Relevant bibliographies by topics / Roy Andersson

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

Academic literature on the topic 'Roy Andersson'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Roy Andersson"

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Ratner, Megan. "The “Trivialist Cinema” of Roy Andersson." Film Quarterly 69, no. 1 (2015): 36–44. http://dx.doi.org/10.1525/fq.2015.69.1.36.

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An essay on and interview with Roy Andersson about A Pigeon Sat on a Branch Reflecting on Existence in which the writer-director discusses the final installment of his Living Trilogy in terms of his use of artifice, of non-professional actors, of merciless lighting, cinema’s relation to other art forms, realism versus abstraction, Swedish and global history, and anachronism.
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Brodén, Daniel. "Old-school modernism? On the cinema of Roy Andersson." Journal of Scandinavian Cinema 7, no. 1 (March 1, 2017): 5–12. http://dx.doi.org/10.1386/jsca.7.1.5_1.

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Li, Stan Xiao. "Royston Greenwood, Christine Oliver, Roy Suddaby, and Kerstin Sahlin-Andersson: The Sage Handbook of Organizational Institutionalism." Administrative Science Quarterly 54, no. 3 (September 2009): 533–35. http://dx.doi.org/10.2189/asqu.2009.54.3.533.

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Chinita, Fátima. "Roy Andersson’s Tableau Aesthetic: A Cinematic Social Space Between Painting and Theatre." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 1, 2018): 69–86. http://dx.doi.org/10.1515/ausfm-2018-0004.

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Abstract The article examines three films by Roy Andersson, Songs from the Second Floor (Sånger från andra våningen, 2000), You, the Living (Du levande, 2007), and A Pigeon Sat on a Branch Reflecting on Existence (En duva satt på en gren och funderade på tillvaron, 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image.
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Pethő, Ágnes. "Between Absorption, Abstraction and Exhibition: Inflections of the Cinematic Tableau in the Films of Corneliu Porumboiu, Roy Andersson and Joanna Hogg." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (December 1, 2015): 39–76. http://dx.doi.org/10.1515/ausfm-2015-0015.

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Abstract The paper proposes to focus on the multiple affordances and intermedial aesthetic of the cinematic tableau seen as a performative space resulting in the impression of watching a painting, a theatre stage, a shop window, a diorama, or a photo-filmic installation in which the play between stillness and motion is accompanied by a reflexive emphasis on media and the senses. Such images, described extensively by David Bordwell in his writings on the evolution of film style, are being re-evaluated through debates on the “tableau form,” “absorption and theatricality” in modern art and photography (e.g. Jean-François Chevrier, Michael Fried). In particular, the aim of this paper is to examine inflections of the cinematic tableau in the films of three contemporary European authors, Corneliu Porumboiu (Romania), Roy Andersson (Sweden) and Joanna Hogg (UK), and relate them to the paradigm of the Dutch interior established in seventeenth-century painting.
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Mildren, Christopher. "Spectator strategies, satire and European identity in the cinema of Roy Andersson via the paintings of Pieter Bruegel the Elder." Studies in European Cinema 10, no. 2 (September 1, 2013): 147–55. http://dx.doi.org/10.1386/seci.10.2-3.147_1.

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Bondy, Krista. "Book Review: Royston Greenwood, Christine Oliver, Roy Suddaby and Kerstin Sahlin-Andersson (eds) The SAGE Handbook of Organizational Institutionalism London: Sage, 2008, (ISBN: 978-1-4129-3123-6), 840 pp." Work, Employment and Society 24, no. 1 (March 2010): 179–81. http://dx.doi.org/10.1177/09500170100240011205.

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Birmingham, Karen. "Roy Anderson." Nature Medicine 9, no. 5 (May 2003): 492. http://dx.doi.org/10.1038/nm0503-492.

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Paterson, Ian, Alasdair Bruce, and Sandy Trees. "Roy Paxton Anderson." Veterinary Record 187, no. 7 (October 2, 2020): 282. http://dx.doi.org/10.1136/vr.m3832.

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A vet with a no-nonsense, good-humoured approach to practice, he had a loyal following of clients. He was very active in the local community and was proud to serve as Deputy Lieutenant for Stirling and Falkirk.
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Bartlett, Cheryl M. "Profile: Roy C. Anderson." Systematic Parasitology 23, no. 3 (November 1992): 237–38. http://dx.doi.org/10.1007/bf00010878.

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Dissertations / Theses on the topic "Roy Andersson"

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Davidsson, Andrea. "”Tillvaron är inte konstruerad för ensamma människor” - Människa och rum i Roy Anderssons komplexa bild." Thesis, Halmstad University, School of Humanities (HUM), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-1264.

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Roy Andersson är en internationellt hyllad regissör som genom användning av en stilistiskt, särpräglad bildestetik vunnit stort erkännande bland både kritiker och publik. Denna uppsats behandlar människo- och rumsgestaltning, samt granskning användningen av den komplexa bilden i ”En kärlekshistoria” (1970), ”Giliap” (1975) och ”Sånger från andra våningen” (2000). Med utgångspunkt från en hermeneutisk metod och auteurteori utförs analyser av dessa filmer.

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Ibero, Carlos. "El modelo transformacional de la gramática generativa en la práctica de la subtitulación : Aplicación destinada a transmitir la significación y superar las limitaciones espacio-temporales." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-36678.

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Subtitling is a discipline within the Audiovisual Translation (AVT) field that requires some special techniques and strategies to channel the information from a multichannel and polisemiotic document into a written text within the screen. It’s a constrained translation that demands an additional effort to convey the content and the form of the source text into the target one. The aim of this paper is to analyse whether the model of the kernel sentences and clausal ranks of the generative-transformational grammar would work as a more systematic method to extract the essential information of the audiovisual text and organize it in more concise and reduced units of text, i. e., the subtitles. We will also analyse whether this linguistic approach will be enough to meet our objective or if, on the other hand, other extralinguistic aspects intervene. The texts we will be using for our study are Roy Andersson’s commentary on three deleted scenes of his film “Songs from the second floor” and the documentary Den lilla människans storhet, a behind-the-scenes or making-of on the same feature.
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Lundström, Mats. "Den Komplexa Bilden : En analys av Roy Anderssons bildskapande och gränsöverskridande produktioner inom spel/långfilm och kortfilm samt reklamfilm i relation till dagens visuella kultur utifrån ett socialsemiotiskt teoretiskt perspektiv för visuell kommunikation." Thesis, Linköping University, Department of Thematic Studies, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2176.

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Roy Andersson har med sina filmer intresserat och fascinerat många åskådare genom åren, kanske framförallt på grund av filmernas särpräglade komposition och bildspråk. Här arbetar han gränsöverskridande med orörlig kamera, långa tagningar och djupfokus. Själv står han med övertygelsen att en enda bild kan berätta så mycket mer, och därmed göra allt användande av flera bilder direkt överflödigt. Det filmiska grepp som Roy Andersson använder sig av grundar sig på vad han själv kallar för den komplexa bilden inom filmteorin.

Den här uppsatsen behandlar Roy Andersson och den komplexa bilden, samt diskuterar kring hans bildspråkliga inriktning som han har i förhållande till de konventioner som idag förekommer inom bildskapandet och den visuella kulturen. I uppsatsen görs en genomgång av Roy Anderssons produktioner, vilket täcker in områdena för spelfilm, kortfilm samt reklamfilm och som sedan sätts i relation till dagens visuella kultur med hjälp av den socialsemiotiska analysmetoden för visuell kommunikation. Utifrån detta perspektiv har tre scener från lika många av Roy Anderssons produktioner djupanalyserats. Diskussioner kring Roy Anderssons bildspråk förs även med hjälp av tre kompletterande teoretiska inriktningar; auteur-teorin (författarskapet), redundansprincipen och mise-en-scène.

Syftet med uppsatsen är att undersöka hur och varför Roy Anderssons bildspråk ser ut som det gör, och på vilket sätt som han genom användandet av den komplexa bilden gör för att uppnå detta.

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Yang, Julianne Qiuling Ma, and 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.

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Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation in modern society and media, Andersson uses his films and his distinct tableau aesthetic to explore the key social, political and philosophical issues of our times: the human condition, the problems of modernity, and the lingering legacy of past historical traumas. This dissertation presents a study of Andersson’s aesthetic and thematic concerns. The central thesis is that his films continue and innovate key stylistic and ideological tendencies associated with modernist painting and theatre. The introductory chapter serves to justify why Andersson’s work represents a “modernist structure of feeling.” Besides giving an overview of the key ideas, themes and stylistic techniques that mark his films, the introduction explains the humanistic philosophy that is central to not only his aesthetic and thematic concerns, but also his approach to filmmaking itself. The topics that emerge from this introduction – including the function of Andersson’s distinct tableau aesthetic, the thematic richness of his films, and his position within contemporary Nordic cinema and global art cinema – serve as points of departure for the thesis proper. Chapter 1 focuses on Andersson’s tableau aesthetic, its relationship to his overall tableaux narrative structure, and the influences of pictorial arts and earlier cinematic trends on his style. The chapter discusses the director’s justification for the tableau aesthetic and narrative structure, and what it may tell us about the limits of conventional narrative cinema, and cinema’s relationship to the other arts. Chapters 2-4 explore three of the central themes in Andersson’s work: the human condition, the critique of modernity, and the lingering legacy of past historical traumas. Chapter 2 focuses on the human condition as a theme in You, the Living (Du Levande, 2007) and compares the film thematically and stylistically to the Theatre of the Absurd. Chapter 3 analyzes Songs from the Second Floor (Sånger från andra våningen, 2000) and its critique of the Swedish welfare state, modern institutions and ideologies. Meanwhile, Chapter 4 looks at the changing ways that Andersson has artistically rendered the topic of historical traumas during the course of his career. In the concluding chapter, Andersson and his films are discussed within the wider contexts of the Swedish film industry and global art cinema. This dissertation, then, has a two-fold aim: to illuminate the thematic and stylistic richness of Andersson’s much under-researched films, while also critically exploring how his films may move us towards a cinema of contemplation.
published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Frota, Hidembergue Ordozgoith da. "Fotoemissão no Modelo de Anderson para compostos de terras-raras com valência flutuante." Universidade de São Paulo, 1985. http://www.teses.usp.br/teses/disponiveis/54/54131/tde-21062010-122702/.

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Calcula-se o espectro de foto emissão (XPS) no modelo de Anderson com degenerescência de spin. Baseado na técnica do grupo de renormalização, introduzindo originalmente por Wilson para calcular a suscetibilidade magnética do modelo de Kondo, o cálculo numérico tem precisão uniforme sobre todo o espaço paramétrico do modelo de Anderson; para qualquer energia foto eletrônica estima-se um erro máximo de 4% para a corrente de foto emissão calculada. O espectro calculado apresenta dois picos, associados com as duas possíveis transições induzidas pelo raios-X entre as ocupações do orbital = 0,1 ou 2: um primeiro pico de ionização correspondente à transição nf=2 → nf=1 e um segundo pico de ionização correspondente à transição nf=1 → nf=0. Para o caso em que a configuração nf=2 do orbital f tem a mais baixa energia, o primeiro pico é dominante. A medida que a energia da configuração duplamente ocupada cresce em relação à da configuração nf=1 (de maneira que o valor de nf no estafo fundamental diminui) o segundo pico de ionização cresce em relação ao primeiro. Finalmente quando nf 1 no estado fundamental, o segundo pico praticamente domina toda a intensidade espectral integrada; nesse caso (1) o primeiro pico torna-se estreito (com largura da ordem da temperatura de Kondo) centrado no nível de Fermi e (2) próximo ao nível de Fermi a corrente de foto emissão é representada por uma função universal da energia foto eletrônica escalada pela temperatura de Kondo.
X-ray photoemission spectra (XPS) are calculated for the spin-degenerate Anderson modelo f Valence fluctuation compounds. Based on the renormalization group technique originally introduced by Wilson to calculate the magnetic susceptibility for the Kondo model, the numerical calculation has uniform accurancy over the entire parameter space of the Anderson model; at any given photo-electron energy, a maximum error of 4% is estimated for the calculated photoemission current. The calculated spectra display two peaks associated with the two possible x-ray induced transitions between the nf= 0,1 or 2 occupations of the f-orbital: a first ionization peak corresponding to the nf=2 → nf=1 transition and a second ionization peak due to the nf=1 → nf=0 transition. For the case in which the nf=2 configuration of the f-orbital has the lowest energy, the former peak is dominant. As the energy of the doubly occupied configuration increases relative to the nf=1 configuration, (so that decreases in the ground state) the second ionization peak grows relative to the first one. Finally, as → 1 in the ground state the second ionization peak covers mosto f the integrated spectral density; in this case (1) the first ionization peak becomes a Spike (width of the order of the Kondo temperature) centered at the Fermi level and (2) in the vicinity of the Fermi level the photoemission current is described by a universal function of the photoelectron energy scaled by the Kondo temperature.
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Szadkowski, Dobromir [Verfasser], and Lotte [Akademischer Betreuer] Sogaard-Andersen. "Identification and characterization of RomX and RomY, two novel motility regulators in Myxoccoxus xanthus / Dobromir Szadkowski ; Betreuer: Lotte Sogaard-Andersen." Marburg : Philipps-Universität Marburg, 2019. http://d-nb.info/119953739X/34.

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Maroney, James. "ACROSS THE DEEP SOUTH: A LINKED STORY COLLECTION." MSSTATE, 2009. http://sun.library.msstate.edu/ETD-db/theses/available/etd-03312009-140252/.

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Across the Deep South: A Linked Story Collection focuses on the establishment and reestablishment of themes that reflect the mutability of characters over time, along with the equally mutable notion of identity found within the cultural context of the modern Southern United States. The stories follow the paradigm of Sherwood Andersons linked story collection Winesburg, Ohio in that character and geographical location combine over the course of multiple stories to recontextualize theme and character development through intertextual cohesiveness. Preceding the collection of stories is a critical introduction that considers the linked story collection as an independent form of fiction occupying a distinct space between the non-interrelated short story collection and the novel.
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Schumacher, Dominik [Verfasser], and Lotte [Akademischer Betreuer] Sogaard-Andersen. "The PomXYZ cell division regulators self-organize on the nucleoid to position cell division at midcell in the rod-shaped bacterium Myxococcus xanthus / Dominik Schumacher. Betreuer: Lotte Sogaard-Andersen." Marburg : Philipps-Universität Marburg, 2016. http://d-nb.info/1102354236/34.

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Tai, Li-sang, and 戴麗桑. "Interpreting Daily Life through Film Aesthetics:Taking Roy Andersson´s〝The Living Trilogy〞as an Example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/s3skdq.

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碩士
國立中山大學
哲學研究所
106
This thesis aims at interpreting film aesthetics through daily life. According to the principle of “No films without daily life”, the author of this thesis tries to explore the intrinsic correlation between daily life and art. Films are not only commodities but also an art form, which is in close relation with the market. However, nowadays, this “marketability” is “estranged”, directly replaced by “commodification” . Benjamin referred to films under the aspect of a crisis of the arts. But films transform the characteristics of traditionally-defined art: its derivation of “aura”, the expansion of monopoly, breakup of the confinement to the “here and now”, and direct contact with the spectator. Films allow art to plunge into society again, letting the arts pursue quality instead of quantity, as they have turned into popular art. The value of an art work is related to the audience’s participation. Watching films elevates performing arts to a spiritual level. This daily activity starts from a sense of leisure, and in the process of recreational watching , art may draw closer; thus film images may create “shaking experiences”—the experience of art. Roy Andersson’s Living Trilogy has got the structure of three-in-one and the -particular-in-the multiple. Its peculiarity lies in its unique skills of representation—a kind of reconstruction of trivialities. It breaks up daily activities and reconstructs them into a new unity, thus forming a sense of tension. This may be regarded as an aesthetic experiment concerning Adorno’s negative dialectics. Triviality is actually the core essence of daily life, that is, the everyday phenomena of the technological fast-pace life nowadays. Yet, in films, it is dangerous raw material. Art requires triviality in the work to be unified under one theme. What falls apart ─excess of the trivia─ must be combined anew. Nevertheless, “embracing and rejecting at the same time” is triviality in motion. Embracing and rejecting in art creates a jigsaw dialectical effect. This kind of dialectics between the trivial and artistic unity is also mutual sustenance and rejection between art and daily life in motion.
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Tucan, Ella. "“Beloved Be the Ones Who Sit Down”: Aesthetics and Political Affect in Roy Andersson’s “Living” Trilogy." 2016. http://scholarworks.gsu.edu/communication_theses/114.

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Roy Andersson’s unique surrealist style and the affect it gives rise to, situated somewhere between deep existential dread and the most absurdist humor, are intimately connected to his staging of action in stacked layers of meaning in deep focus, immobile long takes. A formal reading of his films then gives us a greater understanding of the connection between affect and film style.But the tableau which all but evacuates time in Andersson is not only a stylistic choice: this challenge to traditional structures and temporalities is the formal manifestation of his anachronistic conception of history. I argue that cinematic time is here closely tied to historical time: a view of history as layered, instantaneous and made up of incongruous juxtapositions as commentary on a failure of historicism as central to the development of a national Swedish identity marked by passivity, anti-intellectualism, and a lack of historical conscience.
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Books on the topic "Roy Andersson"

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Montelibano, Eve. Dylan Ray Anderson. Maynila, Pilipinas: Precious Pages Corporation, 2003.

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Anderson, Beverly Bright Davis. Anderson: Ancestors and descendants of Walter Roy and Edith Mae Clark Anderson. Oak Ridge, Tenn: B.D. Anderson, 1985.

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Gritzbaugh, Sherry Gresham. Mittie Ray Anderson, 1876-1971. [Bellaire, Tex.]: S.G. Gritzbaugh, 1999.

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Gritzbaugh, Sherry Gresham. Mittie Nancy Ray Anderson--her ancestors and descendants. [Bellaire, Tex.] (4507 Verone St., Bellaire 77401): S. Gritzbaugh, 1999.

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Dorothea, Ritter, ed. Rom 1846-1870: James Anderson und die Maler-Fotografen ; Sammlung Siegert ; [anlässlich der Ausstellung "Rom 1846-1870, James Anderson und die Maler-Fotografen, Sammlung Siegert", München, Neue Pinakothek, 4. Mai - 11. September 2005]. [Heidelberg]: Edition Braus, 2005.

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Margret, Rey, and Rey H. A. 1898-1977, eds. Margret & H.A. Rey's Happy Easter Curious George / written by R.P. Anderson ; illustrated in the style of H.A. Rey. Boston: Houghton Mifflin Harcourt, 2009.

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Anderson, Ray C. Confessions of a radical industrialist: How my company and I transformed our purpose, sparked innovation, and grew profits--by respecting the earth / Ray C. Anderson. New York: St. Martin's Press, 2009.

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Art, Mobile Museum of, P.S. 1 Contemporary Art Center., Sarah Moody Gallery of Art., Ogden Museum, Flint Institute of Arts, and Eesti Kunstimuuseum, eds. Ed McGowin: Name change : one artist, twelve personas, thirty-five years : Alva Isaiah Fost, Lawrence Steven Orlean, Irby Benjamin Roy, Nathan Ellis McDuff, Euri Ignatius Everpure, Isaac Noel Anderson, Nicholas Gregory Nazianzen, Thornton Modestus Dossett, Ingram Andrew Young, Melvill Douglas O'Connor, Edward Everett Updike, William Edward McGowin. Mobile, Ala: Mobile Museum of Art, 2006.

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McGowin, Ed. Ed McGowin: Name change : one artist, twelve personas, thirty-five years : Alva Isaiah Fost, Lawrence Steven Orlean, Irby Benjamin Roy, Nathan Ellis McDuff, Euri Ignatius Everpure, Isaac Noel Anderson, Nicholas Gregory Nazianzen, Thornton Modestus Dossett, Ingram Andrew Young, Melvill Douglas O'Connor, Edward Everett Updike, William Edward McGowin. Mobile, AL: Mobile Museum of Art, 2008.

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Slave ancestral research in seven steps within the Jackson-Moore family history and genealogy: With related families Anderson, Ball, Bedgood, Brown, Cheatham, Denman, Ewing, Fears, Goins, Gray, Harrell, Holton, Jenkins, Johnson, Jones, McCants, McCrary, Mansfield, Ray, Roberson/Robinson, Scott, Turner, Williams. Bowie, Md: Heritage Books, 1996.

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Book chapters on the topic "Roy Andersson"

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Liptay, Fabienne. "Von Tieren, Viren und Menschen. Anstelle eines Vorworts." In Roy Andersson, 3–10. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-3.

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"Werkverzeichnis." In Roy Andersson, edited by Fabienne Liptay, 83–84. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-83.

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Lindqvist, Ursula. "Die unerschöpfliche Menschlichkeit des Kinos von Roy Andersson." In Roy Andersson, 66–75. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-66.

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Müller-Wille, Klaus. "Wache Träume. Roy Andersson und August Strindbergs Oneiropoetik." In Roy Andersson, 40–55. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-40.

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Andersson, Jon Asp im Gespräch mit Roy. "Einsam und visionär." In Roy Andersson, 76–81. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-76.

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Walde, Laura. "Brevitas et gravitas. Gedankenskizze zu Kürze und Knappheit bei Roy Andersson." In Roy Andersson, 56–65. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-56.

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"Titelei/Inhaltsverzeichnis." In Roy Andersson, edited by Fabienne Liptay, 1–2. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-1.

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Koebner, Thomas. "Der melancholische Satiriker. Roy Anderssons Trilogie Songs from the Second Floor, You, the Living und Eine Taube sitzt auf einem Zweig und denkt über das Leben nach." In Roy Andersson, 11–26. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-11.

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"Autor*innen." In Roy Andersson, edited by Fabienne Liptay, 85–90. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-85.

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"Biografie." In Roy Andersson, edited by Fabienne Liptay, 82. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967074345-82.

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Conference papers on the topic "Roy Andersson"

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Ambruş, Victor E. "Anderson-Witting transport coefficients for flows in general relativity." In HIGH ENERGY GAMMA-RAY ASTRONOMY: 6th International Meeting on High Energy Gamma-Ray Astronomy. Author(s), 2017. http://dx.doi.org/10.1063/1.4972354.

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GA, IN-HAN. "Reliability Analysis of Long-Rod Penetration Using the Walker-Anderson Penetration Model." In 30th International Symposium on Ballistics. Lancaster, PA: DEStech Publications, Inc., 2017. http://dx.doi.org/10.12783/ballistics2017/16999.

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Portone, Teresa, John Niederhaus, Jason Sanchez, and Laura Swiler. "Bayesian model selection for metal yield models in high-velocity impact." In 2019 15th Hypervelocity Impact Symposium. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/hvis2019-012.

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Abstract There are multiple candidate models for the von Mises yield stress in elastoplastic models that are used to simulate material deformation in high-velocity impact. Previous work has studied the effects of such models on quantities of interest in high-strain-rate deformation, in order to select the most appropriate model in comparison to experimental data [1-2]. This work focuses on selecting between three such models, based on their ability to reproduce time-varying depth of penetration data of a tungsten-alloy rod impacting a hardened steel plate at high velocity, measured by Anderson, Hohler et al. [3]. Novel in the present study is the systematic treatment of uncertainty in the process, and automation of the process. The three models considered are the Johnson-Cook (JC), Zerilli-Armstrong (ZA), and Steinberg-Guinan-Lund (SGL) flow stress models [4-6].
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Hill, Donald G., and E. R. Crain. "RAPID CROSS-PLOT DISCRIMINATION OF COMMERCIAL POTASH MINERALIZATION – CASE HISTORIES." In 2021 SPWLA 62nd Annual Logging Symposium Online. Society of Petrophysicists and Well Log Analysts, 2021. http://dx.doi.org/10.30632/spwla-2021-0109.

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Potash minerals are a source of potassium, which is used for the manufacture of gunpowder and fertilizer. Commercial potash mineralization is often discovered when petroleum wells are drilled through evaporite sequences and the Gamma Ray log “goes off scale”. This is because potassium is one of the naturally occurring radioactive elements, emitting gamma rays from the 40K isotope, in its decay to 40Ar. However, not all potash minerals may be commercial sources of potassium via underground mechanical or solution mining techniques and Potassium is not the only radioactive element. For example, the mineralogy of the McNutt “Potash” member of the Salado Formation in SE New Mexico, is extremely complex, consisting of multiple thin (i.e., less than 10 ft thick) beds of six low-grade (radioactive) potash minerals, only two of which are commercial. There are also four non-radioactive evaporite minerals, one of which interferes with potash milling chemistry, and numerous claystones and Marker Beds (shales), with GR count rates comparable to the low-grade potash. Because of this complexity, traditional wireline and Logging While Drilling Potash Assay techniques, such as Gamma Ray log-to-core assay transforms, may not be sufficient to identify potentially commercial potash mineralization, for underground mining. Crain and Anderson (1966) and Hill (2019) developed linear programming, and multi-mineral analyses, respectively, to estimate Potash mineralogy and grades. However, both of these approaches require complete sets of multiple log measurements. In SE New Mexico, petroleum wells are drilled through the McNutt “Potash” member of the Salado Formation, with air, cased and drilled out to TD in the underlying sediments, with water based mud. Complete log suites are then run from TD to the casing shoe, with only the GR and neutron logs recorded through the cased evaporite sequence for stratigraphic and structural correlation. As a result, numerous oil and gas wells, in SE New Mexico, have cased hole gamma ray and neutron logs, through the Salado Evaporite. Logs, from these wells could provide a rapid Potash screening database, if used properly. A simple screening cross-plot technique, the Potash Identification (PID) plot, utilizing only Gamma Ray and Neutron Porosity, is proposed and successfully demonstrated, as a potential screening tool. This technique can be used with both open and cased-hole petroleum well logs, as well as core hole wire-line logs, and provides discrimination of commercial potash mineralization from non-commercial (potash and non-potash) radioactive mineralization. Case histories of the use of PID cross plots in the evaporite basins of Michigan, Nova Scotia, Saskatchewan, and SE New Mexico are described. The technique may also be useful in screening potential potash deposits in China, Europe, North Africa, and South America.
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