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Journal articles on the topic "Beyblade VOlume 02 DOwnload"

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B2042141008, FRENGKY. "PENGARUH FAKTOR INTERNAL TERHADAP KINERJA SAHAM PERUSAHAAN PERTAMBANGAN YANG TERDAFTAR DI BURSA EFEK INDONESIA." Equator Journal of Management and Entrepreneurship (EJME) 7, no. 4 (August 2, 2019). http://dx.doi.org/10.26418/ejme.v7i4.34532.

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Saham adalah salah satu aset yang diperdagangkan oleh perusahaan dalam pasar modal. Pasar modal merupakan salah satu fasilitas untuk menyalurkan dana dari pihak yang memiliki kelebihan dana kepada pihak yang membutuhkan dana. Dengan melonjaknya jumlah saham yang ditransaksikan, dan semakin tingginya volume perdagangan saham, akan dapat mendorong perkembangan pasar modal di Indonesia. Seiring dengan perkembangan tersebut, maka kebutuhan akan informasi dalam pengambilan keputusan investasi di pasar modal juga meningkat. Tujuan penelitian ini adalah menganalisis keuangan perusahaan pertambangan serta mengetahui pengaruh pengaruh faktor internal terhadap kinerja saham perusahaan pertambangan. Variabel yang diteliti adalah current ratio, return on equity, net profit margin, total asset turn over dan return saham. Analisis yang digunakan adalah analisis deskripstif dan regersi linier berganda dengan menggunakan perangkat lunak SPSS. Hasil penelitian yang diperoleh menunjukan current ratio tidak berpengaruh terhadap return saham tetapi return on equity, net profit margin dan total asset turn over berpengaruh secara signifikan dan positif terhadap return saham perusahaan pertambangan yang terdaftar di Bursa Efek Indonesia Kata kunci : kinerja, investasi, keuangan, pertambanganDAFTAR PUSTAKAAstuti P, S., 2006. Analisis Pengaruh Faktor-Faktor Fundamental, EVA, dan MVA terhadap Return Saham” Tesis Tidak Dipublikasikan, Fakultas Ekonomi Universitas Diponegoro Bodie, Z, Alex Kane and Alan J Marcus. 2006. Investasi. Penerbit Salemba Empat. Jakarta Brigham, Eugene F. dan Joel F. Houston. 2010. Manajemen Keuangan. Jakarta. Erlangga. Brigham, H., 2006. Dasar- Dasar Manajemen Keuangan. Edisi Kesepuluh, Jakarta: salemba Empat Christanty, M. 2009. Analisis Pengaruh Faktor Fundamental dan Economic Value Added (EVA) Terhadap Return Saham Studi Pada Saham Perusahaan yang Tercatat Aktif Dalam LQ45 di BEI Periode 2003-2007: Tesis. Program Studi Manajemen .Fakultas Ekonomi.Universitas Diponegoro. Semarang. Dedi,A. H. 2012. Pengaruh Debt To Equity Rario, Earning Per Share dan Net Profit Margin Terhadap Return Saham. Management Analysis Journal 1(5):6. Fahmi I. 2012. Pengantar Pasar Modal. Bandung. ALFABETA. Fahmi I. 2014. Manajemen Keuangan: Teori dan Soal Jawaban. Bandung. ALFABETA.Fama, E.F. and French, K.R. 1996. Multifactor Explanation of Asset Pricing Anomalies. Journal of Finance, Vol.51, pp.55-84 Fama, E.F. and French, K.R.1992. The Cross-Section of Expected Stock Returns. Journal of Finance, Vol.47, pp.427-466 Farkhan dan Ika., 2012., Pengaruh Rasio Keuangan Terhadap Return Saham Perusahaan Manufaktur di BEI. Value Added, Vol. 9, No. 1. Ginting, S dan Suriany. 2013. Analisis Faktor-Faktor Yang Mempengaruhi Harga Saham Pada Perusahaan Manufaktur Di Bursa Efek Indonesia. Jurnal Wira Ekonomi Mikroskil Volume 3, Nomor 02, Oktober 2013 Harjito, A. dan R. Aryayoga. 2009. Analisis Pengaruh Kinerja Keuangan dan Return Saham di Bursa EfekIndonesia.Fenomena, 7(1): 58 Jugiyanto. 2010. Teori Portofolio dan Analisis Investasi. Yogyakarta. BPFE. Kusumo, G.I., 2011. Analisis Pengaruh Rasio Keuangan Terhadap Return Saham Pada Perusahaan Non Bank LQ 45. Skripsi Tidak Dipublikasikan, Fakultas Ekonomi UniversitasDiponegoro Mawardi, A dan S. Andesta. 2016. Pengaruh ROA, ROE, NPM dan CR Terhadap Return Saham Pada Perusahaan Yang Terdaftar Di Jakarta Islamic Index (JII). I-Finance Vol. 2. No. 2 Desember 2016 Olowoniyi dan Ojenike. 2012. Determinants of Stock Return of Nigerian-Listed Firms. Journal of Emerging Trends in Economics and Management Sciences (JETEMS). 3 (4) 389-392. Pakpahan R. 2010. Pengaruh Faktor-Faktor Fundamental Perusahaan dan Kebijakan Dividen terhadap Nilai Perusahaan. Jurnal Ekonomi keuangan. [Internet]. Vol. 2. No. 2. Bandung. Politeknik Negeri Bandung Pieter, L., 2003. Profitabilitas Equitas dan Beberapa Faktor yang Mempengaruhinya (Studi pada Beberapa KUD di Kota Ambon). Jurnal Akuntansi dan Keuangan, Vol 5. No. 2 November 2003 : 133-149 Prasetya, I.P.E., I Made Pradana Adiputra., A.W.T. Atmadja., 2014. Pengaruh Current Ratio (CR), Debt to Equity Ratio (DER) dan Return On Asset (ROA) terhadap return saham pada Perusahaan Transportasi yang Terdaftar di Bursa Efek Indonesia. JIMAT (Jurnal Ilmiah Mahasiswa Akuntansi S1) Vol 2, No 1. Prastowo, D dan Julianty, R. 2008. Analisis Laporan Keuangan. Edisi 2. Yogyakarta. Unit Penerbit dan Percetakan Sekolah Tinggi Ilmu Manajemen YKPN. Safitri, N dan Wahyuati A. 2015. Pengaruh struktur modal dan keputusan investasi terhadap profitabilitas dan nilai perusahaan. Jurnal Ilmu dan Riset Manajemen. Tersedia pada: ejournal.stiesia.ac.id. Sari, dan L.Venusita.2013.Pengaruh Kinerja Keuangan Terhadap Return Saham pada Perusahaan Property dan Real Estate.Jurnal Ilmu Manajemen, 1(3):28. Simanjuntak, P.D.L dan R. L. Sari. 2016. Analisis Pengaruh Return On Asset, Net Profit Margin, Earning Per Share Terhadap Return Saham Pada Perusahaan Perbankan Yang Terdaftar Di BEI. Jurnal Ekonomi dan Keuangan Vol.2 No.7 Subiyantoro, E dan F. Andreani. 2003. Analisis Faktor-Faktor Yang Mempengaruhi Harga Saham (Kasus Perusahaan Jasa Perhotelan yang Terdaftar di Pasar Modal Indonesia). Jurnal Manajemen & Kewirausahaan Vol. 5, No. 2, September 2003: 171 – 180 Sugiyarso, G dan Winarni. 2005. Manajemen Keuangan: Pemahaman Laporan Keuangan, Pengelolaan Aktiva, Kewajiban, dan Modal, serta Pengukuran Kinerja Perusahaan. Tangerang. PT Agromedia Pustaka. Sukarno, M. 2007, Analisis Pembentukan Portofolio Optimal Saham Menggunakan Metode Single Indeks di Bursa Efek Jakarta, Tesis, Semarang: Universitas DiponegoroSulaiman dan Handi, Ana., 2008. Pengaruh Kinerja Keuangan TerhadapReturn Saham Pada Perusahaan Manufaktur di BEJ, Jurnal Penelitian dan Pengembangan Akuntansi Vol: 2 No.2 Sulistiawan, D dan Liliani. 2007. Analisis Teknikal Modern Pada Perdagangan Sekuritas. Penerbit CV Andi Offset. Yogyakarta Supardi, H., Suratno dan Suyanto., 2016. Pengaruh Current Ratio, Debt to Asset Ratio, Total Asset Turnover dan Inflasi terhadap Return On Asset. JIAFE (Jurnal Ilmiah Akuntansi Fakultas Ekonomi) Volume 2 No. 2 Tahun 2016, Hal. 16-27 Susilawati, C.D.K. 2013. Analisis Perbandingan Pengaruh Likuiditas, Solvabilitas, dan Profitabilitas terhadap Harga Saham pada Perusahaan LQ 45. J Akuntan. 4(2):165-174. Tersedia pada: http://majour.maranatha. edu/index.php/jurnal-akuntansi/article/view/954 Susilowati, Y dan Tri Turyanto. 2011. Reaksi Signal Rasio Profitabilitas dan Rasio Solvabilitas terhadap Return Saham Manufaktur yang terdaftar diBursa Efek Indonesia tahun 2006-2008. Jurnal Skripsi 2011 Tan R. 2010. Relationship Between Stock Return and Macroeconomic Variables: A Study of Beverage and Food Companies Listed on The Shenzhen Stock Exchange. Assumption University Ulupui, I.G.K.A., 2005. Analisis Pengaruh Rasio Likuiditas, Leverage, Aktivitas, dan Profitabilitas Terhadap Return Saham (Studi Pada Perusahaan Makanan dan Minuman Dengan Kategori Industri Barang Konsumsi di BEJ), Jurnal Akuntansi, Bali: Universitas Udayana Wahyuni, I., 2013. The Effect of Earning Per Share (EPS), Book Value (BV), Return on Assets (ROA), and Return On Equity (ROE), To The Stock Return. Fakultas Ekonomi Universitas Muhammadiyah, Purwokerto: 1-13. Wang, J., G. Fu, and Luo, C. 2013. Accounting information and stock price reaction of listed companies- empirical evidence from 60 listed companies in Shangha Stock Exchange”. Journal of Business & Management, 2(2). Widodo, S., 2006. Pengaruh Rasio Aktivitas Profitabilitas Dan Rasio Pasar Terhadap Return Saham Syariah. Jurnal JABPI, Vol. 14, No. 2, Juli 2006. Widuri R. 2009. Pengaruh Rasio Keuangan terhadap Harga Saham Perusahaan Manufaktur yang Go Public di Bursa Efek Jakarta. J Ekonomi. 10(1):56-68. Tersedia pada: http://manajemen.unsoed.ac.id/repositorydocoument-to-download/doc_vi ew/40-pengaruh-rasio-keuangan-terhadap-harga-saham-perusahaan-manu faktur-yg-go-publik-di-bei.
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Araújo, Osmar Hélio Alves. "O estágio como práxis, a pedagogia e a didática: que relação é essa? (The internship as praxis, pedagogy and didactics: what does this relationship consist in?)." Revista Eletrônica de Educação 12, no. 3 (October 24, 2019). http://dx.doi.org/10.14244/198271993096.

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The focus of this study is the problematization of the supervised internship as praxis and its relationship with Pedagogy and Didactics, as well as its secondation in the Pedagogical Residence Program in the contemporary Brazilian social-political context. This study theoretically assumes that the internship as praxis, reflection and experimentation of planning, teaching and evaluation practices in the basic education network is a subsidy for the professional development and pedagogical training of undergraduate students. In particular, we emphasize that internships are praxis because this is a pedagogical process, a teaching instrument and a seizure of the teaching profession, comprising the principle of knowledge production from a critical reading of reality, and subsidized, above all, by Pedagogy and Didactics.ResumoO foco deste estudo é a problematização do estágio supervisionado como práxis, sua relação com a Pedagogia e a Didática, e sua secundarização no Programa de Residência Pedagógica no contexto social-político brasileiro contemporâneo. Neste trabalho, teoricamente, parte-se do pressuposto que o estágio como práxis, reflexão e experimentação de práticas de planejamento, de ensino e avaliação nas redes de ensino básico, é subsídio para o desenvolvimento profissional e a formação pedagógica dos estudantes dos cursos de licenciatura. Enfatizamos, em particular, que o estágio é práxis porque é um processo pedagógico; instrumento de ensino e de apreensão da profissão docente tendo como princípio a produção do conhecimento a partir da leitura crítica da realidade, e subsidiado, sobretudo, pela Pedagogia e a Didática.ResumenEl enfoque de este estudio es la problematización de las prácticas docentes supervisadas como praxis, su relación con la Pedagogía y la Didáctica y su secundarización en el Programa de Residencia Pedagógica en el contexto social-político brasilero contemporáneo. En este trabajo, teóricamente, se parte de la presuposición de que las prácticas docentes actúan como praxis, reflexión y experimentación de prácticas de planeamiento, de enseñanza y de evaluación en las redes de enseñanza básica, son fundamentales para el desarrollo profesional y la formación pedagógica de los estudiantes de las carreras de licenciatura. Enfatizamos, en particular, que las prácticas son praxis porque son un proceso pedagógico; instrumento de enseñanza y de aprehensión de la profesión docente teniendo como principio la producción del conocimiento a partir de la lectura crítica de la realidad, y subsidiadas, especialmente, por la Pedagogía y la Didáctica.Palavras-chave: Estágio, Práxis, Pedagogia e didática, Formação docente. Keywords: Internship, Práxis, Pedagogy and Didactics, Teacher training.Palabras-clave: Prácticas docentes, Praxis, Pedagogía y didáctica, Formación docente.ReferencesANDRÉ, Eliza Dalmazo Afonso de; ALMEIDA, Patrícia Cristina Albieri de. A profissionalidade do professor formador das licenciaturas. Rev. educ. PUC-Camp., Campinas, 22(2):203-219, maio/ago., 2017. Disponível em: https://doi.org/10.24220/2318-0870v22n2a3640. Acesso em: 21 set. 2018.ANDRÉ, Marli; CALIL, Ana Maria Gimenes Corrêa; MARTINS, Francine de Paulo; PEREIRA, Marli Amélia Lucas. O papel do outro na constituição da profissionalidade de professoras iniciantes. Revista Eletrônica de Educação, v.11, n.2, p. 505-520, jun./ago. 2017. Disponível em: http://dx.doi.org/10.14244/198271992231. Acesso em: 21 ago. 2018.ANFOPE, Associação Nacional pela Formação dos Profissionais da Educação. Manifesto contra a medida provisória N. 746/2016. Disponível em: http://www.anfope.org.br/wp-content/uploads/2018/05/Manifesto-Anfope-MP-746-12.10.2016R.pdf. Acesso em: 01 Out. 2018.ANPED - Associação Nacional de Pós-Graduação e Pesquisa em Educação. A política de formação de professores no Brasil de 2018: uma análise dos Editais CAPES de Residência Pedagógica e PIBID e a reafirmação da resolução CNE/CP 02/2015. Rio de Janeiro – RJ, ANPED, 2018. Disponível em: http://www.anped.org.br/news/em-audiencia-no-cne-anped-e-entidades-de-pesquisa-repudiam-submissao-de-formacao-de-professores. Acesso em: 04 ago. 2018.ARAÚJO, Osmar Hélio Alves; RIBEIRO, Luís Távora Furtado. Tecendo relações entre a disciplina de Didática, a Universidade e o Contexto Escolar. Educação & Linguagem • v. 21 • n. 2 • jul.- dez. 2017. Disponível em: http://dx.doi.org/10.15603/2176-1043/el.v20n2p5-14. Acesso em: 09 maio 2018.ARAÚJO, Osmar Hélio Alves; RODRIGUES, Janine Marta Coelho. Escola básica no contexto social-político contemporâneo: considerações críticas. Interfaces Científicas - Educação • Aracaju • V.7 • N.1 • p. 71 - 82 • Outubro - 2018. Disponível em: http://dx.doi.org/10.15603/2176-1043/el.v20n2p5-14. Acesso em: 12 out. 2018.ARAÚJO, Osmar Hélio Alves. Qual educação é necessária para a superação da violência e de injustiças?. Revista Teias, v. 19, n. 53, 2018. Disponível em: https://doi.org/10.12957/teias.2018.32120. Acesso em: 04 jul. 2018.BRASIL. Ministério da Educação. Conselho Nacional de Educação. Conselho Pleno. Resolução CNE/CP nº 2/2015. Define as diretrizes curriculares nacionais para a formação inicial em nível superior (cursos de licenciatura, cursos de formação pedagógica para graduados e cursos de segunda licenciatura) e para a formação continuada. Brasília, DF: MEC, 2015. Disponível em: http:// portal.mec.gov.br/cne/arquivos/pdf/. Acesso em: 05 ago. 2018.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior. Edital CAPES nº 06/2018 - Chamada Pública para apresentação de propostas no âmbito do Programa de Residência Pedagógica. Disponível em: http://www.capes.gov.br/images/stories/download/editais/01032018-Edital-6-2018-Residencia-pedagogica.pdf. Acesso em: 04 ago. 2018.CRUZ, Giseli Barreto da; ANDRÉ, Marli Eliza Dalmazo de. Ensino de didática: um estudo sobre concepções e práticas de professores formadores. Educação em Revista, Belo Horizonte, v.30, n.04, p.181-203, Outubro-Dezembro, 2014. Disponível em: http://dx.doi.org/10.1590/S0102-46982014000400009. Acesso em: 01 mar. 2019.FARIA, Juliana Batista; PEREIRA, Júlio Emílio Diniz. Residência pedagógica: afinal, o que é isso? R. Educ. Públ. Cuiabá, v. 28, n. 68, p. 333-356, maio/ago. 2019. Disponível em: http://dx.doi.org/10.29286/rep.v28i68.8393. Acesso em: 29 set. 2019.FRANCO, Maria Amélia Santoro. Didática: uma esperança para as dificuldades pedagógicas do Ensino superior? Práxis Educacional, Vol. 9, n. 15, 2013. Disponível em: http://periodicos.uesb.br/index.php/praxis/article/view/1947. Acesso em: 04 set. 2018.FRANCO, Maria Amélia Santoro. Prática pedagógica e docência: um olhar a partir da epistemologia do conceito. Rev. Bras. Estud. Pedagog. [online]. 2016, vol. 97, n.247, pp.534-551. Disponível em: http://dx.doi.org/10.1590/s2176-6681/288236353. Acesso em: 21 ago. 2018.FRANCO, Maria Amélia do Rosário Santoro. Pedagogia: por entre resistências e insistências. Rev. Espaço do Currículo (online), João Pessoa, v.10, n.2, p. 161-173, mai./ago. 2017. Disponível em: http://periodicos.ufpb.br/ojs2/index.php. Acesso em: 01 out. 2018.GONÇALVEZ, Suzane da Rocha Vieira. Interesses mercadológicos: e o "novo" ensino médio. Revista Retratos da escola, Brasília, v. 11, n. 20, p. 33-44, jan./jun. 2017. Disponível em: http://dx.doi.org/10.22420/rde.v11i20.753. Acesso em: 03 out. 2018.GUEDES, Marilde Queiroz. A nova política de formação de professores no Brasil: enquadramentos da base nacional comum curricular e do programa de residência pedagógica. Da Investigação às Práticas, 9(1), 90 – 99, 2019. Disponível em: https://doi.org/10.25757/invep.v9i1.174 . Acesso em: 299 set. 2019.LIMA, Maria Socorro Lucena. Mobilização da práxis pedagógica no estágio com pesquisa: a produção escrita de textos coletivos. In: D’ÁVILA, Cristina, [et al.] (Orgs). Didática: saberes estruturantes e formação de professores. Salvador: EDUFBA, 2019, p. 133-145.LIBÂNEO, José Carlos. O dualismo perverso da escola pública brasileira: escola do conhecimento para os ricos, escola do acolhimento social para os pobres. Educação e Pesquisa, São Paulo, v. 38, n. 1, p. 13-28, 2012. Disponível em: http://www.scielo.br/pdf/ep/v38n1/aop323.pdf. Acesso: 14 out. 2018.LIBÂNEO, José Carlos. O campo teórico e profissional da Didática hoje: entre Ítaca e o canto das sereias. In: FRANCO, Maria Amélia Santoro; PIMENTA, Selma Garrido (Orgs.). Didática: embates contemporâneos. 3ª ed. São Paulo: Edições Loyola, 2014. p.43-73.MARAFELLI, Cecilia Maria; RODRIGUES, Priscila Andrade Magalhães; BRANDÃO, Zaia. A formação profissional dos professores: um velho problema sob outro ângulo. Cadernos de Pesquisa, v.47 n.165 p.982-997 jul./set. 2017. Disponível em: http://publicacoes.fcc.org.br/ojs/index.php/cp/article/view/4293. Acesso em: 21 nov. 2018.MEDEIROS, Emerson Augusto de; AGUIAR, Ana Lúcia Oliveira. Formação inicial de professores da educação básica em licenciaturas de universidades públicas do Rio Grande do Norte: estudo de currículos e suas matrizes curriculares. Revista Ibero Americana de Estudos em Educação, Araraquara, v. 13, n. 03, p. 1028-1049, jul./set., 2018. Disponível em: https://doi.org/10.21723/riaee.v13.n3.2018.10975. Acesso em: 14 out. 2018.MOLL, Jaqueline. Reformar para retardar. A lógica da mudança do EM. Revista Retratos da escola, Brasília, v. 11, n. 20, p. 33-44, jan./jun. 2017. Disponível em: http://dx.doi.org/10.22420/rde.v11i20.771. Acesso em: 03 out. 2018.MORGADO, José Carlos. Identidade e profissionalidade docente: sentidos e (im)possibilidades. Ensaio: aval. pol. públ. Educ., Rio de Janeiro, v. 19, n. 73, p. 793-812. Out./Dez. 2011. Disponível em: http://revistas.cesgranrio.org.br/index.php/ensaio/article/view/408 /. Acesso em: 14 out. 2018.NÓVOA, Antonio. “Se fosse brasileiro, estaria indignado com a situação da educação”. Carta Capital, 28 de março de 2017. Disponível em: http://www.cartaeducacao.com.br/reportagens/se-fosse-brasileiro-estaria-indignado-com-a-situacao-da-educacao/. Acesso em: 21 set. 2018.PANIAGO, Rosenilde Nogueira; SARMENTO, Teresa Jacinto. O processo de estágio supervisionado na formação de professores portugueses e brasileiros. Revista Educação em Questão, Natal, v. 53, n. 39, p. 76-103, maio/ago. 2015. Disponível em: https://periodicos.ufrn.br/educacaoemquestao/article/view/8521. Acesso em: 04 set. 2018.PIMENTA, Selma Garrido; LIMA, Maria Socorro Lucena. Estágio e docência: diferentes concepções. Revista Poíesis -Volume 3, Números 3 e 4, pp.5-24, 2005/2006. Disponível em: https://doi.org/10.5216/rpp.v3i3e4.10542. Acesso em: 09 out. 2019.ROLDÃO, Maria do Céu; LEITE, Teresa. O processo de desenvolvimento profissional visto pelos professores mentores. Ensaio: aval. pol. públ. Educ., Rio de Janeiro, v. 20, n. 76, p. 481-502, jul./set. 2012. Disponível em: http://www.scielo.br/pdf/ensaio/v20n76/04.pdf. Acesso em: 04 out. 2018.RIOS, Terezinha Azerêdo. É possível formar professores sem a Didática? In: LIMA, Maria Socorro Lucena et al. (Org.). Didática e prática de ensino: diálogos sobre Escola, formação de professores e sociedade. 1ed. Fortaleza: Universidade Estadual do Ceará, 2015, v. 4, p. 643-653.SILVA, Katia Augusta Curado Pinheiro da; CRUZ, Shirleide Pereira. A Residência Pedagógica na formação de professores: história, hegemonia e resistências. Momento: diálogos em educação, v. 27, n. 2, p. 227-247, mai./ago., 2018. Disponível em: file:///C:/Users/USER/Downloads/8062-23532-1-PB.pdf. Acesso em: 29 set. 2019.SIMÕES, Willian. O lugar das ciências humanas na "reforma" do ensino médio. Revista Retratos da escola, Brasília, v. 11, n. 20, p. 33-44, jan./jun. 2017. Disponível em: http://dx.doi.org/10.22420/rde.v11i20.752. Acesso em: 04 out. 2018.ZABALZA, Miguel. O ensino universitário: seu cenário e seus protagonistas. Porto Alegre: Artmed, 2004.
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Collins, Steve. "Amen to That." M/C Journal 10, no. 2 (May 1, 2007). http://dx.doi.org/10.5204/mcj.2638.

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In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Musical “quotation” is actively encouraged in jazz, and contemporary hip-hop would not exist if the genre’s pioneers and progenitors had not plundered and adapted existing recorded music. Sampling technologies, however, have taken musical adaptation a step further and realised Cage’s prediction. Hardware and software samplers have developed to the stage where any piece of audio can be appropriated and adapted to suit the creative impulses of the sampling musician (or samplist). The practice of sampling challenges established notions of creativity, with whole albums created with no original musical input as most would understand it—literally “records made from records.” Sample-based music is premised on adapting audio plundered from the cultural environment. This paper explores the ways in which technology is used to adapt previous recordings into new ones, and how musicians themselves have adapted to the potentials of digital technology for exploring alternative approaches to musical creativity. Sampling is frequently defined as “the process of converting an analog signal to a digital format.” While this definition remains true, it does not acknowledge the prevalence of digital media. The “analogue to digital” method of sampling requires a microphone or instrument to be recorded directly into a sampler. Digital media, however, simplifies the process. For example, a samplist can download a video from YouTube and rip the audio track for editing, slicing, and manipulation, all using software within the noiseless digital environment of the computer. Perhaps it is more prudent to describe sampling simply as the process of capturing sound. Regardless of the process, once a sound is loaded into a sampler (hardware or software) it can be replayed using a MIDI keyboard, trigger pad or sequencer. Use of the sampled sound, however, need not be a faithful rendition or clone of the original. At the most basic level of manipulation, the duration and pitch of sounds can be altered. The digital processes that are implemented into the Roland VariOS Phrase Sampler allow samplists to eliminate the pitch or melodic quality of a sampled phrase. The phrase can then be melodically redefined as the samplist sees fit: adapted to a new tempo, key signature, and context or genre. Similarly, software such as Propellerhead’s ReCycle slices drum beats into individual hits for use with a loop sampler such as Reason’s Dr Rex module. Once loaded into Dr Rex, the individual original drum sounds can be used to program a new beat divorced from the syncopation of the original drum beat. Further, the individual slices can be subjected to pitch, envelope (a component that shapes the volume of the sound over time) and filter (a component that emphasises and suppresses certain frequencies) control, thus an existing drum beat can easily be adapted to play a new rhythm at any tempo. For example, this rhythm was created from slicing up and rearranging Clyde Stubblefield’s classic break from James Brown’s “Funky Drummer”. Sonic adaptation of digital information is not necessarily confined to the auditory realm. An audio editor such as Sony’s Sound Forge is able to open any file format as raw audio. For example, a Word document or a Flash file could be opened with the data interpreted as audio. Admittedly, the majority of results obtained are harsh white noise, but there is scope for serendipitous anomalies such as a glitchy beat that can be extracted and further manipulated by audio software. Audiopaint is an additive synthesis application created by Nicolas Fournel for converting digital images into audio. Each pixel position and colour is translated into information designating frequency (pitch), amplitude (volume) and pan position in the stereo image. The user can determine which one of the three RGB channels corresponds to either of the stereo channels. Further, the oscillator for the wave form can be either the default sine wave or an existing audio file such as a drum loop can be used. The oscillator shapes the end result, responding to the dynamics of the sine wave or the audio file. Although Audiopaint labours under the same caveat as with the use of raw audio, the software can produce some interesting results. Both approaches to sound generation present results that challenge distinctions between “musical sound” and “noise”. Sampling is also a cultural practice, a relatively recent form of adaptation extending out of a time honoured creative aesthetic that borrows, quotes and appropriates from existing works to create new ones. Different fields of production, as well as different commentators, variously use terms such as “co-creative media”, “cumulative authorship”, and “derivative works” with regard to creations that to one extent or another utilise existing works in the production of new ones (Coombe; Morris; Woodmansee). The extent of the sampling may range from subtle influence to dominating significance within the new work, but the constant principle remains: an existing work is appropriated and adapted to fit the needs of the secondary creator. Proponents of what may be broadly referred to as the “free culture” movement argue that creativity and innovation inherently relies on the appropriation and adaptation of existing works (for example, see Lessig, Future of Ideas; Lessig, Free Culture; McLeod, Freedom of Expression; Vaidhyanathan). For example, Gwen Stefani’s 2004 release “Rich Girl” is based on Louchie Lou and Michie One’s 1994 single of the same title. Lou and One’s “Rich Girl”, in turn, is a reggae dance hall adaptation of “If I Were a Rich Man” from Fiddler on the Roof. Stefani’s “na na na” vocal riff shares the same melody as the “Ya ha deedle deedle, bubba bubba deedle deedle dum” riff from Fiddler on the Roof. Samantha Mumba adapted David Bowie’s “Ashes to Ashes” for her second single “Body II Body”. Similarly, Richard X adapted Tubeway Army’s “Are ‘Friends’ Electric?’ and Adina Howard’s “Freak Like Me” for a career saving single for Sugababes. Digital technologies enable and even promote the adaptation of existing works (Morris). The ease of appropriating and manipulating digital audio files has given rise to a form of music known variously as mash-up, bootleg, or bastard pop. Mash-ups are the most recent stage in a history of musical appropriation and they epitomise the sampling aesthetic. Typically produced in bedroom computer-based studios, mash-up artists use software such as Acid or Cool Edit Pro to cut up digital music files and reassemble the fragments to create new songs, arbitrarily adding self-composed parts if desired. Comprised almost exclusively from sections of captured music, mash-ups have been referred to as “fictional pop music” because they conjure up scenarios where, for example, Destiny’s Child jams in a Seattle garage with Nirvana or the Spice Girls perform with Nine Inch Nails (Petridis). Once the initial humour of the novelty has passed, the results can be deeply alluring. Mash-ups extract the distinctive characteristics of songs and place them in new, innovative contexts. As Dale Lawrence writes: “the vocals are often taken from largely reviled or ignored sources—cornball acts like Aguilera or Destiny’s Child—and recast in wildly unlikely contexts … where against all odds, they actually work”. Similarly, Crawford argues that “part of the art is to combine the greatest possible aesthetic dissonance with the maximum musical harmony. The pleasure for listeners is in discovering unlikely artistic complementarities and revisiting their musical memories in mutated forms” (36). Sometimes the adaptation works in the favour of the sampled artist: George Clinton claims that because of sampling he is more popular now than in 1976—“the sampling made us big again” (Green). The creative aspect of mash-ups is unlike that usually associated with musical composition and has more in common with DJing. In an effort to further clarify this aspect, we may regard DJ mixes as “mash-ups on the fly.” When Grandmaster Flash recorded his quilt-pop masterpiece, “Adventures of Grandmaster Flash on the Wheels of Steel,” it was recorded while he performed live, demonstrating his precision and skill with turntables. Modern audio editing software facilitates the capture and storage of sound, allowing mash-up artists to manipulate sounds bytes outside of “real-time” and the live performance parameters within which Flash worked. Thus, the creative element is not the traditional arrangement of chords and parts, but rather “audio contexts”. If, as Riley pessimistically suggests, “there are no new chords to be played, there are no new song structures to be developed, there are no new stories to be told, and there are no new themes to explore,” then perhaps it is understandable that artists have searched for new forms of musical creativity. The notes and chords of mash-ups are segments of existing works sequenced together to produce inter-layered contexts rather than purely tonal patterns. The merit of mash-up culture lies in its function of deconstructing the boundaries of genre and providing new musical possibilities. The process of mashing-up genres functions to critique contemporary music culture by “pointing a finger at how stifled and obvious the current musical landscape has become. … Suddenly rap doesn’t have to be set to predictable funk beats, pop/R&B ballads don’t have to come wrapped in cheese, garage melodies don’t have to recycle the Ramones” (Lawrence). According to Theodor Adorno, the Frankfurt School critic, popular music (of his time) was irretrievably simplistic and constructed from easily interchangeable, modular components (McLeod, “Confessions”, 86). A standardised and repetitive approach to musical composition fosters a mode of consumption dubbed by Adorno “quotation listening” and characterised by passive acceptance of, and obsession with, a song’s riffs (44-5). As noted by Em McAvan, Adorno’s analysis elevates the producer over the consumer, portraying a culture industry controlling a passive audience through standardised products (McAvan). The characteristics that Adorno observed in the popular music of his time are classic traits of contemporary popular music. Mash-up artists, however, are not representative of Adorno’s producers for a passive audience, instead opting to wrest creative control from composers and the recording industry and adapt existing songs in pursuit of their own creative impulses. Although mash-up productions may consciously or unconsciously criticise the current state of popular music, they necessarily exist in creative symbiosis with the commercial genres: “if pop songs weren’t simple and formulaic, it would be much harder for mashup bedroom auteurs to do their job” (McLeod, “Confessions”, 86). Arguably, when creating mash-ups, some individuals are expressing their dissatisfaction with the stagnation of the pop industry and are instead working to create music that they as consumers wish to hear. Sample-based music—as an exercise in adaptation—encourages a Foucauldian questioning of the composer’s authority over their musical texts. Recorded music is typically a passive medium in which the consumer receives the music in its original, unaltered form. DJ Dangermouse (Brian Burton) breached this pact to create his Grey Album, which is a mash-up of an a cappella version of Jay-Z’s Black Album and the Beatles’ eponymous album (also known as the White Album). Dangermouse says that “every kick, snare, and chord is taken from the Beatles White Album and is in their original recording somewhere.” In deconstructing the Beatles’ songs, Dangermouse turned the recordings into a palette for creating his own new work, adapting audio fragments to suit his creative impulses. As Joanna Demers writes, “refashioning these sounds and reorganising them into new sonic phrases and sentences, he creates acoustic mosaics that in most instances are still traceable to the Beatles source, yet are unmistakeably distinct from it” (139-40). Dangermouse’s approach is symptomatic of what Schütze refers to as remix culture: an open challenge to a culture predicated on exclusive ownership, authorship, and controlled distribution … . Against ownership it upholds an ethic of creative borrowing and sharing. Against the original it holds out an open process of recombination and creative transformation. It equally calls into question the categories, rifts and borders between high and low cultures, pop and elitist art practices, as well as blurring lines between artistic disciplines. Using just a laptop, an audio editor and a calculator, Gregg Gillis, a.k.a. Girl Talk, created the Night Ripper album using samples from 167 artists (Dombale). Although all the songs on Night Ripper are blatantly sampled-based, Gillis sees his creations as “original things” (Dombale). The adaptation of sampled fragments culled from the Top 40 is part of Gillis’ creative process: “It’s not about who created this source originally, it’s about recontextualising—creating new music. … I’ve always tried to make my own songs” (Dombale). Gillis states that his music has no political message, but is a reflection of his enthusiasm for pop music: “It’s a celebration of everything Top 40, that’s the point” (Dombale). Gillis’ “celebratory” exercises in creativity echo those of various fan-fiction authors who celebrate the characters and worlds that constitute popular culture. Adaptation through sampling is not always centred solely on music. Sydney-based Tom Compagnoni, a.k.a. Wax Audio, adapted a variety of sound bytes from politicians and media personalities including George W. Bush, Alexander Downer, Alan Jones, Ray Hadley, and John Howard in the creation of his Mediacracy E.P.. In one particular instance, Compagnoni used a myriad of samples culled from various media appearances by George W. Bush to recreate the vocals for John Lennon’s Imagine. Created in early 2005, the track, which features speeded-up instrumental samples from a karaoke version of Lennon’s original, is an immediate irony fuelled comment on the invasion of Iraq. The rationale underpinning the song is further emphasised when “Imagine This” reprises into “Let’s Give Peace a Chance” interspersed with short vocal fragments of “Come Together”. Compagnoni justifies his adaptations by presenting appropriated media sound bytes that deliberately set out to demonstrate the way information is manipulated to present any particular point of view. Playing the media like an instrument, Wax Audio juxtaposes found sounds in a way that forces the listener to confront the bias, contradiction and sensationalism inherent in their daily intake of media information. … Oh yeah—and it’s bloody funny hearing George W Bush sing “Imagine”. Notwithstanding the humorous quality of the songs, Mediacracy represents a creative outlet for Compagnoni’s political opinions that is emphasised by the adaptation of Lennon’s song. Through his adaptation, Compagnoni revitalises Lennon’s sentiments about the Vietnam War and superimposes them onto the US policy on Iraq. An interesting aspect of sampled-based music is the re-occurrence of particular samples across various productions, which demonstrates that the same fragment can be adapted for a plethora of musical contexts. For example, Clyde Stubblefield’s “Funky Drummer” break is reputed to be the most sampled break in the world. The break from 1960s soul/funk band the Winstons’ “Amen Brother” (the B-side to their 1969 release “Color Him Father”), however, is another candidate for the title of “most sampled break”. The “Amen break” was revived with the advent of the sampler. Having featured heavily in early hip-hop records such as “Words of Wisdom” by Third Base and “Straight Out of Compton” by NWA, the break “appears quite adaptable to a range of music genres and tastes” (Harrison, 9m 46s). Beginning in the early 1990s, adaptations of this break became a constant of jungle music as sampling technology developed to facilitate more complex operations (Harrison, 5m 52s). The break features on Shy FX’s “Original Nutta”, L Double & Younghead’s “New Style”, Squarepusher’s “Big Acid”, and a cover version of Led Zepplin’s “Whole Lotta Love” by Jane’s Addiction front man Perry Farrell. This is to name but a few tracks that have adapted the break. Wikipedia offers a list of songs employing an adaptation of the “Amen break”. This list, however, falls short of the “hundreds of tracks” argued for by Nate Harrison, who notes that “an entire subculture based on this one drum loop … six seconds from 1969” has developed (8m 45s). The “Amen break” is so ubiquitous that, much like the twelve bar blues structure, it has become a foundational element of an entire genre and has been adapted to satisfy a plethora of creative impulses. The sheer prevalence of the “Amen break” simultaneously illustrates the creative nature of music adaptation as well as the potentials for adaptation stemming from digital technology such as the sampler. The cut-up and rearrangement aspect of creative sampling technology at once suggests the original but also something new and different. Sampling in general, and the phenomenon of the “Amen break” in particular, ensures the longevity of the original sources; sampled-based music exhibits characteristics acquired from the source materials, yet the illegitimate offspring are not their parents. Sampling as a technology for creatively adapting existing forms of audio has encouraged alternative approaches to musical composition. Further, it has given rise to a new breed of musician that has adapted to technologies of adaptation. Mash-up artists and samplists demonstrate that recorded music is not simply a fixed or read-only product but one that can be freed from the composer’s original arrangement to be adapted and reconfigured. Many mash-up artists such as Gregg Gillis are not trained musicians, but their ears are honed from enthusiastic consumption of music. Individuals such as DJ Dangermouse, Gregg Gillis and Tom Compagnoni appropriate, reshape and re-present the surrounding soundscape to suit diverse creative urges, thereby adapting the passive medium of recorded sound into an active production tool. References Adorno, Theodor. “On the Fetish Character in Music and the Regression of Listening.” The Culture Industry: Selected Essays on Mass Culture. Ed. J. Bernstein. London, New York: Routledge, 1991. Burnett, Henry. “Ruggieri and Vivaldi: Two Venetian Gloria Settings.” American Choral Review 30 (1988): 3. Compagnoni, Tom. “Wax Audio: Mediacracy.” Wax Audio. 2005. 2 Apr. 2007 http://www.waxaudio.com.au/downloads/mediacracy>. Coombe, Rosemary. The Cultural Life of Intellectual Properties. Durham, London: Duke University Press, 1998. Demers, Joanna. Steal This Music: How Intellectual Property Law Affects Musical Creativity. Athens, London: University of Georgia Press, 2006. Dombale, Ryan. “Interview: Girl Talk.” Pitchfork. 2006. 9 Jan. 2007 http://www.pitchforkmedia.com/article/feature/37785/Interview_Interview_Girl_Talk>. Duffel, Daniel. Making Music with Samples. San Francisco: Backbeat Books, 2005. Forbes, Anne-Marie. “A Venetian Festal Gloria: Antonio Lotti’s Gloria in D Major.” Music Research: New Directions for a New Century. Eds. M. Ewans, R. Halton, and J. Phillips. London: Cambridge Scholars Press, 2004. Green, Robert. “George Clinton: Ambassador from the Mothership.” Synthesis. Undated. 15 Sep. 2005 http://www.synthesis.net/music/story.php?type=story&id=70>. Harrison, Nate. “Can I Get an Amen?” Nate Harrison. 2004. 8 Jan. 2007 http://www.nkhstudio.com>. Lawrence, Dale. “On Mashups.” Nuvo. 2002. 8 Jan. 2007 http://www.nuvo.net/articles/article_292/>. Lessig, Lawrence. The Future of Ideas. New York: Random House, 2001. ———. Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. New York: The Penguin Press, 2004. McAvan, Em. “Boulevard of Broken Songs: Mash-Ups as Textual Re-Appropriation of Popular Music Culture.” M/C Journal 9.6 (2006) 3 Apr. 2007 http://journal.media-culture.org.au/0612/02-mcavan.php>. McLeod, Kembrew. “Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist-Academic.” Popular Music & Society 28.79. ———. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. United States: Doubleday Books. Morris, Sue. “Co-Creative Media: Online Multiplayer Computer Game Culture.” Scan 1.1 (2004). 8 Jan. 2007 http://scan.net.au/scan/journal/display_article.php?recordID=16>. Petridis, Alexis. “Pop Will Eat Itself.” The Guardian UK. March 2003. 8 Jan. 2007 http://www.guardian.co.uk/arts/critic/feature/0,1169,922797,00.html>. Riley. “Pop Will Eat Itself—Or Will It?”. The Truth Unknown (archived at Archive.org). 2003. 9 Jan. 2007 http://web.archive.org/web/20030624154252 /www.thetruthunknown.com/viewnews.asp?articleid=79>. Schütze, Bernard. “Samples from the Heap: Notes on Recycling the Detritus of a Remixed Culture”. Horizon Zero 2003. 8 Jan. 2007 http://www.horizonzero.ca/textsite/remix.php?tlang=0&is=8&file=5>. Vaidhyanathan, Siva. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York, London: New York University Press, 2003. Woodmansee, Martha. “On the Author Effect: Recovering Collectivity.” The Construction of Authorship: Textual Appropriation in Law and Literature. Eds. M. Woodmansee, P. Jaszi and P. Durham; London: Duke University Press, 1994. 15. Citation reference for this article MLA Style Collins, Steve. "Amen to That: Sampling and Adapting the Past." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/09-collins.php>. APA Style Collins, S. 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Sk, Farooq. "Journal Vol – 15 No -7, July 2020 Journal > Journal > Journal Vol – 15 No -7, July 2020 > Page 6 PERFORMANCE AND EMISSION CHARACTERISTICS OF GASOLINE-ETHANOL BLENDS ON PFI-SI ENGINE Authors: D.Vinay Kumar ,G.Samhita Priyadarsini,V.Jagadeesh Babu,Y.Sai Varun Teja, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00051 admin July 26, 2020 Abstract: Alcohol based fuels can be produced from renewable energy sources and has the potential to reduce pollutant emissions due to their oxygenated nature. Lighter alcohols like ethanol and methanol are easily miscible with gasoline and by blending alcohols with gasoline; a part of conventional fuel can be replaced while contributing to fuel economy. Several researchers tested various ethanol blends on different engine test rigs and identified ethanol as one of the most promising ecofriendly fuels for spark ignition engine. Its properties high octane number, high latent heat of vaporization give better performance characteristics and reduces exhaust emissions compared to gasoline. This paper focuses on studying the effects of blending 50 of ethanol by volume with gasoline as it hardly needs engine modifications. Gasoline (E0) and E50 fuels were investigated experimentally on single-cylinder, four-stroke port fuel injection spark ignition engine by varying engine speed from 1500 rpm to 3500 rpm. Performance Characteristics like torque, brake power, specific fuel consumption, and volumetric efficiency and exhaust emissions such as HC, CO, CO2, NOx were studied.. Keywords: Ethanol,Emissions,Gasoline,Port fuel Injection, Refference: I Badrawada, I. G. G., and A. A. P. Susastriawan. “Influence of ethanol–gasoline blend on performance and emission of four-stroke spark ignition motorcycle.” Clean Technologies and Environmental Policy (2019): 1-6. II Doğan, Battal, et al. “The effect of ethanol-gasoline blends on performance and exhaust emissions of a spark ignition engine through exergy analysis.” Applied Thermal Engineering 120 (2017): 433-443. III Efemwenkiekie, U. Ka, et al. “Comparative Analysis of a Four Stroke Spark Ignition Engine Performance Using Local Ethanol and Gasoline Blends.” Procedia Manufacturing 35 (2019): 1079-1086. IV Galloni, E., F. Scala, and G. Fontana. “Influence of fuel bio-alcohol content on the performance of a turbo-charged, PFI, spark-ignition engine.” Energy 170 (2019): 85-92. V Hasan, Ahmad O., et al. “Impact of changing combustion chamber geometry on emissions, and combustion characteristics of a single cylinder SI (spark ignition) engine fueled with ethanol/gasoline blends.” Fuel 231 (2018): 197-203. VI Mourad, M., and K. Mahmoud. “Investigation into SI engine performance characteristics and emissions fuelled with ethanol/butanol-gasoline blends.” Renewable Energy 143 (2019): 762-771. VII Singh, Ripudaman, et al. “Influence of fuel injection strategies on efficiency and particulate emissions of gasoline and ethanol blends in a turbocharged multi-cylinder direct injection engine.” International Journal of Engine Research (2019): 1468087419838393. VIII Thakur, Amit Kumar, et al. “Progress in performance analysis of ethanol-gasoline blends on SI engine.” Renewable and Sustainable Energy Reviews 69 (2017): 324-340. View Download Journal Vol – 15 No -7, July 2020 CHARACTERIZATION OF MATERIALS FOR CUSTOMIZED AFO USING ADDITIVE MANUFACTURING Authors: Gamini Suresh,Nagarjuna Maguluri,Kunchala Balakrishna, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00052 admin July 26, 2020 Abstract: Neurodegenerative conditions and compressed nerves often cause an abnormal foot drop that affects an individual gait and make it difficult to walk normally. Ankle Foot Orthosis (AFO) is the medical device which is recommended for the patients to improve the walking ability and decrease the risk of falls. Custom AFOs provide better fit, comfort and performance than pre-manufactured ones. The technique of 3D-printing is suitable for making custom AFOs. Fused deposition modelling (FDM) is a 3D-printing method for custom AFO applications with the desired resistance and material deposition rate. Generally, FDM is a thermal process; therefore materials thermal behaviour plays an important role in optimizing the performance of the printed parts. The objective of this study is to evaluate the thermal behaviour of PLA, ABS, nylon and WF-PLA filaments before manufacturing the AFO components using the FDM method. In the study, the sequence of testing materials provides a basic measuring method to investigate AFO device parts thermal stability. Thermal analysis (TG/DTG and DSC) was carried out before 3D printing is to characterize the thermal stability of each material. Keywords: Additive Manufacturing,Ankle Foot Orthosis (AFO),FusedDeposition Modelling,ThermalAnalysis, Refference: I. J. Pritchett, “Foot drop: Background, Anatomy, Pathophysiology,” Medscape Drugs, Dis. Proced., vol. 350, no. apr27_6, p. h1736, 2014. II. J. Graham, “Foot drop: Explaining the causes, characteristics and treatment,” Br. J. Neurosci. Nurs., vol. 6, no. 4, pp. 168–172, 2010. III. Y. Feng and Y. Song, “The Categories of AFO and Its Effect on Patients With Foot Impair: A Systemic Review,” Phys. Act. Heal., vol. 1, no. 1, pp. 8–16, 2017. IV. J. H. P. Pallari, K. W. Dalgarno, J. Munguia, L. Muraru, L. Peeraer, S. Telfer, and J. Woodburn” Design and additive fabrication of foot and ankle-foot orthoses”21st Annual International Solid Freeform Fabrication Symposium – An Additive Manufacturing Conference, SFF 2010 (2010) 834-845 V. Y. Jin, Y. He, and A. Shih, “Process Planning for the Fuse Deposition Modeling of Ankle-Foot-Othoses,” Procedia CIRP, vol. 42, no. Isem Xviii, pp. 760–765, 2016. VI. R. K. Chen, Y. an Jin, J. Wensman, and A. Shih, “Additive manufacturing of custom orthoses and prostheses-A review,” Addit. Manuf., vol. 12, pp. 77–89, 2016. VII. A. D. Maso and F. Cosmi, “ScienceDirect 3D-printed ankle-foot orthosis : a design method,” Mater. Today Proc., vol. 12, pp. 252–261, 2019. VIII. B. Yuan et al., “Designing of a passive knee-assisting exoskeleton for weight-bearing,” in Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics), 2017, vol. 10463 LNAI, pp. 273–285. IX. R. Spina, B. Cavalcante, and F. Lavecchia, “Diment LE, Thompson MS, Bergmann JHM. Clinical efficacy and effectiveness of 3D printing: a systematic review.,” AIP Conf. Proc., vol. 1960, 2018. X. M. Srivastava, S. Maheshwari, T. K. Kundra, and S. Rathee, “ScienceDirect Multi-Response Optimization of Fused Deposition Modelling Process Parameters of ABS Using Response Surface Methodology ( RSM ) -Based Desirability Analysis,” Mater. Today Proc., vol. 4, no. 2, pp. 1972–1977, 2017. XI. E. Malekipour, S. Attoye, and H. El-Mounayri, “Investigation of Layer Based Thermal Behavior in Fused Deposition Modeling Process by Infrared Thermography,” Procedia Manuf., vol. 26, pp. 1014–1022, 2018. XII. A. Patar, N. Jamlus, K. Makhtar, J. Mahmud, and T. Komeda, “Development of dynamic ankle foot orthosis for therapeutic application,” Procedia Eng., vol. 41, no. Iris, pp. 1432–1440, 2012. XIII. Y. A. Jin, H. Li, Y. He, and J. Z. Fu, “Quantitative analysis of surface profile in fused deposition modelling,” Addit. Manuf., vol. 8, pp. 142–148, 2015. XIV. M. Walbran, K. Turner, and A. J. McDaid, “Customized 3D printed ankle-foot orthosis with adaptable carbon fibre composite spring joint,” Cogent Eng., vol. 3, no. 1, pp. 1–11, 2016. XV. N. Wierzbicka, F. Górski, R. Wichniarek, and W. Kuczko, “The effect of process parameters in fused deposition modelling on bonding degree and mechanical properties,” Adv. Sci. Technol. Res. J., vol. 11, no. 3, pp. 283–288, 2017. XVI. S. Farah, D. G. Anderson, and R. Langer, “Physical and mechanical properties of PLA, and their functions in widespread applications — A comprehensive review,” Adv. Drug Deliv. Rev., vol. 107, pp. 367–392, 2016. XVII. S. Wojtyła, P. Klama, and T. Baran, “Is 3D printing safe ? Analysis of the thermal treatment of thermoplastics : ABS , PLA , PET , and,” vol. 9624, no. April, 2017. XVIII. G. Cicala et al., “Polylactide / lignin blends,” J. Therm. Anal. Calorim., 2017. XIX. S. Y. Lee, I. A. Kang, G. H. Doh, H. G. Yoon, B. D. Park, and Q. Wu, “Thermal and mechanical properties of wood flour/talc-filled polylactic acid composites: Effect of filler content and coupling treatment,” J. Thermoplast. Compos. Mater., vol. 21, no. 3, pp. 209–223, 2008. XX. Y. Tao, H. Wang, Z. Li, P. Li, and S. Q. Shi, “Development and application ofwood flour-filled polylactic acid composite filament for 3d printing,” Materials (Basel)., vol. 10, no. 4, pp. 1–6, 2017. XXI. D. Lewitus, S. McCarthy, A. Ophir, and S. Kenig, “The effect of nanoclays on the properties of PLLA-modified polymers Part 1: Mechanical and thermal properties,” J. Polym. Environ., vol. 14, no. 2, pp. 171–177, 2006. XXII. H. J. Chung, E. J. Lee, and S. T. Lim, “Comparison in glass transition and enthalpy relaxation between native and gelatinized rice starches,” Carbohydr. Polym., vol. 48, no. 3, pp. 287–298, 2002. View Download Journal Vol – 15 No -7, July 2020 CFD STUDIES OF MIXING BEHAVIOR OF INERT SAND WITH BIOMASS IN FLUIDIZED BED Authors: B.J.M.Rao,K.V.N.S.Rao, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00053 admin July 26, 2020 Abstract: Agriculture deposits, which remains unused and often causes ecological problems, could play an important role as an energy source to meet energy needs in developing countries ‘ rural areas. Moreover, energy levels in these deposits are low and need to be elevated by introducing efficient operative conversion technologies to utilize these residues as fuels. In this context, the utilization of a fluidized bed innovation enables a wide range of non-uniform-sized low-grade fuels to be effectively converted into other forms of energy.This study was undertaken to evaluate the effectiveness of fluidized conversion method for transformation of agricultural by-products such as rice husk, sawdust, and groundnut shells into useful energy. The present investigation was conducted to know the mixing characteristics of sand and fuel have been found by conducting experiments with mixing ratio of rice husk (1:13), saw dust(1:5) and groundnut shells (1:12), the variation of particle movement in the bed and mixing characteristics are analyzed. The impact of sand molecule size on the fluidization speed of two biofuel and sand components is studied and recommended for groundnut shells using a sand molecule of 0.6 mm size and for rice husk, sawdust 0.4 mm sand particle size. Also, establish that the particle size of sand has a significant effect on mingling features in case of sawdust. In the next part of the investigation, the CFD simulations of the fluidized bed are done to investigate the mixing behavior of sand and biomass particles. A set of simulations are conducted by ANSYS FLUENT16; the state of the bed is the same as that of the test. The findings were presented with the volume fraction of sand and biomass particles in the form of contour plots. Keywords: Biomass,sand,mixing behavior,Volume Fraction,CFD model, Refference: I Anil Tekale, Swapna God, Balaji Bedre, Pankaj Vaghela, Ganesh Madake, Suvarna Labade (2017), Energy Production from Biomass: Review, International Journal of Innovative Science and Research Technology, Volume 2, Issue 10, ISSN No: – 2456 – 2165. II Anil Kumar, Nitin Kumar , Prashant Baredar , Ashish Shukla (2015), A review on biomass energy resources, potential, conversion and policy in India, Renewable and Sustainable Energy, Reviews 45-530-539. III Zhenglan Li, ZhenhuaXue (2015), Review of Biomass Energy utilization technology, 3rd International Conference on Material, Mechanical and Manufacturing Engineering. IV Abdeen Mustafa Omer (2011), Biomass energy resources utilisation and waste management, Journal of Agricultural Biotechnology and Sustainable Development Vol. 3(8), pp. 149 -170 V Rijul Dhingra, Abhinav Jain, Abhishek Pandey, and Srishti Mahajan (2014), Assessment of Renewable Energy in India, International Journal of Environmental Science and Development, Vol. 5, No. 5. VI Paulina Drożyner, Wojciech Rejmer, Piotr Starowicz,AndrzejKlasa, Krystyna A. Skibniewska (2013), Biomass as a Renewable Source of Energy, Technical Sciences 16(3), 211–220. VII Souvik Das, Swati Sikdar (2016), A Review on the Non-conventional Energy Sources in Indian Perspective, International Research Journal of Engineering and Technology (IRJET), Volume: 03 Issue: 02. VIII Maninder, Rupinderjit Singh Kathuria, Sonia Grover, Using Agricultural Residues as a Biomass Briquetting: An Alternative Source of Energy, IOSR Journal of Electrical and Electronics Engineering (IOSRJEEE), ISSN: 2278-1676 Volume 1, Issue 5 (July-Aug. 2012), PP 11-15. IX H.B.Goyal, DiptenduldDeal, R.C.Saxena (2006) Bio-fuels from thermochemical conversion of renewable resources: A review, Renewable and Sustainable Energy Reviews, Volume 12, Issue 2Pages 504-517. X Digambar H. Patil, J. K. Shinde(2017) A Review Paper on Study of Bubbling Fluidized Bed Gasifier, International Journal for Innovative Research in Science & Technology, Volume 4, Issue 4 XI Neil T.M. Duffy, John A. Eaton (2013) Investigation of factors affecting channelling in fixed-bed solid fuel combustion using CFD, Combustion and Flame 160, 2204–2220. XII Xing Wu, Kai Li, Feiyue and Xifeng Zhu (2017), Fluidization Behavior of Biomass Particles and its Improvement in a Cold Visualized Fluidized, Bio Resources 12(2), 3546-3559. XIII N.G. Deen, M. Van Sint Annaland, M.A. Van der Hoef, J.A.M. Kuipers (2007), Reviewof discrete particle modeling of fluidized beds, Chemical Engineering Science 62, 28 – 44. XIV BaskaraSethupathySubbaiah, Deepak Kumar Murugan, Dinesh Babu Deenadayalan, Dhamodharan.M.I (2014), Gasification of Biomass Using Fluidized Bed, International Journal of Innovative Research in Science, Engineering and Technology, Vol. 3, Issue 2. XV Priyanka Kaushal, Tobias Pröll and Hermann Hofbauer, Modelling and simulation of the biomass fired dual fluidized bed gasifier at Guessing/Austria. XVI Dawit DiribaGuta (2012), Assessment of Biomass Fuel Resource Potential and Utilization in Ethiopia: Sourcing Strategies for Renewable Energies, International Journal of Renewable Energy Research, Vol.2, and No.1. View Download Journal Vol – 15 No -7, July 2020 AN APPROACH FOR OPTIMISING THE FLOW RATE CONDITIONS OF A DIVERGENT NOZZLE UNDER DIFFERENT ANGULAR CONDITIONS Authors: Lam Ratna Raju ,Ch. Pavan Satyanarayana,Neelamsetty Vijaya Kavya, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00054 admin July 26, 2020 Abstract: A spout is a device which is used to offer the guidance to the gases leaving the burning chamber. Spout is a chamber which has a capability to change over the thermo-compound essentials created within the ignition chamber into lively vitality. The spout adjustments over the low speed, excessive weight, excessive temperature fuel in the consuming chamber into rapid gasoline of decrease weight and low temperature. An exciting spout is used if the spout weight volume is superior vehicles in supersonic airplane machines commonly combine a few sort of a distinctive spout. Our exam is surpassed on the use of programming like Ansys Workbench for arranging of the spout and Fluent 15.0 for separating the streams inside the spout. The events of staggers for the pipe formed spouts have been seen close by trade parameters for numerous considered one of a kind edges. The parameters underneath recognition are differentiated and that of shape spout for singular terrific edges by using keeping up the gulf, outlet and throat width and lengths of joined together and diverse quantities as same. The simultaneous component and throat expansiveness are kept regular over the cases.The surprise of stun became envisioned and the effects exhibited near closeness in direction of motion of Mach circle and its appearance plans as exposed in numerous preliminary considers on advancement in pipe molded particular spouts with assorted edges four°,7°, 10°, Occurrence of stun is seen with higher special factors Keywords: Nozzle,Supersonic Rocket Engine,Divergent edges, Refference: I. Varun, R.; Sundararajan,T.; Usha,R.; Srinivasan,ok.; Interaction among particle-laden under increased twin supersonic jets, Proceedings of the Institution of Mechanical Engineers, Part G: Journal of Aerospace Engineering 2010 224: 1005. II. Pandey,K.M.; Singh, A.P.; CFD Analysis of Conical Nozzle for Mach 3 at Various Angles of Divergence with Fluent Software, International Journal of Chemical Engineering and Applications, Vol. 1, No. 2, August 2010, ISSN: 2010-0221. III. Natta, Pardhasaradhi.; Kumar, V.Ranjith.; Rao, Dr. Y.V. Hanumantha.; Flow Analysis of Rocket Nozzle Using Computational Fluid Dynamics (Cfd), International Journal of Engineering Research and Applications (IJERA), ISSN: 2248-9622,Vol. 2, Issue five, September- October 2012, pp.1226-1235. IV. K.M. Pandey, Member IACSIT and A.P. Singh. K.M.Pandey, Member, IACSIT and S.K.YadavK.M.Pandey and S.K.Yadav, ―CFD Analysis of a Rocket Nozzle with Two Inlets at Mach2.1, Journal of Environmental Research and Development, Vol 5, No 2, 2010, pp- 308-321. V. Shigeru Aso, ArifNur Hakim, Shingo Miyamoto, Kei Inoue and Yasuhiro Tani “ Fundamental examine of supersonic combustion in natural air waft with use of surprise tunnel” Department of Aeronautics and Astronautics, Kyushu University, Japan , Acta Astronautica 57 (2005) 384 – 389. VI. P. Padmanathan, Dr. S. Vaidyanathan, Computational Analysis of Shockwave in Convergent Divergent Nozzle, International Journal of Engineering Research and Applications (IJERA), ISSN: 2248-9622 , Vol. 2, Issue 2,Mar-Apr 2012, pp.1597-1605. VII. Adamson, T.C., Jr., and Nicholls., J.A., “On the shape of jets from Highly below improved Nozzles into Still Air,” Journal of the Aerospace Sciences, Vol.26, No.1, Jan 1959, pp. Sixteen-24. VIII. Lewis, C. H., Jr., and Carlson, D. J., “Normal Shock Location in underneath increased Gas and Gas particle Jets,” AIAA Journal, Vol 2, No.4, April 1964, pp. 776-777. Books IX. Anderson, John D.Jr.; Modern Compressible Flow with Historical Perspective, Third edition, 2012 X. Versteeg. H.; Malalasekra.W.; An Introduction to Computational Fluid Dynamics The Finite Volume Method, Second Edition,2009. XI. H.K.Versteeg and W.Malala Sekhara, “An introduction to Computational fluid Dynamics”, British Library cataloguing pub, 4th version, 1996. XII. Lars Davidson, “An introduction to turbulenceModels”, Department of thermo and fluid dynamics, Chalmers college of era, Goteborg, Sweden, November, 2003. XIII. Karna s. Patel, “CFD analysis of an aerofoil”, International Journal of engineering studies,2009. XIV. K.M. Pandey, Member IACSIT and A.P. Singh “CFD Analysis of Conical Nozzle for Mach 3 at Various Angles of Divergence with Fluent Software,2017. XV. P. Parthiban, M. Robert Sagayadoss, T. Ambikapathi, Design And Analysis Of Rocket Engine Nozzle by way of the usage of CFD and Optimization of Nozzle parameters, International Journal of Engineering Research, Vol.Three., Issue.5., 2015 (Sept.-Oct.). View Download Journal Vol – 15 No -7, July 2020 DESIGN OPTIMIZATION OF DRIVE SHAFT FOR AN AUTOMOBILE APPLICATIONS Authors: Govindarajulu Eedara,P. N. Manthru Naik, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00055 admin July 26, 2020 Abstract: The driveshaft is a mechanical instrument that is used in automobiles. The other name of the drive shaft is driveshaft is prop shaft. It has one long cylindrical structure consist of two universal joints. By using the driveshaft it transfers the rotary motion to the differential by using the helical gearbox. By using this rotary motion the rare wheels will run. The 3dimensional Model of automobile drive Shaft is designed using CATIA parametric which enables product development processes and thereby brings about an optimum design. Now a day’s steel is using the best material for the driveshaft.In this paper replacing the composite materials (Kevlar, e-glass epoxy) instead of steel material and itreduces a considerable amount of weight when compared to the conventional steel shaft. The composite driveshaft have high modulus is designed by using CATIA software and tested in ANSYS for optimization of design or material check and providing the best datebook Keywords: The driveshaft ,CATIA,automobile,steel,composite materials,ANSYS,Kevla,e-glass epoxy, Refference: I A.R. Abu Talib, Aidy Ali, Mohamed A. Badie, Nur Azienda Che Lah, A.F. Golestaneh Developing a hybrid, carbon/glass-fiber-reinforced, epoxy composite automotive driveshaft, Material and Design, volume31, 2010, pp 514 – 521 II ErcanSevkat, Hikmet Tumer, Residual torsional properties of composite shafts subjected to impact Loadings, Materials, and design, volume – 51, 2013, pp -956-967. III H. Bayrakceken, S. Tasgetiren, I. Yavuz two cases of failure in the power transmission system on vehicles: A Universal joint yoke and a drive shaft, volume-14,2007,pp71. IV H.B.H. Gubran, Dynamics of hybrid shafts, Mechanics Research communication, volume – 32, 2005, pp – 368-374. V Shaw D, Simitses DJ, SheinmanI. Imperfection sensitivity of laminated cylindrical shells in torsion and axial compression. ComposStruct 1985; 4(3) pp:35–60. View Download Journal Vol – 15 No -7, July 2020 EXPERIMENTAL EVALUATION OF AN SI ENGINE USING E10 EQUIVALENT TERNARY GASOLINE- ALCOHOL BLENDS." JOURNAL OF MECHANICS OF CONTINUA AND MATHEMATICAL SCIENCES 15, no. 7 (July 26, 2020). http://dx.doi.org/10.26782/jmcms.2020.07.00056.

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