This thesis considers linear perturbations to the steady flow of a compressible inviscid perfect gas along a cylindrical or annular duct. Particular consideration is given to the model of the duct boundary, and to the effect of curvature of the duct centreline. For a duct with a straight centreline and a locally-reacting boundary, the acoustic duct modes can be segregated into ordinary duct modes and surface modes. Previously-known asymptotics for the surface modes are generalized, and the generalization is shown to provide a distinctly better approximation in aeroacoustically relevant situations. The stability of the surface modes is considered, and previous stability analyses are shown to be incorrect, as their boundary model is illposed. By considering a metal thin-shell boundary, this illposedness is explained, and stability analysed using the Briggs-Bers criterion. The stability of a cylindrical thin shell containing compressible fluid is shown to differ significantly from the stability for an incompressible fluid, even for parameters for which the fluid would otherwise be expected to behave incompressibly. The scattering of sound by a sudden hard-wall to thin-shell boundary change is considered, using the Wiener-Hopf technique. The causal acoustic field is derived analytically, without the need to apply a Kutta-like condition or to include an instability wave, as had previously been necessary. Attention is then turned to a cylindrical duct with a curved centreline and either hard or locally-reacting walls. The centreline curvature (which is not assumed small) and wall radii vary slowly along the duct, enabling an asymptotic multiple scales analysis. The duct modes are found numerically at each axial location, and interesting characteristics are explained using ray theory. This analysis is applied to a hard-walled RAE 2129 duct, and frequency-domain solutions are convolved to give a time-domain example of a pulse propagating along this duct. Finally, some numerical work on the nonlinear propagation of a large-amplitude pulse along a curved duct is presented. This is aimed at modelling a surge event in an aeroengine with a convoluted intake.

[EN] The consolidation of the figure of the industrial designer in the United States during the middle decades of the twentieth century is the issue raised by this investigation. This process involves the transition between craft and industry that had begun centuries ago. American designers specialized in a new profession, they set up a shared, multidisciplinary intelligence. Perhaps unwittingly they pioneered in blurring the boundaries between the creative disciplines. It is a valuable model of transformation and adaptability that you can draw conclusions and parallels with the current period, an example with which to prepare and understand the acceleration produced by the third industrial revolution, and the changes produced in the creative professions. There have always been more or less traditional way, ways to mass produce everything around us, from everyday objects to architectures. But it is the second industrial revolution, with the emergence of Taylorism and the Ford revolution, which by new machines and systematization of manufacturing processes introduced a turning point in this development. Movements in Europe as the Arts and Crafts succeeded, groups and associations were established as the Wiener Werkstätte and the Bauhaus and later Werkbunds was established, all connected and that influenced in part on the evolution of design in the young American nation. The United States gave an exceptional context: a market coupled with unprecedented scale, a company with an innovative technical comfort in energy, materials and media led to a way of life, The American way of life, with its lights and shadows. It was just the right distance from the European tradition of the elements that favored the consolidation of the industrial design profession in US territory. The historical uniqueness lies in the level of technical expertise had increased to make the knowledge to produce a well exceed the ability of a person. The pioneers of American design coordinated work of multidisciplinary teams of engineers, architects, manufacturers, advertisers... while accompanying the product until the communication process, encouraged by the needs of large companies. This allowed them to work in a variety of projects that did not happen so broadly notable examples from the Renaissance. They worked in fields such as graphic design, industrial design, interior design, architectural design, urban design, automotive design, railways, naval design, aircraft design... even aerospace design, creating new types and extending the scope of their work. The most important designers of the period were Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague and Henry Dreyfuss, from the world of stage design, illustration and window dressing. Guided by intuition helped the beauty industry from the 1920s. Speaking of the birth of industrial design assumes deepen relations between art and industry, between man and machine. It invites us to ask questions that make up what is to come. / [ES] La consolidación de la figura del diseñador industrial en Estados Unidos durante las décadas centrales del siglo XX es el tema que suscita la presente investigación. Este proceso supone la transición entre artesanía e industria que había comenzado siglos atrás. Los diseñadores americanos se especializaron en una nueva profesión, pusieron en marcha una inteligencia compartida y multidisciplinar. Quizás sin saberlo fueron pioneros en desdibujar los límites entre las disciplinas creativas. Es un valioso modelo de transformación y adaptabilidad del que se pueden extraer conclusiones y paralelismos con la época actual, un ejemplo con el que poder preparar y entender la aceleración producida por la tercera revolución industrial, y los cambios que produce en las profesiones creativas. Siempre han existido, de forma más o menos artesanal, maneras para producir en serie todo lo que nos rodea, desde los objetos más cotidianos hasta las arquitecturas. Pero es la segunda revolución industrial, con la aparición del Taylorismo y la revolución Ford, la que mediante nuevas máquinas y la sistematización de los procesos de fabricación introducen un punto de inflexión en este avance. En Europa se sucedieron instituciones, escuelas y movimientos como las Arts and Crafts, se establecieron colectivos y asociaciones como los Wiener Werkstätte y las Werkbunds y posteriormente se constituyó la Bauhaus, conectados todos ellos y que influyeron en parte en la evolución del diseño en la joven nación norteamericana. En Estados Unidos se dio un contexto excepcional: un mercado unido con unas dimensiones sin precedentes, una sociedad con un confort técnico novedoso en energías, materiales y medios de comunicación dieron lugar a un modo de vida, The american way of life, con sus luces y sus sombras. Fue la distancia justa de la tradición europea uno de los elementos que favoreció la consolidación del Diseño Industrial como profesión en territorio norteamericano. La singularidad histórica radica en que el nivel de especialización técnica había aumentado hasta hacer que los conocimientos para producir un bien excedieran la capacidad de una persona. Los pioneros del diseño americano coordinaban el trabajo de equipos multidisciplinares formados por ingenieros, arquitectos, fabricantes, publicistas¿ a la vez que acompañaban al producto hasta el proceso de comunicación, animados por las necesidades de las grandes compañías. Esto les permitió trabajar en una variedad de proyectos que no sucedía de forma tan amplia desde los notables ejemplos del Renacimiento. Trabajaron en campos como el diseño gráfico, el diseño industrial, diseño de interiores, diseño arquitectónico, diseño urbanístico, diseño automovilístico, diseño de ferrocarriles, diseño naval, diseño aeronáutico¿ incluso diseño aeroespacial, generando nuevos tipos y ampliando el espectro de sus trabajos. Los diseñadores más relevantes de esta época fueron Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague y Henry Dreyfuss, procedentes del mundo de la escenografía, la ilustración y el escaparatismo. Guiados por la intuición de la belleza ayudaron a la industria a partir de la década de 1920. Hablar del nacimiento del Diseño industrial supone profundizar en las relaciones entre arte e industria, entre el hombre y la máquina. Nos invita a plantearnos preguntas que inventen lo que está por venir. / [CAT] La consolidació de la figura del dissenyador industrial als Estats Units durant les dècades centrals del segle XX és el tema que suscita la present investigació. Aquest procés suposa la transició entre artesania i indùstria que havia començat segles arrere. Els dissenyadors americans es van especialitzar en una nova professió, van posar en funcionament una intel¿ligència compartida i multidisciplinar. Tal vegada, sense saber-ho, van ser pioners en desdibuixar els límits entre les disciplines creatives. És un valuós model de transformació i adaptabilitat del que es poden extraure conclusions i paral¿lelismes amb l'època actual, un exemple amb el què poder preparar i entendre l'acel¿leració produïda per la tercera revolució industrial, i els canvis que produeix amb les professions creatives. Sempre han existit, de forma més o menys artesanal, maneres per a produïr en sèrie tot allò que ens envolta, des de els objectes més quotidians, fins a les arquitectures. Però és la segona revolució industrial, amb el sorgiment del taylorisme i la revolució Ford, la que, mitjançant noves màquines i la sistematització dels processos de fabricació, introdueixen un punt d'inflexió en aquest avançament. A Europa es van succeïr institucions, escoles i moviments com les Arts and Crafts, es van establir col¿lectius i associacions com els Wiener Werkstätte i les Werkbunds, i posteriorment es va constituir la Bauhaus, connectats tots ells i que van influir en part en la evolució del disseny a la jove nació nordamericana. Als Estats Units es va donar un context excepcional: un mercat unit amb unes dimensions sense precedents, una societat amb un comfort tècnic novedós en energies, materials i mitjans de comunicació van donar lloc a un estil de vida, The american way of life, amb les seues llums i les seues ombres. Va ser la distància justa de la tradició europea un dels elements que va afavorir la consolidació del Disseny Industrial com a professió en territori nordamericà. La singularitat històrica radica en què el nivell d'especialització tècnica havia augmentat fins a fer que els coneixements per a produïr un bé excediren la capacitat d'una persona. Els pioners del disseny americà coordinaven el treball d'equips multidisciplinars formats per enginyers, arquitectes, fabricants, publicistes¿ a la vegada què acompanyaven el producte fins al procés de comunicació, recolzats per les necessitats de les grans companyies. Allò els va permetre treballar en una varietat de projectes que no succeïa de forma tan ampla des dels notables exemples del Renaixement. Van treballar en camps com el disseny gràfic, el disseny industrial, disseny d'interiors, disseny arquitectònic, disseny urbanístic, disseny automovilístic, disseny de ferrocarrils, disseny naval, disseny aeronàutic¿ inclús disseny aeroespacial, generant nous tipus i ampliant l'espectre dels seus treballs. Els dissenyadors més destacats d'aquesta època van ser Raymond Loewy, Norman Bel Geddes, Walter Dorwin Teague i Henry Dreyfuss, procedents del món de l'escenografia, la il¿lustració i l'escaparatisme. Guiats per la intuició de la bellessa, van ajudar a la indùstria a partir de la dècada de 1920. Parlar del naixement del Disseny Industrial suposa aprofundir en les relacions entre art i indùstria, entre l'home i la màquina. Ens convida a plantejar-nos preguntes que inventen allò que està per vindre. / Silvestre Navarro, FM. (2016). PENSADO A MANO, FABRICADO EN SERIE. Pioneros del Diseño Industrial. Transformación y adaptabilidad de las profesiones creativas [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62207 / TESIS

The world's energy demand has been rapidly increasing and is projected to continue growing for at least the next two decades. With increasing global energy demand and competition from renewable energy, the oil and gas industry is striving for more efficient petroleum production. Many technical breakthroughs have enabled the drilling industry to expand the exploration to more difficult drilling such as deepwater drilling and multilateral directional drilling. For example, managed pressure drilling (MPD) offers ceaseless operation with multiple manipulated variables (MV) and wired drill pipe (WDP) provides two-way, high-speed measurements from bottom hole and along-string sensors. These technologies have maximum benefit when applied in an automation system or as a real-time advisory tool. The objective of this study is to investigate the benefit of nonlinear model-based control and estimation algorithms with various types of models. This work presents a new simplified flow model (SFM) for bottomhole pressure (BHP) regulation in MPD operations. The SFM is embedded into model-based control and estimation algorithms that use model predictive control (MPC) and moving horizon estimation (MHE), respectively. This work also presents a new Hammerstein-Wiener nonlinear model predictive controller for BHP regulation. Hammerstein-Wiener models employ input and output static nonlinear blocks before and after linear dynamics blocks to simplify the controller design. The control performance of the new Hammerstein-Wiener nonlinear controller is superior to conventional PID controllers in a variety of drilling scenarios. Conventional controllers show severe limitations in MPD because of the interconnected multivariable and nonlinear nature of drilling operations. BHP control performance is evaluated in scenarios such as drilling, pipe connection, kick attenuation, and mud density displacement and the efficacy of the SFM and Hammerstein-Wiener models is tested in various control schemes applicable to both WDP and mud pulse systems. Trusted high-fidelity drilling simulators are used to simulate well conditions and are used to evaluate the performance of the controllers using the SFM and Hammerstein-Wiener models. The comparison between non-WDP (semi-closed loop) and WDP (full-closed loop) applications validates the accuracy of the SFM under the set of conditions tested and confirms comparability with model-based control and estimation algorithms. The SFM MPC maintains the BHP within ± 1 bar of the setpoint for each investigated scenario, including for pipe connection and mud density displacement procedures that experience a wider operation range than normal drilling.

This work deals with modeling of progression of dielectric variables and mixture formulas for solution of properties of composite materials in dependency on frequency. Theoretical part of the work explains physical principles of polarisation mechanisms and influence on dielectric constant with changing temperature and frequency. In theoretical part processes inside the composite material, which is in electrical field are described. The work contains summary of mixture formulas and methods of their derivation. Program for use in education is a part of the work. It allows modelling of progression of dielectric variables in dependency on frequency and Cole-Cole circle diagram. In mixtures it allows modelling of frequency dependencies of dielectric constant in accordance to Maxwell's, Bőttcher's and Lichtenecker's mixture formulas.

The thesis deals with possibilities of using wavelet transform in applications dealing with noise reduction, primarily in the field of ECG signals denoising. We assess the impact of the various filtration parameters setting as the thresholding wavelet coefficients method, thresholds level setting and the selection of decomposition and reconstruction filter banks.. Our results are compared with the results of linear filtering. The results of wavelet Wieners filtration with pilot estimation are described below. Mainly, we tested a combination of decomposition and reconstruction filter banks. All the filtration methods described here are tested on real ECG records with additive myopotential noise character and are implemented in the Matlab environment.

The master's thesis is concerned with digital image denoising methods. The theoretical part explains some elementary terms related to image processing, image noise, categorization of noise and quality determining criteria of denoising process. There are also particular denoising methods described, mentioning their advantages and disadvantages in this paper. The practical part deals with an implementation of the selected denoising methods in a Java, in the environment of application RapidMiner. In conclusion, the results obtained by different methods are compared.

This paper is devoted to asymptotic estimates for the condition numbers $\kappa(T_n(a))=||T_n(a)|| ||T_n^(-1)(a)||$ of large $n\cross n$ Toeplitz matrices $T_N(a)$ in the case where $\alpha \element L^\infinity$ and $Re \alpha \ge 0$ . We describe several classes of symbols $\alpha$ for which $\kappa(T_n(a))$ increases like $(log n)^\alpha, n^\alpha$ , or even $e^(\alpha n)$ . The consequences of the results for singular values, eigenvalues, and the finite section method are discussed. We also consider Wiener-Hopf integral operators and multidimensional Toeplitz operators.

In this habilitation thesis a factorization theory for Toeplitz plus Hankel operators and singular integral operators with flip is established. These operators are considered with matrix-valued symbols and are thought of acting on the vector-valued analogues of the Hardy and Lebesgue spaces. A factorization theory for pure Toeplitz operators and singular integral operators without flip is known since decades and provides necessary and sufficient conditions for Fredholmness and formulas for the defect numbers. In particular, the invertibility of such operators is equivalent to the existence of a certain type of Wiener-Hopf factorization. In this thesis an analogous theory for the afore-mentioned more general classes of operators is developed. It turns out that a completely different kind of factorization is needed. This kind of factorization is studied extensively, and a corresponding Fredholm theory is established. A connection with the Hunt-Muckenhoupt-Wheeden condition is made, and several examples and applications are given as well. / In dieser Habilitationsschrift wird eine Faktorisierungstheorie für Toeplitz plus Hankel-Operatoren und singuläre Integraloperatoren mit Flip aufgestellt. Diese Operatoren werden mit matrixwertigem Symbol betrachtet und sind auf den vektorwertigen Analoga der Hardy- und Lebesgue-Räumen definiert. Eine Faktorisierungstheorie für reine Toeplitz bzw. singuläre Integraloperatoren ohne Flip ist seit Jahrzehnten bekannt. Sie liefert notwendige und hinreichende Bedingungen für die Fredholmeigenschaft und Formeln für die Defektzahlen. Insbesondere ist die Invertierbarkeit derartiger Operatoren äquivalent zur Existenz einer bestimmten Art der Wiener-Hopf-Faktorisierung. In dieser Habilitationsschrift wird eine entsprechende Theorie für die erwähnten, allgemeineren Klassen von Operatoren aufgestellt. Es stellt sich heraus, dass eine völlig andere Art der Faktorisierung benötigt wird. Diese Art der Faktorisierung wird eingehend studiert und eine entsprechende Fredholmtheorie wird entwickelt. Ein Zusammenhang mit der Hunt-Muckenhoupt-Wheeden Bedingung wird hergestellt. Mehrere Beispiele und Anwendungen werden ebenfalls angegeben.

Zwei gewichtige Bände zum Werk zweier wichtiger Protagonistinnen der Geschichte der Performancekunst, VALIE EXPORT und Joan Jonas, bilden den Ausgangspunkt für Überlegungen, unter welchen Bedingungen und wie sie als ›archivische Konstellation‹ gelesen werden können (und sollen). Ausstellungskatalog der eine und Werkmonographie der andere, markieren sie zugleich zwei unterschiedliche Beziehungen zwischen Buch und Kunst, die als „artists’ publication“ noch weitere eingehen können. Das Buch als Medium der Kunst ist „etwas, das bleibt“ – sei es von der temporären Konfiguration einer Ausstellung oder von Aufführungen aller Art, Performances und Installationen inklusive. Gleichzeitig ermöglicht es einen transportablen, an vielen Orten möglichen, relativ gut erreichbaren Zugang zur Geschichte von performativen Ereignissen. Und: gelegentlich werden Bücher auch selbst zum Ereignis oder werden dazu genutzt, eines herzustellen, wie es Peter Weibel 1997 mit seiner Informationsskulptur zum Wiener Aktionismus tat, mit 50 000 Exemplaren einer eigens hergestellten 784-seitigen Dokumentation, mit der er den österreichischen Pavillon auf der Biennale von Venedig füllte.

In this thesis, abstract bounds for the normal approximation of Poisson functionals are computed by the Malliavin-Stein method and used to derive central limit theorems for problems from stochastic geometry. As a Poisson functional we denote a random variable depending on a Poisson point process. It is known from stochastic analysis that every square integrable Poisson functional has a representation as a (possibly infinite) sum of multiple Wiener-Ito integrals. This decomposition is called Wiener-Itô chaos expansion, and the integrands are denoted as kernels of the Wiener-Itô chaos expansion. An explicit formula for these kernels is known due to Last and Penrose. Via their Wiener-Itô chaos expansions the so-called Malliavin operators are defined. By combining Malliavin calculus and Stein's method, a well-known technique to derive limit theorems in probability theory, bounds for the normal approximation of Poisson functionals in the Wasserstein distance and vectors of Poisson functionals in a similar distance were obtained by Peccati, Sole, Taqqu, and Utzet and Peccati and Zheng, respectively. An analogous bound for the univariate normal approximation in Kolmogorov distance is derived. In order to evaluate these bounds, one has to compute the expectation of products of multiple Wiener-Itô integrals, which are complicated sums of deterministic integrals. Therefore, the bounds for the normal approximation of Poisson functionals reduce to sums of integrals depending on the kernels of the Wiener-Itô chaos expansion. The strategy to derive central limit theorems for Poisson functionals is to compute the kernels of their Wiener-Itô chaos expansions, to put the kernels in the bounds for the normal approximation, and to show that the bounds vanish asymptotically. By this approach, central limit theorems for some problems from stochastic geometry are derived. Univariate and multivariate central limit theorems for some functionals of the intersection process of Poisson k-flats and the number of vertices and the total edge length of a Gilbert graph are shown. These Poisson functionals are so-called Poisson U-statistics which have an easier structure since their Wiener-Itô chaos expansions are finite, i.e. their Wiener-Itô chaos expansions consist of finitely many multiple Wiener-Itô integrals. As examples for Poisson functionals with infinite Wiener-Itô chaos expansions, central limit theorems for the volume of the Poisson-Voronoi approximation of a convex set and the intrinsic volumes of Boolean models are proven.