http://hdl.handle.net/10023/861 2013-05-25T10:09:43Z http://hdl.handle.net/10023/3481 Abstract: The lips of the player are often assumed to perfectly reflect sounds that strike them. Experimental and theoretical calculations of input impedance demonstrate the pressure that would build up if a flat, perfectly reflecting volume velocity source were used to excite the air into vibration. In reality the lips should project slightly into the instrument mouthpiece and absorb a small amount of the energy that strikes them and this study will quantify this effect using wave separation/impedance apparatus. For closed lips it is expected that the strength of resonances will be reduced, but that the correction will be small. The condition for reflection from lips that are not fully closed will differ more significantly from perfect reflection and it is anticipated that this data will be useful for integration into physical models of brass instruments. 2012-04-01T00:00:00Z Kemp, Jonathan A Smith, Richard The lips of the player are often assumed to perfectly reflect sounds that strike them. Experimental and theoretical calculations of input impedance demonstrate the pressure that would build up if a flat, perfectly reflecting volume velocity source were used to excite the air into vibration. In reality the lips should project slightly into the instrument mouthpiece and absorb a small amount of the energy that strikes them and this study will quantify this effect using wave separation/impedance apparatus. For closed lips it is expected that the strength of resonances will be reduced, but that the correction will be small. The condition for reflection from lips that are not fully closed will differ more significantly from perfect reflection and it is anticipated that this data will be useful for integration into physical models of brass instruments. http://hdl.handle.net/10023/3473 Abstract: In this article I compare two recent films that foreground the body at risk in the new wars of the twenty-first century. Paradise Now (Abu-Assad, 2005) and The Hurt Locker (Bigelow, 2008) convey the subject of the body in war from what would seem to be opposing perspectives, the first representing the experience of a resistance fighter, a suicide bomber in present-day Palestine, and the latter rendering the perceptions of a US soldier, the leader of a bomb disposal squad in Iraq. Seeming opposites, antitheses of each other, the two protagonists and the two films can be set face to face in a way that brings the changing nature of modern war into frame. No longer defined by the ideology of total war that shaped the grand narratives of twentieth-century combat, the new imagery of war and resistance, of insurgency and counter-insurgency, is crystallized here in a new symbolic iteration of the body at risk. 2012-06-12T00:00:00Z Burgoyne, Robert James In this article I compare two recent films that foreground the body at risk in the new wars of the twenty-first century. Paradise Now (Abu-Assad, 2005) and The Hurt Locker (Bigelow, 2008) convey the subject of the body in war from what would seem to be opposing perspectives, the first representing the experience of a resistance fighter, a suicide bomber in present-day Palestine, and the latter rendering the perceptions of a US soldier, the leader of a bomb disposal squad in Iraq. Seeming opposites, antitheses of each other, the two protagonists and the two films can be set face to face in a way that brings the changing nature of modern war into frame. No longer defined by the ideology of total war that shaped the grand narratives of twentieth-century combat, the new imagery of war and resistance, of insurgency and counter-insurgency, is crystallized here in a new symbolic iteration of the body at risk. http://hdl.handle.net/10023/3430 2013-01-01T00:00:00Z Hawley, Katherine Jane