Relevant bibliographies by topics / Philosophy and film

Contents

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

Academic literature on the topic 'Philosophy and film'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Philosophy and film"

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Schuff, Jochen. "Wittgenstein verabscheut »Wittgenstein« und schaut sich »Annie Get Your Gun« an." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 1 (2010): 91–107. http://dx.doi.org/10.28937/1000106168.

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Philosophie und Film stehen in einem spannungsvollen Verhältnis. Ziel des Artikels ist, diese Spannungen offen zu legen und ihnen auf den Grund zu gehen. Der Philosoph und Filmzuschauer Wittgenstein dient dabei als leitmotivische Figur der Diskussion. In den Linien, die von diesem Motiv ausgehen, zeigt sich die philosophische Unverfügbarkeit des Films. Um zu verstehen, was wir mit Film meinen und tun, ist eine spezifisch ästhetische Herangehensweise unabdingbar. Das bedeutet insbesondere, Film innerhalb der Praxis der Kunst zu verstehen. Ansätze zu einer solchen Sicht präsentiert der Autor abschließend in kurzen begrifflichen Reflexionen zum Film.<br><br>The relation between film and philosophy is a relation marked by tensions. The article’s aim is to unfold these tensions and to fathom them out. The figure of Wittgenstein as a philosopher and film spectator serves as a leitmotif throughout the course of the argument. Following the lines based in this motif, the philosophical unavailability of film becomes apparent. In order to understand what we mean by film and do with films, a specific aesthetic perspective is essential. This means, in particular, that film is to be understood within the practice of art. Eventually the author presents approaches to such a view in short conceptual reflections.
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Wittusen, Cato. "Romantic Film-Philosophy and the Notion of Philosophical Film Criticism." Film-Philosophy 20, no. 2-3 (October 2016): 198–218. http://dx.doi.org/10.3366/film.2016.0011.

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A common critique directed at many philosophical readings of films is that they fall short of paying careful attention to film aesthetics. The film-philosopher Robert Sinnerbrink, who defends what he has dubbed ‘romantic film-philosophy’, is a notable exception on this score. Taking his cues from Stanley Cavell's writings on film, Sinnerbrink has developed and argued for a notion of philosophical criticism that takes aesthetic qualities of film into consideration. This paper attempts to relate Sinnerbrink's notion of philosophical criticism to recent conversations about the differences between academic writing on film and film criticism. I argue that some aspects of Sinnerbrink's approach make it natural to compare it with traditional film criticism. There are also elements of his approach that are comparable to the use of films to support and develop theoretical perspectives in some academic writings. Next, I consider whether Sinnerbrink succeeds in challenging the traditional hierarchy of philosophy over film and art. I argue that interpreting film with attention to how it contributes philosophically, as he recommends, doesn't entirely escape the philosophical disenfranchisement of film. In the final part of the paper, I argue that if we want to re-enfranchise film (and art in general), we should pay more attention to what film and other art forms offer us that we do not find in philosophy. In my discussion, I make use of André Bazin's notion of film criticism and Simone de Beauvoir's view on the metaphysical novel.
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Sorfa, David. "What is Film-Philosophy?" Film-Philosophy 20, no. 1 (February 2016): 1–5. http://dx.doi.org/10.3366/film.2016.0001.

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Marks, Laura U. "Real Images Flow: Mullā Sadrā Meets Film-Philosophy." Film-Philosophy 20, no. 1 (February 2016): 24–46. http://dx.doi.org/10.3366/film.2016.0003.

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The eastern Islamic concept of the imaginal realm, which explains how supra-sensory realities present themselves to imaginative perception, can enrich the imagination of film-philosophy. The imaginal realm, in Arabic ‘alam al-mithal, world of images, or ‘alam al-khayal, imaginative world, is part of a triadic ontology of sensible, imaginal, and intelligible realms. Diverging from roots shared with Western thought in the concept of the imaginative faculty, the Islamic imaginal realm is supra-individual and more real than matter. The imaginal realm is a radically pro-image concept, affirming the importance of poetry, art, and images in motion. As developed by the Persian philosopher Sadr al-Dîn Muhammad al-Shîrâzî, known as Mullâ Sadrâ (1571–1640), the imaginal realm flows and intensifies, in a process philosophy we may fruitfully compare with Spinoza, Leibniz, and Whitehead. I sketch the genealogy of the imaginal realm and compare it to contemporary Western film-philosophy. I suggest how this transcendental concept can be made immanent. Finally, I draw from contemporary Muslim thinkers, such as Mohammed Arkoun, who ground a visionary collective politics in the imaginal realm. My central example, the documentary The Lebanese Rocket Society (2012) by Joana Hadjithomas and Khalil Joriege, exemplifies film's imaginal powers.
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Bolton, Lucy. "Introduction: Film-Philosophy and Stardom." Film-Philosophy 23, no. 2 (June 2019): 109–13. http://dx.doi.org/10.3366/film.2019.0104.

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Butler, Brian. "Dan Flory (2008) Philosophy, Black Film, Film Noir." Film-Philosophy 14, no. 1 (February 2010): 332–36. http://dx.doi.org/10.3366/film.2010.0016.

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Bolton, Lucy. "Christopher Falzon (2007) Philosophy Goes to the Movies: An Introduction to Philosophy." Film-Philosophy 11, no. 3 (October 2007): 132–37. http://dx.doi.org/10.3366/film.2007.0026.

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Constable, Catherine, Matt Denny, and Timotheus Vermeulen. "Introduction: The Surfaces of Film-Philosophy." Film-Philosophy 22, no. 2 (June 2018): 143–47. http://dx.doi.org/10.3366/film.2018.0069.

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Martin-Jones, David. "Trolls, Tigers and Transmodern Ecological Encounters: Enrique Dussel and a Cine-ethics for the Anthropocene." Film-Philosophy 20, no. 1 (February 2016): 63–103. http://dx.doi.org/10.3366/film.2016.0005.

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This article explores the usefulness of Latin American philosopher Enrique Dussel's work for film-philosophy, as the field increasingly engages with a world of cinemas. The piece concludes with an analysis of two films with an ecological focus, Trolljegeren/Troll Hunter (2010) and The Hunter (2011). They are indicative of a much broader emerging trend in ecocinema that explores the interaction between humanity and the environment in relation to world history, and which does so by staging encounters between people and those ‘nonhuman’ aspects of the Earth excluded by coloniality/modernity (e.g. animals, animal-spirits, mythological creatures, shaman, the very Earth itself). The interdisciplinary concerns of this work place it at the intersection of the latest research into a world of cinemas (in particular the various moves to understand films beyond the national paradigm now increasingly labelled the ‘transnational turn’; alongside growing concerns with how cinema helps us engage with ecology); and the need to broaden our philosophical grasp of the world. This latter point requires engagement with thinkers from beyond the Eurocentric canon of Western thought that currently dominates philosophy, and equally shapes film-philosophy. Dussel's philosophy is shown to provide a perspective capable of illuminating the intertwined nature of human and planetary history evident in these films, in a manner that is extremely pertinent to our global situation. Thus it is shown to be more useful than approaches to similar groupings of films which draw on, for example, speculative realism, when it comes to providing a cine-ethics appropriate to the Anthropocene.
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Carel, Havi, and Greg Tuck. "Film as philosophy." Philosophers' Magazine, no. 50 (2010): 30–31. http://dx.doi.org/10.5840/tpm20105042.

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Dissertations / Theses on the topic "Philosophy and film"

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Biderman, Shai. "Philosofilm: towards a cinematic philosophy." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31509.

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Thesis (Ph.D.)--Boston University
This dissertation examines existing attempts to answer the question "Can film philosophize?" (the"CFP question") and offers an original, affirmative account of the possibility of philosophizing by means of film. Focusing OD. narrative fiction films, this dissertation shows how the practice of philosophy can be transformed, and its powers expanded, through its encounter with the realm of moving images. The first chapter presents the groundwork for such a discussion, laying bare the scope of the various theoretical bases through which film and philosophy have been thought to intersect. The chapter follows the threads of extant discussions, from (a) explicitly philosophical approaches to film ("philosophy of film") to (b) in-depth studies of film's thematic constructs ("film theory") and (c) proposals of the symmetry or even fusion of film and philosophy ("film-philosophy"). Each of the three subsequent chapters addresses one of three possible answers to the CFP question.Chapter two focuses on a conservative approach ("the exclusivist thesis") that negates the possibility of any meaningful philosophical capacity in film. Chapter three considers a more moderate view ("the inclusivist thesis") that acknowledges the cinematic capacity for philosophical argumentation, in a manner that is unique, but only partial. The fourth and last chapter introduces an innovative perspective ("the integralist thesis") that countenances a unique cinematic potential to philosophize by insisting on a radical conception of the practice of philosophy itself. To reach this ultimate conclusion, the dissertation elaborates two crucial features of film - the non-linguistic nature of its narrative and the role played by the audience in film - and shows that exclusivists and inclusivists fail to take these features into consideration (largely owing to the principles from which these theorists set out to answer the CFP question). Exclusivists and inclusivists argue that film cannot philosophize (at least not properly) because philosophizing is an essentially linguistic endeavor and film is not.If, however, those crucial features are taken into account, it becomes apparent that exclusivist and inclusivist approaches alike are fatally flawed. The dissertation concludes, in conversation with the integralists, with an affirmation of film's philosophical potential.
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Biermann, Brett Christopher. "Travelling philosophy from literature to film /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2006. http://dare.uva.nl/document/51450.

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Nigianni, Chrysanthi. "Rethinking 'queer' : a film philosophy project." Thesis, University of East London, 2008. http://roar.uel.ac.uk/3844/.

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My Ph.D thesis entitled 'Re-thinking Queer: A film-philosophy project' aims at articulating a discourse on sexual/difference by taking two critical steps: the first is signalled by a critical moving away from Queer Theory and its linguistic/cultural apparatus, on the basis of its failure to break away from a 'normative' (molar) notion of subjectivity; the second is related to an experimental coming together of philosophy and cinema - a coming together which actualises a thinking philosophically with film through the practice of writing as art. The thesis overall suggests a rethinking of 'queer' through the becoming-woman-lesbian concept; a concept that is explored in relation to desire, ethics and time within particular cinematic events. The thesis employs two different discourses: an analytical/critical discourse on desire, ethics and time that draws on the philosophy of Deleuze and Guattari, Bergson, Nietzsche and the so-called neo-materialist feminism (Grosz, Braidotti), and a more creative, poetic writing that thinks with the filmmind.
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Wood, Sarah. "Lost film found film." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/48012/.

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In an age where the historical event is mediated increasingly through the still and moving image, new stress is placed on the archival image as surviving evidence of and performer of history. Lost Film Found Film asks what the scope is for re-intervention by artists who engage with the documentary archival. What is found in their reappropriation? What is lost in the remix? Through a discussion of key works by Jean-Luc Godard, Hito Steyerl, Harun Farocki, Jayce Salloum, Johan Grimonprez and Eyal Sivan, Lost Film Found Film offers a definition and a description of what I have called the Cinema of Aftermath. I define this as cinema that evolved in the aftermath of the Second World War, that deploys found footage film not only as a form of critique but also as a form of participation in wider historical and political events. I argue that the Cinema of Aftermath comments on politics and is also political. Central to its project is a questioning of the potency of the archival image in both its self-reflexive and wider cultural use. In three chapters, I explore how the Cinema of Aftermath recalibrates the meaning and renews the formal possibilities of the documentary, and analyse the performance of memory, truth and evidence by this aestheticisation of archival image.
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Evans, Christine. "The work of love : Slavoj Žižek, universality, and film philosophy." Thesis, University of Kent, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604005.

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This thesis investigates Slavoj Zizek's methodology and his radical theories on love and universality , and explores their philosophical and linguistic reverberations within film analysis. In interrogating Zizek's methodological interest in parallax - a mode in which one grasps both the thing and its opposite simultaneously - as well as his philosophical and psychoanalytic focus on love, I argue that Zizek's work has changed the way that we think about both universality and film. Like Zizek's project of destabilizing traditional attitudes towards 'higher' and 'lower-order' culture and its analysis, philosophy, psychoanalysis, and theory are never static in their application or i identity. In Zizek's work, we encounter a form of critical engagement (parallax) in which reversal and inversion constitute the subversive core of our current cultural sphere. These inversions materialize in the visual field but - as I argue - they must be explored via the route of their philosophical potentiality. In this sense, the thesis not only investigates Zizek's own contributions to philosophy, fi1m theory, and culture, but employs him to initiate discussions on seemingly incompatible topics: visual culture and love, stylistic authorial proclivities and desire, theory and belief. Each chapter in the thesis involves analyses of individual fi1ms in relation to rhetorical devices and the key Zizekian concerns of parallax, appearance, universality, and love. These chapters explore discourses on philosophy and film and question Zizek's place in these systems, Zizek's thematic and stylistic attraction to inversion, appearance, analogy, and tautology, and the implications of using love to illuminate a contemporary approach to universality. Throughout, I argue that Zizek's methodology creates an analytical space in film philosophy which is hospitable to radical and necessary involutions.
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Baracco, Alberto. "Phenomenological hermeneutics of film philosophical thinking : a hermeneutic method for film world interpretation." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37321/.

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Over the past few decades, the relationship between film and philosophy has been an object of an intense debate among film scholars, revitalizing some basic theoretical questions about cinematic representations and their meanings. As a result of this debate, many recent works in film philosophy, adopting the approach identified with the term 'Film as Philosophy' (FaP), have considered film as capable of its own philosophical thought. from this specific research perspective, the thesis proposed a new methodological strategy in maintaining FaP. The main aim of this thesis is to develop a hermeneutic method for the interpretation of film philosophical thinking. Starting from the fundamental relationship between film and filmgoer, the proposed method is founded on the concept of the film world. This concept is particularly effective because it identifies the film both as a world to be percieved, which emotionally involved the filmgoer, and as a world to be interpreted, which calls for a philosophical enquiry into its meanings. Moving from the theoretical perspective of phenomenological hermeneutics, combining Merleau-Ponty's and Ricoeur's philosophies, and reconsidering Goodman's theory of worldmaking, the film world becomes the hermeneutic horizon from which film philosophical thought can emerge. The definition of the method proceeds via a detailed examination of Ricoeur's philosophical thought, especially with regard to his hermeneutics of text and logic hermeneutics. Ricoeur's hermeneutic methodology has the potential to provide a valuable resource for film studies by inviting scholars to consider film interpretation in terms of film world hermeneutics, but only on the condition that an open and self-critical dialogue with different perspectives is part of the interpretive process.
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Holtmeier, Matthew. "ETSU Philosophy Club Lecture Series." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7821.

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Sorensen, Abigail. "The Feminine Sublime in 21st Century Surrealist Cinema." Wright State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=wright1464046230.

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Shaw, Spencer. "Showtime : the phenomenology of film consciousness." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3045/.

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The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time (4) is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time.
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Warr, Nicholas Alexander. "Peculiar theory : the problem of philosophy in Siegfried Kracauer's 'Theory of Film'." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/47906/.

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The republication of Theory of Film: The Redemption of Physical Reality by Siegfried Kracauer (1889-1966) in 1997 marked not just the highpoint of a period of renewed interest in his work, a period initiated by a series of events organized to mark the centenary of his birth, but also the limit of his scholarly influence. Though enthusiasm for his early sociological and cultural criticism written in Frankfurt and Berlin during the 1920s and 1930s continues to permeate research in numerous other disciplines within the humanities, his film theory continues to have little or no impact on the debates that currently define film studies. The reason for this, I argue, relates to the problematic role of philosophy in his film theory. Focusing primarily on Theory of Film, I examine in detail what makes Kracauer’s theory peculiar; peculiar in the sense that it belongs specifically to the film medium and peculiar in regard to the ambiguous philosophical claims that distinguish it from subsequent methods of film analysis. The contemporary image of Kracauer as a cultural philosopher, I argue, restricts how we read the relationship between film and philosophy in his work. I propose that from the perspective of the contemporary film-philosophy debate a critical notion of the cinematic can be restored to all facets of his work enabling a clearer understanding of how Kracauer comprehends the relationship between the filmmaker, spectator and film theorist. In turn, I conclude, this review of Kracauer’s cinematic approach as a democratised form of critical agency will benefit the understanding of philosophy and film theory as related forms of social practice.
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Books on the topic "Philosophy and film"

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K, Gopinathan, ed. Film & philosophy. [Calicut]: University of Calicut, 2003.

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Philosophy, Black film, film noir. University Park, Pa: Pennsylvania State University Press, 2008.

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Philosophy through film. 2nd ed. New York: Routledge, 2010.

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Frederick, Porter Burton, ed. Philosophy through film. 2nd ed. Cornwall-on-Hudson, NY: Sloan, 2009.

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Litch, Mary M. Philosophy through film. 2nd ed. London: Routledge, 2009.

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Philosophy through film. New York: Routledge, 2002.

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Read, Rupert, and Jerry Goodenough, eds. Film as Philosophy. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230524262.

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Cinema, philosophy, Bergman: On film as philosophy. Oxford: University Press, 2009.

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Ludwig, Nagl, Waniek Eva, and Mayr Brigitte 1958-, eds. Film Denken =: Thinking film. Wien: Synema, 2004.

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Porter, Burton Frederick. Philosophy through fiction and film. Upper Saddle River, N.J: Pearson Prentice Hall, 2004.

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Book chapters on the topic "Philosophy and film"

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Baracco, Alberto. "Film and Philosophy." In Hermeneutics of the Film World, 3–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65400-3_1.

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Gaine, Vincent M. "Film and Philosophy." In Existentialism and Social Engagement in the Films of Michael Mann, 28–49. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230348448_3.

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Sinnerbrink, Robert. "Film and Ethics." In Philosophy and Film, 185–205. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-12.

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Gibbs, Alexis. "Seeing Philosophy on Film." In Seeing Education on Film, 51–74. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33632-5_3.

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Sinnerbrink, Robert. "Filmosophy/Film as Philosophy." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 513–39. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_22.

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Cunliffe, Zoë. "Feminist Philosophy of Film." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 653–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_28.

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Vaughan, Hunter. "Towards a Natural Screen Philosophy." In Philosophy and Film, 342–55. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-20.

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Freeland, Cynthia. "Film theory." In A Companion to Feminist Philosophy, 353–60. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405164498.ch35.

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Rudrum, David. "Silent Dialogue: Philosophising with Jan Švankmajer." In Film as Philosophy, 114–32. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230524262_7.

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Read, Rupert. "Introduction II: What Theory of Film Do Wittgenstein and Cavell Have?" In Film as Philosophy, 29–36. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230524262_2.

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Conference papers on the topic "Philosophy and film"

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Miao, Miao. "The Philosophy of Crime and Punishment and Existentialism in WoodymAllen s Film." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.190.

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Zulkarnain, Alfiansyah, Nita Virena Nathania, Putu Widyayana Putra, and Priscilla Agatha. "Applying Balinese Philosophy ‘Rwa Bineda’ concept on character & environment design in 3D animated VR Short Film “GEDE”." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-17.

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ZULKARNAIN, ALFIANSYAH, NITA VIRENA NATHANIA, PUTU WIDYAYANA PUTRA, and PRISCILLA AGATHA. "Applying Balinese Philosophy ‘Rwa Bineda’ concept on character & environment design in 3D animated VR Short Film “GEDE”." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-17.

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Chana, K. S., and B. Haller. "Novel Turbine Rotor Shroud Film-Cooling Design and Validation: Part 2." In ASME Turbo Expo 2009: Power for Land, Sea, and Air. ASMEDC, 2009. http://dx.doi.org/10.1115/gt2009-60246.

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This paper is part two of a two part paper which considers a shroud film-cooling system design. The design was carried out using test results from a previous two-dimensional (2D) design and optimisation using three-dimensional (3D) CFD. The first cooling design was carried out using a streamline boundary layer approach and tested in the QinetiQ turbine test facility (TTF). The test results showed the design did not function as well as had been predicted and gave a poor performance in terms of film cooling effectiveness. Lessons learnt from the 2D design as well as understanding gained from heat transfer and pressure data taken on the rotor casing led to the formulation of a completely new design philosophy. Accepting, cooling films would not survive rotor passing and therefore concentrating on localised cooling as well as the re-establishment of cooling films between rotor passings. The design concept was validated/optimised with the aid of 3D CFD. Heat transfer instrumentation was implemented in a cooling insert fitted over the test rotor to evaluate the performance of the design. Tests carried out with and without cooling showed an improvement in cooling performance, leading to a 40% reduction in heat transfer rate to the rotor casing across the rotor overtip region. A significant improvement was achieved with the new design over the original with reductions in casing heat transfer rates of up to 44%, with a design coolant mass flow of 1.85% of core flow. Heat transfer data were successfully processed to Nusselt number, allowing the results to be translated to a gas turbine engine design.
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Cataldo, Giuseppina, and Roberto Legori. "Advanced Ultrasonic Techniques in Pipeline Girth Welds Examination." In ASME 2003 Pressure Vessels and Piping Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/pvp2003-1852.

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Installation of pipelines onboard a lay-barge requires rapid inspection and judgement of all girth welds prior to leaving the vessel. Furthermore, the new philosophy of Engineering Critical Assessment (ECA) based on the principles of fracture mechanics to assess the severity of a defect on its vertical extent requires the application of an inspection system able to accurately assess height, length and through thickness location of the defect in order to reducing the number of unnecessary repairs. Automated Ultrasonic Testing (AUT) is rapidly replacing radiography as standard method of inspecting pipeline girth welds, reducing pipeline costs through increased productivity and avoiding the radiation hazard and the chemical waste of the film processing. This paper describes SAIPEM experience with the new Phased Array AUT technology carried out on several projects, particularly with reference to the ultra-deep water Blue Stream Project, which required an extensive qualification of the AUT System in accordance to DNV Rules [1,2].
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Di, Zhang, Liu Xin, Wang Zhe, Wang Guodong, Ni Chenxiao, Wei Shengjie, Hu Benxue, and Wang Zhangli. "Evaluation on CAP1400 Passive Containment Cooling System Capability." In 2017 25th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/icone25-67077.

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CAP1400 is the large advanced passive demonstration plant, which is one of the National Science and Technology Major Projects. CAP1400 is an innovative design and development based on AP1000 advanced design philosophy with passive safety features. While keeping the same safety level as AP1000, CAP1400 aims to improve plant economy by means of enlargement of reactor core, increase of unit power output and optimization of plant overall design. The CAP1400 nuclear power plant uses the passive containment cooling system (PCS) to remove heat from the containment after accidents when high mass and energy fluid is released from primary or secondary systems. On account of the more mass and energy release and the internal structures design changes of CAP1400, the operating parameters may exceed the range of AP600 and AP1000 containment tests. In order to further study the performance of the CAP1400 PCS system, a series of verification tests have been carried out in the National PWR Project. This paper describes the background of the test setup, the really focused issues of the experiment and the main test results. The experimental data from separate effect tests and large scaled test were analyzed and evaluated in depth. The performance of the PCS was studied, including water film coverage outside the containment shell, water film evaporation and heat transfer characteristics, air natural circulation and convection outside the containment vessel, convection and condensation of the air / steam mixture on the inner surface of the containment vessel, as well as the overall performance of PCS systems. The results show that the important correlations applied in CAP1400 containment pressure and temperature response analysis could predict the heat and mass transfer reasonably and the envelope factors used for safety analysis are conservative. Parameters affecting the containment pressure and temperature have been investigated, and the reasonability and conservation of containment thermal and hydraulic analysis code has been evaluated by comparing the calculated results with the measured results. The results show that containment analysis code could simulate the important heat transfer phenomena of the test containment well and predict the temperature and pressure response reasonably with some conservation. Containment pressure and temperature response analysis after typical design basis accident analysis have been preformed, and the results show that the CAP1400 PCS is sufficient to remove the heat from the containment which ensure the safety of the plant. All of the results provide firm basis for the development of CAP1400 and sufficient support for the safety review. This work also lays the foundation for the further development of relevant analytical tools and the development of advanced and passive technologies with higher power levels.
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Howell, R. J., H. P. Hodson, V. Schulte, Heinz-Peter Schiffer, F. Haselbach, and N. W. Harvey. "Boundary Layer Development in the BR710 and BR715 LP Turbines: The Implementation of High Lift and Ultra High Lift Concepts." In ASME Turbo Expo 2001: Power for Land, Sea, and Air. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/2001-gt-0441.

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This paper describes a detailed study into the unsteady boundary layer behaviour in two high lift and one ultra high lift Rolls-Royce Deutschland LP turbines. The objectives of the paper are to show that high lift and ultra high-lift concepts have been successfully incorporated into the design of these new LP turbine profiles. Measurements from surface mounted hot film sensors were made in full size, cold flow test rigs at the altitude test facility at Stuttgart University. The LP turbine blade profiles are thought to be state of the art in terms of their lift and design philosophy. The two high lift profiles represent slightly different styles of velocity distribution. The first high-lift profile comes from a two stage LP turbine (the BR710 cold-flow, high-lift demonstrator rig). The second high-lift profile tested is from a three-stage machine (the BR715 LPT rig). The ultra-high lift profile measurements come from a redesign of the BR715 LP turbine: this is designated the BR715UHL LP turbine. This ultra high-lift profile represents a 12% reduction in blade numbers compared to the original BR715 turbine. The results from NGV2 on all of the turbines show “classical” unsteady boundary layer behaviour. The measurements from NGV3 (of both the BR715 and BR715UHL turbines) are more complicated, but can still be broken down into classical regions of wake-induced transition, natural transition and calming. The wakes from both upstream rotors and NGVs interact in a complicated manner, affecting the suction surface boundary layer of NGV3. This has important implications for the prediction of the flows on blade rows in multistage environments.
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Xu, Rui. "The Relationship Between Sci-Fi Films and Chinese Politics." In 5th International Conference on Contemporary Education, Social Sciences and Humanities - Philosophy of Being Human as the Core of Interdisciplinary Research (ICCESSH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200901.035.

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Mojtahedi, Amin, So-Yeon Yoon, Tahereh A. Hosseini, and Diego H. Diaz Martinez. "People-Space Analytics: Case Study of Work Dynamics." In AIA/ACSA Intersections Conference. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.aia.inter.17.6.

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To deliver an innovative design, architects often need to innovate in the ways they empathize with and understand the user. In his 1994 essay, the American Pragmatist philosopher Richard Rorty writes that “one should stop worrying about whether what one believes is well-grounded and start worrying about whether one has been imaginative enough to think up interesting alternatives to one’s present beliefs”1. This study, primarily, explores an interdisciplinary approach in which data collection, analysis, and interpretation are used as drivers of inspiration as well as tools of validation. A combination of tools and techniques labeled as people-space analytics was used to investigate the socio-spatial dynamics of work in the workplace of a national architecture firm. The results were later interpreted from a certain lens in the community of practice theory. A secondary goal of this research project is to study how workplace’s spatial configuration and key people and places are involved in organizational learning and knowledge practices. Therefore, a set of metrics and measures were used to interpret different employees’ recurrent patterns of communication and flow of information between people from different social networks in a spatial context."
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Harron, Lorna, and Sue Capper. "CSA EXP248: Pipeline Human Factors." In 2016 11th International Pipeline Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/ipc2016-64166.

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Human Factors play an important role in the reduction of pipeline incidents. There has been little guidance specific to the Pipeline Industry related to Human Factors management, with the exception of Control Room Management, in the recent past. The Human Factors Working Group, formed during the 2013 Banff Pipeline Workshop, partnered with CSA Group to fill an identified gap in the industry related to Pipeline Human Factors. The result was the creation of an Express Document, CSA EXP248 Pipeline Human Factors. CSA EXP248 (EXP248) considers Human Factors through the life cycle of a pipeline asset. The main goal of this document is to improve pipeline safety performance through management of risks associated with Human Factors. It provides guidance to pipeline operators on the need and means to integrate Human Factors in all aspects of the Pipeline Life Cycle and Management System, with philosophy considerations for integration of Human Factors into a “fit for service” pipeline system. A review of EXP248 will illustrate how this document provides information that is scalable to organizations based on size and complexity. This paper reviews the new CSA Group Express Document process and its application for the Pipeline Industry. This paper will discuss kkey aspects of EXP248 that operators could apply and practical tips on the application of this guidance to the pipeline operating community. Areas highlighted during this review include elements of a Human Factors program, consideration of physical, organizational and cognitive demands of a job or task, and integration of Human Factors into Management Systems. Finally, the paper will describe next steps to create a CSA Group consensus standard for Pipeline Human Factors, where EXP248 will serve as a seed document. Lessons learned during the use of the new Express Document will be highlighted and the use of this new process for other applications explored.
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