hidden within the hollow bronze. These unusual features led scholars to eventually reclassify the piece from an Archaic work of the fifth century to an Archaistic forgery of the second or first century. Few have challenged this reclassification, but this thesis attempts to complicate the application of the word forgery to the Piombino Apollo. Further, it examines whether a contemporary buyer would have been fooled by the sculpture’s “deceptive” traits and offers alternative possibilities to account for the artists’ choices of style, pose, and inscriptions.
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Rice, Paula Neale. "Earth, sea and sky : natural forces as a design source in metalwork." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/770942.

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The natural forces of earth, sea and sky provide a wealth of inspiration for the creation of jewelry and metalwork. This project involved the investigation of such natural forces as erosion, growth cycles, tides and wind currents, followed by the design and construction of a body of work based on what was observed.During the observation phase, the artist collected source material In the form of photographs, rough sketches, tracings and actual physical evidence o f the natural forces a t work. The designs were based on a synthesis of the impressions gathered, rather than on one particular source. Not only were the visual and tactile aspects of the forces considered important, but the artist's emotional responses to those forces played a role in the designs as well.A total of thirteen pieces of jewelry and three boxes were created. Chasing, repousse, inlay and reticulation were the metalworking techniques primarily used to render the natural imagery.An intensive study of chasing and repousse was undertaken, as these techniques were especially suited to illustrating the wide variety of form and texture present in nature, from graceful, sweeping cloud formations to heavily modeled rock surfaces. The inlay process proved to be an adaptable way of mounting irregularly shaped natural materials, particularly shells, in the jewelry and boxes. The swirling quality of reticulation effectively represented such textures as the ruffled fungal growths found in forests, or the rushing, foaming tides at the edge of a shoreline.By combining close observation of the effects of natural forces with appropriate metalworking techniques, an aesthetically striking and highly original collection of jewelry and metalwork was conceived and executed.
Department of Art
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Books on the topic "Art forger"

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Shapiro, Barbara A. The art forger. Waterville, ME: Thorndike Press, 2013.

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The art forger: A novel. Toronto, Ontario, Canada: HarperCollins Publishers Ltd., 2012.

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The art forger: A novel. Chapel Hill, N.C: Algonquin Books of Chapel Hill, 2012.

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The art of the forger. New York: Dodd, Mead, 1985.

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To catch a forger. London: Gollancz, 1988.

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Wallace, Robert. To catch a forger. Long Preston: Magna Print, 1989.

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To catch a forger. New York: St. Martin's Press, 1988.

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Marthouret, Alin. Art fraud: Memoirs of a master forger. New York, NY: Carnot USA Books, 2004.

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The forger. London: Faber and Faber, 2000.

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The forger. New York: Picador USA, 2000.

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Book chapters on the topic "Art forger"

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Chappell, Duncan, and Saskia Hufnagel. "Case Study 3: A Perspective from the Fakery Frontline—An Interview with an Art Forger." In The Palgrave Handbook on Art Crime, 363–80. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-54405-6_18.

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Charney, Noah. "Profiling Art Forgers." In The Palgrave Handbook on Art Crime, 289–99. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-54405-6_14.

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Gopnik, Blake. "On “In Praise of Forgery”." In Art Crime, 21–26. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-40757-3_2.

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Sloggett, Robyn. "Unmasking Art Forgery: Scientific Approaches." In The Palgrave Handbook on Art Crime, 381–406. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-54405-6_19.

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Cole, Simon A. "Connoisseurship All the Way Down: Art Authentication, Forgery, Fingerprint Identification, Expert Knowledge." In Art Crime, 27–32. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-40757-3_3.

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Rochet, Jean-Charles. "Markets Are Efficient." In Economic Ideas You Should Forget, 107–8. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47458-8_46.

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Sornette, Didier. "Decisions Are Deterministic." In Economic Ideas You Should Forget, 131–32. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47458-8_56.

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Taylor, Jason R. B., Aryaz Baradarani, and Roman Gr Maev. "Art Forgery Detection via Craquelure Pattern Matching." In Computational Forensics, 176–87. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20125-2_15.

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Carvalho, Felipe. "Tattoos are Forever." In Tattoos - Philosophy for Everyone, 123–34. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118252789.ch10.

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Kersting-Rader, Eva. "Diamonds are forever." In Geld und Leid – das leidige Geld. Zusammenhänge zwischen Ökonomie und Trauer, 34–35. Göttingen: Vandenhoeck & Ruprecht, 2016. http://dx.doi.org/10.13109/9783666806148.34.

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Conference papers on the topic "Art forger"

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Almuhimedi, Hazim, Shomir Wilson, Bin Liu, Norman Sadeh, and Alessandro Acquisti. "Tweets are forever." In the 2013 conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2441776.2441878.

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Dhanya, R., and R. Kalai Selvi. "A state of the art review on copy move forgery detection techniques." In 2017 IEEE International Conference on Circuits and Systems (ICCS). IEEE, 2017. http://dx.doi.org/10.1109/iccs1.2017.8325963.

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Pangestu, Anjar Bryantiko, Derry Rifqi Septian Nugraha, and Faiz Husnayain. "Impact of Line Impedance on Arc Fault Characteristics at DC Low Voltage System." In 2020 FORTEI-International Conference on Electrical Engineering (FORTEI-ICEE). IEEE, 2020. http://dx.doi.org/10.1109/fortei-icee50915.2020.9249834.

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Chen, Tie, John Rogerson, Fang Yang, Gurnam Singh, and Phil Hemsley. "Development of State of the Art Dynamic Stress Prediction Methodology for Steam Turbines." In ASME 2011 Turbo Expo: Turbine Technical Conference and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/gt2011-45797.

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To predict the dynamic stresses due to forced response of steam turbine blades, a commercial FE solver ABAQUS has been linked with an in-house CFD solver TF3D-VIB, in the time domain in both one-way and two-way coupling. Both methods have been applied to analyse a freestanding subsonic turbine stage excited by upstream flow perturbations. Over a frequency range the peak responses are very similar, but the peak response of two-way coupling is shifted to a lower frequency, due to the aerodynamic coupling effect of fluid-structure interaction. That means a speed / frequency sweep is necessary to search for the peak response in two-way coupling. However, in one-way coupling, the frequency shift can be derived from the vibration induced modal force, and only one calculation is needed to predict the response over a range of frequency ratio using the classic single degree-of-freedom equation. One calculation using two-way coupling typically takes seven times more computing time than one-way coupling. The total computing time for two-way coupling to define the response characteristic is therefore much higher; more calculations are needed and each calculation takes much longer. Thus a one-way coupling method including the frequency shift correction is much more practical and suitable for blade design iterations. The blade forced response is also limited by damping. In the case of low damping such as material only damping, this can be well represented in the harmonic ABAQUS calculation. However, high values of nonlinear damping can be deliberately introduced by managing the friction forces at blade root attachment. The nonlinear damping can be simulated directly by ABAQUS/Explicit method, convergence criteria often lead to excessive runtimes. Therefore a simple mass/spring model has been developed, which applies an exciting force to a system comprising two masses and springs to represent the blade and the root respectively and includes modelling of both the stick and slip forces of the root due to friction. Both the masses and their spring stiffness are chosen to produce either the sticking natural frequency (with infinite friction) or sliding natural frequency (zero friction). Using the simple two-mass model, the significant nonlinear response pattern is demonstrated. The resulting pattern has been verified against the ABAQUS/Explicit method. This allows the blade forced response prediction from the one way coupling to be further corrected to account for the nonlinear friction damping effect.
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McKay, Dana, and George Buchanan. "Don't Forget to be the Way You Are." In CHI '18: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3170427.3170664.

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Wilk, Dariusz. "REDUCTION AND PREVENTION OF ART FORGERY BY CRIMINAL LAW MEASURES AND FORENSIC METHODS." In SGEM 2014 Scientific SubConference on POLITICAL SCIENCES, LAW, FINANCE, ECONOMICS AND TOURISM. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b21/s5.097.

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Shen, G., D. Kahlke, R. Denkenberger, and D. Furrer. "Advances in the State-of-the-Art of Hammer Forged Alloy 718 Aerospace Components." In Superalloys. TMS, 2001. http://dx.doi.org/10.7449/2001/superalloys_2001_237_247.

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TESSON, PASCAL, and DENIS THÉRIEN. "DIAMONDS ARE FOREVER: THE VARIETY DA." In Semigroups, Algorithms, Automata and Languages. WORLD SCIENTIFIC, 2002. http://dx.doi.org/10.1142/9789812776884_0021.

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Kuznetsov, Igor. "�FORMER PEOPLE� UNDER THE PURGE: PROVINCIAL EXPERIENCE." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/22/s08.056.

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Zhu, YiMing. "What are the driving forces of DRAM?" In 2019 IEEE Asian Solid-State Circuits Conference (A-SSCC). IEEE, 2019. http://dx.doi.org/10.1109/a-sscc47793.2019.9056935.

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Reports on the topic "Art forger"

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McKearn, Mark J. Operation Allied Force: Operational Art & Task Force Hawk. Fort Belvoir, VA: Defense Technical Information Center, May 2002. http://dx.doi.org/10.21236/ada405646.

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Whitehead, Martha, Dale Askey, Donna Bourne-Tyson, Karen Estlund, Susan Haigh, Claire Stewart, Kornelia Tancheva, Tyler Walters, Jennifer Muilenburg, and Judy Ruttenberg. ARL/CARL Joint Task Force on Research Data Services: Final Report. Association of Research Libraries and Canadian Association of Research Libraries, July 2021. http://dx.doi.org/10.29242/report.arlcarlrdstaskforce2021.

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The Association of Research Libraries (ARL)/Canadian Association of Research Libraries (CARL) Joint Task Force on Research Data Services formed in 2020 with a two-fold purpose: (1) to demonstrate and commit to the roles research libraries have in stewarding research data and as part of institution-wide research support services and (2) to guide the development of resources for the ARL and CARL memberships in advancing their organizations as collaborative partners with respect to research data services in the context of FAIR (findable, accessible, interoperable, and reusable) data principles and the US National Academies’ Open Science by Design framework. Research libraries will be successful in meeting these objectives if they act collectively and are deeply engaged with disciplinary communities. The task force formed three working groups of data practitioners, representing a wealth of expertise, to research the institutional landscape and policy environment in both the US and Canada. This report presents the task force’s recommendations for the roles of research libraries with regard to research data principles, policies, and approaches to managing research data. The report also offers strategies for discipline-specific research data approaches, priorities for automation of processes, economic models to scale and sustain shared resources, prioritization of research data to steward, and decision-making rubrics.
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Leonard, Joseph J. Operation Allied Force: What Happened to Operational Art. Fort Belvoir, VA: Defense Technical Information Center, February 2000. http://dx.doi.org/10.21236/ada378774.

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Kopf, Peter D. Operational Art and the Marine Expeditionary force (MEF). Fort Belvoir, VA: Defense Technical Information Center, June 1993. http://dx.doi.org/10.21236/ada266911.

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Jaster, Jeffrey F. Robotic Technologies for the Future Force - The ART ATO. Fort Belvoir, VA: Defense Technical Information Center, April 2005. http://dx.doi.org/10.21236/ada465618.

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Turner, John E. Operational Art in I Field Force, 1965 to 1967. Fort Belvoir, VA: Defense Technical Information Center, October 2012. http://dx.doi.org/10.21236/ada580697.

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Ivy, Michael E. Sustainment of Theater Army Forces: The Essence and the Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada235124.

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Aquino, Alex A. Force Structure Matters: The US Field Artillery in Operational Art. Fort Belvoir, VA: Defense Technical Information Center, May 2015. http://dx.doi.org/10.21236/ada623448.

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Singleton, Mark A. Operational Art and the Silent Warrior: Special Operations Forces in MOOTW. Fort Belvoir, VA: Defense Technical Information Center, February 1997. http://dx.doi.org/10.21236/ada325267.

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Zanol, James E. A Smaller, More Lethal Force: Operational Art By an Outnumbered Army,. Fort Belvoir, VA: Defense Technical Information Center, May 1991. http://dx.doi.org/10.21236/ada240339.

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