Thesis (Ph. D.)--School of Electrical and Information Engineering, Faculty of Engineering, University of Sydney, 2001. / Title from title screen (viewed 13 January 2009). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Electrical and Information Engineering, Faculty of Engineering. Includes bibliographical references. Also available in print form.

This thesis study is focused on experimentally investigating pump noise at design and off-design operations and its relations with pressure fluctuations. Small size pumps are placed in a semi-anechoic chamber and operated at various system conditions and various rotational pump speeds. Pump operational data, noise data and time dependent pressure data are recorded. Fast Fourier Transform spectra of noise and pressure data are compared. Coherence spectrum between sound pressure level and hydraulic pressures are obtained. Data processing, Fast Fourier Transform and cross correlation are conducted with specific software Soundbook SAMURAI. The experiments have indicated that system characteristics or pump size do not have any influence on the noise of pump. On the other hand, pump characteristics are found to be distinguishable by means of peak frequencies on the sound spectra which are proportional to blade passing frequency. Results of cross correlations also show that, pump outlet pressure is a more significant source of noise than pump inlet pressure.

Travailler le noir et blanc au cinéma sous-entend une alternative temporelle qui s’inscrit à l’image par une absence de couleur mimétique. C’est un cinéma qui a priori puise aux sources d'un passé revendiqué visuellement. Pourquoi et dans quelles intentions certains cinéastes persistent-ils à utiliser le noir et blanc alors que l’évolution historique du média invite à utiliser la couleur ? Comment ce choix à contre-courant permet-il de penser l'histoire du média ? Quels en sont les enjeux matériels, esthétiques et réflexifs ? Existe-t-il des styles du noir et blanc ancrés dans le présent, sans références techniques et plastiques à une histoire univoque des formes ? À une époque de domination économique de la couleur, réaliser des films en noir et blanc serait-il porteur d’une réflexion critique sur les procédés cinématographiques actuels et sur l’industrie qui les impose ? Bien loin d’une bichromie passéiste, en quoi, pourquoi et comment d’autres noir et blanc deviennent-ils des outils de prédilection pour établir l’état des lieux d’une plasticité critique de la représentation de l’industrie audiovisuelle ?Nous verrons qu’en optant pour le noir et blanc, la palette chromatique construit un espace propice à un cinéma différent en rupture avec les conventions du réalisme audiovisuel. Ce cinéma différent « réfléchit » le noir et blanc qui devient une source d’expériences holistiques à l’origine d’un redéploiement élargi du cinéma comme geste et art plastique fondateurs. Ce Doctorat en cartographie et en analyse la richesse et la diversité. / To work on cinematographic black and white is to enter an alternative temporality that incarnates itself on screen through an absence of mimetic colors. It is in theory a cinema rooted in the past and reclaiming it visually. Why do certain filmmakers persist in using black and white instead of following the course of evolution towards color ? Why do they reject the evolution of techniques ? How do they reflect on it, build new technical and esthetical frames ? Are there any styles of black and white which fully belong to the present and don't refer to past techniques and aesthetics ?In a time when color holds an economic supremacy on cinema, black and white films offer a form of technical criticism on the domination of an industry. Far from an bichromic old fashioned, why and how does others black and white become instruments of a new critical esthetics against industrial audiovisual representation ?Chosing black and white allows for a new, different cinema to break with the conventions of realism. This different cinema « reflects » on black and white, transcending it through holistic experiences, synesthetic and cognitive, redefining cinema as a broader act of creative art. This PhD attempts to map and analyse its richness and diversity.

This dissertation thesis is focused on the analysis of specific cutting forces and accompanying effects during machining of the new materials, composite materials. The experimental part is split up to two main chapters. In the first chapter, the development of specific cutting forces is analyzed in detail when cutting conditions are changing. The experimental machining of glass/polyester and carbon/epoxy composites is described for fibers orientations 0 a 90 (ie, the orientation of the fibers in the feed rate direction and perpendicular to the feed rate direction). The influence of the cutting tool flank wear on the specific cutting force is investigated further. The last section compares the values of specific cutting forces when machining with carbide milling tools deposited by different types of coating. The second chapter describes the measurement of sound spectrums generated by cutting process, sound maps creating and finding possible correlations between dominant frequencies of the sound and the specific cutting forces, or the cutting tool flank wear. The measurements are described for the cases of machining steel 15 260.7 and glass-polyester composite material.