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The machine NP1702 has an insufficient solution concerning ergonomically soundness. The report includes a concept to an improvement for this. Currently, the operator is bound to complete a stretching movement which is harmful to several of his/her body parts. To avoid this movement is mainly what the report is focusing on.   NP 1702, GUK, fork, leaflets, telescope arm, receptacle, noise reducing lid, sound ergonomics.

The effects of extended precision computing and other numerical techniques are evaluated for the Fourier matching method (FMM) acoustic scattering model, initially developed by Assistant Professor D. Benjamin Reeder, CDR/USN (NPS), and Professor Timothy K. Stanton (MIT/WHOI). Theory on acoustic scattering, reverberation, scattering models, conformal mapping, scatterer boundary conditions, floating point arithmetic, computational error, and extended precision computing is presented as a foundation for research development. The paper presents an assessment of the effects of numerical techniques on model output with the initial expectation of obtaining a more accurate, converged solution at higher frequencies, higher modal combinations, and greater eccentricities of scatterer shape. Comparisons to results from Reeder and Stanton (2004) demonstrate effects of executed techniques. Analysis includes an evaluation of the relationship between variable precision settings and computational time, gains in the useful frequency regime of the FMM, and numerical analysis benefits. Demonstrated techniques confirm that increased precision has a positive effect on model performance. The utility of other numerical techniques is discussed, and limitations of current computer systems and other shortfalls are illustrated. A feasibility assessment for Navy use of the FMM and recommendations for further improvements to the FMM are included.

The US Navy is developing Seaweb undersea acoustic networking technology to enable distributed autonomous ocean sensors. An Unmanned Undersea Vehicle (UUV) can operate as a mobile node among the grid in the conduct of its own mission, using the fixed nodes as navigation reference points. The fixed grid provides a cellular communications infrastructure for command & control and data telemetry. In turn, the UUV can support the fixed grid by physically redistributing large quantities of data throughout the network or for breaching the sea surface and acting as a mobile gateway node, communicating via satellite to a command center ashore. Assimilating UUVs as network nodes significantly enhances undersea network capability, expanding the available concepts of operations. This thesis concerns the use of the fixed undersea network as a means to track the UUV and anticipates routine operations of mobile nodes in the context of fixed grids. This work is also a fundamental step toward advanced operations of fully mobile networks in the form of collaborative swarms.

Theories of pitch perception, and the related literature, are reviewed, with special reference to the residue pitch of tonal complexes. A distinction is drawn between spectral-pattern theories, which propose that pitch is derived from independent internal estimates of component frequency, and periodicity theories, which propose that the pitch of tonal complexes may be derived from a residual periodicity resulting from an incomplete auditory frequency analysis. The Spectral-pattern models described by Goldstein (1973) and Wightman (1973b) are discussed in detail; computer simulation procedures, allowing the prediction of a probability density function for the estimated fundamental frequency of a tonal complex, are described for each. Contrasting predictions concerning the relation between component frequency discrimination and fundamental frequency discrimination for harmonic complexes are developed for the spectral-pattern and periodicity theories. Component frequency and fundamental frequency discrimination by human observers was measured, under a variety of conditions, for a complex containing the 4th and 5th harmonics of 200 Hz. For a comparison of the pitches of two such complexes of slightly different frequency, the relative fundamental frequency difference limen was no larger, and generally smaller, than the smaller relative component frequency difference limen. Discrimination performance was interpreted in terms of a modified version of Goldstein's (1973) spectral-pattern theory, in which an internal noise limits discrimination between signals with non-coincident components. Further experiments investigated the identification of fundamental frequency by human observers as a function of the variability of internal estimates of component frequency as estimated from the discrimination experiments. The results of these experiments were consistent with the predictions of the spectral-pattern theories. Component and fundamental frequency discrimination was also considered with respect to temporal and spatial theories of frequency discrimination. The results of the discrimination studies were consistent with a modified Energy Detection model, where discrimination is ultimately limited by an internal noise.

The work described in this thesis is directed towards the reduction of noise levels in the Hoover Turbopower upright vacuum cleaner. The experimental work embodies a study of such factors as the application of noise source identification techniques, investigation of the noise generating principles for each major source and evaluation of the noise reducing treatments. It was found that the design of the vacuum cleaner had not been optimised from the standpoint of noise emission. Important factors such as noise `windows', isolation of vibration at the source, panel rattle, resonances and critical speeds had not been considered. Therefore, a number of experimentally validated treatments are proposed. Their noise reduction benefit together with material and tooling costs are presented. The solutions to the noise problems were evaluated on a standard Turbopower and the sound power level of the cleaner was reduced from 87.5 dB(A) to 80.4 db(A) at a cost of 93.6 pence per cleaner. The designers' lack of experience in noise reduction was identified as one of the factors for the low priority given to noise during design of the cleaner. Consequently, the fundamentals of acoustics, principles of noise prediction and absorption and guidelines for good acoustical design were collated into a Handbook and circulated at Hoover plc. Mechanical variations during production of the motor and the cleaner were found to be important. These caused a vast spread in the noise levels of the cleaners. Subsequently, the manufacturing processes were briefly studied to identify their source and recommendations for improvement are made. Noise of a product is quality related and a high level of noise is considered to be a bad feature. This project suggested that the noise level be used constructively both as a test on the production line to identify cleaners above a certain noise level and also to promote the product by `designing' the characteristics of the sound so that the appliance is pleasant to the user. This project showed that good noise control principles should be implemented early in the design stage. As yet there are no mandatory noise limits or noise-labelling requirements for household appliances. However, the literature suggests that noise-labelling is likely in the near future and the requirement will be to display the A-weighted sound power level. However, the `noys' scale of perceived noisiness was found more appropriate to the rating of appliance noise both as it is linear and therefore, a sound level that seems twice as loud is twice the value in noys and also takes into consideration the presence of pure tones, which even in the absence of a high noise level can lead to annoyance.

The work examines options for a modern daemon centered audio stack for HelenOS. It studies four different audio architectures; ALSA, OSS, JACK, and PulseAUdio. Each of them implements different approaches to providing general purpose audio support. Champion of every approach is analyzed, its strengths and weaknesses assessed. Based on the results of the analysis, different approaches for HelenOS audio stack are examined and the most promising one implemented. Complete audio stack is implemented, including an audio device driver, and a demonstrator audio application. Direction of future work and improvements is discussed at the end.

Leopard: A poem, is an event that begins and ends on the page; when a poem works it works alone and is not dependent on the performance of its neighbours. The goal with Leopard was to create individual poems whose scope is eclectic and ambitious rather than to fashion a coherent collection. This attitude is not a popular one in twenty-first century poetry, where themed collections and identity poetry are both desired and celebrated. But I believe imagination is the true currency of poetry and coherence is over-rated. The poems cross a variety of forms and styles, to invent and tell stories, to untame the imagination. My poems are disparate and there is little point forcing arbitrary connections and themes onto them. Leopard is influenced by music, film, art, words and by other poets. The poems are influenced by Frank O'Hara, not in style, but in the way O'Hara reminds me that poems can begin anywhere, the poet is nothing if not in control, and writing poems is an exciting thing to do. I imagine some of the poems would please the old ladies in Ealing comedies, these 'doiley' poems are flimsy and full of carefully positioned holes; they stand next to surreal poems which I see being read by a guy in a diner in a David Lynch movie, he'll be crying and laughing—at the same time probably—and not necessarily because the poems are sad or funny; others might be valued by characters who know things about poems and can appreciate what they do, know who or what they are referring to and hopefully find something beyond their lines. Like the spots on a leopard, each poem stands alone, but if a unity is to be found, I hope it is through sound and accessibility. I care how my poems sound because poetry for me is primarily an oral art form. I think some of the poems sound good, others I never read to an audience because not every poem can escape its white space, though it can still serve a valuable enough purpose on the page. I hope my poems are accessible and I hope the sound of a few of them, at least, will stay with the reader, but most of all I hope the poems will not bore; the worst adjective to attach to a poem is boring.'As obvious as an ear': Frank O'Hara's soundThis thesis explores the poems of Frank O'Hara in relation to sound. O'Hara's status as a poet, though legendary, is built on the casual nature of his poetic and not on claims about technical expertise. O'Hara's much-quoted statement in 'Personism: A Manifesto', in which he rejects 'elaborately sounded structures' has resulted in critics taking O'Hara at his word and largely avoiding the sonic properties of his poems. But a poem and its sound are inseparable and to overlook sound in the critical discourse on O'Hara is a considerable omission. The study of sound in poetry typically involves the examination of embedded sound effects which have been employed by the poet to manipulate the readers' experience when reading or listening to a poem. O'Hara does embed sound to some degree in a haphazard way, but what is more noteworthy about O'Hara's poetic is the way sound inhabits the surface of his poems. My intention is to turn up the volume on this neglected area of O'Hara's poetic and tune in to the sonic world he invites the reader to inhabit, the world of surface sound.